ResumenEl presente artículo tiene por objeto el estudio de las estrategias empleadas en el proceso creativo de la experiencia del alternate reality game (ARG) del álbum Year Zero (2007), de la agrupación Nine Inch Nail, como un caso de estudio de los aspectos por tener en cuenta a la hora de introducir un producto en el mercado global. Para ello, se realiza un marco teórico de los procesos de transducción cultural y, en particular, se expone el modelo analítico de los elementos esenciales en los contenidos transparentes basado en el mitotipo. Finalmente, se realiza una exploración de la morfología del 1 Este artículo es producto de la investigación Cultural Transductions Universals and Lacunae: An International Contra-flow Study (Código COM 62-2013) adscrito al grupo de investigación

This chapter addresses the relationship that exists between intertextuality and cultural transduction in video game localization. Whereas the former refers to the dual relationship established between texts and previous texts available to the potential readers and the bridges that are consciously or unconsciously established between them, cultural transduction refers to the conscious process of transforming audiovisual content to suit the interests of a given cultural market. Three case studies are presented to explore the relationship that exists between the place of production, the internal cultural references to other texts within the games and the intended market where the video game is distributed: Finally, the importance of intertextuality as part of the cultural transduction process is highlighted.

Este ensayo busca evidenciar la relevancia que ha tenido la cultura pop en la amplia obra y fabulosa vida de Sergio Roncallo-Dow. Esta travesía nos lleva a vincular conceptos como el de habitar, el dasein y el mit-dasein de Heidegger, con el sensorium de Walter Benjamin, a través de la máxima de Marshall McLuhan, el medio es el mensaje. Se presentan tres campos de la vida y obra de Sergio que se entrelazan para dar cuenta de su aproximación al apotegma mcluhaniano. Este camino aborda la televisión en Colombia en la década de los ochenta, la escena de la música rock de la cual Sergio fue parte y su relación con los videojuegos y YouTube. Esta exploración nos permite ver algunas de sus sondas principales, su crítica a los modelos binarios y a la separación de la cultura popular y de élite, la centralidad de la imbricación entre técnica y cultura, y su propuesta de la comprensión de nuestra hibridación latinoamericana como nuestro punto de partida para entender-nos en la comunicación.

In order to shed some light on how Latin American entrepreneurs are developing products for a globalised market and attempting to overcome cultural discount by making their products more universal in their appeal, we analyse the cases of the video game Kingdom Rush from Uruguay and the Zambo Dende audio-visual project from Colombia. To provide context, the flow of entertainment media products from Latin America is first considered, with two cases then presented in order to provide insight into the processes of economic contra-flow and cultural transduction. Based on an examination of the products and in-depth interviews with the creators (and also survey responses in the case of Kingdom Rush), the findings reveal the various challenges faced by and the achievements of these small-scale entrepreneurs to reach a global market. We pay particular attention to the way in which the products achieve global appeal to mitigate negative effects associated with the geographical and cultural origin of a product.

Becoming immersed in a world where our perception of reality is highly mediated allows for the creation of an audiovisual lexicon that expands over many platforms and times. In this context we might observe the case of video games which, as a medium, does not limit themselves to the creation of puzzles to be solved, to pretend participation in the Rock and Roll world, or lead us to unexpected damages to our "flesh". Games allow us different levels of enjoyment and also lead us to discover the physical limits of our bodies within the expansion of our senses. Furthermore, hidden in many of these games we discover many hints, influences, remnants, appropriations and quotes, expanding the web of signs and significations far beyond the limits of the games themselves. However, the extent and consequences of video games as entertainment and communicational devices surpasses