• Journal of Digital Convergence
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• v.13 no.7
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• pp.349-357
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• 2015

Giant character used various SF movies and games in media convergence ages, and is essential for giant character in success contents. It This study defined giant character of SF movies and games, it analysed the eight of external characteristics and internal characteristics of giant character in SF movies and games. The external characteristics defined shape, silhouette, size and color, the internal characteristics defined fear, satanism, image and story focus, playfulness. Above, it was structured positioning model of giant character based eight characteristics and analyzation of example of SF movies and games. The elements of positioning model of giant characters are darkness, huge, abnormal, human, animal, fear, satanism, story focused, image focused and playfulness, and this study was proposed these model of elements of eight in SF movies and games.

• Journal of Korea Game Society
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• v.15 no.6
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• pp.7-16
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• 2015

To improve the sense of unity between game players and game world avatars, we propose a method to measure game player's physical status and manipulate game character appearances and behavior using the measurements. To measure the status, we implemented a hardware module that perceive the body temperature. We implemented a 3D horror game whose game space is a common subway space ordinarily encountered in daily life so that ordinary people can easily get used to the game environment. The experiments of applying the measurement data from the game player to the game world avatar shows that the player's physical status can be effectively utilized to improve the sense of reality in gameplay.

• Digital Contents
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• no.9 s.160
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• pp.90-93
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• 2006

흥행의 귀재 스티븐 스필버그가 오랜 동료 로버트 저메키스와 함께 제작한 애니메이션 <몬스터 하우스>는 제목 그대로 집 자체가 괴물인 영화다. 집 창문이 야수의 눈처럼 이글거리고, 양탄자가 혓바닥이 되어 세상의 모든 것을 집어삼킨다. <몬스터 하우스>는 그렇게 낯선 폐가가 주는공포를 기발한 상상력으로 완성해낸다. 특히 배우들의 움직임과 표정을 세밀하게 포착한 퍼포먼스 캡처기술을 사용해 마치 실사와 같은 테크닉을 발휘하며 작품속에 몰입하게 만든다. 메가폰은 스필버그가 발탁했다는 신인 감독 길캐넌이 잡았고, 각본은 <유령신부>의 파멜라페틀러가 썼다. 다양한표정연기를 선보이는 캐릭터들이 선사하는 유머와 공포를담은<몬스터하우스>의매력을 되짚어본다.

• Journal of Fashion Business
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• v.12 no.5
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• pp.77-93
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• 2008

The purpose of the study was to examine make-up expression elements of horror characters as an evil spirit, a vampire, a zombie, a monster and a psycho murderer through make-up, focused on horror movies of the United States after1960s. First, an evil spirit was expressed that the pupil grew dim without a focus and the skin was torn by going bad and rot completely. Also, it was expressed that its teeth was changed to pointed canine teeth as a wild beast and its pale and bloodless face showed blood vessels clearly. To express its bloodless and pale skin, air brush was swept into the skin over several times. Its canine tooth was made acryl powder into its shape and was harden to make its shape smooth. Also, it was colored to show people like the real thing. Second, a vampire was expressed by make-up elements as long nails, a sharp canine tooth, a pale skin with a blood vessel and dead eyes. Its rough skin and long nails were manufactured with latex foam, which was colored like the skin. Third, a monster image as a werewolf was expressed by make-up elements as fur, sharp teeth, changed nails and toenails, a rough skin and a face changed to a wolf. Rubber mask and rubber body suit were manufactured as a make-up of special character and so all its body was changed. Fourth, a psycho murderer and body-deformed man were expressed by make-up elements as a distorted mask, swelled-up and deformed skull and face form, terribly deformed body, discolored and hang down skin and teeth with an indeterminate form. Its body and face were manufactured by the foam latex technology according to make-up design as a make-up of special character.

• The KIPS Transactions:PartB
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• v.18B no.6
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• pp.375-384
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• 2011

This paper suggests a method to recognize facial expressions of animation characters by means of dominant colors and feature points. The proposed method defines a simplified mesh model adequate for the animation character and detects its face and facial components by using dominant colors. It also extracts edge-based feature points for each facial component. It then classifies the feature points into corresponding AUs(action units) through neural network, and finally recognizes character facial expressions with the suggested AU specification. Experimental results show that the suggested method can recognize facial expressions of animation characters reliably.

• The Journal of the Korea Contents Association
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• v.16 no.5
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• pp.21-34
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• 2016

In the design and develop a virtual character, it is important to correctly deliver target emotions generated by the combination of facial expression and gesture. The purpose of this study is to examine the effect of congruent/incongruent between gesture and facial expression on target emotion. In this study four emotions, joy, sadness, fear, and anger, are applied. The results of study showed that sadness emotion were incorrectly perceived. Moreover, it was perceived as anger instead of sadness. Sadness can be easily confused when facial expression and gestures were simultaneously presented. However, in the other emotional status, the intended emotional expressions were correctly perceived. The overall evaluation of virtual character's emotional expression was significantly low when joy gesture was combined with sad facial expression. The results of this study suggested that emotional gesture is more influential correctly to deliver target emotions to users. This study suggested that social cues like gender or age of virtual character should be further studied.

• Cartoon and Animation Studies
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• s.16
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• pp.141-163
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• 2009

This paper examined the goblin characters in Japan animation. The meaning of the goblin in this paper is not a just monster. They have a spirit. This concept is based on animism in japanese mind. I attempted a chase of goblin character's making methods. My theoretical approaches lean on the concepts "inter-textuality" of Julia Kristeva and "text" of Roland Barthes. First of all, I compared some beings of the old chinese myth-geographical book with some characters of Japan animation . The making method of goblin characters is two. One is 'Hybrid', the other is 'Mutant'. And than I appled to Japanese traditional image, "Baek-kuy-ya-hang-do"(hundreds of goblins' parade). The making method of goblins is combined to a inter-textual way as hybrid or mutant.

• Proceedings of the Korean Society of Computer Information Conference
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• 2018.07a
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• pp.97-98
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• 2018

본 논문은 PC 플랫폼에서 공포 어드벤처 게임을 구현한 논문이다. 여름이 오면서 다양한 호러 콘텐츠들이 출시되고 있으며, 본 게임은 시간과 장소의 구애를 받지 않으면서 호러 체험을 할 수 있는 체험 기반 게임이다.

• Proceedings of the KAIS Fall Conference
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• 2010.05b
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• pp.788-791
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• 2010

One Source Multi-Use(원 소스 멀티 유스)'란 하나의 소재를 서로 다른 장르에 적용해 파급효과를 노리는 마케팅 전략을 말한다. 이 같은 '원 소스 멀티 유스'의 대표적인 소재가 바로 만화다. 그러나 근래에 들어서는 만화를 비롯하여 소설, 게임, 애니메이션, 영화 등을 원천소스로 하여 다양한 장르로 변형되고 있다. 그중 대표적인 것이 '공포의 외인구단'과 '바람의 나라'를 들 수 있다. '공포의 외인구단'은 이현세의 원작이고(1982-1983)이고 '바람의 나라'는 김진의 만화가 원전이다(1992-2008현재). '공포의 외인구단은 곧바로 영화화 됐으며 20년 후인 2009년에 드라마로 만들어 졌다. '바람의 나라는' 1997년 국내 최초의 온라인게임으로 만들어져 현재까지 많은 사랑을 받으며 서비스되는 게임이며 또한 2006년과 2007년에는 뮤지컬로도 만들어졌고 최근에는 TV드라마로 만들어져 많은 인기를 얻고 있다. 또 다른 예로는 '툼레이더'를 들 수 있는데 이는 게임이 원작이고 게임의 인기를 업고 영화로 만들어졌으며 세계적인 흥행성공에 힘입어 속편까지 제작된 상태이다. 이에 본 연구에서는 '원 소스 멀티 유스'의 대표적인 성공사례인 '바람의 나라'와 '툼 레이더'의 여러 요소 중 시각적인 요소인 캐릭터와 영상이미지의 분석을 통해 흥행요인을 도출하고자 한다.

• Journal of Korea Entertainment Industry Association
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• v.15 no.4
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• pp.31-43
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• 2021

The talk of today's era is innovation and convergence. Convergence can be seen as innovation because convergence is born through innovation and innovation is made through convergence. Crossover and collaboration (collectively referred to as "crossover") which are used as a concept of convergence in popular culture means the combination and integration of different genres or fields, and has recently been used in various fields such as movies and music. The use of crossover helps to break boundaries with other fields and create new works through free and diverse attempts. Thus, in this study, the convergence of popular culture, or crossover, is analyzed in conjunction with the Korean horror genre. Currently, Korean horror movies were popular from the 1990s to the early 2000s, but now only a few are coming out due to a series of poor box office performances. However, according to this study, crossover attempts have already begun in Korean horror films, and traces of crossover have been found in several successful films. In this study, we will further apply a collaboration of characters such as "Avengers" to present a new direction for Korean horror movies.