• Journal of Korea Game Society
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• v.18 no.2
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• pp.59-68
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• 2018

A visual novel, a type of digital content combining novel and game, was designed as hypermedia which includes various media, for instance, image, sound, and video. The narrative of visual novel contains multimedia elements and highlights multi-scenario structures based on hypertext. Prior to creating visual novel scenario, a writer should thoroughly consider two main points. First of all, the scenario should cover the multimedia features of visual novel. Secondly, the scenario should be structured as a multi-scenario providing with performativity to players for interaction with readers. This study examines the influence of changes in platforms on visual novel scenario adjusted to mobile environment. It would provide an opportunity to understand how storytelling changes and adapts to rapid transformation of digital media contents.

• Cartoon and Animation Studies
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• s.13
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• pp.237-253
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• 2008

Visual Effects have been revered as 'Spectacular' film elements for a long time, and once there was a misunderstanding that they destroyed the actual 'Story'. But, now they are becoming a valuable tool for storytellers. A film pursues a perfect narrative structure and visual reality so that the audience can believe the story as a real. Giving a narrative motif to the audience, they use Visual Effects that provide the technical solutions and -at the same time- they create and preserve the diegetic world that Is either believable or not. This research suggests that we analyze precisely and make a classified table of the narrative use of Visual Effects based on the previous research of Shilo T. McClean. First, we can ask if the narrative motif would be there in front of the camera, From there, we then can get two desired answers. One is, if there is nothing to visually stand up, Visual Effects can intervene as an alternative tool for creating the diegetic world. The other is that Visual Effects can be used for preserving the diegetic world as a necessary tool. Then, in the latter, we can consider whether there is a storyteller's purpose to be added, so we can distinguish the details. This classified Visual Effects for the narrative is able to dispense proof that they can be worthy as to provide a 'Spectacuiar' aura as to create and preserve the diegetic world. I would like to argue that this research could be a foundation for the inter-progress of future studies for visual effects as well as for their amazing technological improvements.

• Cartoon and Animation Studies
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• s.49
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• pp.221-246
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• 2017

Visual narrative or storytelling involve two important aspects of the cognitive perception: the conscious and subconscious. Color is one of the cognitive storytelling elements, its interpretation is captured by the subconscious and it is considered an emotional resource due to its psychological background. On the other hand, the character is also part of cognitive perception and storytelling tool, but this is interpreted consciously, character is considered as a logical resource. Ghibli and Disney have organized their cinematographic techniques in different ways, so it would be unfair to say that one narrative style is better than the other, it depends of perception of beauty which varies according to society. However the present study seeks to determine the differences between Ghibli and Disney narrative style, taking as reference color. Ghibli and Disney are perfect example about color effects as a storytelling agent, It can be classified in two aspects: dynamics of color and color as a narrative sequence. The dynamics of color analyzes how color acts and is perceived into a stage, its meaning and symbolism regardless of the character's actions. The narrative sequence studies how color thermologic evolves in scene's development.

• The Journal of the Korea Contents Association
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• v.12 no.10
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• pp.43-53
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• 2012

It is well known, with many researches, that identification is an important element for inducing audiences' emersion. If the director makes the audience to see with the eyes of characters, be identified, and understand the movie situations, the narrative can be transferred more effectively. The directing method of identification for visually connecting the characters and the audiences is studied. The effectiveness is verified by comparing animations and analyzing the responses of audiences. The authors want to establish the basis of directing the identification for real production.

• The Journal of the Korea Contents Association
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• v.15 no.7
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• pp.117-127
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• 2015

Colors in the film can communicate with the audiences without a dialogue as deep as possible, and then colors make a audiences sympathy as a role playing like a main character. The movie that I chosen by this thesis is The mother(UK film, 2003). This movie is so powerful imagetelling movie I've ever seen in the meaning of tool as a character-narrative film. This imagetelling in the movie is so useful and powerful, and then image is more important than any other things in the movie as a narrative tool and storytelling.

• Journal of Korea Game Society
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• v.11 no.3
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• pp.3-8
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• 2011

The learning by computer games, is in the spotlight as an effective education method for the game generation. The educational games need to provide additionally an omniscient view of the learning as an objective viewpoint for storytelling of learning. The omniscient viewpoint needs good readability in real-time, and to provide systematically overall and detailed informations of learning. In this paper, we propose the visual learning map as the omniscient view for storytelling of learning. The proposed learning map is composed of the district map, the topic map, and the progress map for the omniscient view of the learning. The proposed learning map is represented by several visual diagrams for real-time readability. The proposed learning map can apply to all the educational games which provide the game minimaps.

• The Journal of the Korea Contents Association
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• v.8 no.12
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• pp.168-175
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• 2008

As the travel industry grows and becomes increasingly more competitive, municipal governments have undertaken great efforts to maximize limited resources and develop their local economies by initiating and developing cultural festivals. Such festivals and events have become an efficient mechanism to enhance their image, increase tourism, and ultimately, stimulate their economy. However, marketing efforts to scale globally typically falter due to various factors: lack of originality, poor quality of contents, and a scarcity of competitive power. Hence, I wish to propose a model for developing cultural semiology and visual literacy, with storytelling utilized as a means of strategically illustrating local cultural festival contents. Subsequently, it is expected that such a model can underpin the importance of developing coherent edutainment content while illustrating the true meaning/value of local festivals.

• Korea Science and Art Forum
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• v.30
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• pp.41-56
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• 2017

This study is an intensive study on Tae Rin Lee's research results. A linear system for Estimating the Strength of Super Personal Conflict (ESSPC) in animations is proposed. Tae Rin Lee has extracted the Super Personal Conflict (SPC) shots of animations, and obtained the strength through the experts' psychological test experiment. The purpose of this study is to find a model that automatically computes the superpersonal conflict intensity value (ESSPC). By utilizing these results, 1) 20 image feature vectors are suggested for analyzing the SPC, and 2) a linear system is found for auto-calculating ESSPC by using the pseudo inverse matrix. The proposed system shows 9.25% root mean square error and the effectiveness is proven.

• The Journal of the Korea Contents Association
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• v.16 no.3
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• pp.61-71
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• 2016

This paper intends to prove that the props in movies can be used to communicate messages ans themes to the audience very usefully. I selected the movie "her" to investigate by the use of props. The props in the film can communicate with the audiences without a dialogue and visual. At the same time, the props can make a audiences sympathy as a role playing like a main character. As a result, the props used in the movie were explained to study their relevancy to the narratives of the movie. The props in the movie is so useful and powerful, and then image is more important than any other things in the movie as a narrative tool and storytelling.

• Cartoon and Animation Studies
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• s.51
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• pp.293-319
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• 2018

Thanks to the advancement of the related technologies and equipment, today's video contents like movies, animations and soap operas are rapidly expanding their expressible cinematic imagination area. In order to fulfill the elevated visual expectations of audiences and realize exciting storytelling and fantastic world, the fusion of different techniques is actively used, and the reality for visual effects and image synthesis is increasing more and more. Accordingly, recent VFX-oriented movies using CG have a much more complicated production process than before. Therefore, the importance of Pre-visualization, aka Pre-vis is becoming bigger in the planning process for sophisticated design. Pre-vis means that the advance visualization for stories or directing ideas in the planning process before starting production of movies or animations. 3D animated Pre-visualization realizing directors' abstract and ambiguous ideas in 3 dimensional environment in advance is, as a powerful means for visual storytelling, briskly used focusing on the VFX film industry on which the present CG is broadly used, and the role of Pre-vis throughout productions has increased compared to the past. The studies, however, on the role and utility of Pre-vis are not enough. Therefore, this study was conducted on the role of Pre-vis used for present VFX movie productions using the examples of 3D animated Pre-visualization production in which the researcher of this study participated. In this study, the role of the Pre-vis that is subdivided presently, is divided into and 3D animatics and their each role is analyzed with the example images. Through this, the characteristics that Pre-vis should have are clarified and the concept of the advantages and utility led by the use of Pre-vis in productions is strengthened. The goal of this study is to induce active uses of Pre-vis throughout productions after forming consensus about the various roles of Pre-vis and their utility.