• Journal of Global Scholars of Marketing Science
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• v.18 no.2
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• pp.147-187
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• 2008

Online game researchers focus on the flow and factors influencing flow. Flow is conceptualized as an optimal experience state and useful explaining game experience in online. Many game studies focused on the customer loyalty and flow in playing online game, In showing specific game experience, however, it doesn't examine multidimensional experience process. Flow is not construct which show absorbing process, but construct which show absorbing result. Hence, Flow is not adequate to examine multidimensional experience of games. Online game is included in hedonic consumption. Hedonic consumption is a relatively new field of study in consumer research and it explores the consumption experience as a experiential view(Hirschman and Holbrook 1982). Hedonic consumption explores the consumption experience not as an information processing event but from a phenomenological of experiential view, which is a primarily subjective state. It includes various playful leisure activities, sensory pleasures, daydreams, esthetic enjoyment, and emotional responses. In online game experience, therefore, it is right to access through a experiential view of hedonic consumption. The objective of this paper was to make up for lacks in our understanding of online game experience by developing a framework for better insight into the hedonic experience of online game. We developed this framework by integrating and extending existing research in marketing, online game and hedonic responses. We then discussed several expectations for this framework. We concluded by discussing the results of this study, providing general recommendation and directions for future research. In hedonic response research, Lacher's research(1994)and Jongho lee and Yunhee Jung' research (2005;2006) has served as a fundamental starting point of our research. A common element in this extended research is the repeated identification of the four hedonic responses: sensory response, imaginal response, emotional response, analytic response. The validity of these four constructs finds in research of music(Lacher 1994) and movie(Jongho lee and Yunhee Jung' research 2005;2006). But, previous research on hedonic response didn't show that constructs of hedonic response have cause-effect relation. Also, although hedonic response enable to different by stimulus properties. effects of stimulus properties is not showed. To fill this gap, while largely based on Lacher(1994)' research and Jongho Lee and Yunhee Jung(2005, 2006)' research, we made several important adaptation with the primary goal of bringing the model into online game and compensating lacks of previous research. We maintained the same construct proposed by Lacher et al.(1994), with four constructs of hedonic response:sensory response, imaginal response, emotional response, analytical response. In this study, the sensory response is typified by some physical movement(Yingling 1962), the imaginal response is typified by images, memories, or situations that game evokes(Myers 1914), and the emotional response represents the feelings one experiences when playing game, such as pleasure, arousal, dominance, finally, the analytical response is that game player engaged in cognition seeking while playing game(Myers 1912). However, this paper has several important differences. We attempted to suggest multi-dimensional experience process in online game and cause-effect relation among hedonic responses. Also, We investigated moderate effects of perceived complexity. Previous studies about hedonic responses didn't show influences of stimulus properties. According to Berlyne's theory(1960, 1974) of aesthetic response, perceived complexity is a important construct because it effects pleasure. Pleasure in response to an object will increase with increased complexity, to an optimal level. After that, with increased complexity, pleasure begins with a linearly increasing line for complexity. Therefore, We expected this perceived complexity will influence hedonic response in game experience. We discussed the rationale for these suggested changes, the assumptions of the resulting framework, and developed some expectations based on its application in Online game context. In the first stage of methodology, questions were developed to measure the constructs. We constructed a survey measuring our theoretical constructs based on a combination of sources, including Yingling(1962), Hargreaves(1962), Lacher (1994), Jongho Lee and Yunhee Jung(2005, 2006), Mehrabian and Russell(1974), Pucely et al(1987). Based on comments received in the pretest, we made several revisions to arrive at our final survey. We investigated the proposed framework through a convenience sample, where participation in a self-report survey was solicited from various respondents having different knowledges. All respondents participated to different degrees, in these habitually practiced activities and received no compensation for their participation. Questionnaires were distributed to graduates and we used 381 completed questionnaires to analysis. The sample consisted of more men(n=225) than women(n=156). In measure, the study used multi-item scales based previous study. We analyze the data using structural equation modeling(LISREL-VIII; Joreskog and Sorbom 1993). First, we used the entire sample(n=381) to refine the measures and test their convergent and discriminant validity. The evidence from both the factor analysis and the analysis of reliability provides support that the scales exhibit internal consistency and construct validity. Second, we test the hypothesized structural model. And, we divided the sample into two different complexity group and analyze the hypothesized structural model of each group. The analysis suggest that hedonic response plays different roles from hypothesized in our study. The results indicate that hedonic response-sensory response, imaginal response, emotional response, analytical response- are related positively to respondents' level of game satisfaction. And game satisfaction is related to higher levels of game loyalty. Additionally, we found that perceived complexity is important to online game experience. Our results suggest that importance of each hedonic response different by perceived game complexity. Understanding the role of perceived complexity in hedonic response enables to have a better understanding of underlying mechanisms at game experience. If game has high complexity, analytical response become important response. So game producers or marketers have to consider more cognitive stimulus. Controversy, if game has low complexity, sensorial response respectively become important. Finally, we discussed several limitations of our study and suggested directions for future research. we concluded with a discussion of managerial implications. Our study provides managers with a basis for game strategies.

• Journal of Service Research and Studies
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• v.6 no.3
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• pp.29-40
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• 2016

Since the late 20th century, there has been much effort to improve the market value of media contents which are commercialized in a digital format, by fusing digital data of video, audio, numerals, characters with IT technology together. Then by what criteria and methodologies could the market value for the drama "Sons of the Sun" or the animated film 'Frozen', often referred to in the meida, be estimated? In the circumstances there has been little or no research on the valuation framework of media contents and the status of their valuation system development to date, we propose a practical valuation models for various purposes such as contents trading, review of investment adequacy, etc., by formalizing and presenting a contents valuation framework for the four types of media of movies, online games, and broadcasting commercials, and animations. Therefore, we develope computational methods of cash flows which includes production cost by media content types, provide reference databases associated with key variables of valuation (economic life cycle, discount rates, contents contribution and royalty rates), and finally propose the valuation framework of media contents based on both income approach and relief-from-royalty method which has been applied to valuation of intangible assets so far.

• The Journal of the Korea Contents Association
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• v.5 no.4
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• pp.133-140
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• 2005

Culture Technology is the basic technology which produces cultural contents in a narrow sense. All nations do their best in order to create new contents which can form international and cultural sympathy. If a variety of contents are created by applying Korean proper cultural heritages, they will be creative and competitive internationally. Therefore, technology of original cultural restoration is an essential and crucial skill. In this paper, 'gilt bronze dragon-phoenix ring-pommeled sword', a cultural heritage of baekje age, will be restored to the original form digitally on the basis of three-dimensional shape-information processing technology and the scientifically analyzed data. First of all, data from three-dimensional scanning is revised using stuffing and smoothing methods after sampling, extracting characteristics, and align. Then, they are modeled in a curved surface with NURBS and B-Spline. Secondly, textures are edited by estimating the color of components and the quality of materials, and then they are mapped. Original form model which was made was revised and corrected by specialists' examinations. The digitally revised ring-pommeled sword was combined with information technology, and it can be used to revise damaged cultural heritages by constructing formal database of ring-pommeled sword with regard to age, area and type. It can be also used as educational contents in archaeology or preservation science and cultural contents such as movies, broadcasts, games, animations and so on.

• Journal of Internet Computing and Services
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• v.18 no.3
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• pp.29-36
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• 2017

In these days, 3D dynamic simulation is closely related to many industries. In the past, physically-based 3D simulation was used mainly in the car crash or construction related fields, but it also plays an important role in movies or games today. Many mathematical computations are needed to represent the 3D object realistically, but it is difficult to process a large amount of calculations for simulation of application based on CPU in real-time. Recently, with the advanced graphic hardware and improved architecture, GPU can be utilized for the general purposes of computation function as well as graphic computation. Many approaches using GPU have been applied for various research fields. In this paper, we analyze the performance variation of two cloth simulation algorithms based on GPU according to the change of execution properties of GPU shaders in oder to optimize the performance of GPU-based cloth simulation. Cloth simulation is implemented by the spring centric algorithm and node centric algorithm with GPU parallel computing using compute shader of GLSL 4.3. We compare the performance of between these algorithms according to the change of the size and dimension of work group. The experiment is repeated to 10 times during 5,000 frames for each test and experimental results are provided by averaging of FPS. The experimental result shows that the node centric algorithm is executed in higher speed than the spring centric algorithm.

• Journal of Broadcast Engineering
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• v.17 no.2
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• pp.400-410
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• 2012

In recent years, 3D displays are used in many media including 3D movies, TV, mobile phones, and PC games. Although 3D displays provide realistic viewing experience as compared with 2D displays, they also carry issues such as visual fatigue or size distortion. Focusing on the latter, we developed prediction function of object size perception as a function of object depth in 3D display. In Experiment 1, subjects observed 3D square of a fixed size of varying depth, and manipulated 2D square to make it as large as the 3D square. Conversely, in Experiment 2, subjects observed 2D square of a fixed size, and manipulated 3D square of varying depth to make it as large as the 2D square. In both Experiments 1 and 2, we found that size perception of 3D square linearly changed depending on depth of the square, and the linear relationship between depth and size was identical in both experiments. The predictive regression function, which predicts object size perception based on object depth, obtained in this research will be very useful in the creation of 3D media contents.

• The Journal of the Korea Contents Association
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• v.9 no.1
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• pp.417-427
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• 2009

This article studies on the identity of Korean Culture and the direction of Korean culture contents. Our Korean society goes on to value-pluralism and cultural diversity. In this point, we need to confirm the identity of our Korean culture. And we meet with the crisis of Humanities. Humanities is the core of our culture. It is the key point to make identity of our Korean culture as cultural universality and to apply it to develop Korean culture contents for the revival of Humanities. The core contents of Korean culture lies in the ancient myth, the thought of Hwarang, Confucianism, Neo-Confucianism, Buddhism, Taoism, the practical thought, thought of Yangmyeong study and the thought of East study and so on. On the basis of these thoughts, the core of Korean culture are humanity, harmony, the spirit of Punglyu, thought of life- esteem, ethics of environment etc. I suggest that we can apply our cultural core ideas those I analyzed above to develop Korean culture contents in the fields of cinema, music, cartoon, animation, game, character, digitalization, cultivation of experience programs of Korean culture etc. In addition, I suggest their commercial application like e-learning and culture contents education.

• Cartoon and Animation Studies
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• s.44
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• pp.33-56
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• 2016

As the rapid extension of the game and film industry, studies on developing natural movements on a 3D characters are increasing. Rigging a character with joints is essential to create realistic movements on a 3D character. The rapid development of the CG industry, rigging technologies and workflow is becoming more sophisticated. Despite the progress and the growth of rigging operations, has shown the limitations of such repetitive tasks. For this study, analyzes the issues and inefficiency of the old method of skin weights and propose a better approach. First, need to understand the general process of an animation pipeline and learn the technology term of skin weights. Second, comparing the traditional ways of skinning a character and applying other deformers to work properly. Third, testing out new ways of weighting a character by applying deformers such as lattice and finally converting lattice weights back to skin weights. Forth, verifying effectiveness of the new method of skin weights by comparing with the traditional skin weighting process. The study shows that the new method of skin weights, reduced working hours and a better final weighting outcome. Expecting this study to enhance the method of skin weights and able to utilize this new skinning technology.

• The Journal of the Convergence on Culture Technology
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• v.6 no.3
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• pp.83-90
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• 2020

Recently, a growing number of copyright infringement websites have illegally copied and posted works such as broadcasting, movies and music, and posted advertisements to make profits. The research is aimed at finding solutions by analyzing the current status of advertisements on copyright infringement websites. The results of this study are as follows. First of all, there are many advertisements harmful to teenagers, such as casinos, betting, games, adult products, and adult meeting, which is necessary to deal with. Secondly, there were many unethical advertisements on copyright infringement websites, but there were also many advertisements from famous companies. Advertisements from large companies and famous brands are also being executed continuously, which can create trust in illegal sites. Therefore, the government, advertisers, citizens, and academia should participate in a campaign to root out the use of illegal websites because it is impossible to eradicate them by crackdown alone. In this paper, we pointed out the practical problems of advertising execution, the main source of revenue for copyright infringement websites, and presented a comprehensive solution.

• Knowledge Management Research
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• v.17 no.1
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• pp.73-89
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• 2016

The digital culture contents is one of the fastest growing industry in Korea and it accounts for 60% of the digital contents industry. This paper attempts to analyze economic impacts of the digital culture contents industry using input-output analysis. This study investigated the production-inducing effect, value-added-inducing effect and employment-inducing effect of the digital culture contents industry based on a demand-driven model. In addition, the study dealt with the supply shortage effect and sectoral price effect of the digital culture contents industry using a supply-driven model and the Leontief price model, including the inter-industry linkage effects of 29 sectors with the digital culture contents industry sector. Some interesting findings were drawn from the study. First, production of 1.0 won in the digital culture contents industry results in production-inducing effect of 2.39542 won, value-added effect of 1.29895 won and employment-inducing effect of 0.39657 persons in other industries. Second, the supply shortage of 1.0 won in the digital culture contents industry prevents other industries from producing 0.56631 won. Third, a 1% increase in the price level of the digital culture contents industry raises the overall price level by 0.06017%. Finally, very high backward linkage effects were found, but forward linkage effects were minimal.

• Journal of Distribution Science
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• v.13 no.10
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• pp.109-114
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• 2015

Purpose - The movie market has the characteristics of being a perfectly competitive market as well as a pure monopolistic market at the same time. This is because there are competitors in the industry but prices, although not fixed, have not changed a lot. Price competition may not have spread, but the competition is focused on artistic value, and the degree of box office success is most important. The artistic value is determined in the course of the production process. However, the degree of box office success is dependent upon the marketing manager. The marketing strategy represents the difference in the standard or quality of the movie. Inherently, the marketing manager adopts the entertainment strategy based on the quality of the foundation of the completed movie. At this time, the marketing manager knows the pertinent information (high quality/low quality) regarding the movie. This research study tries to reveal what should be the reasonable movie marketing expense, dependent on the quality of the movie. Research design, data, and methodology - Using a game scenario with different market players, the goal of the research analysis is to find out the following. First, the marketing expense is determined to maximize the profits after film production. Second, after the production costs are already committed, the manufacturer gets to choose the marketing level. At this time, there will be a profit maximization point, considering the competition. The premise of the research is as follows: if it is a good movie of quality, positive word of mouth increasing the audience continuously slows down the speed of the demand curve. If the movie quality is bad, the negative word of mouth decreasing the audience gradually hastens the speed of the demand curve. On the marketing side, when the manufacturer invests heavily in the marketing expense of the movie, consumer expectations increase to drive up the audience numbers. On the other hand, it is difficult to improve the profits excessively. When the manufacturer invests in marketing a little bit, the marketing expense is only relatively committed, therefore a lot of demand cannot be gained. Results - If a fixed market share is in a competitive situation, a low quality manufacturer expends relatively more marketing expense. If the situation assumes two manufacturers spend the same for the cost of production, the high quality manufacturer takes more profit. If the manufacturer expends less marketing budget to save costs, the optimum profit cannot be achieved since the other party (opponent) grabs the initial market share. Conclusions - In conclusion, investment is essential for market share to increase. We must refrain from a zero-sum game and have models where the game participants pursue the creative profits together. In the current film industry, there is the dominating logic of winner and loser but we have to create a film industry environment where the participants can be altogether satisfied and live together.