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Jogos que nos jogam : o poder do disempowerment e da subversão na “engenharia de emoções”
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A valoração da expressão artística, mesmo no entretenimento, passa pela avaliação da sua capacidade de estimular emocionalmente o receptor. O videojogo parece surgir como o medium ideal para esta exploração dada a necessária permeabilidade daquele que nele se envolve. Contudo, um rápido olhar à cultura gamer suporta a crítica que os próprios teóricos tecem de que este potencial tende a ficar aquém do esperado, limitando-se à estimulação de quadrantes e níveis superiores da espiral de envolvimento – evitando mobilizar-se, por exemplo, os elementos necessários à estimulação de tristeza e todos os estados e reformulações dela decorrentes. Esta limitação, que Zagalo formula como o paradoxo da emoção interactiva servirá de base para o questionamento da agência, especialmente no seu prolongamento em certas camadas do jogo como colocação deste ao serviço do empowerment do jogador. A capacidade de agir, é certo, é princípio base do medium. Para lá desta, porém, poderá tentar perceber-se o que o desafio dessa capacidade nos pode trazer em termos de trabalho dos restantes elementos em jogo e das ligações que com eles se podem estabelecer. Desde a dimensão lúdica à partilha de um universo significante com outros seres empáticos, procurou, então, quebrar-se a ideia da subjugação dos elementos do jogo à satisfação das fantasias de poder do jogador, numa elevação ilusória da sua agência. Neste caminho, tentou perceber-se quais os elementos em falta para uma mais profunda estimulação de emoções e estados emocionais. Esse trabalho de modulação obriga também ao questionamento de certas tendências vincadas de um modo mais amplo na indústria, podendo, então, traduzir-se na transformação dos videojogos, activando a sua potência poética enquanto medium. O disempowerment é proposto como uma chave para a solução dos desafios apresentados, tão múltipla e desdobrável quanto o medium em causa. Ou seja, o disempowerment são as práticas subversivas mas, acima de tudo, a possibilidade de experiência rica que emerge da sua mobilização, é a negação do empowerment no contexto de agência em prol da estimulação de emoções normalmente impossibilitadas. O disempowerment é também um modelo de questionamento, de forma mais ampla, das tendências da discursivização, produção e consumo do videojogo, nas quais fantasias nele vincadas representam um ciclo de reforço do status quo num medium que tudo teria para se tornar numa plataforma da sua reformulação.
The value of artistic expression, even in entertainment, implies the evaluation of its ability to emotionally stimulate the receiver. Video games, one would think, are the ideal medium for this emotional exploration, given the basis of permeability the engagement with and within it requires. However, an overview of gamer culture strengthens the critical stances of scholars who state that this potential falls short to the expectations, more often than not only the superficial levels of the involvement spiral being stimulated. For example, elements required to stimulate sadness, as well as its subsequential emotional states and reformulations, are usually avoid. Zagalo elaborates on this limitation through the concept of the paradox of interactive emotion, which we will use as ground zero for the questioning of agency as empowerment. The ability to act is the basic principle of the new medium. Beyond that, though, we can challenge it and use this subversion as a tool to develop the other elements of the game. Will emotional experiences improve if we defy power expectations and fantasies? What can this challenge add to the player experience? What structural dynamics lay behind the aversion of this discussion and what does it mean to the medium as a whole? From the engagement with the interface and the contingency that allows the appreciation of the ludic sphere to the inhabitation of a meaningful universe, shared with empathic beings, the assumption in question is that of the necessary subjugation of all game elements to the gamer’s power fantasies and illusory elevation. To understand the underlying modulation, we not only had to identify the missing in-game pieces, but also question the tendencies of its industry, thus considering the transformation of the video game experience as well as the transformation of the medium itself with the activation of its poetic potential. Disempowerment appears, then, as a master-key to solve the presented cryptograms, as multiple and multidimensional as the medium itself. Disempowerment is the proposal of subversive practices but also the rich and profound experiences that they allow. It is the denial of empowerment, without nullifying agency, as a way to clear the path to a wider range of emotions. Disempowerment is a model for inquiring the medium, the tendencies of its rhetorics and those of its producer-consumer dynamics, through which the fantasies it promotes become a status quo reinforcement cycle, in spite of the the medium potential to challenge it.
The value of artistic expression, even in entertainment, implies the evaluation of its ability to emotionally stimulate the receiver. Video games, one would think, are the ideal medium for this emotional exploration, given the basis of permeability the engagement with and within it requires. However, an overview of gamer culture strengthens the critical stances of scholars who state that this potential falls short to the expectations, more often than not only the superficial levels of the involvement spiral being stimulated. For example, elements required to stimulate sadness, as well as its subsequential emotional states and reformulations, are usually avoid. Zagalo elaborates on this limitation through the concept of the paradox of interactive emotion, which we will use as ground zero for the questioning of agency as empowerment. The ability to act is the basic principle of the new medium. Beyond that, though, we can challenge it and use this subversion as a tool to develop the other elements of the game. Will emotional experiences improve if we defy power expectations and fantasies? What can this challenge add to the player experience? What structural dynamics lay behind the aversion of this discussion and what does it mean to the medium as a whole? From the engagement with the interface and the contingency that allows the appreciation of the ludic sphere to the inhabitation of a meaningful universe, shared with empathic beings, the assumption in question is that of the necessary subjugation of all game elements to the gamer’s power fantasies and illusory elevation. To understand the underlying modulation, we not only had to identify the missing in-game pieces, but also question the tendencies of its industry, thus considering the transformation of the video game experience as well as the transformation of the medium itself with the activation of its poetic potential. Disempowerment appears, then, as a master-key to solve the presented cryptograms, as multiple and multidimensional as the medium itself. Disempowerment is the proposal of subversive practices but also the rich and profound experiences that they allow. It is the denial of empowerment, without nullifying agency, as a way to clear the path to a wider range of emotions. Disempowerment is a model for inquiring the medium, the tendencies of its rhetorics and those of its producer-consumer dynamics, through which the fantasies it promotes become a status quo reinforcement cycle, in spite of the the medium potential to challenge it.
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Palavras-chave
Videojogos Agência Interactividade Imersão Retóricas de poder Subversão Engenharia emocional Impotência Tristeza Empatia Video games Agency Interactivity Immersion Rhetoric of power Subversion Emotional engineering Disempowerment Sadness Empathy