<?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>0188-2546</journal-id>
<journal-title><![CDATA[Literatura mexicana]]></journal-title>
<abbrev-journal-title><![CDATA[Lit. mex]]></abbrev-journal-title>
<issn>0188-2546</issn>
<publisher>
<publisher-name><![CDATA[Universidad Nacional Autónoma de México, Instituto de Investigaciones Filológicas]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S0188-25462019000200155</article-id>
<article-id pub-id-type="doi">10.19130/iifl.litmex.30.2.2019.1186</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[Tatuaje: ficción interactiva de una pesquisa hipermedial]]></article-title>
<article-title xml:lang="en"><![CDATA[Tatuaje: the Interactive Fiction of a Hypermedial Inquest]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Medina Téllez Girón]]></surname>
<given-names><![CDATA[Andrea]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidad Autónoma del Estado de Morelos  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>12</month>
<year>2019</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>12</month>
<year>2019</year>
</pub-date>
<volume>30</volume>
<numero>2</numero>
<fpage>155</fpage>
<lpage>171</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_arttext&amp;pid=S0188-25462019000200155&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_abstract&amp;pid=S0188-25462019000200155&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_pdf&amp;pid=S0188-25462019000200155&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen: Las nuevas apuestas en la narrativa electrónica se estructuran bajo trayectos hipertextuales que vinculan una gran variedad de recursos, una imagen estática, un video, un audio, en los que se organiza la trama. Tal es el caso de la ficción electrónica Tatuaje (2015) de Rodolfo Jiménez Morales. La narración tiene una estructura policiaca, lo que permite el diseño hipertextual para que el lector-usuario siga desde la perspectiva del investigador, Rolo Martínez, su experiencia en la solución del suceso. Si bien el detective no está obligado a resolver ni a conocer el caso al modo de Holmes, sí debe comprender las pistas de las que éste se compone. Estas piezas son los diferentes recursos presentados en la narrativa a manera de indicios: audios, correos electrónicos, llamadas telefónicas y mensajes de texto. Este ensayo tiene el objetivo de mostrar desde el marco de interactividad el nivel de exposición e involucramiento del detective-lector con sus pistas en relación con su proceso de codificación-decodificación del caso-mundo. El propio usuario atestigua, a manera de reto, su habilidad en dar respuesta al caso, estructurar la secuencia de los eventos y poder explicarse a sí mismo su rol en un mundo hipertextual. Para ello es necesario revisar primero los conceptos de hipertexto, hipermedia e hipervínculo; segundo, los niveles de interactividad y tercero el análisis de la ficción electrónica.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract: The new bets in the electronic narrative are structured under hypertext paths that link a wide variety of resources, such as a static image, a video, an audio, in which the plot is framed. That is the case with the electronic fiction Tatuaje (2015) by Rodolfo Jiménez Morales. The narrative has a detective structure, which allows the hypertextual design for the reader-user to follow, from the perspective of Rolo Martínez, the investigator, his experience in solving the case. Although Martinez is not obliged to solve all the cases or have absolute knowledge as Holmes, he is to fit the clues in during or after the case. These clues come from different resources along the narrative: audios, emails, phone calls, text messages that are not resolved in the explanation of the case. This essay aims to show from the interactivity frame, the level of exposure and detective-reader involvement with the clues in relation to his coding-decoding process of the world-case. The user witnesses, in a challenging manner, his ability to solve the case, to structure the sequence of events and to explain himself his role in a hypertext world. For this, the essay reviews, first the concept of hypertext, hypermedia, and hyperlink; second, the levels of interactivity; and third the analysis of the electronic fiction.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[ficción interactiva]]></kwd>
<kwd lng="es"><![CDATA[hipermedia]]></kwd>
<kwd lng="es"><![CDATA[interactividad]]></kwd>
<kwd lng="es"><![CDATA[lectura]]></kwd>
<kwd lng="en"><![CDATA[Interactive Fiction]]></kwd>
<kwd lng="en"><![CDATA[Hypermedia]]></kwd>
<kwd lng="en"><![CDATA[Interactivity]]></kwd>
<kwd lng="en"><![CDATA[the Reader]]></kwd>
</kwd-group>
</article-meta>
</front><back>
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