Summary of Los Géneros de los Videojuegos | Análisis

00:00:00 - 00:35:00

The video explores the limitations of current video game genre classifications and suggests a more comprehensive approach based on playable aesthetics. It argues that genres often fail to capture the true nature and purpose of a game, resulting in confusion and misinterpretations among players. The proposed categorization system, based on mechanics, dynamics, and aesthetics, aims to provide a clearer understanding of games and remove ambiguity. It discusses various aesthetics such as sensation, fantasy, narrative, competition, and originality, highlighting how these elements can shape the player's experience. The video acknowledges that some people may resist this new typology but emphasizes that it offers a deeper understanding and appreciation of video games.

• 00:00:00 In this section, the speaker discusses the strange nature of video game genres and how they often fail to accurately express the true nature and purpose of a game. They give examples of how current genre classifications are superficial and don't reflect the actual objectives or teachings of the game. For instance, they question if a game like GTA can be classified simply as a driving game, considering its diverse elements such as shooting and open-world exploration. They also question the validity of genres based on themes, mechanics, or budgets, emphasizing that these labels can be interchangeable and misleading. The speaker suggests that the current system of genre classification for video games is flawed and doesn't capture the complexity and uniqueness of each title.
• 00:05:00 In this section, the video discusses the limitations and inefficiencies of current video game genres when it comes to describing games in a deeper context. The transcript notes that genres often lack compatibility and are unable to accurately convey the experience of playing a game. The example of YouTubers describing games like Devil May Cry 5 using terms like "hack and slash" or "character action game" is mentioned, showing how these descriptions can lead to conflicting opinions and misunderstandings. The video also points out that developers may have a specific intention for their games, but that intention may not always translate into specific mechanics associated with genres, resulting in a different experience for players. Examples of poorly executed games like Duke Nukem Forever and Fallout 4 are given to illustrate this point. Overall, the transcript highlights the need for a more functional and comprehensive categorization system in video game genres.
• 00:10:00 In this section, the speaker discusses the need for a systematic categorization of video games that is clear and representative of the final experience. They refer to the MDA framework, which stands for Mechanics, Dynamics, and Aesthetics. Mechanics refers to the technical aspects of the game, such as programming and rules. Dynamics are the interactions between the player and the game system, including gameplay and the emotions evoked by the experience. Aesthetics, specifically playable aesthetics, focus on the emotional responses the developer expects from players. The speaker then proposes three categories based on these aesthetics: Sensation, which aims to create sensory stimulation; Fantasy, which focuses on creating believable roles for players to connect with; and Narrative, which emphasizes creating dramatic events and emotional responses in the story. This categorization would provide a clearer understanding of games and remove confusion when discussing them.
• 00:15:00 In this section, the YouTuber discusses different genres of video games. They mention that there are games that focus on personal experiences as well as games that involve conflicts between deities. Two examples of games with different dynamics but similar goals of enhancing their narratives and emotional conflicts are Zandio 2 and Snake Eater. The YouTuber also mentions the challenge genre, where the gratification comes from overcoming obstacles, similar to completing an obstacle course. They provide examples of games like Bombay, Refugiado, Rating o Derbi, and state that difficulty is not an inherent characteristic of this genre but rather a more accessory aspect. Another genre discussed is companionship, where games serve as a catalyst for interactions with other players, such as Mario Party, Sport Dead, and World of Warcraft. The discovery genre is also mentioned, highlighting games like Metroid Symphony of the Night and Assassin's Creed, where players explore unknown territories. The expression genre focuses on providing players with tools to express themselves, whether through sandbox games like Minecraft or games that allow players to channel their personality. Lastly, the YouTuber discusses the mission genre, which includes games like Animal Crossing and Tetris, where players are tasked with completing a task for the purpose of passing time. It is important to note that this list does not encompass all existing aesthetics in gaming.
• 00:20:00 In this section, the speaker discusses two more aesthetics in video games: competitiveness and originality. The aesthetic of competition refers to the aspect of competing for dominance in the game, either against other players or against the game itself. This can lead to toxic communities when players feel dominated. The aesthetic of originality focuses on presenting novel and fresh experiences within established frameworks. This can be seen in games like "Her Story" and "Doom Eternal." However, the speaker mentions that these aesthetics are open and abstract, and many modern games incorporate multiple aesthetics. As a result, some games cannot be solely defined by one aesthetic. The speaker also introduces the concept of an overarching aesthetic that encompasses and directs other aesthetics, which is prominent in games like "Final Fantasy." Despite the progression and challenges in games, the focus of the experience may not always be on the gratification of solving those challenges. The speaker gives examples of "Contra 3" and "Half-Life 2" to illustrate this point.
• 00:25:00 In this section, the speaker discusses how the expression and gameplay mechanics in video games can contribute to different perceptions and experiences for players. They give examples such as games like God Hand and Devil May Cry 4, which have complex and deep challenge systems that allow for player expression and the creation of distinct play styles. They also mention games like Deus Ex and Call of Duty, which offer different experiences through their campaign modes, multiplayer modes, and extras. The speaker emphasizes that even small changes in gameplay mechanics can significantly impact the aesthetic and perception of a game. They acknowledge that perceptions of games are subjective and that different people enjoy games for different reasons, but they argue that the criticism of gameplay mechanics is valid because gameplay is an integral part of the structure of a game.
• 00:30:00 In this section, the creator discusses how the current classification system for video games is arbitrary and does not accurately capture the essence of the gaming experience. They argue that a better approach is to analyze games based on their playable aesthetics, which can help bridge the gap between the audience and the developers. By focusing on the aesthetics, developers can create games that appeal to a wider range of people without being limited by superficial elements. The creator applies this concept to a specific example, highlighting how changes in aesthetics can impact the player's experience and the reception of a game. They also note that this approach can lead to more nuanced analyses of long-standing franchises, revealing fundamental aspects of their development and success. Additionally, the creator acknowledges that some people may resist accepting this new typology of game genres, but they emphasize that it provides a deeper understanding and appreciation of the medium. Ultimately, the creator encourages moving beyond descriptive labels and engaging in discussions about the meaningful messages and experiences conveyed by video games.
• 00:35:00 In this section, the speaker discusses the importance of understanding different genres of video games in order to enhance communication and generate a better understanding of what makes a game good or bad. The various gameplay aesthetics help players and developers connect with each other and comprehend their individual tastes. The speaker emphasizes that their intention is not to judge the quality of games, but rather to generate a robust understanding of whether a game successfully achieves its objectives. They conclude by expressing gratitude to their team and encouraging viewers to visit their website for more reviews and join their gaming community.