Gamebooks in Brazil
and India: a Comparison
Pedro Panhoca da Silva
Ph. D. Research
Scholar,
Mackenzie
Presbyterian University (UPM),
São Paulo, Brazil
Abstract
Gamebooks are books whose text
dialogues directly with its reader, offering him/her options on how the
narrative will continue, sometimes defined by external elements, such as dice
rolling, for example. Because they are very similar to videogames that appeal
to young people, these playful texts may have potential to be explored and
worked on in classes. This work has as a general objective to divulge the
gamebook culture existing in Brazil and India, as well as to seek positive
results from this cultural scam. For this purpose authors such as Todorov
(1975), Silva (2019), Espagne and Magri (2017), the gamebooks Renascido
(1996) and Witchsnare (2007) are selected to be used in this paper. Such
Brazilian gamebooks may be models of new interactive books for uniting social
issues with playful elements, offering readers-players the opportunity to
become aware through an immersive interactive reading. With this, the cultural
exchange between Brazil and India through their experiences with authentic
gamebooks could greatly add to their readership, and encourage the publishing
markets of both countries to invest in the search for new authors and new publications
of this kind, which would foster their respective consumer audiences with
increasingly original and engaged narratives.
Key words:
Gamebooks, Interactive Books,
Role-playing Game, Cultural Transference.
Introduction
When people are talking about gamebook, a frequent
question that arises is whether it is a game or a book. According to Silva,
gamebook is a hybrid text genre that has united in itself the tree narrative,
as it starts in a linear way, like a trunk, and branches over time, like the tree
branches, with a system of RPG style rules. Therefore, this textual hybrid has
both book characteristics (it needs to be read, has pages, text boxes, among
other elements) and game characteristics (it has a rules system, adventure
sheet, use of external play elements such as dice or playing cards, among
others).
The narrative of a
gamebook gives the reader-player choices as to how the narrative can proceed
through “text boxes”, and the selections he/she makes directly influence the
end, which may or may not be what was expected. In this way, the reader-player
is constantly advancing and receding in this playful reading, as can be seen in
this example:
32
Bags of grain lie on the
floor of the hut, and strips of dried meat are hung on a counter; you also see
bread and other food. Behind the counter, a weak villager is behind a bag of
herb roots. When you enter, he tries to hide, but you have seen him. If you
have some coins, you can buy provisions. Otherwise, you can try to steal and
leave. If you want to buy provisions, you can spend 1 gold piece (go to 131) or 2 gold pieces (go to 146). If you prefer to steal, go to
410. If you go away and continue west, out of the village, go to 274 (Jackson).
It is noticeable
that the hero/heroin has in this text box – number32 – four options, and
depending on his/her choice the narrative will take him/her to a text box
different from the sequential one – number 33. With this, the reading done in a
sequential way will not present any coherence to the reader-player. Unlike a
"tabletop RPG" in which players play characters in a narrative being
built orally and conducted by a game master in order to accomplish a common
mission, in the gamebook there is no group, because the mission is given only
to one character, commanded by the reader-player. Although very similar in many
aspects, the RPG in group and the gamebook – a kind of a one-player RPG –
differ by the fact that "while the RPG focuses more on RP [Role-Playing],
ie, uses more the concept of Mimicry [simulacrum], the focus of the
gamebook is the G [Game] – Agon [competition] and Alea [good or
bad luck]" (Silva 44).
Still according to
Silva, the gamebook differs from the solo adventure by its extent and the media
in which it is published. A gamebook can be appreciated without the obligation
of acquiring external rules manuals, since it has its own system of rules. On
the other hand, solo adventures may require complementary rulebooks – when they
work as ready-made adventures to facilitate the involvement of one or more
readers-players in a certain RPG game, such as Buffalo Castle, by Rick
Loomis, for example – or be just a small interactive tale, such as Jogo
Demoníaco, by Di'follkyer and Paladino. In addition, solo adventures are
usually published as a supplement to books, such as Buffalo Castle, or
as a literary section in RPG magazines, such as Jogo Demoníaco.
If compared to
interactive fiction, the gamebook has the differential of having more than the
tree narrative as a playful element. Thus, hypertextual narratives such as Kim
Newman's Life's Lottery cannot be considered as gamebooks, while Steve
Jackson and Ian Livingstone's The Warlock of Firetop Mountain can be
(Silva 27).
These interactive
books have marked the generation of readers of the 80's and 90's in several
countries, mainly European and American (Silva 152). After a decadence in the
2000s, today the game element is slowly becoming part of the daily lives of
young readers, although it is difficult to reach the result of millions of
sales that the pioneer series achieved (Green 21). Its plots vary a lot, but
there is still a preference for the wonderful, which means that supernatural
elements are part of characters´ daily life (Todorov 60), set in the RPG
universe, with adventures full of missions, dangers, enigmas, monsters, magic
and, mainly, choices to be made. As well as interactive fiction and
adventure-solo, gamebooks were the solution for RPG players without groups
around (Loomis 1), and the creation of new hybrids, such as gamecomics (Silva
28) and the interactive Black Mirror episode: Bandersnatch.
Over time,
countries that translated the most successful European and North American
gamebook series began to publish their own gamebooks, far from the reach of the
pioneers of the genre. However, to classify them as interactive books of lesser
quality or relevance is to generalize and underestimate them. Despite not
having known a great number of sales, two cases in particular deserve to be
highlighted to the point of being the target of more detailed studies in their
respective countries and even outside them as a model of valorization of their
own culture to be followed by those who have not yet done so. In Brazil, Renascido
can be classified as the first gamebook to set its narrative in the Brazilian
context, and Witchsnare possibly the first Indian production of the type.
Brazilian Case: the
Gamebooks that were Born until Renascido
In 1994, Brazil, which already had translations of the
main foreign gamebooks, brought to its readers-players a plot almost totally
focused on the narrative of the wonderful, with rare exceptions in science
fiction or horror. Alex Vides decided to innovate and publish O Herói da
Copa, the first Brazilian gamebook that can barely be considered one due to
its reduced narrative-game and almost total absence of a system of rules, since
the only playful element is the randomness of a six-sided dice roll that
sometimes decides which reference the reader should choose. However, this
"gamebooklet" (Silva 59) had a premonitory character for having been
released exactly in the year of the fourth-time world soccer champion. In
addition, it was the first to innovate and put the most popular sport in Brazil
in gamebook format, even if in a simple way. Its sales technique was also
unique: it was sold on newsstands, where many young people bought his packages
of stickers – including the 1994 World Cup – and comic books. Far from knowing
the editorial impact of The Warlock of the Firetop Mountain, the
gamebook showed pioneering spirit for being the forerunner of the Brazilian
gamebook and opening the way for other national productions (Silva 60), and was
even mentioned in the media focused on RPG
(Freitas 4).
Brazilian gamebook would begin to be formed one year
later, with the publication of Era Uma Vez... A Vingança de Mag Mor. At
that time, readers-players had the first consolidated Brazilian gamebook. Still
seeking innovation for the national gamebook, Luiz Eduardo Ricon, Ygor Morais
Esteves da Silva and Carlos Eduardo Pereira Klimick, companions of GSA
publishing house, the company responsible for creating the first Brazilian RPGs
and periodicals of the genre, produced this adventure-style gamebook.
A year later, GSA
decided to release Estandarte Sangrento, by Ricardo Andreiolo, the first
gamebook set in a Brazilian RPG, the pioneer Tagmar. This gamebook, in
turn, was the first to receive an exclusive review in a newspaper (Cabral).
Although it was the result of an adaptation of a national RPG to gamebook,
something unpublished until then, its plot was still tied to wonderful fiction,
the "classic" theme of RPG (Silva 62).
After a short
period in Brazil getting to know what its first gamebooks were, in fact, a work
deserved to be highlighted among the little that had been published until then.
Renascido would not take his reader-player to a magical kingdom, nor to
the clichés of battles against monsters in the service of an evil sorcerer who
kidnapped the daughter of a powerful king. In it, the identification with the
protagonist was already happening since the beginning of the plot. In this gamebook
by Carlos Klimick, the reader-player would decide what a young man named Marcos
– or another young man to be invented by him/her – would do after returning to
the world of the living after being
murdered by drug dealers in Rio de Janeiro, he same people who kidnapped his
sister. This interactive adventure was set in the periphery of Rio de Janeiro
in a dark climate that added a grotesque version of national folklore to the
scenario of urban violence, far from being mathematical structures (Morin 26). The
fantasy of this narrative occurs in the suburbs of Rio de Janeiro, full of drug
dealers, firearms and funk parties. Instead of sword and courage, the hero is a
kind of materialized ghost that uses his supernatural powers in search of
revenge (Silva 65). It can be seen that the presence of the fantastic in Renascido
fits Todorov's classification, since Rio de Janeiro´s periphery scene is
perfectly acceptable as real to the reader-player, but inserted in it are
extraordinary events. Thus, the fantastic borns when something supernatural
happens in people´s everyday life and break its natural laws. (Todorov 31).
Although the
storyline of Renascido is reduced when compared to the "400
standard" created by the first gamebooks, that is, narrative whose length
reaches 400 text boxes (Silva 152) – it has only 136 – its adventure provides
the reader-player with immersion as deep as any pioneer gamebook by various
strategies:
·
the proximity to
the protagonist, Marcos, a Brazilian name, a young man from Rio de Janeiro,
inhabitant of this city periphery;
·
the empathy for the
search for justice, with Marcos returning to the world to save his kidnapped
sister;
·
the instigating
unusual plot, a ghost with supernatural powers and allies;
·
the
intertextualities with the national culture, as legends from Brazilian
folklore, soccer stadium, open television program, among others;
·
the decision of
narrative continuation choices, characteristic mark of this type of interactive
book.
More than a
pamphlet text that aims to denounce the context of violence in which Rio de
Janeiro – still – finds itself, Renascido is interactive literature, is
a game, is a debate about social issues and can be much more, depending only on
a reader-player, a pencil, an eraser, a pair of dice and, like any Brazilian
gamebook, deserves greater disclosure and appreciation by publishers, mediators
of reading and large media.
The Initial Indian
Production
Brazil has a sporadic production of gamebooks, but from
2015 onwards annual publications are known to the public, although this
frequency of novelties of this hybrid textual genre is not comparable to that
of European countries. India, however, has only a few scattered works
published:
Figure 1: list of gamebooks published in Brazil and
India1
YEAR |
BRAZIL |
INDIA |
1994 |
O Herói da Copa |
- |
1995 |
Era Uma Vez... A Vingança de Mag Mor |
- |
1996 |
Estandarte Sangrento |
- |
Renascido |
||
Espectro |
||
1997 |
Viver ou Morrer: Esta é a Jogada! |
- |
1998 |
O Mistério da Gruta |
- |
1999 |
A Missão de Krogh |
- |
2000 |
No Coração dos Deuses |
- |
2001 |
- |
- |
2002 |
- |
- |
2003 |
- |
- |
2004 |
A Travessia do Liso Suçuarão: uma aventura pelo
Grande Sertão de João Guimarães Rosa |
- |
2005 |
- |
- |
2006 |
- |
- |
2007 |
- |
Witchsnare |
2008 |
- |
- |
2009 |
- |
The Enemy of my Enemy |
2010 |
- |
Banana Republic: The Enemy of my Enemy II |
2011 |
- |
- |
2012 |
Viver ou Morrer (volume 1) |
- |
2013 |
Viver ou Morrer (volume 2) |
- |
2015 |
Ataque a Khalifor |
- |
2016 |
O Senhor das Sombras |
- |
2017 |
O Inimigo Digital |
- |
Sobreviver |
- |
|
DezAventuras |
- |
|
2018 |
O Labirinto de Tapista |
- |
Mercenários do Caos |
||
Vale da Morte |
||
Servos da Escuridão |
||
Reinos da Destruição |
||
Cercado por Mortos |
||
2019 |
O Manto de Coragem |
- |
2020 |
- |
- |
What can also be noticed between the
production of gamebooks from both countries is the trajectories gamebooks have
known in both are different. While in Brazil it appeared in 1994, consolidated
itself in 1995, knew a publishing gap for more than 10 years (2004-2015), but
resurfaced and lasts until today, in India its production lasted only a few
years – this if the database in
question has not added new Indian publications.
Graph 1: list of gamebooks published in Brazil and
India
India, like Brazil, experienced a cultural
transfer (Espagne & Magri) of the gamebook after more than a decade in the
second half of the 2000s. Another point in which the first Indian gamebooks
resembled the Brazilians is their initial phase aimed at mimicking the pioneer
series that were translated. As their production was not leveraged by the
country's publishing market, it would be natural to remain in the wonderful
narrative and not obtain maturity to idealize gamebooks focused on the
country's social reality. Therefore, only in 2007, probably, the first Indian
gamebook of this kind is published: Witchsnare.
A Case Study: Witchsnare
Ashok Rajagopalan, whose pseudonyms are Ashok Raj and
Kenny Wordsmith, is an Indian writer and illustrator. Of humble origin, he drew
early on with limited resources at home. At school, he was often asked to do
artwork for colleagues and teachers. His practice and technique, combined with
school and family encouragement, were certainly elements that influenced
Rajagopalan not to pursue an academic career, but an artistic one
(Rajagopalan).
A graduate engineer and having worked as a
marketing executive, he decided to abandon this career. Fan of illustrations by
Peanuts and several titles by DC and Marvel Comics (Parthasarathy), he
contributed with about 500 books, mainly children's, until 2010, he also worked
as graphic designer and cartoonist. Impulse Hoot and Impulse Toot
were two magazines he worked with (Thomas). His debut as an illustrator was in
the children's magazine Chandamama with Junior Quest, in 1989,
and from then on he collaborated with important publishers such as Tulika,
Macmillan, Oxford, Orient Longman and University Press, as well as video
animations (Vijay). Rajagopalan believes that the success of his work is to
have maintained his love for reading and never repress his own imagination
(Thomas). Rajagopalan, famous as an illustrator, admits that publishing as an
author was an old personal wish (Thomas). His main influences are P. G.
Wodehouse and Isaac Asimov.
There is no much information about the
gamebook Witchsnare. It is known, however, that its language is English
and was released by Penguin India. It contains illustrations by the author
himself, signed as Ashok Raj, with cover art by R. C. Prakash. It is a fantasy
adventure set in the universe of Pushpasthala (Katz). It offers 10 different
endings, depending on the choices the reader-player makes. The protagonist's
mission is to take an amulet and make the best way through Pushpasthala to
Princess Priyakumari's palace, full of traps and mazes and populated by zombie
guards, wise men, rebels and a mysterious witch. It was Rajagopalan's debut
book, which then went on to publish sequential reading narratives
(Parthasarathy).
The origin of this gamebook came from
Rajagopalan's contact with Sudeshna Shome Ghosh, then publisher of Penguin
India. Ghosh had asked Rajagopalan if he had any idea to turn in a book, and
Rajagoplan presented him the manuscript of Ajit the archer, a book about
a girl – Ajita – who is bullied for being very thin, but who is also brave and
skillful. Ghosh asked if Rajagopalan could transform it into a gamebook, and so
Withcsnare emerged(Rajagopalan). However, the author of Witchsnare believes
his debut book has not met with good reader-player reception because Indians
are not so familiar with this hybrid textual genre, and possibly an online
version would have more success (Vijay).
Even though the moment was not favorable for
Rajagoplan, Witchsnare served to generate opportunities for new
publications for the author, and also to be a milestone in the short history of
the Indian gamebook, which can be continued by potential new writers who
maintain contact with the best of both worlds: literature and games.
Even with slow production and little publicity, gamebooks
have great potential for reading and even teaching. The immersion provoked in
young people is a fundamental factor to attract the interest of reader-players,
because who is totally involved in a pleasant narrative knows that he can
compare such an experience with a dive in the ocean or in a swimming pool,
surrounded by a non-natural reality that takes the attention of this
reader-player, that takes him/her out of the known zone and gives him/her the
pleasant sensation of exploring the zone of the unknown (Murray 102).
In this way, Renascido
gathers mythical and contemporary elements in itself, creating another reality
for Rio de Janeiro violence scenario and bringing its reader-player to live in
the skin of a spectral figure who seeks, through choices involving persecution
and action, the noble act of preventing his sister from knowing the same end as
him. Witchsnare, in turn, approaches the gamebook pattern full of
fantastic elements. Even with low public acceptance, he can come to inspire
differentiated productions, focused on the rich Indian culture that enchants
the world so much.
Although many dares to affirm that the
gamebook is a pastime of the last century that survives in a romantic way in
the present, the case of Bulgaria is a good proof that the current gamebook has
the same task of the last century: to enchant readers-players by its proposal
of ludic reading. Several Bulgarian authors of interactive fiction and
gamebooks were awarded between the years 2016 and 2017, often surpassing
international best sellers (Silva), a triumph that shows that there is the
interest of young people for national interactive books.
What can be gauged is that this kind of
reflective gamebook, the case of the Renascido and Witchsnare, is
far from being labeled as a mere hobby or distracting reading, because its
potential is great and comprehensive, and through the mediations and
impressions of them readers-players are able to at the same time charm its
audience and propose a re-evaluation of the principles of oneself and others.
With this, the exchange of experiences on the potential of gamebooks between
India and Brazil can be very useful for both sides.
Conclusion
Both Brazil and India could
help each other a lot with mutual releases and translations of their gamebooks.
Renascido can be a great inspiration for gamebooks based on Indian
folklore. It is known that India, for example, does not have gamebooks that
address its rich folklore, and a gamebook about it would be very attractive for
young readers-players to get to know its folklore through interactive
pastiches. Witchsnare can be a gamebook awakening new productions, both
focused on the pattern of fantasy and on gamebooks with more engaged content.
With this, one realizes that gamebooks are
much more than books and games in hybrid combination. Besides offering
interactive narratives to their audience, they can function as a pedagogical
tool in the classroom, promoting debates to add knowledge and culture to those
who know little about folklore and cultures of diverse peoples. The academic
studies could grow in the Brazil-India cooperation through the exchanged
experiences that both countries have had with them in the past and in the
present, to then think about future benefits. This could happen through
academic conferences and scholarships for scholars from both countries.
The publishing market itself could benefit
from more socially engaged gamebooks, through foreign translations and national
publications. This would open the field for new authors of this specific
literature, and an important cultural exchange between both countries. This
would enable these countries to get closer to each other on behalf of common
social issues by raising the awareness of young readers.
Just as Klimick and Andrade offered gamebooks
to the Brazilian public tired of the marvelous standard of narrative RPG,
Brazilian and Indian publishers could invest in this "novelty" of
gamebooks for the new and old generations of readers-players. And everyone
would benefit thanks to this way of instigating reading, playing, debate and
mutual help.
End Note
1.
Due to the difficult and limited
access to more accurate information regarding Indian gamebooks, the world's
largest database, https://gamebooks.org/, was used as the
basis for the comparative table. Thus, for the Brazilian works were considered
as gamebooks to compose the table those that have some game elements or a
proper game system (Full Game System). It is not known even if the Indian
gamebooks mentioned in the table above have their own rules system, because the
database does not bring detailed information about them. Thus, it is suspected
that the list of Indian gamebooks may be smaller or even not exist yet, while
there may be gamebooks not yet registered, which have not even been included in
that database. Such a note also serves the purpose of graph 1.
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