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This paper examines and discusses potential factors that may trigger authenticity in animated immersive environments. Our discussion draws upon three forms of authenticity, categorized as objective, constructive or symbolic, and existential authenticity. To explore these ideas, we present three case studies drawn from the authors’ own research deploying immersive media in different contexts (educational, historical, and political). The aim is to interrogate how authenticity is conceived and constructed on three levels – authenticity of narrative, authenticity of environment, and authenticity of action – during the design and production process. We start by defining the concept of authenticity with reference to previous work within the fields of journalism and tourism, and then explore its specification in animated virtual reality through the case study discussion. One important conclusion from our analysis is that authenticity markers are needed to enable users to verify the information presented and trust the educational content.

The International Conference on Illustration and Animation CONFIA is a place for open debate on the theoretical research and practice about these related areas. This paper reviews its last edition, held in Porto, Portugal, where a very interesting group of international experts came together: artists, researchers and theorists. Paula Tavares reports some considerations on the most relevant papers from this meeting, which exposed some of the focal topics of current practice and research - from the traditional ways of making to the latest technological innovations. With this paper we aim to open the way to CONFIA 2014, which we want to be the Conference of stability and maturity.

Todo videojuego cuenta con un sistema de penalizaciones y recompensas que ya implica una carga ética implícita. Sin em­bargo, algunos títulos despliegan una na­rrativa estructurada capaz de generar un contexto complejo que propone dilemas éticos para el desarrollo de una narrativa emergente. En este artículo nos centrare­mos en analizar el puzle dramático basa­do en dilemas éticos como una forma de tejer el diseño narrativo y la jugabilidad que permite activar situaciones complejas que ponen al jugador en aprietos éticos y que promueven retos mentales y emocio­nales. Analizaremos las estrategias lúdicas y narrativas de Gods Will Be Watching (De­constructeam, 2014), Papers, please (Lu­cas Pope, 2013) y This war of mine (11 Bit Studios, 2014) y los discursos que generan a través de la agencia del jugador que, además, nos permiten reflexionar sobre aspectos controvertidos de las sociedades actuales.

On 13th June 2021, Animación.es: una historia en una exposición closed its doors at the Imprenta Municipal de Madrid. It was the largest exhibition held to date on the history and production processes of Spanish animation and it had to face an extremely complicated context, due to the restrictions on mobility caused by the COVID-19 pandemic, which hindered attendance. In the paper we review the process of creation and planning of the exhibition, the numerous difficulties it had to face, and the impact and urgency of such proposals in the promotion of animation in Spain.

This paper focuses on Another Day of Life (Raúl de la Fuente, Damian Nenow, 2018) and Chris the Swiss (Anja Kofmel, 2018), two recent animated documentary feature films which delve into two important war conflicts that defined the historical development of the second half of the 20th century. These films complaint about the violation of Human Rights through the experiences of their main characters — who witnessed firsthand such historical events. On the one hand, Another Day of Life reenacts the experience of a Polish reporter, Richard Kapuscinski, who visited Angola in 1975, in the midst of a war that culminated in the decolonization of the African country as a Portuguese province. On the other hand, Chris the Swiss approaches the Balkans war during the 90s, following Anja Kofmel’s personal research developed about the tragic decease of her own cousin, then a young reporter named Christian "Chris" Würtenberg.

This essay exposes the background reasons and the context where limited animation was originated, a peculiar Japanese technique of saving costs at the production of anime series. Through the analysis of fragments of recent anime TV series, the paper will demonstrate how these economical processes have evolved over the years into what we can call selective animation, which results in a significant improvement in the quality of animation images, becoming the greatest asset for its expansion worldwide.