• Cartoon and Animation Studies
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• s.41
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• pp.253-277
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• 2015

When was launched in 2014, it was immediately ranked 2nd in English gross sales record in the first half of 2014, attracting huge attention from avid game users. Colin Moriarty(2014) states that the worldwide popular game, , lies on the alternative history assumption, 'what if Nazi Germany won the second world war? In regard to this, this research addresses how the characteristics of alternative history was adopted and visually represented in FPS game trailer. In terms of research method, firstly, literatures will be reviewed about definition of alternative history and some of the previous examples where alternative history was applied in novels, films and games. Secondly, narrative composition of alternative history is categorized as three sequential phases, (1) borrowing real history material, (2) connection between real and fictional history and (3) reconstruction of history through reinterpretation. Thirdly, the live-action game trailer will be analysed by three sequential phases of narrative composition, and CG game character and background will be analysed by spatial background, characters and props. The phase of 'borrowing' has used the historic images related to the World War II, and the phase of "connection' has composited by "connection through circumstantial events". The phase of 'reconstruction' has unfolded its fictional narrative in the form of "limited fictional history" In addition to this, has constructed dystopia world through composing of historic images and CG characters by SF design. In the light of this, the narrative composition of alternative history successfully extends to game area.

• The Journal of the Korea Contents Association
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• v.16 no.11
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• pp.574-583
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• 2016

This study discussed how the Moo-hyup prototype that has been formed from novels and comics was applied to TV drama in modern form beyond martial art movies, historical TV series and games by exploring Japanese TV drama . This study showed that follows the Moo-hyup prototype such as imaginary space and violence, the relationship between characters with the spirit of Moo-hyup, and the structure of Moo-hyup story rather than a story of teenagers' growing-up. This study is ultimately expected to reveal the possibility that the Moohyup prototype can be applied to the TV drama in modern form as well as historical stories.

• Knowledge Management Research
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• v.14 no.5
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• pp.151-176
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• 2013

소셜네트워크 서비스(SNS)를 사용하는 이유는 무엇일까? 게임, 정보의 검색, 시간 보내기, 단순한 반복적인 습관 등 다양한 이유가 있을 수 있겠지만, 가장 공통적인 이유는 재미(fun)이다. 그렇다면 사용자들이 SNS를 이용하면서 느끼는 재미의 개념은 무엇이며 이러한 재미는 어떻게 이루어져 있는가? 라는 의문을 갖게 된다. 재미 현상을 이해하는 것이야말로 SNS현상의 본질을 이해하는 것이 될 것이며, 향후 개발되는 SNS의 많은 부분을 보다 재미있게 만드는데 필요한 단초를 제공할 수 있다는 점에서 매우 중요하다. 이에 본 연구에서는 (1)SNS 사용자들이 어떤 종류의 재미를 느끼는지를 살펴보고, (2)재미를 구하기 위하여 어떤 행동을 하는지를 고찰하였다. 또한, (3)이러한 행동을 체계적인 설명을 위하여 SNS에서 재미를 구하는 가치 양식이 어떻게 달라지는지를 하나의 모형(재미진화모형)으로 제시하였다. 재미진화모형은 보기(seeing), 가지기(having), 하기(doing), 되기(being)4가지 단계로 이루어지며, 각 단계로 진행되면서 몰입(commitment)는 커지게 된다. 보기단계에서는 사실 모든 SNS 행동에서 사람들은 가장 먼저 "보는 것"을 통해 재미를 느낀다. 가지기(having) 단계에서는 보는 것만으로 재미를 지속하기는 어려우며, 정상적인 경우 일정기간이 지나면 그 활동의 구성요소를 소유하고 싶어한다. 하기(doing) 단계에서는 가지기의 재미는 다시 발전하여 그 활동과 직접 관련된 행동으로 나타난다. 마지막으로 되기(being) 단계에서 동일시 과정이 발전하면 보다 성숙한 형태의 재미추구 양식이 나타난다.

• The Journal of the Institute of Internet, Broadcasting and Communication
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• v.15 no.3
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• pp.43-50
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• 2015

Google, Yahoo, Daum and Naver has the POI(point of interest) service. And POI on the map is expending to social commerce, SNS, social game and social shopping. At the same time the uses's position on the map is the starting point of the Humanities Story. That means our current position is the place for stories of tales, children's song, fictional characters, the film background, lyrics and the birth of great people. This study points out that service has the limited to cafe, restaurant and hospital, and suggests the Humanities fusion Map Service which is combined with the POI information.

• Broadcasting and Media Magazine
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• v.27 no.4
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• pp.79-90
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• 2022

'스마트 기술(smart tech)'과 '도시화(urbanization)'라는 두 메가트렌드(megatrends)를 융합해 탄생한 스마트시티(smart city)가 전 세계적인 화두다. 스마트시티의 성장 가운데서 핵심적인 요소가 바로 '도시의 다양한 요소가 미디어(媒體, media)의 기능을 하는 커뮤니케이션이 중심이 된 도시'라는 점이다. 특히 메타버스 기술이 스마트시티에 접목되고 있음에 주목해야 한다. '초월'이라는 의미의 '메타(meta)'와 우주를 뜻하는 '유니버스(universe)'의 합성어인 메타버스(Metaverse)는 1992년 닐 스티븐슨(Neal Stephenson)의 소설 《스노우 크래쉬》에서 유래한 개념이라고 알려져 있다[1]. 메타버스는 정의하는 연구자에 따라서 크게 다르지만 흔히 '가상의 것(virtual thing)'으로 한정하는 경향이 있다. 하지만 최근에는 메타버스가 정치·경제·사회·문화 전반적 측면에서 오프라인의 현실과 온라인의 비현실 모두 공존할 수 있는 생활형·게임형 가상 융합 세계라는 의미로 보다 광의적으로 사용되고 있다. 최근 스마트시티의 변화를 보면 도시 운영이 고도로 지능화되고 다양한 콘텐츠가 증강되면서 <<도시 공간에서의 온라인과 오프라인의 경계 구분>>을 파괴하고 있음을 발견할 수 있다. 우리는 과거와 다름없이 물리적 도시 공간을 걷고 있지만 이제는 지형지물과 연결된 공간정보를 스마트폰으로 확인하고 또 도심의 디지털 사이니지(digital signage)를 통해 실시간 공공 및 상업 정보에 항시적으로 접하고 있다. 도시의 지향점으로 간주되는 스마트시티는 이제 일종의 '도시민 생활 플랫폼'으로 메타버스 기술과 융합 콘텐츠를 통해 도시민의 생활을 촘촘하게 연결한다. 본고에서는 '스마트시티가 메타버스 미디어 공간으로 기능하는 현상'을 '테코레이션(Tecoration: Technology + Decoration: 디지털 미디어 기술을 통한 도시 공간구축)'이라고 명명하려고 한다. 본고는 '메타버스 미디어 공간으로서 스마트시티 그리고 디지털 사이니지 테코레이션'을 주제로 '디지털 사이니지가 만들어 가는 스마트시티의 소통'과 관련된 주요 이슈를 다루려고 한다.

• Archives of design research
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• v.17 no.3
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• pp.199-208
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• 2004

From the aspect that design should respond to the necessity of various cultural bases, design is important to be grafted to Korean traditional culture. This circumstance leads this study to clarify the plan of multimedia contents development of 'paintings and original forms of shaman spirit' in Korean shamanism as one of realistic re-illumination works for Korean cultural original forms. The main study results are conduded as followings through literature reviews, internet searches and case studies. First, 'the planning process' necessary for the development of scenarios, characters and multimedia contents are suggested based on the establishment of hierarchy structure among shaman spirits which are classified into necromancer, human being, nature and life after death. Second, relating to execution of process above, it is suggested that 'the strategic. plan by business items and its genres' such as blessing fancy goods, characters for mobile or game, scenarios for game or animation, online digital exorcisms, e-cards, e-talismans and so on. Finally, as future industrialization concerns, 'the industrial development plan' is suggested which can be extended to scenario-based original businesses such as game scenarios for online or mobile and heroism fictions. The study results highlight the fact that multimedia design approach are considered for expanding the target and scope of creative material for Korean cultural original forms. Future researches, based on the results of the study, are expected to be expanded to the various designerly-thinking approaches into 'Shaman' themes and rather to be re-illuminated to the development of Korean cultural original forms as a nation's strategic standpoint.

• Cartoon and Animation Studies
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• s.50
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• pp.383-422
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• 2018

In this paper, I study the development of character in the fantasy genre of trans-media contents. In this study, I studied the novel " Songs of Fire and Ice " from the existing fantasy genre, and found that the content was expanded to include characters and features that were important to compared with the other fantasy genre content. Late fantasy genre writers since The Lord of the Rings have inherited a sort of genre of standards, and have established the genre of high fantasy. The genre has a typical characteristic of heroic characters or group adventures, based on the stage 12 heroic epic by mythologist Joseph Campbell. So the body of this paper will explore the journey of the heroic character in " Songs of Fire and Ice" and will be compared to the mythic motif and to the heroic epic narrative, and then find out the exceptional features of " Songs of Fire and Ice " as a fantasy genre.

• The Journal of the Korea Contents Association
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• v.12 no.4
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• pp.186-197
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• 2012

The purpose of the thesis is to answer the question on how the visual image content, being the original content, should be adapted to and represented as a spatial content. The thesis focuses on adaptation as the key in the conversion process of visual image content to a themed space. There are many published studies dealing with storytelling, adaptation from books to movies and TV shows, or from movies to games and vice versa. On the contrary, when it comes to adaptation from visual image content to spatial content, noticeably few studies were done on the method, and fewer studies view adaptation as the prior step of storytelling. This study first defines adaptation, and then applies the methods of Gianetty and Dudley which is further incorporated into the conversion of visual image content into a themed space. It then turns the attention to the characteristics of themed spaces. A case study highlights that a themed space is a spatial representation of the story, image and action in the visual image content, and analyze the type of adaptation made. The study results draws two conclusions; adaptation must be carried out prior to the storytelling of the spatial content; and opposed to a third-person view of the visual image content, the main factor in a themed space is first-hand experience. Thus, the thesis suggests that conversion from visual image content to themed spaces are not merely imitative but is a full range of recreation of a new content. It is expected that more detailed analyses on the particulars will lead to feasible outcome on implementing various methods of adaptation and bring about effective conversions between the visual image contents and themed spaces.

• Journal of the Economic Geographical Society of Korea
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• v.11 no.2
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• pp.203-215
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• 2008

Film-induced tourism in Gyeongbuk and Korea is concentrated on the on-location set, one-off events and film tourism as part of a holiday(visiting film locations or studios as an activity within a larger holiday) among several forms of film-induced tourism. Film-induced tourism in Gyeongbuk has been increased since the opening of the KBS on-location set of Mungyeong. The on-location set has brought the growth of film-induced tourism and thus many local governments have competed with one another for the construction of the on-location set without considering the management of the on-location set. This study is aimed at suggesting ways to minimize these negative problems and to boost film-induced tourism. First of all, we should find ways to sustain each characteristic of the on-location set. Second, we should develop the new tourism destinations by diversifying the forms of film-induced tourism through the opening of the film-related events and the construction of the film-related facilities. Last, film-induced tourism should be enlarged to contents tourism. It needs to enlarge the role of the Gyeongbuk Film Commission. The Gyeongbuk Film Commission should take exclusive responsibility of developing the film-related tourism commodities.

• Cartoon and Animation Studies
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• s.41
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• pp.553-578
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• 2015

The Korean society was forcefully merged with the invasion of Japan in 20th century, and traditional culture of Korea was damaged severely by colonization from Japan. After liberation, Korean society experienced drastic social change with Korean War, and industrial economy and democratic system developed as modernization and democratization occurred. However, Korean traditional culture dissolved more severely as Korean society developed industrial economy and democracy. As criticism of existing Western center of society and the emphasis of cultural identity of non-western regions and third-world, world society preferred exchange of culture of diverse nations and people with each other in advent of postmodernism thoughts in mid-late 20th century. If the cultural identity of Korea was dissolving meanwhile, it was needed to be recovered again. Despite the research in Korean history, language, art, architecture was performed to recover cultural identity of Korea, it did not go in-depth with Korean mythology, for Korean mythology is considered as superstition or savage. Mythology shows subconscious group psychology of people who live in certain specific region. Studying Korean mythology is one of the ways to rediscover cultural identity of Korea. In order for Korean mythology to be known to many people, its stories should be told by media. There were movies, plays, drama, and novels produced based on existing Korean mythology as introduction, then these mythical stories are appear in subculture contents such as recent comics, animation, webtoon, games, and light novels. Then population of game players and webtoon readers increased as dissemination of PC and smart phones, and increasing market scale of subculture contents increased a population of consumers of comics, animation, and light novel. Consumers of sub-culture contents were interested as many of these contents were created, base on Korean mythology. Therefore, this paper is written as research on Korean mythology and its signification in sub-cultural contents which were produced base on Korean mythology.