• The Journal of the Korea Contents Association
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• v.13 no.7
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• pp.168-180
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• 2013

Based on the strategic contingency theory, this study empirically examines Korean TV drama producers' changing adaptive behaviors in terms of genre variety given different levels of environmental uncertainty. The extant literature has suggested that firms tend to increase product variety in order to cope with increasing environmental uncertainty. This study attempted to verify the hypothesis that TV drama producers would employ wider variety of genre in the period with more uncertain environment(2003-2009) than the period with stable environment(1994-2002). Empirical results support the hypothesis, implying that TV drama producers tend to repeatedly produce dramas with the same genre in order to pursue efficiency in stable environment whereas they tend to employ a variety of different genre in order to cope with increasing environmental uncertainty.

• Journal of Korea Game Society
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• v.6 no.2
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• pp.23-32
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• 2006

This article attempts to suggest a frame of game genres by appling the concept of narrative. The narrative is traditional and useful concept in game study, though the narrative of computer games is under discussion. In the main discourse, syntagmatic/paradigmatic character of narrative and the rate of importance of narrative in the game are used for two axis to set the location of computer game genres. As a result, I could find the location of computer game genres that reflects the characters of narrative.

• Digital Contents
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• no.10 s.161
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• pp.88-89
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• 2006

다른 게임 장르에 비해 RPG란 장르는 상대적으로 유저의 평균체류시간이 길다. 이는 RPG의 특성상 FPS나 RTS장르처럼 단판 위주의 게이미 아니라 광활한맵을 이동하면서 사냥과 퀘스트가 끊임없이 반복되기 때문이다. 그러나 같은 RPG라 할지라도 게임마다 특성이 다르기 때문에 평균체류시간은 다르게 나타나고 있다.현재까지 게임마다 평균체류시간이 다르게 나타난다는 것은 잘 알려진 사실이다. 그러나 이에 대한 원인분석이나 체계적인 연구가 부족했던 것 또한 사실. 이는 RPG장르 내 어떤 요인들이 평균체류시간에 영향을 미치는가에 대한 실증분석이 전무한 상태에서 막연한 '감' 에 의한 평가가 대부분이었기 때문이다. 여기서는 지난 5월 30일을 기준으로 게임트릭스에 등록된 86개의 MMORPG중에서 이미 서비스가 종료됐거나 과거 1년 동안 갑작스럼 패치, 업그레이드등으로 데이터 손실이 많았던 게임, 그리고 데이터를 구할 수 없었던 게임들을 제외한 총 51개의 MMORPG를 대상으로 평균체류시간을 분석했다.

• Proceedings of the Korean Society of Computer Information Conference
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• 2020.07a
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• pp.681-684
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• 2020

2017년, '플레이어언노운스 배틀그라운드' 얼리 액세스 버전의 큰 성공으로 슈팅 게임 장르의 크나큰 변화가 일어났다. 수많은 유저들이 시간이 지날수록 압박해오는 전장과 1등에 근접할수록 높아지는 긴장감, 치열한 접전 끝에 1등을 차지하는 희열에 매료되어 세계적으로 선풍적인 인기를 끌게 되었다. 그러나 시간이 지날수록 유저들의 평균적인 게임 이해도와 실력이 늘어남에 따라 한번 실수에도 치명적인 영향을 받는 장르 특성상 모험보단 안전을 추구하고자 하였고 많은 배틀로얄 게임들이 전략의 고착화, 사용 장비의 고착화가 점점 심화되었다. 본 논문에서는 배틀로얄 장르의 고착화가 어떻게 이루어졌는지 수치와 통계를 통해 설명하고 효율적으로 고착화를 타파하기 위한 새로운 방안을 제시한다.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 2020.07a
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• pp.611-612
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• 2020

최근 유튜브, 네이버와 같은 플랫폼 사업자들은 다양하고 많은 동영상확보를 위해 최대한 시간을 적게 들이고 좋은 퀄리티의 영상을 자동으로 생성해주는 어플리케이션을 개발하는데 AI 기술을 적극적으로 사용하고 있다. 가장 주도적으로 진행하는 곳은 IBM 의 왓슨의 인지하이라이트 기술이다. 관중의 함성소리와 스포츠특성 데이터들을 활용하여 하이라이트 부분의 영상만 자동 생성하고 있다. 하지만 현재까지의 기술은 인간의 감성을 자극하는 스토리 전개방식의 자동영상 생성에 있어서는 부족한 부분이 많이 존재한다.이 에 본 논문은 영화의 클라이맥스 부분의 영상편집방식을 분석하여 이에 대한 장르별 샷 사이즈 변화패턴을 시각화한 후, 장르간 편집 차이점을 패턴화한 템플릿을 구축하여 사용자의 이미지 데이터들을 장르별 클라이맥스 패턴의 특성에 맞게 추천하여 짧은 영상을 자동 생성하는 어플리케이션을 개발하였다. 향후 본 연구는 1 인 미디어 산업 및 사이버교육 분야에서 가장 많이 소요되는 영상편집 시간을 단축하는데 큰 효율이 있을 것이라 기대한다.

• The Journal of the Korea Contents Association
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• v.6 no.10
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• pp.41-52
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• 2006

Animation, presenting laughing, tears and inspiration to the audience, can be classified into several genres according to the structure of scenario and storytelling in the same ways as for movie. This classification of scenario genre and scenario writing is based on the writing for a play. Scenario writing and genre classification that were discussed mainly in the movie theory books has been applied to the animation in spite of the difference of the production technique and storylines. Animation finds its academic values as a movie art due to its frame-by-frame filming technique and the diversity in the production. Since the number of scenario writers for animation is much smaller than that of movie in Korea, it is needed to set an academic basis for the classification of genre and scenario writing. In this study, academic basis for the classification of the genre by the analyzing the animation works.

• Journal of Korea Game Society
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• v.10 no.3
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• pp.61-71
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• 2010

This study looks into the usage pattern in online games based on genres and socio-demographic characteristics. Compared to the prior studies that adopted survey as their main research method, this study has analyzed the actual data of game login records and adopted parametric modeling and mathematical approach. In terms of the socio-demographic characteristics, the following facts were confirmed: men > women by gender, students > white-collars > housewives > blue-collars > self-employed > jobless(etc.) by occupation, college graduates > K-12 students > high-school graduates > undergrads & grads by academic background, 3∼5 million > 1∼3 million > over 5 million > less than 1 million by income levels, and not married > married by marital status. In terms of genres, the population of the players is in the order of web board games, RPG, action/racing/shooting, and sports. The RPG game is confirmed to have a higher level of MCR (Max Concurrent User Ratio) than any other genres. On the other hand, the hypothesis on the difference in Repeated Use Ratio according to genres is rejected. This study has also confirmed that interactions exist between gender and age; genre and gender; genre and age among online game users, and conducted post-hoc analysis about those interactions.

• The Journal of the Korea Contents Association
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• v.20 no.5
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• pp.665-680
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• 2020

This study analyzed changes in Korean online-game market from RPG to MOBA and FPS/TPS genre, based on Azuma Hiroki's database consumption theory. After selecting the representative game for each genre: World of Warcraft, League of Legends, and Overwatch, we analyzed the games' story, characters, progress, and simulacre produced by game users. The results of this study confirmed that changes in popular genre in the domestic online-game market proceed from consumers' verging toward database consumption. We also found that Korean game users prefer smaller stories and characters based on database, and that consumers have produced more rigorous simulacre than those in other cultural areas and re-databased it for next consumption. This study is the first to analyze changes in the domestic online-game market and adds a contribution to the literature in terms of incorporating Azuma Hiroki's consumption theory into the domestic game market.

• Science of Emotion and Sensibility
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• v.13 no.1
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• pp.251-258
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• 2010

'Naturalness' is the important "ness" which is a key factor in image quality assessment. 'Naturalness' is a representive factor depending on the context of the image which arouses different emotions. The Image Quality Circle was split into two steps. The first step is predicting the visual perceptual attribute which are lightness, colourfulness, hue and contrast. The next step is SSE which is dependent to image contents. In this study the image contents are grouped in genres. The images were rendered using four different colour attributes which are lightness, contrast, colourfulness and hue. Using a scale, the score of image quality and SSE was asked to each participant for all rendered images. A seven-point category scale of increasing amount of "ness" is used as a quantitative adjectives sequence. The image quality model was built by combining the SSEs for each scene. The SSEs, where vividness is common, are considered as independent variables to predict the image quality score. Then the vividness model was built using colour attributes as variables to predict the vividness of each scene (genre). Vividness is an important factor of naturalness which the meaning is different for all scenes that links the naturalness and image quality. The vividness meaning was different for each scene (genre). Therefore, the colour attributes that express the vividness would depend on the image content.

• The Journal of the Korea Contents Association
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• v.16 no.11
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• pp.707-715
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• 2016

The most important role of actors is to transmit the thoughts and feelings to the audience or viewers. The expression methods of acting of each genre are clearly different. In order for the actors to act, crossing over the boundary of each genre such as movies, TV, dramas, musicals, they should understand the characteristics of each of the subdivided genres. If they understand the characteristics of the acting method different from one another and acquire the expression method to adapt to the spatial circumstances of each of the media, it becomes freer to act, crossing over the boundary of each of the genres. For the sake of this, actors must understand and acquire the characteristics of each of the genres. First of all, it is important to understand the difference between acting in the media and acting on the stage and to understand the characteristics of each of the genres.