• Title/Summary/Keyword: 비인간 캐릭터

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An Implementation of Neural Networks Based Intelligent Characters for Two Dimensional Fighting Action Games (이차원 대전 액션 게임을 위한 신경망 기반의 지능 캐릭터 구현)

  • Na, Jong-Min;Oh, Ha-Ryoung;Seong, Yeong-Rak;Jung, Sung-Hoon;Cho, Byeong-Heon
    • Proceedings of the Korea Information Processing Society Conference
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    • 2005.05a
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    • pp.435-438
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    • 2005
  • 현재 인공지능 기법은 우리 주위의 여러 분야에서 사용되고 있으며, 그 중요도가 점점 높아지고 있다. 이러한 분야 중에 하나가 바로 컴퓨터 게임 분야로 전통적인 인공지능 기법부터 근래에 게임과의 결합이 시도되고 있는 비전통적 기법에 이르기까지 다양한 종류의 방법이 시도되었고, 시도될 예정이다. 본 논문에서는 게임내에서 그 비중이 커져가고 있는 인공지능을 통한 캐릭터의 지능화 방안으로 신경망 기반의 지능 캐릭터를 제안하였다.

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Body Motion Retargeting to Rig-space (리깅 공간으로의 몸체 동작 리타겟팅)

  • Song, Jaewon;Noh, Junyong
    • Journal of the Korea Computer Graphics Society
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    • v.20 no.3
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    • pp.9-17
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    • 2014
  • This paper presents a method to retarget a source motion to the rig-space parameter for a target character that can be equipped with a complex rig structure as used in traditional animation pipelines. Our solution allows the animators to edit the retargeted motion easily and intuitively as they can work with the same rig parameters that have been used for keyframe animation. To acheive this, we analyze the correspondence between the source motion space and the target rig-space, followed by performing non-linear optimization for the motion retargeting to target rig-space. We observed the general workflow practiced by animators and apply this process to the optimization step.

Analysis on the Character shown in Frame Position (프레임 위치에서 나타난 등장인물 분석)

Study of Animation Comicality, Characters in (<슈렉> 캐릭터에 나타난 애니메이션 희극성 연구)

  • Lee, Chae-Ron
    • Cartoon and Animation Studies
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    • s.38
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    • pp.145-176
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    • 2015
  • In animation, 'laughter' is an important factor for the fun. Dreamworks' animation is a successful popular animation. It has four series and spin-off animations, and settled as a successful case that created fun with strategic use of parody throughout the productions. Most preceding studies on this animation have focused on its humor, parody, and satire. However, not many studies have discussed its independent comedy as a piece of animation that satisfies the needs of public. This study considered that viewers' desire to watch an animation comes from their fantasies to discuss the comedy of based on its animated characters. Animated characters communicate with the public with wits that ignore the rules of reality. The characters that do not exist in reality are created and animated to turn the world of reality upside down. The comedy in comes from the entertaining deformation of the society's fixed ideas and prejudices. It is a fun variation of the ideology behind fairy tales created by the Disney animations to challenge Disney in the animation market in reality, and twisted the world of fairy tales in the story to quench the thirst of the public. 'Shrek', a monstrous character, stands in the center of the story. A monstrous character that always played an anti-role has become the main character to break the rule of fairy tales. This is the subjectivation of anti-character. Second, it is a new anti-character with an exaggerated and distorted body. Lord Farquad, who looks abject compared to the monstrous character for a person with so much power and ambition, brings laughter. Third, it is the variation of various characters from fairy tales. The conventional fairy tale characters, both animals and non-living things, come out of the box and appear as humorous characters that bring life to the story. uses comedy characters in the process of reinterpreting the fixed ideas, prejudices, and ideologies of the real world created by fairy tales. I hope that it helps Korean animations establish a successful format for creating characters that bring life to the stories.

Identification of Auto Programs by Using Decision Tree Learning for MMORPG (MMORPG에서 결정트리 학습을 적용한 자동 프로그램 확인 기법)

  • Hong, Sung-Woo;Kim, Jun-Tae;Kim, Hyung-Il
    • Journal of Korea Multimedia Society
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    • v.9 no.7
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    • pp.927-937
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    • 2006
  • Auto-playing programs are often used in behalf of human players in MMORPG(Massively Multi-player Online Role Playing Game). By playing automatically and continuously, it helps to speed up the game character's level-up process. However, the auto-playing programs, either software or hardware, do harm to games servers in various ways including abuse of resources. In this paper, we propose a way of detecting the auto programs by analyzing the window event sequences produced by the game players. In our proposed method, the event sequences are transformed into a set of attributes, and the Decision Tree learning is applied to classify the data represented by the set of attribute values into human or auto player. The results from experiments with several MMORPG show that the Decision Tree learning with proposed method can identify the auto-playing programs with high accuracy.

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A Design of AI Middleware for Making Interactive Animation Characters (인터랙티브한 애니메이션 캐릭터 제작을 위한 인공지능 미들웨어 설계)

  • Lee, Seung-Sub;Um, Ky-Hyun;Cho, Kyung-Eun
    • Journal of Korea Game Society
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    • v.8 no.1
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    • pp.91-101
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    • 2008
  • Most designers use professional 3D animation tools such as 3DS MAX to manually create animation. This manual method requires a great deal of time and efforts, and does not allow animation characters to interact with one another. In this paper, we design an AI middleware of form as 3DS MAX plug-in to solve these issues. We present an AI expression structure and internal processing method for this middleware, and the method for creating AI character's structure. It creates AI character's structure by drawing figures and lines for representing AI elements. For experiment, we have produced same animations with the traditional method and our method, and measured the task volume in both methods. This result verifies that the task volume is similar or higher than the traditional method in small-scale tasks, but up to 43% of the task volume is reduced in large-scale tasks. Using the method proposed in this paper, we see that characters in an animation interact each other, and task volume in large-scale tasks are reduced.

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An Analysis on Posthuman Features of Open-World Adventure Games (오픈 월드 기반 어드벤처 게임의 포스트휴먼 특징 분석)

  • Jo, Min-Sun;Chung, Eun-Hye
    • Journal of Korea Game Society
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    • v.19 no.2
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    • pp.83-94
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    • 2019
  • This paper analyzed the posthuman features of the open-world adventure game. These games represent the player character as Posthuman Subject through the restrictions of information and body. The player explores all of the spaces to perform the quests due to nonlinearity of open-world. The interactions are restricted conflicts and it reveals through gameplay. The experiences as Posthuman Subject allow the player to embody the Hybrid Subjectivity and think about coexistence of human and inhuman.

A Study on Expression of the Film (2019) : Focusing on Genre-Shifting Characters and Actors' Acting (영화 <기생충>(2019)의 표현성 연구 : 장르를 변주하는 캐릭터와 배우의 연기를 중심으로)

  • Lee, A-Young
    • Journal of Korea Entertainment Industry Association
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    • v.14 no.6
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    • pp.77-89
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    • 2020
  • The film "Parasite" portrays Korea's history and its present in a space that clearly represents the real world's hierarchy as a vertical structure. It demonstrates the problems of an insurmountable reality and the elements of various conflicts occurring below the surface of Korean society through a complex mix of human emotions and relationships. The most realistic yet unrealistic characters cross boundaries between being victims and perpetrators, defamiliarizing ordinary scenes from everyday life through their small mistakes, strange obsessions, bizarre behavior, anxious psychology, and desperate struggles. This study analyzes the expression of the film "Parasite" through its characters with the belief that the film expresses director Bong Joon-ho's consistent cinematic philosophy of taking reality beyond the traditional rules of film genres. By doing so, Bong creates a feature of the expression that shifts genres as the characters' personalities amplify related behaviors, conflicts and questions, and that this is the core of the unique nuance and distinct humor of this film. In addition, the personalities of the characters interact with all the film's elements (cinematic techniques, space, props, etc.), evoking effects of various meanings, which are transmitted through the actors'images and acting. In this respect, the study analyzes how the actors were cast in order to realistically reproduce the characters of the actors, how their acting was harmonized with the film's elements, and its features as well as how they were expressed.

A Study on the Changes of Gender Identity Found in the Character of Elsa on Frozen -Focus on Queer Theory- (겨울왕국의 엘사 캐릭터에 나타난 젠더 정체성의 변화 -퀴어이론을 중심으로-)

  • Lee, Jun-Soo
    • Cartoon and Animation Studies
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    • s.38
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    • pp.1-28
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    • 2015
  • The work appeared a featured female character in the Disney animation film begins with 'Snow White' released in 1937. After then, the 11 female characters appeared included 'Tangled' in 2010. Female characters reveal their identity due to obedient, family-oriented and marriage with prince and then gradually develop to heroine who leads to man, and is independent, pioneering, and sometimes saves the nation. Nevertheless, the ending of the Disney animation was still not escape the institutional, traditional discourse. Female characters are followed to meet the featured actor kissing and marriage, or was to show the virtues of sacrifice for the actor. However, Elsa in 'Frozen' is the character with an independent identity compared with the patriarchy, male chauvinism and heterosexual dichotomous discourse given so far in Disney. In this study, it is to explain the change of gender identity in the character of Elsa through Queer theory that deconstructs the distinction between sex and gender, and is constituted by the actions typed and performed the gender concept, and is dismantling the dichotomy itself such as male/female, heterosexual/homosexual. The performative of Queer make the boundaries between lesbian-gay, sexuality and heterosexual ambiguous. It can be said that the performative has political nature resisted to the dominant discourse through these parodiable strategy. The performative showed of Elsa is in the boundaries between the sisterhood and the heterosexual. When analyzed in a heterosexual perspective Elsa's identity is to be understood as simply just love the intimacy of a sister and a sister. On the other hand, if you focused on the relationship between women and the relationship between Elsa and Anna is recognized as the point of view of homosexuality. Because if you look at the concept of lesbian continuum, the homosexual love in the female characters of Disney seems like a bond between women, easier than heterosexual love can be hidden sexual desires. Elsa has developed into a performative identity through the expression of performative and the inhibitory of queer identity. And then the her sorcery that was initially contraindicated and the presence of a fear became to the 'lesbian phallus'. The sorcery that can be seen the signifying phallus against to the privileges of heterosexual patriarchy is recognized in the world of Arendal. Elsa is a new women featuring Disney characters. as this character is analysised by Queer theory, this study seeks to expand the area of the various character analysis methods.

Solutions for the Effective 3D Character Skin Weight by converting Lattice Weight (래티스 웨이트 변환을 통한 효과적인 3D 캐릭터 스킨 웨이트 솔루션 제안)

  • Song, Bal-gum;Lee, Hyun-seok
    • 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.