• Proceedings of the Korean Society of Computer Information Conference
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• 2009.01a
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• pp.159-162
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• 2009

캐릭터가 발전하는 이유 중 사람의 감정을 충족시키려는 욕구는 움직이지 않은 캐릭터에게 반영되어 인터랙티브 캐릭터로 발전되었고 현재 인터랙티브 캐릭터는 사람들의 많은 관심을 받고 있다. 그 중 최근에는 기존의 인터랙티브 캐릭터인 타마고치와 포스트 팻의 장점을 가져온 휴대용 게임기기인 NDSL의 게임 '닌텐독스'가 등장했다. '닌텐독스'는 터치스크린, 마이크와 같은 체감형 인터페이스를 사용하고 있다. 또한 사람들에게 친근한 강아지라는 캐릭터를 사용하여 사람들이 캐릭터를 애완동물과 비슷하게 느끼고 감정을 교류하게끔 유도하고 있다. 하지만 인터랙티브 캐릭터들이 감정을 표현하기에는 기존의 인공지능으로는 해결할 수 없기 때문에 인공감정을 사용하여 인터랙티브 캐릭터의 감정을 표현하도록 제안한다.

• Journal of Korea Game Society
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• v.16 no.6
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• pp.111-120
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• 2016

This paper aims to study whether the perspective of the character controlled by a player can affect the player on her moral decision. To this end we designed and developed Castaway, an interactive story using Unity3D game engine. The main story plot of Castaway is based on the trial 'R v Dudley and Stephens (also known as mignonette 1884) which occurred at 1884 in U.K. In Castaway, the player can choose either the accused or the victim, and then play the interactive story with the perspective of the chosen character. To investigate the relationship between the player's empathy to the player character and player's moral decision, we conducted a small-scale (n=10) pilot study. Results of the pilot study have shown that different perspectives can influence the player on her empathy to player character and her moral decision. In near future we plan to conduct a main study with more participants.

• Proceedings of the Korea Contents Association Conference
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• 2009.05a
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• pp.197-203
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• 2009

The users need the communication that interaction is possible in digital communication environment. It is necessity to develop the Interactive Character that various emotional expression was possible while a user-centered emotional display tool was necessary. It is a fundamental research that is going to develop the Interactive Character that individualized emotional expression is possible. In other words, I have the purpose that is going to show the aromaticness of the technology development to express feelings. Therefore, I am going to analyze whether no matter how much technology to express feelings mainly on a face expression is incarnated through an example. And, I am going to show the development direction of the Interactive Character as an emotional display tool through this.

• Science of Emotion and Sensibility
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• v.14 no.4
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• pp.483-494
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• 2011

This paper purposes to develop an artificial emotion reflecting emotional features contains situations, time, and characteristics, also to develop an interactive character having this artificial emotion with a smart phone. The artificial emotion has an Emotion Module and Drive Module for expressing emotion according to external emotional stimulus and internal drive. The Emotion Module administrates emotions according to time, characteristic, interrelation between different emotions. The Drive Module controls sensitivities of emotion according to changing drives over long time. Also due to defence mechanism for expressing emotions, emotions are processed by two pathways: The first pathway which is affected by the Emotion Module and the Drive Module, and the second pathway that is not to be done. We developed an interactive character having the artificial emotion with this structure using smart phone. And we simulated the artificial emotion what differences there are according to situations, characteristic, and time under same input conditions. The result of this paper has meanings developing the interactive character having the artificial emotion actually, and making it possible to personalize an artificial emotion with expressing the artificial emotion using smart phone.

• The Journal of the Korea Contents Association
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• v.22 no.4
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• pp.765-774
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• 2022

Neflix, a Global Over The Top(OTT) has produced various 'interactive contents' since 2015. The interactive contents mean the works in which the video users directly make choices suitable for circumstances on behalf of characters, and the conclusion of story is changed according to those choices. This thesis researches the works that attempted many narrative variations such as in 2020 and released in 2021. Compared to the previous interactive contents, these works had more diverse subjects and choices while the conflict factors and main messages of works were changed. Through this, this study examines and analyzes the diversified aspect and characteristics of narrative structure of the interactive contents in OTT.

• Journal of the Korea Computer Graphics Society
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• v.11 no.4
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• pp.39-44
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• 2005

인터랙티브 컴퓨터 게임과 컴퓨터 애니메이션에서, 유관절체의 움직임을 직관적으로 제어하도록 하는 것은 어려운 문제로 인식되고 있다. 이런 분야에서는 대부분 움직임의 대상이 되는 캐릭터가 많은 관절로 연결되어 있는데, 이때 각 관절을 사용자의 의도대로 쉽게 조종할 수 있도록 해주는 인터페이스를 디자인하기가 어렵기 때문이다. 본 논문에서는 자유도(DOF)가 높은 캐릭터의 움직임을 제어하기 위해 오랫동안 인형극에서 사용되고 있는 마리오넷 조종 기법[5]을 응용한 마리오넷 시스템을 제안하고자 한다. 우리는 가상 마리오넷 시스템을 물리기반 모델링과 햅틱 인터페이스를 기반으로 구현하였고, 이 시스템을 통해 높은 자유도를 가지는 유관절체 캐릭터의 복잡한 움직임을 쉽게 생성해낼 수 있었다. 그리고 사용자에게 햅틱 포스 피드백을 줌으로써 더욱 정교한 마리오넷을 조작이 가능하도록 하였다. 이 시스템을 일반적인 유관절체에 적용한다면 다양한 움직임을 쉽고 빠르게 생성할 수 있을 것이다.

• Journal of the Korea Society of Computer and Information
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• v.25 no.4
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• pp.55-61
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• 2020

In this paper, we present a novel approach to efficiently control the location of NPC(Non-playable characters) in the interactive virtual world such as game, virtual reality. To control the NPC's movement path, we first calculate the main trajectory based on the user's path, and then move the NPC based on the weight map. Our method constructs automatically a navigation mesh that provides new paths for NPC by referencing the user trajectories. Our method enables adaptive changes to the virtual world over time and provides user-preferred path weights for smartagent path planning. We have tested the usefulness of our algorithm with several example scenarios from interactive worlds such as video games, virtual reality. In practice, our framework can be applied easily to any type of navigation in an interactive world.

• Journal of Digital Contents Society
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• v.18 no.8
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• pp.1481-1487
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• 2017

In this article we describe our preliminary work to create VR interactive storytelling particularly for building empathic relationships between the reader (or the player) and story characters. As a practical guideline for developing empathy-based VR interactive story, we propose four key factors: first, narrativity considering narrative theories and concepts including the notion of focalization by Gerald Genette; second, interactivity for balancing between narrative and player control in interactive storytelling domain; third, consideration of virtual reality in human computer interaction domain; fourth, empathy in narrative from the viewpoint of psychology and cognitive science. We also introduce an example interactive storytelling scenario based on Little Red Riding Hood story. Finally we conclude with our VR implementation using Unreal game engine and HTC Vive.

• Journal of the Korean Society for Computer Game
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• v.31 no.4
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• pp.17-28
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• 2018

In recent years, Sandbox Games have become more and more popular in players, and The Elder Scrolls 5 Skyrim is the magnum opus of this type of game. However, the element of this game's attraction for players, which is why the game is fun to play is worth exploring in the territory of Game Design. In this paper, I will introduce the game The Elder Scrolls 5 Skyrim in detail, listing some of the game's storyline 、 Game Mechanics and analyze them. Researching the advantage and disadvantage viewed from the angle of Game Interactive Design. Finally by analyzing a large number of interactive storytelling cases in the game and the game experience brought to players, I get some universal principles in the game interactive storytelling design level. The research transforms the players' subjective intuition factor into a clear interactive storytelling design pattern, which aims to provide qualitative design criteria and framework for game interactive storytelling design. Then find a universal technique of Game Interactive Design, that is how to design a game interaction system for a sandbox game that will make the game attractive to players. And this may provide some guiding significance for the later Game Interactive Designing.

• Journal of Korea Game Society
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• v.8 no.3
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• pp.51-59
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• 2008

This article focuses on perspectives of game in terms of interactivity between game texts and players. There are many points of view which have been discussed, such as first person point of view, third person point of view, top-down point of view, side-view point of view, quarter-view point of view, and isometric point of view, but they are too insufficient to fully explain the perspectives of game from the viewpoint of the interactivity. This paper examines the function of player and game manufacturer as implied authors on interactive point of view, and discusses the perspectives of game through a sense of distance between players as implied author and player characters.