• Proceedings of the Korean Society of Computer Information Conference
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• 2019.01a
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• pp.349-350
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• 2019

게임에서 장르를 불문하고 모든 몬스터와 NPC는 AI를 가지고 있다. 따라서 적 몬스터 캐릭터와 전투를 즐기는 액션 게임의 경우 그만큼 인공지능이 게임 안에서 차지하는 비율이 높다고 할 수 있을 것이다. 본 논문에서는 FSM, HFSM, BT와 같은 AI 기법을 비교하여 분석하였다. 각 기법에는 주의해야 할 점이 명확하게 존재하기 때문에 구체적으로 어떠한 문제점들이 존재하는지에 대한 결과를 얻는데 연구 목적이 있다. 따라서 몬스터 AI를 구현할 때 각 인공지능 기법의 장단점을 고려하여 설계하여 유지 보수를 줄이는 방법을 연구해야 한다는 것을 확인할 수 있었다.

• Proceedings of the Korean Society of Computer Information Conference
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• 2023.07a
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• pp.119-122
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• 2023

게임 이용자가 재미를 느끼고 몰입하며 그 재미가 오래 유지되도록 하는 것은 많은 게임 디자이너의 관심사이다. 본 논문에서는 비교적 적은 개발 비용으로 긴 몰입 기간을 만들어낸 몬스터 헌터: 월드를 통해 이를 가능토록 하는 게임 디자인 기법 "반복 플레이 동기 부여", "숙련도 영역 전환"의 두 가지를 제안한다.

• Cartoon and Animation Studies
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• s.40
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• pp.33-53
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• 2015

The movement of characters is one of the crucial elements to deliver their emotion flowing inside. Though it is the same movement, it may appear or be expressed differently according to the character's personality or emotion or the particular situation. The purpose of this study is to analyze not only the movement found superficially in an animation but also a character's internal emotion and attitude with Laban's movement analysis system, particularly effort, one of its analysis categories, and examine how effectively Laban's movement analysis often employed at the circles of dance can analyze movement in an animation. is about a monster that constantly makes efforts to realize its dream to be a scarer. Functional movement forms the most part, but expressive movement to show how a character thinks or feels also appears harmoniously. Characters' externally shown movement can express their internal emotion properly sometimes, but they also often move expressing their feelings in moderation. Therefore, this study analyzes the movement of characters found in the four scenes of with LMA's effort. According to the findings, at the scene where Michael enters the door leading to the human world following the scarer, the emotional state of Michael envious of the scarer is expressed with the Vision Drive giving the strong feel of dreaming. At the scene of the second game to choose the best scare team, it shows us the Spell Drive with its careful and light movement having clear intention to survive at the game. At the scene where there is a party held for the teams that have survived, it shows the Passion Drive of being eagerly expressing happy and delightful feelings without considering what is around. At the scene where Michael and Sullivan are pursued by people, the Action Drive was used to express movement that was heavy and strong and was getting faster gradually by focusing the feelings of the characters in haste into one place.

• Proceedings of the Korean Society of Computer Information Conference
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• 2020.01a
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• pp.221-222
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• 2020

본 논문은 유니티 엔진을 이용하여 3인칭 육성 게임을 개발하는 것을 목표로 한다. 본 개발 게임에서는 인간족과 오크족으로 나누고, 인간족은 오크족에게 오크족은 인간족에게 대응하기 위해서 자신의 능력을 키우는 것을 기본 배경 시나리오로 계획하였다. 두 종족의 선택에 맞는 스토리 형식의 퀘스트(Quest)로 중립 몬스터를 격파하여, 이를 능력치로 키울 수 있게 하였다. 본 개발 논문에서는 스토리성 퀘스트를 기본으로 하고 있기 때문에 플레이어가 몰입 하기 쉬운 좋은 조건을 장점으로 하고 있다.

• Proceedings of the Korean Society of Computer Information Conference
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• 2019.07a
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• pp.81-82
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• 2019

게임 시장에 높은 점유율을 보이고 있는 추세에 따라 모바일 게임 제작에 많이 사용하고 있는 Unity 3D 게임 엔진을 사용하였다. 모바일 RPG인 '몬스터 길들이기'와 'Hundred Soul' 이라는 게임에서 감명 받아 이러한 아이디어를 바탕으로 Unity 3D 게임 엔진의 여러 기능과 접목하여, 다양한 기능 및 효과들을 구현하였고, 그에 따른 개발 방법을 설명한다.

• Knowledge Management Research
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• v.23 no.1
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• pp.1-26
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• 2022

With the spread of social networks, platform-based social commerce has grown rapidly with the use of multiple smart devices. Given the rapid growth of social commerce sites such as Coupang and Ticket Monster, it is very important to understand the user's purchase decision-making process in a social commerce environment. The purpose of this study is to develop a richer understanding of the goals of users using social commerce. Second, a methodological alternative for analyzing the user's goals is introduced. In this study, laddering interview and means-end chain analysis were used. As a result of interview conducted on 40 users who have more than 6 months of purchasing experience using social commerce, a hierarchical goal map showing the user's goal structure was derived. This map contains 22 ultimate goals of social commerce, including warm relationships with others, fun and enjoyment of shopping, accomplishment, satisfaction, financial saving, and convenience. In addition, there are various paths from activities to ultimate goals, so investigating the goals pursued by users can give us insight into understanding user.

• The Journal of the Institute of Internet, Broadcasting and Communication
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• v.24 no.1
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• pp.75-81
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• 2024

This paper focuses on developing a first-person 3D game to provide extreme fear to players through realistic camera direction utilizing the features of action cameras. As a new camera production technique, we introduce perspective distortion using a wide-angle lens and camera shake when moving to provide higher immersion than existing games. The theme of the game is horror room escape, and the player starts with a firearm, but in order to overcome the concern that the game's difficulty is low due to the use of firearms, the player is asked to control the use of firearms by imposing burdens such as chasing monsters and reducing the number of magazines. The significance of this paper is that we developed a new type of 3D game that maximizes the fear effect of players through realistic production.

• Cartoon and Animation Studies
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• s.34
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• pp.105-128
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• 2014

This study was aimed to analyze the disparities of 3D stereoscopic images in four well-known American animation movies. After Avatar (2009), lots of stereoscopic movies were developed in Korean 3D production. Almost all 3D productions in Korea, however, focus on the display images or TV series animation yet. In order to make many well-made Korean stereoscopic 3D animations in future, analyzing and comparing the disparities of 3D stereoscopic images is necessary and even mandated. First, I chose 40 cuts from each four American stereoscopic 3D feature films, including Despicable me 2, Epic, Monster University, and Turbo. According to the classifications of shot angles by Vineyard (2008), secondly I analyze the 23 different angular disparities of 3D stereoscopic images and displayed in tables. Demonstrated shot angle disparities in each scene would provide numerical information to animators how to design and make the 3D stereoscopic images. Making successful stereoscopic 3D feature film will be a huge turning point in the Korean animation field in future. This study would be a first trial to seek a new method to set ahead an outlook of numerical values of 3D stereoscopic images for better visual effects.

• Science of Emotion and Sensibility
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• v.26 no.2
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• pp.53-66
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• 2023

In recent times, more fashion brands have been seeking ways to use metaverse platforms, in which users can actively participate, as their new brand touch-points. This study aims to compare the brand experiences of the fashion brand Gentle Monster's offline store and its equivalent metaverse store. By changing the order of offline and metaverse visits, two groups participated in the field study that allowed them to experience directly the offline and metaverse stores. As a result of the analysis, the following findings were discovered: (1) In the overall experiential response, the frequency of sensory modules responding to new information was much higher than that of feeling experiences; (2) Experiential responses were more active in the offline store where the subjects could touch and use products directly rather than in the metaverse; (3) Among the four types of theme space, the experiential response was the most frequent in the product space; (4) The first group that visited the metaverse store before the offline store showed a more active experience than the second group that visited the offline store first. Finally, the results of this study show that metaverse brand stores in virtual space not only provide differentiated experiences beyond the spatiotemporal constraints of real space but can also be used as a strategic tool to make offline store experiences more meaningful and rich.