<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>0122-8285</journal-id>
<journal-title><![CDATA[Palabra Clave]]></journal-title>
<abbrev-journal-title><![CDATA[Palabra Clave]]></abbrev-journal-title>
<issn>0122-8285</issn>
<publisher>
<publisher-name><![CDATA[Universidad de La Sabana]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S0122-82852022000402543</article-id>
<article-id pub-id-type="doi">10.5294/pacla.2022.25.4.3</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[Diseño emocional e inmersión en videojuegos narrativos. El caso de Detroit: Become Human]]></article-title>
<article-title xml:lang="en"><![CDATA[Emotional Design and Immersion in Story-Driven Video Games. The Case of Detroit: Become Human]]></article-title>
<article-title xml:lang="pt"><![CDATA[Desenho emocional e imersão em videogames narrativos. O caso de Detroit: Become Human]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Núñez-Pacheco]]></surname>
<given-names><![CDATA[Rosa]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
<contrib contrib-type="author">
<name>
<surname><![CDATA[López-Pérez]]></surname>
<given-names><![CDATA[Blanca Estela]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Aguaded]]></surname>
<given-names><![CDATA[Ignacio]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidad Nacional de San Agustín de Arequipa  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Peru</country>
</aff>
<aff id="Af2">
<institution><![CDATA[,Universidad Autónoma Metropolitana  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Mexico</country>
</aff>
<aff id="Af3">
<institution><![CDATA[,Universidad de Huelva  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Spain</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>12</month>
<year>2022</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>12</month>
<year>2022</year>
</pub-date>
<volume>25</volume>
<numero>4</numero>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_arttext&amp;pid=S0122-82852022000402543&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_abstract&amp;pid=S0122-82852022000402543&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_pdf&amp;pid=S0122-82852022000402543&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen Los videojuegos han adquirido una notoria relevancia en la sociedad actual y han revolucionado la forma como interactuamos con las máquinas. Este artículo se ocupa del diseño y la inmersión emocional en los videojuegos de carácter narrativo. El propósito principal es analizar el diseño y la inmersión emocional respecto a los personajes centrales del videojuego Detroit: Become Human (Quantic Dream, 2018), los cuales corresponden a tres androides llamados Markus, Connor y Kara. El principal resultado muestra que el diseño de este videojuego posibilita al jugador experimentar los conflictos presentados por el sistema narrativo, lo cual a su vez facilita la inmersión emocional más allá de la experiencia cognitiva, confirmando así que el videojuego se presenta como un medio potente para fomentar una postura humanista.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract Video games have burst into prominence in today&#8217;s society and have revolutionized how we interact with machines. This article deals with emotional design and immersion in story-driven video games. The primary purpose is to discuss emotional design and immersion regarding the central characters of the video game Detroit: Become Human (Quantic Dream, 2018), which are three androids named Markus, Connor, and Kara. The main result shows that the design of this video game enables the player to experience the conflicts posed by the story-driven system, which facilitates emotional immersion beyond the cognitive experience, thus confirming that the video game is a powerful medium for promoting a humanist position.]]></p></abstract>
<abstract abstract-type="short" xml:lang="pt"><p><![CDATA[Resumo Os videogames vêm ganhando uma notável relevância na sociedade atual e vêm revolucionando a forma como interagimos com as máquinas. Este artigo trata do desenho e da imersão emocional nos videogames de caráter narrativo. O objetivo principal é analisar o desenho e a imersão emocional a respeito dos personagens centrais do videogame Detroit: Become Human (Quantic Dream, 2018), os quais correspondem a três androides chamados &#8220;Markus&#8221;, &#8220;Connor&#8221; e &#8220;Kara&#8221;. O principal resultado mostra que o desenho desse videogame possibilita ao jogador experimentar os conflitos apresentados pelo sistema narrativo, o que, por sua vez, facilita a imersão emocional mais além da experiência cognitiva, confirmando assim que o videogame é apresentado como um meio potente para fomentar um posicionamento humanista.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[Artes visuales]]></kwd>
<kwd lng="es"><![CDATA[desarrollo afectivo]]></kwd>
<kwd lng="es"><![CDATA[diseño de sistemas]]></kwd>
<kwd lng="es"><![CDATA[diseño emocional]]></kwd>
<kwd lng="es"><![CDATA[humanismo]]></kwd>
<kwd lng="es"><![CDATA[inmersión]]></kwd>
<kwd lng="es"><![CDATA[sistema narrativo]]></kwd>
<kwd lng="es"><![CDATA[tecnología]]></kwd>
<kwd lng="es"><![CDATA[videojuego]]></kwd>
<kwd lng="en"><![CDATA[Visual arts]]></kwd>
<kwd lng="en"><![CDATA[emotional development]]></kwd>
<kwd lng="en"><![CDATA[systems design]]></kwd>
<kwd lng="en"><![CDATA[emotional design]]></kwd>
<kwd lng="en"><![CDATA[humanism]]></kwd>
<kwd lng="en"><![CDATA[immersion]]></kwd>
<kwd lng="en"><![CDATA[story-driven system]]></kwd>
<kwd lng="en"><![CDATA[technology]]></kwd>
<kwd lng="en"><![CDATA[video games]]></kwd>
<kwd lng="pt"><![CDATA[Artes visuais]]></kwd>
<kwd lng="pt"><![CDATA[desenvolvimento afetivo]]></kwd>
<kwd lng="pt"><![CDATA[desenho de sistemas]]></kwd>
<kwd lng="pt"><![CDATA[desenho emocional]]></kwd>
<kwd lng="pt"><![CDATA[humanismo]]></kwd>
<kwd lng="pt"><![CDATA[imersão]]></kwd>
<kwd lng="pt"><![CDATA[sistema narrativo]]></kwd>
<kwd lng="pt"><![CDATA[tecnologia]]></kwd>
<kwd lng="pt"><![CDATA[videogame]]></kwd>
</kwd-group>
</article-meta>
</front><back>
<ref-list>
<ref id="B1">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Argasi&#324;ski]]></surname>
<given-names><![CDATA[J. K.]]></given-names>
</name>
<name>
<surname><![CDATA[W&#281;grzyn]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Affective patterns in serious games]]></article-title>
<source><![CDATA[Future Generation Computer Systems]]></source>
<year>2018</year>
<numero>92</numero>
<issue>92</issue>
<page-range>526-38</page-range></nlm-citation>
</ref>
<ref id="B2">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Armenteros]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
<name>
<surname><![CDATA[Fernández]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Inmersión, presencia y flow]]></article-title>
<source><![CDATA[Contratexto]]></source>
<year>2011</year>
<numero>19</numero>
<issue>19</issue>
<page-range>165-77</page-range></nlm-citation>
</ref>
<ref id="B3">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Beas]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
<name>
<surname><![CDATA[González]]></surname>
<given-names><![CDATA[E.]]></given-names>
</name>
<name>
<surname><![CDATA[Salmerón]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Estudio de las emociones en las consignas de cuadernos españoles. Curso 1964-1965]]></article-title>
<source><![CDATA[Revista de Estudios Sociales]]></source>
<year>2016</year>
<numero>58</numero>
<issue>58</issue>
<page-range>52-62</page-range></nlm-citation>
</ref>
<ref id="B4">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Belman]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
<name>
<surname><![CDATA[Flanagan]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Designing games to foster empathy]]></article-title>
<source><![CDATA[International Journal of Cognitive Technology]]></source>
<year>2010</year>
<volume>14</volume>
<numero>2</numero>
<issue>2</issue>
<page-range>5-15</page-range></nlm-citation>
</ref>
<ref id="B5">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Bogost]]></surname>
<given-names><![CDATA[I.]]></given-names>
</name>
</person-group>
<source><![CDATA[Persuasive games]]></source>
<year>2007</year>
<publisher-name><![CDATA[MIT Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B6">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Brown]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
<name>
<surname><![CDATA[Yannakakis]]></surname>
<given-names><![CDATA[G.]]></given-names>
</name>
<name>
<surname><![CDATA[Colton]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Guest editorial: special issues on computational aesthetics in games]]></article-title>
<source><![CDATA[IEEE Transactions on Computational Intelligence and AI in Games]]></source>
<year>2012</year>
<volume>4</volume>
<numero>3</numero>
<issue>3</issue>
<page-range>149-51</page-range></nlm-citation>
</ref>
<ref id="B7">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Buren]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
</person-group>
<source><![CDATA[Guion de videojuegos]]></source>
<year>2017</year>
<publisher-name><![CDATA[Síntesis]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B8">
<nlm-citation citation-type="">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Chóliz]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<source><![CDATA[Psicología de la emoción: el proceso emocional]]></source>
<year>2005</year>
</nlm-citation>
</ref>
<ref id="B9">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Craig]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
<name>
<surname><![CDATA[Edwards]]></surname>
<given-names><![CDATA[Ch.]]></given-names>
</name>
<name>
<surname><![CDATA[Edwards]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[&#8216;But they&#8217;re my avatar&#8217;: examining character attachment to android avatars in quantic dream&#8217;s Detroit: Become Human.]]></article-title>
<source><![CDATA[HRI]]></source>
<year>2020</year>
<page-range>169-70</page-range></nlm-citation>
</ref>
<ref id="B10">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Cuadrado]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Acciones y emoción: un estudio de la jugabilidad en Heavy Rain]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Scolari]]></surname>
<given-names><![CDATA[C. A.]]></given-names>
</name>
</person-group>
<source><![CDATA[Homo videoludens 2.0. De Pacman a la gamification]]></source>
<year>2013</year>
<page-range>151-76</page-range><publisher-name><![CDATA[Laboratori de Mitjans Interactius, Universitat de Barcelona]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B11">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Cuadrado]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
<name>
<surname><![CDATA[Planells]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
</person-group>
<source><![CDATA[Ficción y videojuegos: teoría y práctica de la ludonarración]]></source>
<year>2020</year>
<publisher-name><![CDATA[UOC]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B12">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Daneels]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
<name>
<surname><![CDATA[Malliet]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
<name>
<surname><![CDATA[Geerts]]></surname>
<given-names><![CDATA[L.]]></given-names>
</name>
<name>
<surname><![CDATA[Denayer]]></surname>
<given-names><![CDATA[N.]]></given-names>
</name>
<name>
<surname><![CDATA[Walrave]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
<name>
<surname><![CDATA[Vandebosch]]></surname>
<given-names><![CDATA[H.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Assassins, gods, and androids: how narratives and game mechanics shape eudaimonic game experiences.]]></article-title>
<source><![CDATA[Media and Communication]]></source>
<year>2021</year>
<volume>9</volume>
<numero>1</numero>
<issue>1</issue>
<page-range>49-61</page-range></nlm-citation>
</ref>
<ref id="B13">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[De Byl]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[A conceptual affective design framework for the use of emotions in computer game design]]></article-title>
<source><![CDATA[Cyberpsychology]]></source>
<year>2015</year>
<volume>9</volume>
<numero>3</numero>
<issue>3</issue>
</nlm-citation>
</ref>
<ref id="B14">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Dille]]></surname>
<given-names><![CDATA[F.]]></given-names>
</name>
<name>
<surname><![CDATA[Zuur Platten]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<source><![CDATA[The ultimate guide to videogame writing and design]]></source>
<year>2007</year>
<publisher-name><![CDATA[Lone Eagle]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B15">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Dworak]]></surname>
<given-names><![CDATA[W.]]></given-names>
</name>
<name>
<surname><![CDATA[Filgueiras]]></surname>
<given-names><![CDATA[E.]]></given-names>
</name>
<name>
<surname><![CDATA[Valente]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Automatic emotional balancing in game design: use of emotional response to increase player immersion]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Marcus]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
<name>
<surname><![CDATA[Rosenzweig]]></surname>
<given-names><![CDATA[E.]]></given-names>
</name>
</person-group>
<source><![CDATA[Design, user experience, and usability. Design for contemporary interactive environments]]></source>
<year>2020</year>
<page-range>426-38</page-range></nlm-citation>
</ref>
<ref id="B16">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Eguia]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
<name>
<surname><![CDATA[Contreras]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
<name>
<surname><![CDATA[Solano]]></surname>
<given-names><![CDATA[Ll.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Videojuegos: conceptos, historia y su potencial como herramientas para la educación]]></article-title>
<source><![CDATA[3 Ciencias Tic]]></source>
<year>2013</year>
<numero>2</numero>
<issue>2</issue>
<page-range>2-14</page-range></nlm-citation>
</ref>
<ref id="B17">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Ermi]]></surname>
<given-names><![CDATA[L.]]></given-names>
</name>
<name>
<surname><![CDATA[Mäyrä]]></surname>
<given-names><![CDATA[F.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Fundamental components of the gameplay experience: analysing immersion]]></article-title>
<source><![CDATA[DiGRA]]></source>
<year>2005</year>
<numero>3</numero>
<issue>3</issue>
</nlm-citation>
</ref>
<ref id="B18">
<nlm-citation citation-type="">
<collab>Expansión</collab>
<source><![CDATA[Detroit: Become Human, cuando el cine se hace videojuego28 de mayo]]></source>
<year>2018</year>
</nlm-citation>
</ref>
<ref id="B19">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Feijóo]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Diseño narrativo: las ciencias de diseño como teoría narrativa]]></article-title>
<source><![CDATA[H2D Revista de Humanidades Digitais]]></source>
<year>2020</year>
<volume>2</volume>
<numero>1</numero>
<issue>1</issue>
</nlm-citation>
</ref>
<ref id="B20">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Fernández Vara]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[El mundo de ficción como clave en el proceso de adaptación: el caso de Blade Runner, el videojuego]]></article-title>
<source><![CDATA[Anàlisi]]></source>
<year>2016</year>
<numero>54</numero>
<issue>54</issue>
<page-range>31-43</page-range></nlm-citation>
</ref>
<ref id="B21">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Fernandez-Vara]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
<name>
<surname><![CDATA[Thomson]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Procedural generation of narrative puzzles in adventure games: the puzzle-dice system]]></article-title>
<source><![CDATA[PCG]]></source>
<year>2012</year>
<page-range>1-6</page-range></nlm-citation>
</ref>
<ref id="B22">
<nlm-citation citation-type="">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Fernández]]></surname>
<given-names><![CDATA[I.]]></given-names>
</name>
</person-group>
<source><![CDATA[Detroit: Become Human, conviviendo con la ficción]]></source>
<year>2018</year>
</nlm-citation>
</ref>
<ref id="B23">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Freeman]]></surname>
<given-names><![CDATA[D.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Creating emotion in games]]></article-title>
<source><![CDATA[Computers in Entertainment]]></source>
<year>2004</year>
<volume>2</volume>
<numero>3</numero>
<issue>3</issue>
<page-range>15</page-range></nlm-citation>
</ref>
<ref id="B24">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Frome]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Eight ways videogames generate emotion]]></article-title>
<source><![CDATA[DiGRA]]></source>
<year>2007</year>
<numero>4</numero>
<issue>4</issue>
<page-range>831-5</page-range></nlm-citation>
</ref>
<ref id="B25">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[García-Catalán]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
<name>
<surname><![CDATA[Rodríguez-Serrano]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
<name>
<surname><![CDATA[Martín-Núñez]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Aprender de la caída, hacer con el desgarro: paradojas de la melancolía lúdica en &#8216;Gris&#8217;.]]></article-title>
<source><![CDATA[Artnodes]]></source>
<year>2021</year>
<numero>27</numero>
<issue>27</issue>
<page-range>1-10</page-range></nlm-citation>
</ref>
<ref id="B26">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Gil]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
</person-group>
<source><![CDATA[+Narrativa(s). Intermediaciones novela, cine, cómic y videojuego en el ámbito hispánico]]></source>
<year>2012</year>
<publisher-name><![CDATA[Universidad de Salamanca]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B27">
<nlm-citation citation-type="confpro">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Gi&#380;ycka]]></surname>
<given-names><![CDATA[B.]]></given-names>
</name>
<name>
<surname><![CDATA[Nalepa]]></surname>
<given-names><![CDATA[G. J.]]></given-names>
</name>
</person-group>
<source><![CDATA[Emotion in models meets emotion in design: building true affective games.]]></source>
<year>2018</year>
<conf-name><![CDATA[ 2018 IEEE Games, Entertainment, Media Conference (GEM)]]></conf-name>
<conf-loc>Galway, Irlanda </conf-loc>
</nlm-citation>
</ref>
<ref id="B28">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[González-Tardón]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Inmersión en mundos simulados: definición, factores que lo provocan y un posible modelo de inmersión desde una perspectiva psicológica.]]></article-title>
<source><![CDATA[Investigaciones Fenomenológicas]]></source>
<year>2010</year>
<numero>2</numero>
<issue>2</issue>
<page-range>311-20</page-range></nlm-citation>
</ref>
<ref id="B29">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[González]]></surname>
<given-names><![CDATA[D.]]></given-names>
</name>
</person-group>
<source><![CDATA[Diseño de videojuegos. Da forma a tus sueños]]></source>
<year>2011</year>
<publisher-name><![CDATA[Ra-Ma]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B30">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Ip]]></surname>
<given-names><![CDATA[B.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Narrative structures in computer and video games: part 1: context, definitions, and initial findings]]></article-title>
<source><![CDATA[Games and Culture]]></source>
<year>2011</year>
<volume>6</volume>
<numero>2</numero>
<issue>2</issue>
<page-range>103-34</page-range></nlm-citation>
</ref>
<ref id="B31">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Izquierdo]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
</person-group>
<source><![CDATA[Diseño emocional de personajes de videojuegos]]></source>
<year>2020</year>
<publisher-name><![CDATA[Ra-Ma]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B32">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[López-Pellisa]]></surname>
<given-names><![CDATA[T.]]></given-names>
</name>
</person-group>
<source><![CDATA[Patologías de la realidad virtual. Cibercultura y ciencia ficción]]></source>
<year>2015</year>
<publisher-name><![CDATA[FCE]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B33">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[López]]></surname>
<given-names><![CDATA[M. B.]]></given-names>
</name>
<name>
<surname><![CDATA[Filippetti]]></surname>
<given-names><![CDATA[V. A.]]></given-names>
</name>
<name>
<surname><![CDATA[Richaud]]></surname>
<given-names><![CDATA[M. C.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Empatía: desde la percepción automática hasta los procesos controlados]]></article-title>
<source><![CDATA[Avances en Psicología Latinoamericana]]></source>
<year>2014</year>
<volume>32</volume>
<numero>1</numero>
<issue>1</issue>
<page-range>37-51</page-range></nlm-citation>
</ref>
<ref id="B34">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Martinench]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Diseño de videojuegos, más que representación y dirección de arte]]></article-title>
<source><![CDATA[Arte y Diseño]]></source>
<year>2014</year>
<numero>3</numero>
<issue>3</issue>
<page-range>52-9</page-range></nlm-citation>
</ref>
<ref id="B35">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Maté]]></surname>
<given-names><![CDATA[D.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Walking simulator: los caminos del videojuego y el arte]]></article-title>
<source><![CDATA[Panambí]]></source>
<year>2019</year>
<numero>9</numero>
<issue>9</issue>
<page-range>19-31</page-range></nlm-citation>
</ref>
<ref id="B36">
<nlm-citation citation-type="">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Mccaffrey]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
</person-group>
<source><![CDATA[La tecnología que construyó Detroit: Become Human - IGN first IGN Latam]]></source>
<year>2018</year>
</nlm-citation>
</ref>
<ref id="B37">
<nlm-citation citation-type="confpro">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Meier]]></surname>
<given-names><![CDATA[M. L.]]></given-names>
</name>
<name>
<surname><![CDATA[Bellini]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<source><![CDATA[Framing the dilemma: the influence of immersion in ethical choice]]></source>
<year>2021</year>
<conf-name><![CDATA[ Biannual Conference of the Italian SIGCHI Chapter]]></conf-name>
<conf-loc>Bolzano, Italia </conf-loc>
</nlm-citation>
</ref>
<ref id="B38">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Murray]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<source><![CDATA[Hamlet en la holocubierta]]></source>
<year>1999</year>
<publisher-name><![CDATA[Paidós]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B39">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Naul]]></surname>
<given-names><![CDATA[E.]]></given-names>
</name>
<name>
<surname><![CDATA[Liu]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Why story matters: A review of narrative in serious games]]></article-title>
<source><![CDATA[Journal of Educational Computing Research]]></source>
<year>2019</year>
<volume>58</volume>
<numero>3</numero>
<issue>3</issue>
<page-range>687-707</page-range></nlm-citation>
</ref>
<ref id="B40">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Navarrete-Cardero]]></surname>
<given-names><![CDATA[L.]]></given-names>
</name>
<name>
<surname><![CDATA[Vargas-Iglesias]]></surname>
<given-names><![CDATA[J. J.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[La capacidad del videojuego para la representación dramática del cáncer. Un estudio comparativo con la literatura y el cine.]]></article-title>
<source><![CDATA[Communication y Society]]></source>
<year>2019</year>
<volume>32</volume>
<numero>3</numero>
<issue>3</issue>
<page-range>1-15</page-range></nlm-citation>
</ref>
<ref id="B41">
<nlm-citation citation-type="">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Pallavicini]]></surname>
<given-names><![CDATA[F.]]></given-names>
</name>
<name>
<surname><![CDATA[Pepe]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
<name>
<surname><![CDATA[Caragnano]]></surname>
<given-names><![CDATA[C. C.]]></given-names>
</name>
<name>
<surname><![CDATA[Mantovani]]></surname>
<given-names><![CDATA[F.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Video games to foster empathy: a critical analysis of the potential of Detroit: Become Human and the Walking Dead.]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Antona]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
<name>
<surname><![CDATA[Stephanidis]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
</person-group>
<source><![CDATA[Universal access in human-computer interaction. Applications and Practice]]></source>
<year>2020</year>
<page-range>212-28</page-range></nlm-citation>
</ref>
<ref id="B42">
<nlm-citation citation-type="book">
<collab>Play Station España</collab>
<source><![CDATA[Todo sobre los protagonistas de Detroit: Become Human]]></source>
<year>2018</year>
<publisher-name><![CDATA[Canal YouTube]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B43">
<nlm-citation citation-type="book">
<collab>Quantic Dream</collab>
<source><![CDATA[Detroit: Become Human]]></source>
<year>2018</year>
<publisher-name><![CDATA[Sony Interactive Entertainment Europe]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B44">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Rojas]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Fundamentos del diseño gráfico de videojuegos]]></article-title>
<source><![CDATA[Designia]]></source>
<year>2020</year>
<volume>7</volume>
<numero>2</numero>
<issue>2</issue>
<page-range>103-27</page-range></nlm-citation>
</ref>
<ref id="B45">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Ryan]]></surname>
<given-names><![CDATA[M. L.]]></given-names>
</name>
</person-group>
<source><![CDATA[La narración como realidad virtual. La inmersión y la interactividad en la literatura y en los medios electrónicos]]></source>
<year>2004</year>
<publisher-name><![CDATA[Paidós]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B46">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Schell]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<source><![CDATA[The art of game design]]></source>
<year>2008</year>
<publisher-name><![CDATA[CRC Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B47">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Short]]></surname>
<given-names><![CDATA[T.]]></given-names>
</name>
<name>
<surname><![CDATA[Adams]]></surname>
<given-names><![CDATA[T.]]></given-names>
</name>
</person-group>
<source><![CDATA[Procedural generation in game design]]></source>
<year>2017</year>
<publisher-name><![CDATA[CRC Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B48">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Sultan]]></surname>
<given-names><![CDATA[N.]]></given-names>
</name>
<name>
<surname><![CDATA[Khushnood]]></surname>
<given-names><![CDATA[K.]]></given-names>
</name>
<name>
<surname><![CDATA[Awan]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Exergaming: an effective way to maintain physical and mental health at home during Covid-19 Pandemic]]></article-title>
<source><![CDATA[Journal of the College of Physicians and Surgeons Pakistan]]></source>
<year>2020</year>
<numero>30</numero>
<issue>30</issue>
</nlm-citation>
</ref>
<ref id="B49">
<nlm-citation citation-type="confpro">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Torregrosa]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
<name>
<surname><![CDATA[Lara-Cabrera]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
<name>
<surname><![CDATA[Bello-Orgaz]]></surname>
<given-names><![CDATA[G.]]></given-names>
</name>
<name>
<surname><![CDATA[Shih]]></surname>
<given-names><![CDATA[P. C.]]></given-names>
</name>
</person-group>
<source><![CDATA[Inducción de emociones a través del diseño de videojuegos]]></source>
<year>2018</year>
<conf-name><![CDATA[ XVIIIConferencia Asociación Española para la Inteligencia Artificial]]></conf-name>
<conf-loc>Granada, España </conf-loc>
</nlm-citation>
</ref>
<ref id="B50">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Torres]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Simular problemas sociales con videojuegos. Algunas claves para el diseño de videojuegos críticos]]></article-title>
<source><![CDATA[Kepes]]></source>
<year>2015</year>
<numero>12</numero>
<issue>12</issue>
<page-range>193-226</page-range></nlm-citation>
</ref>
<ref id="B51">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Trivi]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Choices that Matter y el diseño narrativo de elecciones]]></article-title>
<source><![CDATA[Anait]]></source>
<year>2020</year>
</nlm-citation>
</ref>
<ref id="B52">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Villani]]></surname>
<given-names><![CDATA[D.]]></given-names>
</name>
<name>
<surname><![CDATA[Carissoli]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
<name>
<surname><![CDATA[Triberti]]></surname>
<given-names><![CDATA[S.]]></given-names>
</name>
<name>
<surname><![CDATA[Marchetti]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
<name>
<surname><![CDATA[Gilli]]></surname>
<given-names><![CDATA[G.]]></given-names>
</name>
<name>
<surname><![CDATA[Riva]]></surname>
<given-names><![CDATA[G.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Videogames for emotion regulation: a systematic review]]></article-title>
<source><![CDATA[Games Health Journal]]></source>
<year>2018</year>
<volume>7</volume>
<numero>2</numero>
<issue>2</issue>
<page-range>85-99</page-range></nlm-citation>
</ref>
<ref id="B53">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Waszkiewicz]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[The posthuman android and the transhuman player in Detroit: Become Human]]></article-title>
<source><![CDATA[Acta Humana]]></source>
<year>2019</year>
<numero>9</numero>
<issue>9</issue>
<page-range>197-212</page-range></nlm-citation>
</ref>
<ref id="B54">
<nlm-citation citation-type="confpro">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Wilcox-Netepczuk]]></surname>
<given-names><![CDATA[D.]]></given-names>
</name>
</person-group>
<source><![CDATA[Immersion and realism in video games - The confused moniker of video game engrossment]]></source>
<year>2013</year>
<conf-name><![CDATA[ Proceedings of CGAMES&#8217; 2013 USA]]></conf-name>
<conf-loc>Louisville, Estados Unidos </conf-loc>
</nlm-citation>
</ref>
<ref id="B55">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Yerga Gutiérrez]]></surname>
<given-names><![CDATA[E.]]></given-names>
</name>
</person-group>
<source><![CDATA[Iluminación basada en la física para gráficos por computador]]></source>
<year>2018</year>
<publisher-name><![CDATA[Universidad del País Vasco]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B56">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Wolf]]></surname>
<given-names><![CDATA[J. P.]]></given-names>
</name>
</person-group>
<source><![CDATA[Building imaginary worlds]]></source>
<year>2012</year>
<publisher-name><![CDATA[Routledge]]></publisher-name>
</nlm-citation>
</ref>
</ref-list>
</back>
</article>
