• Title/Summary/Keyword: 게임서사

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A Study on Gameplay Narrative of Contemporary Animated Films (당대 애니메이션 영화의 게임플레이성 서사에 관한 연구)

  • Qin, Jianbo
    • Journal of Korea Entertainment Industry Association
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    • v.13 no.4
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    • pp.83-91
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    • 2019
  • Gameplay exists not only in game activities, but also in other art forms. An animated film with strong gameplay whose gameplay narrative follows the presupposition principle, achieved through unimaginable sound effects, exaggerated visual styling, hypothetical time and space concepts, fictional storylines and character performances. The strength or the presence or absence of gameplay in animated films is reflected in the grasp and use of these gameplay elements in the process of animated film narratives. The gameplay narrative of animated films fully utilizes the characteristics of gameplay thinking. In the process of scriptwriting and narrative, it combines entertainment, action, adventure, competition and other elements to fully reflect the characteristics of "gameplay". Gameplay narratives often use the strategies of reverse setting, repetition and interaction, and rules and challenges setting, which not only enhances the fun of animated film narratives, but also attracts the attention of the audience, which then can enhance the audience's viewing experience.

A Study on User Identity according to MMORPG's Narrative Mode Focused on and (MMORPG의 서사 양식 전환에 따른 사용자 정체성 연구 <블레이드 앤 소울>과 <다크폴> 분석을 중심으로)

  • Yun, Hye-Young;Kim, Jeong-Yeon
    • Journal of Korea Game Society
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    • v.15 no.1
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    • pp.45-54
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    • 2015
  • This study analyzes the change of MMORPG in terms of conversion of narrative mode and discusses user identity according to the narrative mode, focused on and . These two games represent the conversion of narrative mode from Romance which has ideal story for it's main plot, to Irony, which has no background story. This change leads players to have performative persona composed by player's personal motive, compared to the persona composed by narrative motive.

Analysis on Starcraft Focused: Narratives and Mythologies (서사와 신화론을 중심으로 한 스타크래프트 분석)

  • Kim, Seo-Young;Park, Tae-Soon
    • The Journal of the Korea Contents Association
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    • v.8 no.4
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    • pp.117-129
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    • 2008
  • This analysis is intended to approach a computer game in the context of cultural-study theories. The semiotics can be applied to various area, and it is assumed to also applied to computer games. In semiotical background we tried to analyze the mythology of Starcraft mainly by using Propp's narratives theory and Brathes' mythologies theory. In the narratives of Starcraft, we fouind some simplified functions which penetrate the internal structure. And while most of the games having paradigmatic flow in narratives, Starcraft has syntagmatic flow mainly because of the function of network. With these conditions, we could find some mythologies in Starcraft : (1) naturalization of discipline and control, (2) time and space as resources, (3) deprivation of values of object.

A Study on Meaning Analysis of Game Skill Visual Effects -focused on world of warcraft- (게임 스킬 비주얼 이펙트의 의미 분석 -월드 오브 워크래프트를 중심으로-)

  • Kang, Yoon-Hee
    • Journal of Digital Convergence
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    • v.20 no.5
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    • pp.751-759
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    • 2022
  • Game graphics provide players with a sense of immersion, leading to active participation. This paper aims to analyze the mythological meaning for symbolic design of game skill visual effects that reproduce the narrative and the worldview of games borrowing myths. The research method classified the visual effect image into a symbol of the form of a universal archetype representation and a symbol of color expressing the narrative in the game, and analyzed it by applying Roland Barthes' semiological scheme. Through this study, it was possible to analyze the meaning of visual effects as a mythical meaning that can be universally sympathized and an implicit meaning that symbolizes the narrative of the game. The symbolic expression of the visual effect, which reproduces the narrative of the game reflecting the myth, can induce players to engage and participate, and the design direction was intended to provide the visual effect to have a unique symbolism that reflects the game's mythical worldview of the game.

A Study Of The Rule in Game Storytelling (온라인 MMORPG 게임 서사에 나타난 룰(Rule) 연구 - <월드오브워크래프(World of Warcaft)> 중심으로)

  • Song, Mi-Sun
    • 한국HCI학회:학술대회논문집
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    • 2008.02b
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    • pp.540-545
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    • 2008
  • 게임의 룰은 게임의 메커니즘을 구현하는데 필요한 모든 것을 포함하는 것이다. 또한, 게임의 스토리를 이끌며 지탱하는 중요한 요소이기도 하다. 본고에서는 동서양 모두에서 성공하고 있는 대표적 MMORPG 온라인 게임인 월드오브워크래프트를 중심으로 게임 스토리텔링에서의 룰이 지닌 중요한 요소와 특징, 또한, 이것이 지닌 창조적이며 재미와 몰입, 덧붙여 게임 스토리 전개상에서 만들어내는 생산적인 요소들을 찾아서 특성을 찾고자 한다. 이는 게임 개방시 게임 내의 룰 생성과 스토리 전개에 중요한 요건으로서 연구되어질 수 있으며, 온라인 게임 스토리텔링 창작 및 개발에 적용하는데 연구의 의의가 있다 하겠다. 본고의 논의가 이뤄지기 전, 먼저 게임에 대한 룰의 정의에 대해 지금까지의 논의들을 살펴보고, 이들 속에서 발견되고 논의될 요소들을 얻고자 한다. 이론적 요소를 바탕으로 본고의 연구대상인 월드오브워크래프트의 서사에 나타난 룰과 스토리텔링과의 상호작용을 분석할 것이다. 본고에서 논의 되는 MMORPG게임의 룰과 스토리텔링의 연구는 아직 체계적이지 못하고, 이론적으로 미흡한 게임 스토리텔링 및 룰 연구에 기반 연구가 되고자 한다.

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A Study on the Narrative Education of ORPG in Respect to a Play of Thinking (`사유(思惟)의 놀이'로서 ORPG의 서사 교육적 활용 연구)

  • Kim, Dae-Jin
    • Journal of Korea Game Society
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    • v.10 no.5
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    • pp.25-38
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    • 2010
  • This study examines the possibility of applying ORPG to narrative education in schools. At first, in terms of applying games to education, the choice of the appropriate games for various subjects and lessons seems to be limited. Also there is not much active research being done in the classroom promoting students to create their own games. As a substitute, this article suggests ORPG, known as 'a play of thinking', could possibly be applied to narrative education. In ORPG, gamer's thoughts are defined as 'a thinking of being conscious of hallucinations(幻)' and 'a thinking of a 彈指神功'. The students are encouraged to create 'scenarios of ORPG' and directly experience them by participating as gamer. Focusing on these two class circumstances, the practical effects of applying ORPG to narrative educational field was reviewed and, additionally the students' feedback was surveyed. As a result, two meaningful educational effects were drawn out which may show the positive potential of ORPG being used in narrative education.

Narrative Structural Analysis of Quest in MMORPGs : Focused on <World of Warcraft> (구조주의 서사이론에 기반한 MMORPG 퀘스트 분석 : <월드 오브 워크래프트>를 중심으로)

  • Han, Hye-Won;Cho, Sung-Hee
    • The Journal of the Korea Contents Association
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    • v.9 no.9
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    • pp.143-150
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    • 2009
  • A quest in MMORPG functions as a unit of game narrative. It is an essential part to progress game narrative and to construct player's own storyline. In addition, it makes player to expand her territory and helps with character growth by giving reward. A quest consists of four essential elements : the quest giver, the background story, the objective and the reward. A quest shows a blanch structure with two nodes which is same as Claude Bremond's elementary sequence. The sequence of each functions cannot be changed, therefore, it can be explained through a syntagma model. On the other hand, spatial disposition of quests follows a paradigm model. In order to construct a MMORPG narrative, a player connects quests into a single narrative by carrying out them.

Prototype of Procedural Quest Generation in Persistent RPG via Non-Player Character (영속적 RPG 게임에서 NPC중심의 창발적 서사 생성 연구)

  • Jeong, Bo-Gyun;Ryu, Eun-Seok;Kang, Sin-Jin
    • Proceedings of the Korean Society of Computer Information Conference
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    • 2014.01a
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    • pp.49-50
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    • 2014
  • 본 논문은 영속적 RPG게임에서 사용자에게 제공되는 퀘스트 유형의 절차적 생성 기법에 대한 연구이다. 영속적 월드(persistent world) 환경은, 게임 사용자를 포함한 다양한 게임 구성 자원간의 상호작용을 통해 서사를 생성하는 가상 월드의 특징을 가지고 있다. 본 실험은 서사의 핵심 자원인 NPC(Non-Player Character) 및 다양한 월드 자원들을 가진 가상의 영속적 월드 하에, NPC들이 창발적인 퀘스트를 지속적으로 생성하도록 하였다. 이를 통해 영속적 가상 월드의 NPC 자원들이 곳곳에서 창발적 퀘스트 유형을 지속적으로 생성하는 것을 확인 할 수 있었다.

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An Animated Study Based on Games - based on the 12 Stages of Christopher Vogler's heroic journey

  • Kim, Tak Hoon;Jeon, Cheon Hoo
    • Journal of the Korean Society for Computer Game
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    • v.31 no.4
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    • pp.175-184
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    • 2018
  • The commercial success of the game has also led to animation of the original game, especially the live version of The Street Fighter II in 1994 and a variety of videos of the game-based version, 2D Animation and 3D Animaion until now. But animations are not always successful because they are based on popular and commercially successful games. That's because when the original game was remade into an animation, the difference between the narrative structure of the original game story and the setting of the game and animation is striking. Nevertheless, a feature-length animation based on the Angry Birds game, which was released on May 19, 2016, has also been a huge commercial success, with this paper analyzing the case applied to the 12th stage of Christopher Vogler's hero's journey, Aengibird the Movie, and discussing the way in which the animation developed based on the game compared with other animations. Christopher Vogler, a Hollywood playwright, analyzed the structure of popular-loved movies based on the common narrative of the myth as the main motif of the mythologist Joseph Campbell. His narrative style is a hero's journey, using a total of 12 stages of epic narrative structure to help the protagonist find himself and achieve what he wants. Foreign heroes, adventure films as well as animations from big studios like Disney, Pixar, and Ghibli are using the story-development method of this Christopher Vogler.

A Study on Transtextuality and Effect on Replayability of Easter Eggs in Digital Games (디지털 게임에 나타난 이스터에그의 트랜스텍스트성과 리플레이어빌리티의 향상 연구)

  • Nam, Seo-Hyun;Han, Hye-Won
    • Journal of Korea Game Society
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    • v.22 no.1
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    • pp.3-18
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    • 2022
  • This study focuses on transtextuality of Easter egg and its effect on replayability. This paper categorizes Easter eggs of digital game into five types based on game elements, and applies Gerard Genette's transtextuality theory by analyzing function and meaning of Easter eggs based on quotation, allusion, and annotation of intertext and paratext. In conclusion, Easter eggs as transtext form game ritual by linking inside and outside of the game, as well as developers and players. Through this process, Easter egg enhances replayability of digital games by extending the narrative of the game.