• Digital Contents
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• no.3 s.130
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• pp.114-120
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• 2004

바야흐로 국내 인터넷 이용 인구 3,000만명 시대를 눈앞에 두고 있다. 정보통신부의 2003년 하반기 정보화 실태조사에 따르면 국내 인터넷 이용인구는 2002년 12월 기준으로 2,922만명에 달한다. 특히 10대와 20대의 인터넷 이용률은 각각 94.8%와 94.5%에 이른다. 중 장년층의 인터넷 이용률도 꾸준히 증가하고 있다. 인터넷의 이용 용도는 주로 자료 및 정보 검색, 게임, 전자우편등이다. 오프라인 상에서도 존재했던 일상 생활의 일부가 온라인으로 변형돼 옮겨진 셈이다. 이처럼 개인 대 개인은 물론 개인 대 단체, 단체 대 단체간에 이뤄지는 전자우편, 메일링리스트, 메신저, 게시판등 온라인 상에서 발생하는 모든 형태의 의사소통을 가리켜 컴퓨터 매개 커뮤니케이션이라고 한다.

• Journal of Digital Contents Society
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• v.18 no.6
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• pp.1057-1065
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• 2017

Coding education for elementary school student spreads around the world. Game activity that children like is one of coding education methods. Among these, a board game is a tool where 3~4 children can participate together. This study developed a storytelling-based board game to help elementary school students understand Software education. The board game is composed of board, three types of command cards and dice. This study simultaneously surveyed and interviewed 57 fifth- and sixth-grade students at elementary school after playing the board game 4 times so as to analyze the usefulness of the developed software board game. In the results of study, most of elementary school students would be interested and participated in active. Elementary school students actually got to know algorithm easily through board game activity, and learned basic programming concepts such as sequence, condition, loop, variable and operation.

• Journal of Korea Game Society
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• v.17 no.1
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• pp.79-88
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• 2017

This study aims to examine attributes of fandom related to storytelling of media conversion in terms of division of obsession and hysteria from the psychoanalysis. Fandom of crossmedia storytelling represented by adaptation of the original is the subject who experienced a great satisfaction from the original and also the obsessive subject who does not accept easily story transformation by adaptation. Besides, fandom of transmedia storytelling is the hysterical subject who recognizes lack of the storyworld and enjoys such a lack. The original fandom of crossmedia enjoys phallic order in the authority of an original author and the original storyworld, and fandom of transmedia experiences continual and infinite 'other enjoyment' through active and direct experience beyond the linguistic order. This study is a theoretical argument to identify characteristics of fandom shown from both extremes of media conversion through comparison of obsession and hysteria. It is expected to prepare a foundation for understanding fandom of media conversion through complementing qualitative analysis on the real fandom in the follow-up research.

• Journal of Korea Game Society
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• v.12 no.3
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• pp.25-36
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• 2012

Cross-Media Storytelling(CMS) is the new method of media representation. It picks the features and the elements in one media, and uses them in another media. 'Remediation' in digital era uses the content of old media in new form based on new technology. But 'CMS' represents the basic elements of the media experience in each unique style of media. It changes the focus from the technology to experience. So CMS is the new strategy of the media not based on the new technology. Adam PESapane's (2006) is a example for this strategy. It takes the game media as a subject matter. But it expresses the meta-representation of game experience in the "stop motion animation" Especially it emphasizes the narrative chain between the usual phenomenon and the visual imagination. And it shows the possibility of representation of new media experience in the old media genre. So it suggests the conditions of CMS.

• 한국HCI학회:학술대회논문집
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• 2008.02b
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• pp.534-539
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• 2008

Nowadays, UI(User Interface)'s main target area is getting larger from user's convenience oriented interface, to user's satisfaction oriented interface. In this study, we attempted 'Storytelling User Interface' for fulfillment of user's satisfaction. We analyzed UI in games, distinguished and clarified its effectiveness that conveys main contents and special features to its audience. The most important element in storytelling UI is 'Inherent Drama'. This was proved through the game analysis with Blizzard's 'Diablo', Sierra's 'Home world', Eden Games' 'Test Drive Unlimited', EA's 'Black And White', and Sony Entertainment's 'Eye Of Judgment'. And we divided storytelling elements into 3 pieces, Mood Design - that shows story's background, or traits, Natural Control - for user's feeling as a hero in the content, and Flow Directing - using animation, visual design and sound, etc. Via these elements, we can make the best use of background, icon, animation, every structures and flow in games. Finally, we embodied three pieces for putting in practice for effective improving interface.

• Journal of The Korean Association For Science Education
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• v.39 no.1
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• pp.45-57
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• 2019

NOS education through the history of science is regarded effective. However, science teaching has been criticized for not considering the interest of the learners enough and providing the context of learning themes that hinder the understanding of NOS. This study intends to convey the NOS element through the rich context of storytelling. The theme of the story is the history of continental drift, in which, the debate of many scientists and Wegener's creativity are prominent. Of the various media that deliver storytelling, the most powerful medium that leads to personal immersion is computer games, and among many kinds of games, the main genre of storytelling is role-playing games (RPGs). We developed the science history role-playing game (SHRPG) focusing on continental drift. The game development procedure followed Kim's 4F process (2017), which consists of the Figure Out, Focus, Fun Design, and Finalize. The story was constructed based on the NOS elements of Lederman et al. (2002), namely creativity and imagination demand, subjectivity, socio-cultural personality and tentativeness, which are all present in the story of the continental drift theory. The mechanics and rules of the RPG included quests, rewards, quizzes, NOS scores, and rankings. In the final phase of development, the game developed was pilot tested four times. The results of the tests showed that students' understanding of NOS through SHRPG has increased, especially in the creativity domain. The students' satisfaction with the fun, sympathy, and immersion during the game was very high.

• Journal of Popular Narrative
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• v.27 no.2
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• pp.107-142
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• 2021

Emergence of new media platform had changed relationship between the broadcaster and the viewer, which used to form 'performer-audience' structure. This research has focused on the transition of 'streamer-viewer' role in single-media broadcasting, such as Youtube or Twitch, and identify how they progress group storytelling as a team. Walter Benjam and Leslie Marmon Silko's notion of 'story and storyteller' and Erving Goffman's 'social role theory' was used to define participants' role in new media broadcasting. channel, on Youtube, was selected and analyzed as example case. The domain of 'front stage' was broadened in recorded contents comparing to live streaming. The audience of live streaming is included to the front stage during the expansion. The role of streamer, game participant, and live stream contents viewer is also adjusted during the change, which leads to group-creation of the contents. Streamer plays a role of main-storyteller and suggest identity of the community. Game participants work as sub-storyteller, filling in the blank space in game storytelling and making it sophisticated. They also perform based on community's identity, which streamer has built in advance. Lastly, live steam viewers are intermittent sub-storyteller, which seldom add up the narrative. Though, their main role is to preserve identity of game broadcasting community by reacting according to community's identity. As a result, the game broadcasting narrative is developed by combining and adding up pieces of story made in different level and role of participants. The research redefine the role of viewer and storytelling method in new media, especially in single-person broadcasting. Considering the rapid shift in recent media and contents, a new approach to the streamer-veiwer role and group storytelling of this research can be one of the new method to analyze contents produced in new media, such as Youtube.

• Journal of Korea Game Society
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• v.16 no.3
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• pp.65-76
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• 2016

The paradigm of the human experience through computer as a medium is moving from cultural interface to cultural software. Mod represents this paradigm shift in digital game culture. Until now, Digital game play focused on the immersive agency in the process of achieving the goals of the game. On the other hand, In Mod, play focus on generative agency in the process of creating and solving problems in game world. Through Mod, original game perceived as transformable data and creative material. Transformation and generation of such a game content through the user's Mod presents a sustainable model of the digital game.

• Journal of Korea Game Society
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• v.14 no.4
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• pp.17-26
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• 2014

This Paper discusses about the popularity of indie games that have recently caught spotlight from multiple platforms by finding the reason from the games' innovative way of interaction and new attempts in narrative style, and the objective is a preliminary study on indie games' game design, storytelling and it's prestige. This paper focuses on the aspects of indie games compared to established studio games by means of interaction mechanism, directing style and narrative style, and analyzed it with examples. In addition, it looks into examples of Korean indie games entering global platforms such as Steam.

• Journal of Korea Game Society
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• v.14 no.4
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• pp.75-86
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• 2014

This study explored the expandability and prospect of the game, one of the cultural contents that may potentially lead the next Korean Wave. The study found that for the game to grow and be recognized as the cultural product of the Korean Wave, it was necessary to develop the strategies to ensure the sustainability of the game and to build plans for powerful storytelling techniques that help the public become more familiarized with the game as part of the Korean Wave and maximize the public's affinity and preference of such game. It was also found that one of the immediate priorities is to develop the games that are characterized as their unique use and representation of the Korean culture in the global market while designing effective localization plans and paving the way for a government-level system of support.