• The Journal of the Korea Contents Association
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• v.10 no.5
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• pp.107-114
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• 2010

A nonlinear story is generated through the interactivity with users using the interactive storytelling system. In a play or movie, audiences can watch one scene at a time, and in order to watch next scene, they should wait for the end of current scene. In the real world, however, various events can simultaneously happen at different places, and even those events performed by characters may dramatically affect the flow of the story. This paper suggests Constraint Based narrative structure to create such story, known as "Simultaneous Story Arcs", and "Multi Viewpoint" to simultaneously lead the direction of the stories in each place.

• Journal of Game and Entertainment
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• v.2 no.2
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• pp.35-44
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• 2006

Whereas comics were printed on a paper in the past, it is now possible to produce digital comics thanks to the development of computer technology. However, it only came to be implemented on a monitor instead of paper and did not fully utilize a digital environment. That is because most digital comics have been made to be transferred in 'one-way' which means that contents of authors are transferred only to readers not vice versa. Recently, the notion of the 'interactive' in the digital contents takes its own shape even at the 'interactive way' of the communications change through the author and the reader's interactivity using the digital technology. As such, the study put more importance on the digital comics in a proper interactive story-telling structure and one of its category through the suggestion of the above and the soil where to develop the following study.

• The Journal of the Convergence on Culture Technology
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• v.8 no.4
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• pp.297-302
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• 2022

Contemporary viewers familiar with the digital space show their desire for self-expression and use voice, text and gestures as tools for expression. The purpose of this study is to create interactive art that expresses the narrative uttered by the viewer in the form of a collage using the viewer's figure, and reproduces and expands the story by the viewer's movement. The proposed interactive art visualizes audio and video information acquired from the viewer in a text collage, and uses gesture information and a natural user interface to easily and conveniently interact in real time and express personalized emotions. The three pieces of information obtained from the viewer are connected to each other to express the viewer's current temporary emotions. The rigid narrative of the text has some degree of freedom through the viewer's portrait images and gestures, and at the same time produces and expands the structure of the story close to reality. The artwork space created in this way is an experience space where the viewer's narrative is reflected, updated, and created in real time, and it is a reflection of oneself. It also induces active appreciation through the active intervention and action of the viewer.

• Journal of Korea Game Society
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• v.9 no.5
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• pp.13-24
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• 2009

The research about methodology to educate professional storytellers should be done very actively. As many people became interested in digital storytelling lately, many theoretical researches about game storytelling are being made in varied aspects. However, systematic methodology to educate game storytellers still remains in theoretic level, so that we can hardly find the outputs brought by the fusion of practical and theoretical knowledges. In this paper, I made a list of 4 core e1ements(character, event, world view, interactive factors of game) which construct the narratives of games to elevate the quality of practical game storytelling. The goal of this research is to complete the practical information list in detail, in order to deliver storytellers' creative ideas precisely to the game designers in every parts.

• Journal of Korea Game Society
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• v.21 no.2
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• pp.55-66
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• 2021

The research studies how features of games can be utilized and converted into storytelling elements by analyzing specific transmedia storytelling cases. For the research, was selected for subjects of analysis. From the analysis conducted, first, how game can be expanded and transformed into interactive animations was observed. Also, use of representative elements of the original game, concepts and basic settings in was seen. And lastly, implementation of transmedia storytelling strategies that constitute narratives based on character creation and connection between spaces was also observed.

• The Journal of the Korea Contents Association
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• v.11 no.1
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• pp.134-144
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• 2011

Crossmedia Storytelling is receiving attention as a new style of description in the age of limitless competition and infinite fusion among media. Crossmedia Storytelling specifies a form of storytelling carried out through mixed usage of plural media, such as televisions, movies, and web services. It is different from OSMU strategy in that plays one source of contents according to the characteristics of various media while Crossmedia Storytelling demands users' active participation. Moreover, it is also slightly different from Transmedia Storytelling in the point that narratives of each media are not complete themselves and only through effectively combining plural media can the whole story fully enjoyed. This research aims to analyze how users move among media in terms of Crossmedia contents by examining cases of Swedish interactive drama series , from Australia, and from the United States. To do so, first, the paper looks into the principles of Crossmedia communication and examines that it is based on online word-of-mouth communication, such as viral marketing. As a result, the following was found in the cases of Crossmedia Storytelling: negative stories that arouse users' emotional reactions & users' participation are effective, and the set-up of Sneezer, which causes the knowledge gap, is very important. It was also found that users' participation was actively taking place through online WOM communication in Crossmedia Storytelling.

• Journal of Korea Game Society
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• v.2 no.2
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• pp.85-96
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• 2002

The future of the game industry depends on developing contents. Especially a high level game needs all kinds of scenarios. Therefore, it is important to popularize writing game scenarios. Scientific scenario study is also needed to educate talented scenario writers and game designers. This is a case study on interactive elements of the game scenario, such as items, puzzles, and events. In conclusion, when these interactive elements becoming smoothly one parts of the game the game is now perfectly finished, rather than disturbing the process of the game story. I hope that this study is some helpful to game developers.

• Proceedings of the Korea Society of Design Studies Conference
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• 2004.10a
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• pp.126-127
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• 2004

• 한국HCI학회:학술대회논문집
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• 2006.02b
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• pp.524-529
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• 2006

짧은 기간에 비약적으로 기술이 발전하는 시대에는 사용자의 미래환경과 그에 따른 사용자의 행태를 미리 분석할 수 있는 방법이 절실히 요구된다. 본 연구에서는 블루투스 핸즈프리 헤드셋의 UI 디자인 개발을 위해 사용된 사용자의 제품 사용행태 예측 과정을 통해 그 방법론을 제시하고자 한다. 1 차로 블루투스 핸즈프리 헤드셋 사용자가 그것을 사용하는 사용행태를 조사 분석하였으며, 조사의 결과를 인터랙티브 스토리텔링의 방법으로 구성하여 아이디어개발을 위한 보조도구로 개발하였다. 조사의 대상은 블루투스 헤드셋의 주요 사용자 층인 10 대 후반에서 20 대 중반에 속하는 사용자 그룹이며 블루투스 헤드셋으로 변용 가능한 패션 액세서리를 선정하고 선정한 액세서리를 블루투스 핸즈프리 헤드셋으로 가정하여 사용시의 그들의 사용 포즈를 분석하는 방법을 통해 주사용자 층의 사용행태를 예측하고자 하였다. 이 연구의 결과는 블루투스 헤드셋 개발팀내의 기획자, 기술자, 디자이너들이 제품의 개발 방향에 대한 아이디어 공유를 위하여 Macromedia Flash 를 사용하여 인터랙티브 스토리텔링으로 제작하여 디자인을 위한 보조 툴로 제안하였다. 본 연구는 블루투스 핸즈프리 헤드셋과 같이 사용자의 새로운 요구와 사용성이 기대되는 제품 UI 디자인을 위해서는 사용자의 미래 요구사항을 예측 할 수 있는 방법이 필요하다는 배경에서 시작되었으며, 블루투스 핸즈프리 헤드셋의 사용자의 요구 파악 및 예측을 위한 방법으로 제품과 사용자의 사용 포즈를 연계하여 분석하는 방법을 제안하였다.

• The Journal of the Korea Contents Association
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• v.21 no.3
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• pp.103-113
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• 2021

Rather than a directing method of existing animations, VR animation needs a different method of direction. Existing animations were displayed on a screen in movie theaters. But using an existing direction method for the 360° perspective in a VR animation makes it difficult for the user's gaze to move in a way the directors have intended. I analyzed 3 VR animations with a theoretical background of Rudolf Arnheim's visual perception theory and Bruce Block's visual factors that bring high attention. In the process of perception of space, focus on the gaze, movement of the gaze, the 'movement' factor was used most often to attract the gaze. An interactive VR animation attracts user's gaze by allowing users to participate in important points of the story. With an analysis of the animation, it proposed a gaze attraction through the movement of the character with an interaction directing method for reducing motion sickness. Also, it proposed intuitively attracting gaze movement by using GUI and attracting user's participation by using an interactive event with an interaction directing method of storytelling comprehension. With two types of directing proposal, we expect it to be utilized as a basic research method for attracting users to be immersed in storytelling while reducing cyber motion sickness, which is a problem in VR animation.