La Inteligencia Artificial como Directora: La Búsqueda de Experiencias Narrativas Personalizadas

Este artículo analiza el papel de la inteligencia artificial (IA) como directora narrativa en los videojuegos de terror, con especial atención a su capacidad para producir experiencias emocionales personalizadas. Se examina cómo los sistemas basados en IA pueden adaptar tanto la narrativa como las d...

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Tipo de recurso:
Fecha de publicación:
2025
Institución:
Universidad de Caldas
Repositorio:
Repositorio Institucional U. Caldas
Idioma:
eng
OAI Identifier:
oai:repositorio.ucaldas.edu.co:ucaldas/26380
Acceso en línea:
https://repositorio.ucaldas.edu.co/handle/ucaldas/26380
https://doi.org/10.17151/kepes.2025.22.32.3
Palabra clave:
videojuegos
interacción
programación multimedia
diseño de interacción
diseño de experiencia
video games
interaction
multimedia programming
interaction design
experience design
Rights
openAccess
License
Kepes - 2025
id REPOUCALDA_98a966fc960b2a5ac9a2a7347212fece
oai_identifier_str oai:repositorio.ucaldas.edu.co:ucaldas/26380
network_acronym_str REPOUCALDA
network_name_str Repositorio Institucional U. Caldas
repository_id_str
dc.title.none.fl_str_mv La Inteligencia Artificial como Directora: La Búsqueda de Experiencias Narrativas Personalizadas
Artificial intelligence as a director: the pursuit of personalized narrative experiences in Horror Games
title La Inteligencia Artificial como Directora: La Búsqueda de Experiencias Narrativas Personalizadas
spellingShingle La Inteligencia Artificial como Directora: La Búsqueda de Experiencias Narrativas Personalizadas
videojuegos
interacción
programación multimedia
diseño de interacción
diseño de experiencia
video games
interaction
multimedia programming
interaction design
experience design
title_short La Inteligencia Artificial como Directora: La Búsqueda de Experiencias Narrativas Personalizadas
title_full La Inteligencia Artificial como Directora: La Búsqueda de Experiencias Narrativas Personalizadas
title_fullStr La Inteligencia Artificial como Directora: La Búsqueda de Experiencias Narrativas Personalizadas
title_full_unstemmed La Inteligencia Artificial como Directora: La Búsqueda de Experiencias Narrativas Personalizadas
title_sort La Inteligencia Artificial como Directora: La Búsqueda de Experiencias Narrativas Personalizadas
dc.subject.none.fl_str_mv videojuegos
interacción
programación multimedia
diseño de interacción
diseño de experiencia
video games
interaction
multimedia programming
interaction design
experience design
topic videojuegos
interacción
programación multimedia
diseño de interacción
diseño de experiencia
video games
interaction
multimedia programming
interaction design
experience design
description Este artículo analiza el papel de la inteligencia artificial (IA) como directora narrativa en los videojuegos de terror, con especial atención a su capacidad para producir experiencias emocionales personalizadas. Se examina cómo los sistemas basados en IA pueden adaptar tanto la narrativa como las dinámicas de juego a los temores individuales de cada jugador, favoreciendo así mayores niveles de inmersión, agencia y resonancia afectiva. Para ello, se empleó un enfoque metodológico mixto que combinó una revisión de literatura sobre sistemas adaptativos dirigidos por IA con una encuesta aplicada a jugadores habituales del programa de Ingeniería Multimedia de la Universidad Militar Nueva Granada. El instrumento permitió explorar percepciones sobre miedo, inmersión y adaptación en títulos ampliamente reconocidos como Resident Evil, Silent Hill: Shattered Memories, Alien: Isolation y Left 4 Dead. Los resultados evidencian una correlación significativa entre los niveles de miedo percibidos por los participantes y el grado de alineación entre los temas, mecánicas y atmósferas del juego con sus propios temores. Asimismo, los participantes manifestaron una alta aceptación respecto a la implementación de “directores IA” capaces de ajustar la experiencia de juego y potenciar la generación de miedo. En conjunto, los hallazgos sugieren que la incorporación de sistemas adaptativos basados en IA constituye un aporte relevante para la construcción de experiencias interactivas más personalizadas, y representa un avance significativo en el diseño narrativo y emocional de los videojuegos de terror contemporáneos.
publishDate 2025
dc.date.none.fl_str_mv 2025-07-01T00:00:00Z
2025-07-01T00:00:00Z
2025-07-01
2026-01-01T07:45:23Z
2026-01-01T07:45:23Z
dc.type.none.fl_str_mv Artículo de revista
http://purl.org/coar/resource_type/c_6501
Text
info:eu-repo/semantics/article
Journal article
info:eu-repo/semantics/publishedVersion
http://purl.org/coar/version/c_970fb48d4fbd8a85
dc.type.coar.fl_str_mv http://purl.org/coar/resource_type/c_2df8fbb1
status_str publishedVersion
dc.identifier.none.fl_str_mv 1794-7111
https://repositorio.ucaldas.edu.co/handle/ucaldas/26380
10.17151/kepes.2025.22.32.3
2462-8115
https://doi.org/10.17151/kepes.2025.22.32.3
identifier_str_mv 1794-7111
10.17151/kepes.2025.22.32.3
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https://doi.org/10.17151/kepes.2025.22.32.3
dc.language.none.fl_str_mv eng
language eng
dc.relation.none.fl_str_mv 84
32
47
22
Kepes
Ahmad, J. (2021). Children’s fears and its relation to parenting style and demographic variables of children and parents. Early Child Development and Care, 191(6), 963-976. https://doi.org/10.1080/03004430.2019.1655735
American Psychological Association. (2018, Apr. 19). Fear. APA Dictionary of Psychology. https://dictionary.apa.org/
Andersen, M. M., Schjoedt, U., Price, H., Rosas, F. E., Scrivner, C., & Clasen, M. (2020). Playing with fear: A field study in recreational horror. Psychological Science, 31(12), 1497-1510.https://doi.org/10.1177/0956797620972116
APA Dictionary of Psychology. (s.f.). Fear. https://dictionary.apa.org/fear Bălan, O., Moise, G., Moldoveanu, A., Leordeanu, M., & Moldoveanu, F. (2019). Fear level classification based on emotional dimensions and machine learning techniques. Sensors, 19(7), 1738. https://doi.org/10.3390/s19071738
Barinaga, M. (1992). How Scary Things Get that Way: Researchers are closing in on the mechanisms by which the brain learns to interpret certain situations as fearful—with hopeful indications for anxiety sufferers. Science, 258(5084), 887-888. https://doi.org/10.1126/science.1439800
Booth, M. (2009, October). The AI Systems of Left 4 Dead. Paper presented at the Artificial Intelligence and Interactive Digital Entertainment Conference (AIIDE), Stanford University. https://cdn.fastly.steamstatic.com/apps/valve/2009/ai_systems_of_l4d_mike_booth.pdf
Calleja, G. (2010). Digital games and escapism. Games and Culture, 5(4), 335–353. https://doi.org/10.1177/1555412009360412
Chooseco. (s. f.). History of CYOA. Retrieved from: https://www.cyoa.com/pages/history-of-cyoa
Glitchy Pixel. (2014). Poltergeist: A Pixelated Horror [Videogame]. Glitchy Pixel.
Granic, I., Lobel, A., & Engels, R. C. M. E. (2014). The benefits of playing video games. American Psychologist, 69(1), 66-78. https://doi.org/10.1037/a0034857
Ingram, B., Rosman, B., Alten, C., & Klein, R. (2022). Play-style identification through deep unsupervised clustering of trajectories. IEEE Conference on Games (CoG), 393–400. https://doi.org/10.1109/CoG51982.2022.9893680
Ip, B. (2011). Narrative structures in computer and video games: Part 1: Context, definitions, and initial findings. Games and Culture, 6(2), 103–134. https://doi.org/10.1177/1555412010364982
Jagdale, D. (2021). Finite state machine in game development. International Journal of Advanced Research in Science, Communication and Technology, 384-390. https://doi.org/10.48175/IJARSCT-2062
Kirkpatrick, D. R. (1984). Age, gender and patterns of common intense fears among adults.Behaviour Research and Therapy, 22(2), 141-150. https://doi.org/10.1016/0005-7967(84)90102-5
Lou, X. (Harbing). (2018, Sept 13). Ai in video games: Toward a more intelligent game. Linkedin.https://n9.cl/j01mb
Mateas, M., & Stern, A. (2003, March 24–26). Integrating plot, character, and natural language processing in the interactive drama Façade. In 1st International Conference on Technologies for Interactive Digital Storytelling and Entertainment (TIDSE 2003). Darmstadt, Germany.https://users.soe.ucsc.edu/~michaelm/publications/mateas-tidse2003.pdf
Perron, B. (2009). Horror video games: Essays on the fusion of fear and play. McFarland. https://archive.org/details/horrorvideogames0000unse
Rezk, A., & Haahr, M. (2022). Beyond free will: Understanding approaches to agency and their suitability for Bandersnatch-like titles. Entertainment Computing, 43,100500. https://doi.org/10.1016/j.entcom.2022.100500
Russell, S., & Norvig, P. (2010). Artificial intelligence: A modern approach (3rd ed.). Prentice Hall.
Smed, J., Suovou, Trygg, N. & Skult, P. (2019). Lecture notes on interactive storytelling. https://n9.cl/iyg8o
Soares, E., Silva, B. M. C., & Galam, G. T. (2022). Adaptive virtual reality horror games based on machine learning and player modeling. Entertainment Computing, 43, 100515. https://doi.org/10.1016/j.entcom.2022.100515
Song, Y., Kim, H., Yoo, T., Bae, B.-C., & Cheong, Y.-G. (2020). An intelligent storytelling system for narrative conflict generation and resolution. 2020 IEEE Conference on Games (CoG), 192–197. https://doi.org/10.1109/CoG47356.2020.9231592
Stone, C. (2019, Jan 7). The evolution of video games as a storytelling medium, and the role of narrative in modern games. Game Developer. https://www.gamedeveloper.com/design/theevolution-of-video-games-as-a-storytelling-medium-and-the-role-of-narrative-in-moderngames
Švelch, J. (2020). Should the monster play fair? : Reception of artificial intelligence in alien: isolation. Game Studies, 20(2). https://gamestudies.org/2002/articles/jaroslav_svelch
Thompson, T. (2020, April 23). The story of Façade: The AI-powered interactive drama. Game Developer. https://www.gamedeveloper.com/design/the-story-of-facade-the-ai-poweredinteractive-drama
Utku Dağlı, S. (2022). The difficulty of videogames and intelligence of AI. Play/Write Student Journal (2nd ed.). https://netlibrary.aau.at/kcgl/periodical/titleinfo/7923016/full.pdf#page=29
Yannakakis, G. N., & Togelius, J. (2018). Artificial intelligence and games. Springer International Publishing. https://doi.org/10.1007/978-3-319-63519-4
Zohaib, M. (2018). Dynamic difficulty adjustment (Dda) in computer games: A review. Advances in Human-Computer Interaction, 2018, 1-12. https://doi.org/10.1155/2018/5681652
Núm. 32 , Año 2025 : Julio - Diciembre
https://revistasojs.ucaldas.edu.co/index.php/kepes/article/download/11383/8138
dc.rights.none.fl_str_mv Kepes - 2025
https://creativecommons.org/licenses/by/4.0
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Esta obra está bajo una licencia internacional Creative Commons Atribución 4.0.
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rights_invalid_str_mv Kepes - 2025
https://creativecommons.org/licenses/by/4.0
Esta obra está bajo una licencia internacional Creative Commons Atribución 4.0.
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dc.publisher.none.fl_str_mv Universidad de Caldas
publisher.none.fl_str_mv Universidad de Caldas
dc.source.none.fl_str_mv https://revistasojs.ucaldas.edu.co/index.php/kepes/article/view/11383
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spelling La Inteligencia Artificial como Directora: La Búsqueda de Experiencias Narrativas PersonalizadasArtificial intelligence as a director: the pursuit of personalized narrative experiences in Horror Gamesvideojuegosinteracciónprogramación multimediadiseño de interaccióndiseño de experienciavideo gamesinteractionmultimedia programminginteraction designexperience designEste artículo analiza el papel de la inteligencia artificial (IA) como directora narrativa en los videojuegos de terror, con especial atención a su capacidad para producir experiencias emocionales personalizadas. Se examina cómo los sistemas basados en IA pueden adaptar tanto la narrativa como las dinámicas de juego a los temores individuales de cada jugador, favoreciendo así mayores niveles de inmersión, agencia y resonancia afectiva. Para ello, se empleó un enfoque metodológico mixto que combinó una revisión de literatura sobre sistemas adaptativos dirigidos por IA con una encuesta aplicada a jugadores habituales del programa de Ingeniería Multimedia de la Universidad Militar Nueva Granada. El instrumento permitió explorar percepciones sobre miedo, inmersión y adaptación en títulos ampliamente reconocidos como Resident Evil, Silent Hill: Shattered Memories, Alien: Isolation y Left 4 Dead. Los resultados evidencian una correlación significativa entre los niveles de miedo percibidos por los participantes y el grado de alineación entre los temas, mecánicas y atmósferas del juego con sus propios temores. Asimismo, los participantes manifestaron una alta aceptación respecto a la implementación de “directores IA” capaces de ajustar la experiencia de juego y potenciar la generación de miedo. En conjunto, los hallazgos sugieren que la incorporación de sistemas adaptativos basados en IA constituye un aporte relevante para la construcción de experiencias interactivas más personalizadas, y representa un avance significativo en el diseño narrativo y emocional de los videojuegos de terror contemporáneos.This article examines the role of artificial intelligence (AI) as a narrative director in horror video games, focusing on its capacity to produce personalized emotional experiences. The study explores how AI-driven adaptive systems can modulate narrative structures and gameplay dynamics in response to players’ individual fears, thereby enhancing immersion, agency, and affective resonance. A mixed-methods approach was adopted, combining a literature review on AI-based adaptive narrative systems with a survey administered to regular players from the Multimedia Engineering program at Universidad Militar Nueva Granada. The instrument explored participants’ perceptions of fear, immersion, and adaptation in widely recognized horror titles such as Resident Evil, Silent Hill: Shattered Memories, Alien: Isolation, and Left 4 Dead. Findings reveal a significant correlation between players’ perceived fear levels and the degree of alignment between game themes, mechanics, and atmospheres with their personal fears. Participants also expressed strong support for the implementation of AI directors capable of adjusting the gaming experience and intensifying fear responses. Overall, the results suggest that the integration of adaptive AI directors constitutes a meaningful contribution to the development of more personalized interactive experiences and represents an important advancement in the motional and narrative design of contemporary horror video games.Universidad de Caldas2025-07-01T00:00:00Z2026-01-01T07:45:23Z2025-07-01T00:00:00Z2026-01-01T07:45:23Z2025-07-01Artículo de revistahttp://purl.org/coar/resource_type/c_6501Textinfo:eu-repo/semantics/articleJournal articleinfo:eu-repo/semantics/publishedVersionhttp://purl.org/coar/version/c_970fb48d4fbd8a85http://purl.org/coar/resource_type/c_2df8fbb1application/pdf1794-7111https://repositorio.ucaldas.edu.co/handle/ucaldas/2638010.17151/kepes.2025.22.32.32462-8115https://doi.org/10.17151/kepes.2025.22.32.3https://revistasojs.ucaldas.edu.co/index.php/kepes/article/view/11383eng84324722KepesAhmad, J. (2021). Children’s fears and its relation to parenting style and demographic variables of children and parents. Early Child Development and Care, 191(6), 963-976. https://doi.org/10.1080/03004430.2019.1655735American Psychological Association. (2018, Apr. 19). Fear. APA Dictionary of Psychology. https://dictionary.apa.org/Andersen, M. M., Schjoedt, U., Price, H., Rosas, F. E., Scrivner, C., & Clasen, M. (2020). Playing with fear: A field study in recreational horror. Psychological Science, 31(12), 1497-1510.https://doi.org/10.1177/0956797620972116APA Dictionary of Psychology. (s.f.). Fear. https://dictionary.apa.org/fear Bălan, O., Moise, G., Moldoveanu, A., Leordeanu, M., & Moldoveanu, F. (2019). Fear level classification based on emotional dimensions and machine learning techniques. Sensors, 19(7), 1738. https://doi.org/10.3390/s19071738Barinaga, M. (1992). How Scary Things Get that Way: Researchers are closing in on the mechanisms by which the brain learns to interpret certain situations as fearful—with hopeful indications for anxiety sufferers. Science, 258(5084), 887-888. https://doi.org/10.1126/science.1439800Booth, M. (2009, October). The AI Systems of Left 4 Dead. Paper presented at the Artificial Intelligence and Interactive Digital Entertainment Conference (AIIDE), Stanford University. https://cdn.fastly.steamstatic.com/apps/valve/2009/ai_systems_of_l4d_mike_booth.pdfCalleja, G. (2010). Digital games and escapism. Games and Culture, 5(4), 335–353. https://doi.org/10.1177/1555412009360412Chooseco. (s. f.). History of CYOA. Retrieved from: https://www.cyoa.com/pages/history-of-cyoaGlitchy Pixel. (2014). Poltergeist: A Pixelated Horror [Videogame]. Glitchy Pixel.Granic, I., Lobel, A., & Engels, R. C. M. E. (2014). The benefits of playing video games. American Psychologist, 69(1), 66-78. https://doi.org/10.1037/a0034857Ingram, B., Rosman, B., Alten, C., & Klein, R. (2022). Play-style identification through deep unsupervised clustering of trajectories. IEEE Conference on Games (CoG), 393–400. https://doi.org/10.1109/CoG51982.2022.9893680Ip, B. (2011). Narrative structures in computer and video games: Part 1: Context, definitions, and initial findings. Games and Culture, 6(2), 103–134. https://doi.org/10.1177/1555412010364982Jagdale, D. (2021). Finite state machine in game development. International Journal of Advanced Research in Science, Communication and Technology, 384-390. https://doi.org/10.48175/IJARSCT-2062Kirkpatrick, D. R. (1984). Age, gender and patterns of common intense fears among adults.Behaviour Research and Therapy, 22(2), 141-150. https://doi.org/10.1016/0005-7967(84)90102-5Lou, X. (Harbing). (2018, Sept 13). Ai in video games: Toward a more intelligent game. Linkedin.https://n9.cl/j01mbMateas, M., & Stern, A. (2003, March 24–26). Integrating plot, character, and natural language processing in the interactive drama Façade. In 1st International Conference on Technologies for Interactive Digital Storytelling and Entertainment (TIDSE 2003). Darmstadt, Germany.https://users.soe.ucsc.edu/~michaelm/publications/mateas-tidse2003.pdfPerron, B. (2009). Horror video games: Essays on the fusion of fear and play. McFarland. https://archive.org/details/horrorvideogames0000unseRezk, A., & Haahr, M. (2022). Beyond free will: Understanding approaches to agency and their suitability for Bandersnatch-like titles. Entertainment Computing, 43,100500. https://doi.org/10.1016/j.entcom.2022.100500Russell, S., & Norvig, P. (2010). Artificial intelligence: A modern approach (3rd ed.). Prentice Hall.Smed, J., Suovou, Trygg, N. & Skult, P. (2019). Lecture notes on interactive storytelling. https://n9.cl/iyg8oSoares, E., Silva, B. M. C., & Galam, G. T. (2022). Adaptive virtual reality horror games based on machine learning and player modeling. Entertainment Computing, 43, 100515. https://doi.org/10.1016/j.entcom.2022.100515Song, Y., Kim, H., Yoo, T., Bae, B.-C., & Cheong, Y.-G. (2020). An intelligent storytelling system for narrative conflict generation and resolution. 2020 IEEE Conference on Games (CoG), 192–197. https://doi.org/10.1109/CoG47356.2020.9231592Stone, C. (2019, Jan 7). The evolution of video games as a storytelling medium, and the role of narrative in modern games. Game Developer. https://www.gamedeveloper.com/design/theevolution-of-video-games-as-a-storytelling-medium-and-the-role-of-narrative-in-moderngamesŠvelch, J. (2020). Should the monster play fair? : Reception of artificial intelligence in alien: isolation. Game Studies, 20(2). https://gamestudies.org/2002/articles/jaroslav_svelchThompson, T. (2020, April 23). The story of Façade: The AI-powered interactive drama. Game Developer. https://www.gamedeveloper.com/design/the-story-of-facade-the-ai-poweredinteractive-dramaUtku Dağlı, S. (2022). The difficulty of videogames and intelligence of AI. Play/Write Student Journal (2nd ed.). https://netlibrary.aau.at/kcgl/periodical/titleinfo/7923016/full.pdf#page=29Yannakakis, G. N., & Togelius, J. (2018). Artificial intelligence and games. Springer International Publishing. https://doi.org/10.1007/978-3-319-63519-4Zohaib, M. (2018). Dynamic difficulty adjustment (Dda) in computer games: A review. Advances in Human-Computer Interaction, 2018, 1-12. https://doi.org/10.1155/2018/5681652Núm. 32 , Año 2025 : Julio - Diciembrehttps://revistasojs.ucaldas.edu.co/index.php/kepes/article/download/11383/8138Kepes - 2025https://creativecommons.org/licenses/by/4.0info:eu-repo/semantics/openAccessEsta obra está bajo una licencia internacional Creative Commons Atribución 4.0.http://purl.org/coar/access_right/c_abf2Bonilla-Builes, Arauth DanielRocha-Castaño, Carlos Albertooai:repositorio.ucaldas.edu.co:ucaldas/263802026-01-01T07:45:23Z

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