Some of the most compelling characters are morally ambiguous, but little research has examined these characters. This study (N = 313) empirically tests the effects of good, bad, and morally ambiguous characters (MACs) on audience responses. Findings of an experiment reveal that different character types are appealing for different reasons. Specifically, good characters are enjoyed because they are well liked; bad characters are liked the least, but they are equally as transporting, suspenseful, and thus cognitively engaging as other characters. MACs, on the other hand, are liked less than good characters, but they are nevertheless equally as transporting, suspenseful, cognitively engaging, and thereby enjoyable as good characters. The implications of these findings on various media effects theories are discussed.

Resumen. El diseño de concepto es el puente entre la narrativa y las etapas de la producción (modelos, estructuras, animación, efectos, texturas). Para lograr una efectiva transición, es necesario que, desde el diseño de concepto como intermediador entre la plástica y la mecánica, se construya la estética general del proyecto animado a partir del diseño de personajes u objetos y el acting para generar un vínculo empático con el público. La sistematización de la experiencia estará enfocada en el personaje principal, Gonzalo Guerrero Aroza, del proyecto animado, "Crónicas del Borde del mundo", quién será la base para la aplicación de las dinámicas plástico-mecánicas que surgen del estudio de las funciones visuales y de movimiento del personaje para lograr generar appeal, y funcione como modelo para la creación de los demás personajes u objetos de la animación. Palabras clave: Interpretación; empatía; creación de personajes; diseño de concepto; plástica-mecánica.[en] The plastic-mechanical dynamics in the creation of characters and acting for the generation of appeal Abstract. The concept art is the bridge between the narrative and the stages of production (models, structures, animation, effects, textures). In order to achieve an effective transition, it´s necessary, from the concept art as an intermediary between plastic and mechanics, to construct the general aesthetic of the animated project from the character design and objects with the acting to generate an empathic bond with the public. The systematization of the experience will be focused on the main character, Gonzalo Guerrero Aroza, of the animated project, "Chronicles of the Edge of the World", who will be the basis for the application of the plastic-mechanical dynamics that originate from the study of the visual and movement functions of the Character to achieve the appeal, and it works as a model for the creation of other characters or objects of animation.

Mechanisms of moral disengagement in violent video game play have recently received considerable attention among communication scholars. To date, however, no study has analyzed the prevalence of moral disengagement factors in violent video games. To fill this research gap, the present approach includes both a systematic literature review and a content analysis of moral disengagement cues embedded in the narratives and actual game play of 17 top-ranked first-person shooters (PC). Findings suggest that moral disengagement factors are frequently embedded in first-person shooters, but their prevalence varies considerably. Most violent video games include justifications of the portrayed violence, a distorted portrayal of consequences, and dehumanization of opponents. Implications of the findings for research on violent games are discussed.Mechanisms of moral disengagement in violent video game play have recently received considerable attention among communication scholars, for two reasons. First, moral disengagement factors may help explain why users enjoy violent video games. Experiments and in-depth interviews revealed that their presence in violent video games effectively reduces feelings of guilt

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