• Journal of Korea Game Society
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• v.9 no.3
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• pp.3-14
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• 2009

This study examines how game narratives are analyzed in a structuralism mythology and make theoretical bases which can explain game narratives, and finds out the meaning of myths in game narratives. Many studies on the relationship between games and myth have been researched. However, these are meaningful in terms of how myths are reflected on narratives as a hero narrative. This article investigated the relationships between game narratives and the theories of Levi-Strauss and Gilbert Durand who are structuralism mythologists. As a result, restructuring and synchronicity on the structuralism mythology can explain game narratives which are different from written language narrative, and myth, a spoken literature, is meaningful in that it restructures the forgotten orality in game narratives.

• The Journal of the Korea Contents Association
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• v.11 no.11
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• pp.111-119
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• 2011

Movie research in the 1980's structuralism looks tendency to escape director or text research and analyze spectator or inspection action. These post-structuralist divert interest by analytic convention of spectators in analysis by director's intention or text type correctly. There is the age that spectator, inspectional action and inspectional subject weighs more than director, work and text itself. But, inspection of movie can be person's enemy by director's narrative strategy or spectator's analytic quality that depend on a text and spectator and their interaction usually, and only method to acquire universality chooses full analytic discourse to principle. We should be structured by symbol system that the event is consisted of movie language to reappear the event through narrative in movie and this symbol system, director's narrative strategy can cause fixed esthetic distance between spectator. Researches to analyze this distance need to keep universal validity as much as being accepted by effort to gap with director and spectator. Therefore, narrative poetry that I analyze movie narration style by 'narrated' and unit of 'narrating' and study the form and function so-called, is going to follow narratology's access method. The consistent argument of this narrative poetry is that story is consisted of the events and these observe to structured thing by unit that is sequence through arrangement with the other event that adjoin in the event. Also, director need consensus with spectator to reappear connection of this event logically and it is thing which this reappearance form can be done characteristic by narrative strategy in directing. I am going to try narrative structure analysis of movie by narrative that is connected at structure of the event and 'narrating-narrative acts' that is interested in way to reappear this story to spectator hereupon. Of course, at process of research, Roland Barthes and his followers wish to apply 'narrative function' and concept of 'narrative acts' that prefer from time to time.

• 한국HCI학회:학술대회논문집
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• 2008.02b
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• pp.527-533
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• 2008

본 연구는 기존 RPG에서 주요한 재미 요소로 기능하던 성장 모티프가 MMORPG(Massive Multi-user Online Role Palying Game)에서 어떤 식으로 변형되어 나타나는 지 살펴본다. 성장과 역할 수행을 통해 재미를 얻는 게임인 MMORPG는 성장 서사에서 많이 나타나는 구조인 여정형 혹은 탐색형의 구조를 보편적으로 차용하고 있다. 그러나 기존 서사물에서 성장 모티프가 정체성 찾기와 같은 내면적인 변화를 나타내기 위해 구조를 차용하는 반면, 게임에서는 위의 구조를 통해 얻은 성장의 결과물을 수치의 증가나 외적 형태의 변화를 통해 나타낸다. 즉, 경험치나 아이템을 통해 성장이 수치화되어 나타나는 것이다. 이는 여정형 탐색담이라는 성장 서사의 보편적 구조에서 게임적인 특수성이 더해진 것이라 할 수 있다. 성장 소설만의 서사적 유형이란 바로 주인공의 변화 양상이 미숙에서 성숙으로, 불완전에서 완전으로, 결핍에서 충족으로 변화하는 과정을 담고 있는 이야기적 특질을 의미한다. 그러한 미숙하고 불완전한 존재가 변화하게 되는 계기와 과정, 그리고 그 결과로 구조화된 유형적 특질을 갖고 있는 소설 양식이 성장소설이라 할 수 있는 것이다. 이러한 구조화된 유형적 특질은 신화나 민담에서는 탐색담이나 여행담으로 나타난다. 게임에서의 성장은 캐릭터의 성장과 직결된다. 본격적으로 플레이어와 동일시되어 성장을 대리 경험적으로 체험하는 것은 D&D 온라인을 거쳐, 현재 MMORPG의 형태를 구현해낸 울티마 온라인이 이후부터이다. 세부적으로 구현된 세계와 온라인을 통해 생성된 방대한 네트워크 안에서 플레이어는 자신과 동일화된 캐릭터를 플레이하면서 대리경험을 하게 된다. 즉, 플레이어가 캐릭터의 성장에 작용하는 여러 가지 변수를 선택하고, 조작해가면서 자신만의 캐릭터를 생성해 나가면서, MMORPG가 구현하는 게임 세계에 구성원이자 일원이 되는 것이다. MORPG는 기존의 RPG의 선형적인 성장에 비해 복합적인 양상을 보여준다. 문화에서의 성장 서사에서 일반적으로 발견되는 여정형의 탐색담은 개발자 서사인 배경 스토리에서 나타나며, 레벨시스템과 이에 따른 공간의 배치에 따라 플레이어에게 직접적인 영향'을 끼친다. 영속적인 세계와 플레이어 간의 상호작용을 통해 일어나는 사용자 서사는 완결된 형태의 캐릭터를 무의미하게 만든다. 플레이어는 비선형적인 성장을 끊임없이 계속하게 되는 것이다.

• Journal of Popular Narrative
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• v.27 no.3
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• pp.151-191
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• 2021

This paper examines what is the content of Gusan's urban identity, represented by the film and how the contents and aspects of this city's identity interact with the structure of the films' discourse. weaves Gunsan and Seoul into continuously reorganized cities based on an interactive relation, rather than literal ones. Seoul in which the time for a film narrative is closed is converted into the starting point for tour to Gunsan. The both points in which audiences' ex post return occurs are the starting point for the time for the film discourse and the other point in which the title is suggested. The journey-type of the narrative structure in this film is a3-dimensional spiral-shaped, rather than a 2-dimensional circular regression. embodies the characteristics and the identity and apriority of two cities, based on such a spiral-shaped temporal and spatial structure. Seoul severs the relation between grand narrative/collective memory and small narrative/individual memory as an agnostic one, in other words, it is a city that cuts off cities, relations and memory and rejects the continuity of memory. On the other hand, Gunsan is a city in which both grand and small narrative and collective and individual memory coexist and both split and isolated mind are cured and mutually consoled. It describes Gunsan as the surplus space as a being for others, while expressing its identity as robust and literal thing. The film describes it as the field in which oppositional concepts such as historical interruption and continuity and spatial being for others and originality become 3-dimensional spiral ones, through the reciprocity between the narrative and the discourse structure. This paper has an implication, in that it examines how temporal and spatial relationship constituting the urban identity interacts with the structure of the film narrative.

• Proceedings of the Korea Contents Association Conference
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• 2006.11a
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• pp.213-217
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• 2006

4 panels Comic Strips spreads it's story with introduction, development, turn and conclusion. The structure of introduction, development, turn and conclusion adds to the fun of story through the envelopment of deduction, induction so in the work the narrative structure is unfolded so many evolutions in order to communicating with further effective and funny. Therefore the study is mostly mended deduction, induction unfolding on the 4 panels comic strips. The purpose of this study is based on search for formation of the story and comparison of humor comic strips and satire comic strips through analysis of the narrative structure on 4 panels comic strips in internal and external.

• Journal of Korea Entertainment Industry Association
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• v.13 no.3
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• pp.111-119
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• 2019

Time and space are the foundations of all the narrative. As the aim and content of narrative, spatial narrative plays an increasingly important role in the narrative movies. With the development and application of digital technique, the expressiveness of movie space is enhancing, and spatial narrative has become the focus of directors and critics. As a developing cinematic narrative form, spatial narrative is taking advantage in many aspects, including narrative structure, narrative effect, creative skills and audience acceptance, which can bring breakthrough and innovation to the creation of cinematic narrative. Based on the spatial theory in movies, the paper analyzes the space presentation approaches in the movie Hugo. Combined with the motivating factors, structure factors, symbolic significance and psychological factors of narrative space, the paper specifically analyzes the significance of spatial narrative in American movie Hugo. By researching the glamour of narrative space in the movie, the paper intends to provide certain reference value to the narrative expression of the movies today.

• Journal of Korea Game Society
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• v.8 no.4
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• pp.45-53
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• 2008

This paper analyzed the narrative construction of ‘World of Warcraft’ which is very popular worldwide. Narratology and ludology should be interrelated in the larger area of art, rather than existing as separate fields. Dramatic narrative constructions of game would be made when the rules of game emerge with the circumstances of play. This paper reviews how 'World of Warcraft' generates its tremendous popularity through analyzing the overall narratives of 'World of Warcraft' and sub-narratives such as quest, PvP and hunting systems. The distinctive feature of this game is its well-designed story flow which is emerged by both underlying linear original story and non-linear multi-scenario that offers rich interactivities to the game users.

• Trans-
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• v.13
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• pp.91-116
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• 2022

Web series, as one of the products in the network era, are different from traditional TV dramas, With the contents preferred by youngsters, wed series, as a form of fast food culture, are increasingly gaining popularity, such as being uploaded on online video platforms like Naver TV and Youtube. This study aims to examine the characteristics of narrative closure and continuing serial form of Youth Web Series through the youth web series production company "playlist original" in Korea and analyze the narrative structure caused by narrative closure and continuing serial form and nonlinear narratives.

• Journal of Digital Contents Society
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• v.14 no.3
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• pp.367-379
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• 2013

The Media facade is valuing more than utilizing to the display space and has potential as a new urban culture. The possible role of the contents, which can be a variety of expression can be seen that the more importance. Using narrative structure, which is a component of the story, discourse, temporality, spatiality, to analyze to the contents of media façade and this study suggests that new contents of narrative is an appropriate utilization at the new media environment.

• Journal of Korea Entertainment Industry Association
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• v.14 no.7
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• pp.287-298
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• 2020

The purpose of this study is to analyze the narrative structure and types of films that has attracted more than 10 million viewers ('10 million films') among films released in Korea, and deal with the implications of the current Korean film industry. To this end, this study investigated the relationship between films and their narrative as a product of the film industry. To approach this, We dealt with the features of structuralist analysis and archetype or mythological narrative analysis. For a detailed analysis, a total of 27 films of "10 million films" were categorized using Northrop Frye's original narrative analysis method. As a result of the study, 13 comedy structures, 7 romance structures, 4 tragic structures, and 3 irony and satire structures. It was confirmed that the "comedy" and "romance" structures had a high percentage of all 10 million films, and occupied the top ranks in the box office rankings. In conclusion, this study confirmed the narrative rules and customs of films hitting Korean box offices, and through this, it was possible to examine a rough topography of the film consumption of the public in the Korean film industry. This can be said to provide a clue as to how the narrative of the film should be constructed when producing a film from an industrial perspective.