• Digital Contents
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• no.3 s.142
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• pp.80-83
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• 2005

모든 이야기 예술의 창작은‘만약에, ~이라면’이라는 상황의 가정에서 시작된다고 한다. 스타니 슬라브스키가‘매직 이프(Magic If)’라고 명명한 이 창작의 발상방법에서 거의 모든 극적 상황들이 탄생한다. 멜 깁슨이 주연했던 영화 <왓 위민 원트(what women want)>는‘만약 내귀에 여자들의 속마음이 들린다면’이라는 가정에서 출발한영화다. 또<로빈슨크루소>는‘만약 내가 무인도에 고립된다면’이라는 가정에서 만들어진 유명한 소설이다. 비교적 최근 등장한 게임은 어떨까? <파이널 판타지10>은‘만약 내가 실존인물이 아니고 다른 사람의 꿈이 만들어낸 가짜 존재라면’이라는 가정에서 출발한다.

• The Journal of the Korea Contents Association
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• v.11 no.6
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• pp.144-154
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• 2011

As the cinematographic works are familiar to us, the infringement of the cinematographic works is also increasing. Because we are always able to be closely accessible to the cinematographic works through the Internet, this phenomenon easily occurs across the genre of the cinematographic works or the borders. The case is typical that the Music Video "Sonata of Temptation" infringes the copyrights of the Japanese Animation "Final Fantasy 7". When the two works are compared and analyzed, a considerable portion of similarity is found; we can even express that no new scene is exist except it that the singer sings in the Music Video "Sonata of Temptation". Because this situation is not only a dishonor to the indivisual but also a great loss to the nation, we should thoroughly prepare not to infringe others' copyright even unconsciously.

• Proceedings of the Korea Contents Association Conference
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• 2007.11a
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• pp.647-651
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• 2007

Game was begun to sell to multi platform rather than is sold as a title of a kinds of machine since some moment. In case of competition flag species such as PS (Play Station) or XBOX, there is 'Final Fantasy', 'Gear of War' masterpiece. However, title of game was begun to manufacture to multi platform and this is step that much games are manufactured to multi platform by selection of game developers to minimize danger by production cost rise of game. About game character development method in multi platform surrounding that this research is such game character abstract of multi platform and multi platform environment direction for multi platform through analysis and example proposal to basis data for presentation utilize wish to.

• Cartoon and Animation Studies
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• s.20
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• pp.47-61
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• 2010

The Uncanny Valley is a hypothesis introduced by a roboticist, Masahiro Mori. The theory holds that as robots and other facsimiles of humans look and act more human-like, the emotional response from a human spectator to them will become increasingly empathic, until they approach realistic similarity to humans but not quite exactly like them, when those images stop being likable and instead become repulsive and "uncanny." Although the scientific validity of this hypothesis is still debatable, it is true that many spectators has tendency to reject hyper-realistic animation. For that reason, the great success of the recent movie Avatar is remarkable. Computer animations that try to represent humans in hyper-realistic way fall into a paradox: successful result images would look too mundane and unsuccessful ones look "wrong". On top of that, audience would expect from hyper-realistic animation to see same level of acting of live-action films, which is usually not the case. The subtle differences between digital characters and real actors irritate spectators and hinder them in absorbtion. The biggest difference between Avatar and other hyper-realistic animation is the referent of their representation. While Avatar pursues a similar hyper-realistic visual style, the referents of the representation shown in this movie are totally alien to us thus impossible to compare with the real counterparts. Unlike characters in other hyper-realistic animations who had to fight an uphill battle with great actors in real life, those in Avatar have criteria of their own. That is why this movie can be free from the dreadful valley and let the audience absorb into the spectacle.