• Cartoon and Animation Studies
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• s.20
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• pp.75-86
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• 2010

Recently, as the number of female players has increased rapidly, the electronic gaming industry has begun to look at ways to appeal to the largely untapped female market. According to the latest game market investigative report by China Internet Network Information Center (CNNIC), the total number of game players in China increased by 24.8% in 2009, reached 69,130,000 people, and 38.9% of them are female players. This growth in the number of female player is corroborated by a series of investigative reports from IResearch Company in Shanghai, China: from 2003 to 2009, the number of female players grew from 8% to more than 49%. Therefore, no matter how much attention the game production companies have given to male players or how they have ignored the female players before, the companies would be sensible to face up this reality and adjust their marketing policy a bit more. This article analyzes gender preferences in video games which shows that male players are more likely to be attracted to elements of aggression, violence, competition and fast action in electronic game-playing, while female players are drawn to emotional and social aspects of the games such as an understanding of character relationships. The literatures cited indicates that female players also show apparent preference for games with familiar environments, games that allow players to work together, games that have more than one way to win, and games in which characters do not die. It also discusses the characteristics of female-friendly games from the aspect of emotion, pointing out that the simulation games involving pet, dressing-up, and social simulation games are very popular with female players. Because these are the most suitable game types to fill with emotions of love, share, jealousy, superiority, mystery, these are absolutely attractive to female players. Finally, in accord with the above, I propose some principles of designing female-oriented games, including presenting a good-looking leading character, making the story interesting with "live" NPCs(Non-Playing Characters), and finding ways to satisfy female nature instincts such as taking care of others and the inborn interest of classifying and selecting.

• Journal of Korea Game Society
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• v.17 no.5
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• pp.113-122
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• 2017

The location of the objects that make up a game can be an element of immersion for players. repeatedly appearing at the same position, the fun may be reduced, and as the play time elapses, the players will feel the game's fun as they appear in a larger area than at the beginning of the game play. This paper is a study to find out the location of objects according to the passage of time and to see how players controlled these objects. First, foreground images are extracted and accumulated using OpenCV programming language. The accumulated result is displayed as a heat map image. Second, the mouse movement area is detected using the mouse tracking program and compared with the heat map image, so that the screen area in which the player is interested can be known.

• The Journal of the Korea Contents Association
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• v.9 no.11
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• pp.1-9
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• 2009

In virtual environments, such as computer game and animation, we need to enhance naturalness of crowd simulation. So, we propose a method to generate dynamically moving crowd patterns by applying emotional factors to the individual characters of a crowd in the determination of their behavior. The proposed method mimics human behavior and controls each character in a group to decide its own path according to its individual status. And it is able to generate various moving patterns as a result of letting the individuals go to another group depending upon their conditions. In this paper, some temperament and feeling factors are defined and determination rules for calculating the emotional status are also proposed. Moreover we use a fuzzy theory for accurate representation of the ambiguous expressions such as feeling bad, feeling good and so on. Our experiments show that the suggested method can simulate virtual crowd in more natural and diverse ways.

• The KIPS Transactions:PartB
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• v.10B no.1
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• pp.1-12
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• 2003

In this paper, we Introduce the Unreal Tournament (UT) game and the Gamebots system. The former it a well-known 3D first-person action game and the latter is an intelligent agent research testbed based on UT And then we explain the design and implementation of KGBot, which is an intelligent non-player character deploying effectively within the 3D virtual environment provided by UT and the Gamebots system. KGBot is a bot client within the Gamebots System. KGBot accomplishes its own task to find out and dominate several domination points pro-located on the complex surface map of 3D virtual environment KGBot adopts UM-PRS as its control engine, which is a general BDI agent architecture. KGBot contains a hierarchical knowledge base representing its complex behaviors in multiple layers. In this paper, we explain details of KGBot's Intelligent behaviors, tuck af locating the hidden domination points by exploring the unknown world effectively. constructing a path map by collecting the waypoints and paths distributed over the world, and finding an optimal path to certain destination based on this path graph. Finally we analyze the performance of KGBot exploring strategy and control engine through some experiments on different 3D maps.

• Proceedings of the Korean Society of Computer Information Conference
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• 2022.01a
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• pp.383-386
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• 2022

본 논문에서는 COVID-19와 같은 위급한 상황에서 바이러스 검사를 빠르게 진행하기 위한 K-d 트리 기반의 그래프 구축과 환자 이동 경로 시스템을 제안한다. 가상환경에서 활용되는 대표적인 길 찾기 알고리즘은 A^*나 NavMesh 자료구조는 정해진 정적 이동 경로만을 안내하려는 방법이기 때문에 가상환경에서 NPC를 제어할 때는 효율적이지만, 실제 환경에 적용하여 문제를 풀기에는 충분하지 않다. 특히, 빠른 바이러스 검사를 받기 위해서는 짧은 거리만을 이용하는 게 아닌, 실제 도로 교통상황, 병원의 크기, 환자 이동 수, 환자 처리 시간 등 고려해야 할 상황들이 많다. 본 논문에서는 위에서 언급한 다양한 속성들과 이를 이용한 최적화 함수를 모델링하여, 실제 도시 맵에서 바이러스 검사를 빠르고 효율적으로 제어할 수 있는 프레임워크를 제안한다.

• Trans-
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• v.15
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• pp.25-56
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• 2023

VR is a dynamic image simulation technology with very high information density. Among them, spatial depth, temporality, and realism bring an unprecedented sense of immersion to the experience. However, due to its high information density, the information contained in it is very easy to be manipulated, creating an illusion of objectivity. Users need guidance to help them interpret the high density of dynamic image information. Just like setting up navigation interfaces and interactivity in games, interactivity in virtual reality is a way to interpret virtual content. At present, domestic research on VR content is mainly focused on technology exploration and visual aesthetic experience. However, there is still a lack of research on interactive storytelling design, which is an important part of VR content creation. In order to explore a better interactive storytelling model in virtual reality content, this paper analyzes the interactive storytelling features of the VR animated version of <Wolves in the walls> through the methods of literature review and case study. We find that the following rules can be followed when creating VR content: 1. the VR environment should fully utilize the advantages of free movement for users, and users should not be viewed as mere observers. The user's sense of presence should be fully considered when designing interaction modules. Break down the "fourth wall" to encourage audience interaction in the virtual reality environment, and make the hot media of VR "cool". 2.Provide developer-driven narrative in the early stages of the work so that users are not confused about the ambiguous world situation when they first enter a virtual environment with a high degree of freedom. 1.Unlike some games that guide users through text, you can guide them through a more natural interactive approach that adds natural dialog between the user and story characters (NPC). Also, since gaze guidance is an important part of story progression, you should set up spatial scene user gaze guidance elements within it. For example, you can provide eye-following cues, motion cues, language cues, and more. By analyzing the interactive storytelling features and innovations of the VR animation <Wolves in the walls>, I hope to summarize the main elements of interactive storytelling from its content. Based on this, I hope to explore how to better showcase interactive storytelling in virtual reality content and provide thoughts on future VR content creation.