Me llamo Ron Gilbert y quiero ser diseñador de videojuegos

Por Author Pablo Algaba el 7 de febrero de 2013.

La conversación telefónica que cambiaría la vida de Ron Gilbert (La Grande, Oregón, 1964) y de una parte pequeña, pero decisiva, de la historia de los videojuegos estuvo a punto de no producirse nunca. La escena es la siguiente: interior noche. Un teléfono suena en la oficina ya vacía de Human Enginereed Software mientras vemos por la ventana al último empleado, Gilbert, marchándose a casa. Dos llamadas no son contestadas. A la tercera una mano apresurada levanta por fin el auricular y contesta. Con este recurso dramático de primero de guion cinematográfico, Ron Gilbert entró en contacto con Lucas Arts (por aquel tiempo LucasFilms Games) quienes andaban buscando a un programador familiarizado con Commodore 64 para que se encargara de trasladar varios de los títulos que la compañía había lanzado para Atari 800. Al día siguiente, Gilbert ya tenía las maletas hechas y se encontraba camino a California.

No es difícil entender por qué Gilbert introduce siempre esta anécdota como  “el momento de mi vida en el que estuve más cerca de que me explotara la cabeza”. En 1985, para un fan absoluto de La Guerra de las Galaxias, consumidor compulsivo de cine de serie B, nerd de los ordenadores y autor precoz de varias backyard movies en super 8, probablemente no existiera un sólo lugar mejor en toda la Tierra para trabajar. Y aunque por entonces era imposible que en Lucas Arts lo intuyeran, el talento de Gilbert para retorcer, manipular y poner patas a arriba los lugares comunes de toda la subcultura del siglo XX junto con un innato sentido de la comedia, estaban a punto de iniciar la etapa dorada del estudio.

Cualquier parecido con Maniac Mansion es fruto de la casualidad.
Cualquier parecido del Rancho Skywalker con Maniac Mansion es fruto de la casualidad.

Tras casi dos años encargado de la ingrata tarea de las conversiones a Atari 800, Gilbert inspiró suficiente confianza en sus jefes como para que le permitieran trabajar en un proyecto propio: I Was a Teenage Lobot,  una aventura de un cerebro atrapado dentro de un robot en busca de su cuerpo humano en la que parece que ya se reflejaba su gusto por el sci-fi de derribo y el chiste afilado, debía haber sido su primer juego como director para la compañía con sede en el Rancho Skywalker de no ser porque su desarrollo fue abandonado en favor de otro videojuego, uno de los más influyentes de su género; de cualquier género: Maniac Mansion, una aventura gráfica que desarrolló con la ayuda de Gary Winnick y que a día de hoy todavía asombra cómo consiguió en ella perfilar un estilo propio y diferenciado en lo que no dejaba de ser su debut en las ligas grandes. Prácticamente todos los rasgos que perfeccionaría a lo largo de su carrera –y que durante algún tiempo casi se confundirían con los rasgos del género– estaban ya presentes en mayor o menor grado de sofisticación en Maniac Mansion: la constante experimentación con las posibilidades cómicas del medio –o al menos las posibilidades cómicas no derivadas del slapstick, sino de la interrelación entre guion, diálogos y mecánicas– , libretos cuidados hasta la última coma, las rupturas de la cuarta pared o las ganas de sacarle punta a referentes pop extraídos, en este caso, directamente del cine de terror adolescente, Twilight Zone y los seriales de matiné.

A este éxito creativo incontestable habría que añadirle una aportación no menos decisiva: SCUMM (Script Creation Utility for Maniac Mansion), una serie de herramientas de programación creadas por el propio Gilbert y Chip Morningstar –sí, ese era su nombre– que, de tan versátiles, se usaron para todas las aventuras del estudio durante los siguientes diez años, agilizando la producción de títulos y permitiendo que todo el talento concentrado durante esos años en las oficinas de Lucas Arts ese tradujera rápidamente en juegos, porque en los pasillos de la empresa de finales de los ochenta y principios de los noventa se cruzaban nombres del calibre de Dave Grossman, Tim Schafer, Brian Moriarty, Hal Barbood, Steve Purcell o Noah Falstein, todos ellos trabajando ‘a la manera de Gilbert’ y utilizando las herramientas que él había creado para parir una serie de títulos hoy elevados a los altares como clásicos atemporales: Loom, Indiana Jones and the Fate of Atlantis, Sam & Max o Full Throtte son sólo algunos ejemplos de este periodo, tal vez uno de los más fértiles e inspirados de la historia de los videojuegos.

Póster creado por Steve Purcell para The Secret of Monkey Island

Por su parte, días después de entregar Maniac Mansion, Gilbert comenzó a trabajar en su segunda aventura gráfica: Zack McCracken and the Alien Mindbenders, que gracias a las virtudes de SCUMM estuvo terminada en apenas nueve meses. A ésta le siguieron el juego de PC de Indiana Jones y La Última Cruzada o textos teóricos como Why adventure games suck and what we can do about it, no sólo supone una temprana reivindicación del videojuegos como un medio expresivo con lenguaje propio y herramientas narrativas radicalmente distintas a otras artes, sino que además expone un listado de quince reglas inviolables para la creación de buenos rompecabezas. Una teoría que llevaría a la práctica con sus siguientes juegos, The Secret of Monkey Island y Monkey Island 2. LeChuck’s Revenge, juegos que se seguirán jugando cuando tú y yo ya hayamos muerto, los que hasta el día de hoy son sus dos obras más refinadas, auténticos hitos de la cultura popular de finales de siglo XX que elevaron el listón de los videojuegos cómicos hasta alturas que nadie ha podido igualar –o al menos nadie lo había hecho antes de la aparición de Portal–.

En plena cresta de la ola, en el momento de máxima popularidad de un género que él mismo había ayudado a modular, Gilbert tomó la decisión más extraña: decidió abandonar Lucas Arts para fundar dos estudios propios: Humongous Games, centrado en el desarrollo de juegos episódicos para el público infantil donde siguió experimentando la versatilidad de las aventuras gráficas y del humor fuera de la escena más hardcore (la series de Putt-Putt y Pajama Sam pertenecen a este época), y Cavedog con la que pretendió seguir conectado con los jugadores de toda la vida, pero de la que sólo salió el RTS de culto Total Annihilation –en el que sería productor– y un Action RPG cancelado: Good & Evil, cuyos bocetos e ideas reutilizaría años más tarde en Deathspank.

Para Gilbert, el cierre en 2001 de ambos estudios supuso una larga temporada de ir dando tumbos entre proyectos aislados y colaboraciones puntuales en trabajos ajenos. Siendo fan de los webcomics de Penny Arcade, pidió participar en la elaboración de Penny Arcade Adventures. On the Rain-Slick Precipice of Darkness mientras que también podemos encontrar su nombre en el último juego de Monkey Island desarrollado por Telltale Games como ‘Visiting Professor on Monkeyology’. No fue hasta su fichaje en 2010 por Double Fine, donde volvió a encontrarse con Tim Schafer, que la carrera de Gilbert se reactivó. Y lo hizo de la mejor de las maneras: este mismo mes de enero ha aparecido en todas las plataformas descargables The Cave, la materialización de un proyecto que le rondaba por la cabeza desde los tiempos de Lucas Arts y que supone una brillante variación de las constantes de sus aventuras gráficas más tradicionales, demostrando, al mismo tiempo, que los años apartados del género no han menguado su habilidad para la construcción de puzles ni su superdotado sentido para la construcción de gags y chistes.

Imagen promocional de The CaveHoy en día, Gilbert trabaja en dos proyectos a cada cual más estimulante: el primero es intentar recomprar los derechos de Monkey Island –o al menos convencer a Disney para que le deje completa libertad de hacer el juego que él quiere– con la intención de producir un juego point & click que sería secuela directa de Monkey Island 2, obviando todos los títulos de la serie donde él no tuvo participación. Y el segundo, mucho más probable que veamos, es una aventura gráfica de vieja escuela aún sin nombre en la que tanto Schafer como Gilbert están trabajando mientras lees este artículo y que, ya antes de salir, ha petado los cimientos de la industria después de que un éxito enorme en kickstarter le haya permitido puentear a las distribuidoras.

Con casi 50 años, cargado de experiencia y sabiduría, Ron Gilbert demuestra más energía que nunca en una ilusionante nueva etapa creativa de la que es difícil no esperar lo mejor.

237 Comentarios

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  1. Si bien la autoría de los clásicos de Lucas está difuminada entre tantísimo talento, hay algo que hay que agradecer a Ron Gilbert: el SCUMM, que es ante todo una herramienta potentísima que evitaba casi todos los problemas clásicos de diseño de las aventuras gráficas: arenques rojos, callejones sin salida, y en general, bugs. Que absolutamente nadie haya conseguido una programación y diseño de aventuras tan depurada es algo que puede lucir con orgullo por muchos muchos años.

    Otra cosa es que luego se vaya atribuyendo cosas que, bueno, como que no. Y aún no le perdono el feo que le hizo a los Sam&Max de Telltale.

  2. Me encanta cuando alguien me aporta conocimientos que no tengo. Y en este artículo de Pablo hay más de un par de cosas que no sabía. Mis más sinceras felicidades :).

    Por otro lado, Gilbert es el puto amo. No se qué tipo de industria es esta que permite que alguien como él esté dando tumbos tanto tiempo… Un acierto (más) de Tim Schafer.

  3. Gilbert es un genio, hasta ahí de acuerdo, pero es cierto que si ha estado dando tumbos es un poco porque se lo buscó en su momento con proyectos más arriesgados de la cuenta. Quizá se fue de Lucas Arts demasiado pronto y nunca le ha gustado demasiado pasar por el aro de las exigencias de una compañía potente.

  4. Yo ya digo que empecé a sospechar de Gilbert cuando empecé a leer su blog, donde siempre hay entre líneas rencor hacia quienes han conseguido éxito haciendo lo que él pone como sus juegos ideales. De ahí lo mal que le ha sentado, pero muy mal, que Telltale haya hecho juegos muy decentes con las licencias de Lucasarts. Y vamos, estoy absolutamente seguro que si coge él solo la licencia del Monkey y hace otro juego no le sale ni la mitad de bien que a Dave Grossman.

  5. No tengo claro que no le fuese a salir bien Carlos, y menos teniendo a Schafer al lado xD, pero por muy bien que le salga no creo que sea suficiente para borrar de un plumazo las buenas y malas aventuras que vinieron tras la segunda parte.

    Al margen debo decir que leí durante años su blog (Grumpy Gamer) y, además de soltar más mierda de la cuenta, criticaba en sus tiras cierto tipo de diseños. Es divertido ver como años más tarde con el videojuego de DeathSpank (en realidad uno de los protagonistas de sus tiras) caía en esos mismos errores, no se si como una especie de metabroma… y pese a todo Gilbert sigue siendo un rey xD.

  6. A mí los retratos siempre me han parecido horribles, que no pegaban nada con MI.

    Mi percepción actual de Gilbert es muy diferente a la que tenía hace años, que era la que él proyecta y se refleja en el artículo. Me despierta muchas dudas, cada vez más, como genial diseñador. Más allá de su impacto, que es innegable, Maniac Mansion es una aventura mediocre. Monkey Island I y II sí son dos trabajos superlativos, pero no creo que Monkey Island haya llegado a ser Monkey Island únicamente por Gilbert, como no creo que Los Simpson o Futurama hayan llegado a ser lo que fueron (y ya no son) por Groening. De Gilbert parte la idea, sí, pero el diseño es a tres manos junto a Schafer y Grossman. Si vemos las carreras de Gilbert sin Schafer-Grossman, y las carreras de Schafer-Grossman (haciendo tándem o cada uno por su lado) sin Gilbert, no hay color, son mucho más brillantes las de ambos (siendo DOTT el punto culminante).

    Es un tipo simpático que se ha sabido vender muy bien, viviendo de MM y MI durante décadas. Todavía no he probado The Cave, tal vez me haga cambiar de opinión.

    Monkey Island para mí está cerrada y bien cerrada con Monkey Island 2, no veo necesario hacer más entregas, ni creo que fuera posible continuarla con la misma brillantez 20 años después (y vuelvo al ejemplo de Futurama, no fueron capaces de retomarla igual después de pocos años).

    Zak McKracken and the Alien Mindbenders es un juego de David Fox y Matthew Alan Kane, no de Gilbert, por más que se puedan ver similitudes con Maniac Mansion. Tampoco me consta que Gilbert esté diseñando Reds junto a Tim Schafer.

    Saúdos

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