| 1 |
K. I. Choi. (2019. Apr 9). Is there any problem with Overwatch league's local team model?. IGN Korea (Online). https://kr.ign.com/news/7236/obeoweoci-rigeu-jiyeog-yeongoje-munjejeomeun-eobseulgga
|
| 2 |
T. L. Taylor. (2018). Watch me play: Twitch and the rise of game live streaming. Princeton University Press.
|
| 3 |
H. W. Han. & S. Y. Kim. (2014). Analysis of storytelling in on-line personal game broadcasting. Journal of Korea Game Society, 14(2), 85-96.
DOI
|
| 4 |
M. Craig. (2020, Nov 11). The viral game that made a comback "Among Us". thebirdfeed(Omline). https://thebirdfeed.org/14387/showcase/the-viral-game-that-made-a-comeback-among-us/.
|
| 5 |
H. Jenkins.(2013). Spreadable Media. New York University Press.
|
| 6 |
M. Ibrahim.(2017, Sep 12). Firewatch creators can target PewDiePie with DMCA takedowns, and it's perfectly legal. Polygon (Online). https://www.polygon.com/2017/9/12/16295412/pewdiepie-campo-santo-firewatch-dmca-legal-abuse
|
| 7 |
R. Dawkins. (2010). The selfish gene. (Y. N. Hong. & S. I. Lee, trans). Eulyoo. (Original work published 1976).
|
| 8 |
C. Scolar.i, P. Bertetti & M. Freeman. (2014). Transmedia archaeology: storytelling in the borderlines of science fiction, comics and pulp magazines. Springer.
|
| 9 |
R. Taguiam.(2021, Feb 27). World Of Warcraft: Everything You Need To Know About Leeroy Jenkins. GAMERANT (Online). https://gamerant.com/world-of-warcraft-leeroy-jenkins-facts-trivia/
|
| 10 |
H. Jenkins. (2008). Convergence culture. (H. Kim Jeong & D. Kim. Trans). Biz&Biz.(Original work published 2006)
|
| 11 |
H. K. Kim. (2018). Generation principles of transmedia storytelling and domestic research trends. Humanities Contents, 0(50), 319-332.
DOI
|
| 12 |
H. Y. Yun., H. J. Yun. & J. Lee. (2019). A study on the topography of game transmedia. Humanities Contents, 0(55), 235-258.
|
| 13 |
H. W. Han. (2006). Transmedia storytelling. Digital Contents, 11, 52-58.
|
| 14 |
S. M. Lee. (2009). Concept and properties of transmedia storytelling. The Journal of the Korea Contents Association, 9(12), 193-200.
DOI
|
| 15 |
S. E. Seo. (2015). The study on media conversion storytelling. Doctoral dissertation. Ewha Womans University, Seoul.
|
| 16 |
D. E. Lee. (2017). The strategy of transmedia storytelling using the game IP. Journal of Korea Game Society, 17(5), 143-150.
DOI
|
| 17 |
M. J. Byun. (2019). A study on the storytelling of Beast"s alternative reality game based on cross-media strategy. The Korean Society of Science & Art, 37(3), 173-185.
DOI
|
| 18 |
C. G. Lyou. & S. E. Seo. (2008). A study on the transmedia storytelling of online game. The Korean Language and Literature, 102, 439-470.
|
| 19 |
G. R. Jeon & Y. C. Kim. (2021). The transmedia storytelling strategies of . Journal of Korea Game Society, 21(2), 55-66.
DOI
|
| 20 |
A. Philips. (2012). A creator's guide to transmedia storytelling. Mc Graw Hill.
|
| 21 |
KOCCA. (2019). The 2018 Survey on the Korean E-sports industry. KOCCA.
|
| 22 |
D. D. Waskul. (2006). The role-playing game and the game of role-playing. Gaming as culture: essays on reality, identity and experience in fantasy games, McFarland.
|
| 23 |
S. Turkle. (1997). Life on the screen: Identity in the age of the internet. Literature and history, 6, 117-118.
DOI
|
| 24 |
G. Costikyan. (2013). Uncertainty in games. MIT Press.
|
| 25 |
T. L. Taylor. (2015). Raising the stakes. MIT Press.
|
webmaster
