• (The)Study of the Eastern Classic
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• no.63
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• pp.221-252
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• 2016

This study aimed to looked into the conversion of the genre, and the aspects of the transition in gramophone records that were based on classical novels. And also considered the orientations of the gramophone records that were based on classical novels. Followings had been found as the results of this study. First, there were 31 kinds of the gramophone records. All of them were based on the 10 kinds of Korean classical novels like a (심청전), (춘향전). Second, the gramophone records that were based on classical novels verified the original genre. And the plot were reconstituted center for enhancive the dialogues. Third, on one hand these gramophone records stuck to tradition of its original texts. and the other hand they pursued the light laugh without reference to the tradition of Korean classical novels.

• Journal of Digital Contents Society
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• v.19 no.8
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• pp.1443-1451
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• 2018

The genre of digital games is not a fixed and invariable system, but a generative system of revisions and changes. The purpose of this study is to define a concept of alternative genre for digital games. The alternative genre of digital games should be presented in combinations of various genre elements and reflected the genre awareness of the user. In this context, user tags of the game transform the classical genre concept into a family resemblance based categorization and establish a user-driven bottom-up genre system. User tags as the form of alternative genre can spread the 'small' genre through multiplicity of genre elements and strengthen the communicative function of the genre.

• Journal of the Korea Convergence Society
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• v.11 no.1
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• pp.131-139
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• 2020

Gamers switch their games to a new when get bored or encounter more attractive ones. Switching cost varies by gamers and depends on how they are satisfied with their current game. This study evaluates the satisfaction with current games as the miltiple basic psychological need in the self-determination theory and suggests 'needs-costs' causality research model that explain the variety of gamer's switching behavior. As the empirical test to domestic mobile gamers, the autonomy fulfillment to current game affect reversely with those of autonomy and relatedness. Those relationships between need satisfaction and perceptual switching cost vary according to their age and game genre preference. The results would be applied to understand gamers' switching behavior.

• Korean journal of communication and information
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• v.57
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• pp.181-201
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• 2012

Classic cultivation theory and research has been noted for its failure to capture subtle variation in effects by genre and to consider tangible and practical dependent variables. Redressing these limitations, this study aimed at extending cultivation theory frame to incorporating fatalistic attitudes and reality television viewing, especially with the mediator of perceived realism. We first replicated the original cultivation effect by showing the significant effect of overall TV viewing. Even controlling for overall TV viewing, reality-based program use showed positive association with fatalistic beliefs; furthermore, the effect remained significant, additionally controlling for news(fact) use and drama(fiction) use. In a nutshell, the cultivation effect of reality-based TV program on fatalistic beliefs turns out quite stable even after controlling other competing genres.

• Proceedings of the Korea Information Processing Society Conference
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• 2008.05a
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• pp.1025-1028
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• 2008

모바일 하드웨어의 기술이 비약적으로 발전하고, 기존 게임 플랫폼의 게임을 모바일 플랫폼의 게임으로 전환하는 사례가 늘면서 모바일 게임의 장르가 다변화되고 있다. 기존 게임 플랫폼의 게임은 각기 제작된 플랫폼의 입출력 특징에 맞게 제작되었다. 그러한 게임을 모바일 플랫폼으로 전환시키기 위해서는 기존 플랫폼의 입출력 요소를 고려해야 한다. 본 연구에서는 기존 게임 플랫폼과 모바일 플랫폼의 입출력 인터페이스 요소 특징을 분석하였다. 이를 통해 기존 플랫폼의 게임을 모바일 플랫폼의 콘텐츠로 전환할 때 고려해야 할 입출력 인터페이스 고려 요소를 제안한다.

• Journal of Popular Narrative
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• v.26 no.1
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• pp.77-102
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• 2020

This article analyzes 'book traveler' stories as a new sub-genre of Korean fantasy web fiction. Formal innovation is revealed as the major motivation of Korean fantasy web fiction's narratives. Furthermore, the imagination of social resistance was presented as the formal devices of the genre. These theses were performed during the analysis of the two characteristics of the genre. In this genre, the main character is the writer or reader of fantasy stories. He moves into a novel he is describing or reading. The original novel, which was entered by the main character, is a space characterized by the custom of a typical fantasy genre. Therefore, the main character actually experiences cliché, typical genre devices and plots. The most important action for the main character here is to 'bend' the custom of the original. Therefore, this genre is in the form of the main motive being the refraction of typology. Meanwhile, the main character is not the central character of the original, but a secondary figure. The central character of the original book is usually from the ruling class, which monopolizes the good resources of society. At this time, the genre creates a subversive situation in which the social underdog goes beyond the social power through plots that overwhelm the central figure. It converts the reader's social desire into a genre device. To summarize, the latest trend in Korean web novel fantasy has captured scenes of renewed Korean genre literature practices. It sensitively reflects the social context of the contemporaries and the reader's desire. Thus, the Korean web novel fantasy has reflected both its internal conditions and its social context.

• Cartoon and Animation Studies
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• s.28
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• pp.155-180
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• 2012

This article is to propose a conceptual framework for the One Source Multi Use (OSMU) strategic model of culture content. In this study, OSMU is defined as a series of marketing activities to increase the value created by culture content. The framework of brand equity strategy is applied to develop the strategic model of OSMU, as both share the same goal - maximization of long term value created by brand or culture content. This article suggests the brand identity-based OSMU strategic model, in which the brand identity of culture content guides, integrates, and coordinates every decision-making of OSMU activities. For the maximization of brand equity value of culture content, the copyright holder of original content should decide the content's brand identity, which should provide the criteria of all decision makings regarding window strategy, adaptation of content to other genre, and merchandising. This brand identity-based OSMU strategic model can not only contribute to the sales of OSMU content, but also the creation of high equity culture content in the long run. Also, the model allows monitoring and evaluation of content's brand equity, which can be used for the strategic adjustment for the sake of long term value of the content. This study is differentiated from previous study on OSMU and expected to invigorate the further discussion on OSMU in several points. First, it broadens the scope of OSMU discussion as it views OSMU as a series of process including feedback. Second, this study points out the need for integration and coordination of various OSMU activities. Third, the strategic focus is laid on the value maximization of the original content, not 'multi used' content. Fourth, the suggested model emphasize the strategic role of copyright holder who takes the charge of the content brand management. Fifth, the model requires discussion on the components of marketing communication in addition to the content itself, which means the model includes the prospects, not only the content consumers, as the major future source for value creation.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.9-43
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• 2019

Web novels are one of the most actively adapted genre novels under a new medium called the Internet. Research on cultural content implemented on top of digital media is naturally closely related to environmental changes in digital media. The same goes for Web novels sparked by the identity of Web platforms. Especially in the case of web novels, the platform itself that provides them has triggered direct changes in genre code and reading patterns. From this perspective, this thesis wanted to examine the formation process and strategic features of web novels, which became content and products on the web platform environment. First of all, through the formation process ranging from communication novels to Internet novels and web novels, I arranged the transition to digital media and the change of genre novel market. This was an attempt to extract that Web novels not only have continuity as genre novels, but also have a turning point as digital content. Web novels are digital content that internalizes the values of the Web 2.0 era. It should also be a core product that grows the pie in the market in its own right. This paper noted that web novels are content that embodies these consumption values. So this thesis considered about what is the visualization and commercialization strategy of the web-based novels that is currently formed, and what is the current status of the web-based romance novels as the content and the product that is driving OSMU most actively in the process of commercialization. Through this process, I found that the greatest characteristic of web novels as genre novels that have evolved into digital content is their division and crack of genre.

• Proceedings of the Korea Information Processing Society Conference
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• 2023.05a
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• pp.35-36
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• 2023

Unreal Engine 5의 Level Streaming 기능은 플레이어가 플레이 도중 메모리에 Map을 로드/언 로드하는 등의 작업을 처리하는 기능이다. 이때 Level Streaming은 커다란 Map의 당장 필요한 부분에만 메모리에 로드하고, 렌더링하여 특히 Seamless Open world 장르에서 많이 사용된다. 본 논문에서 제안하는 방식은 이 Level Streaming 기능을 이용하여 현재 개발 진행 중인 Rogue-Like 장르 게임에서 비동기 방식의 로딩 화면과 Stage 전환을 통해 좀 더 부드러운, 즉 더 높은 Frames per Second(fps)를 플레이어에게 제공하기 위한 새로운 스테이지 시스템의 구현방식을 연구한다.

• Proceedings of the Korea Multimedia Society Conference
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• 2003.05b
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• pp.821-825
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• 2003

라이프 스타일의 변화에 따라 게임을 즐기는 장소, 방법의 변화를 가지고 오면서 핸드폰으로 서비스되는 모바일 게임의 등장과 온라인 게임의 빠른 확산으로 인해 많은 게임 개발업체에서 온라인 게임의 시장성을 인식하여 개발을 진행하고 있어 새로운 컨텐츠의 전환이 필요한 시점이다. 2002년 게임 개발 장르의 조사에 따르면 액션게임(39％), 롤플레잉 게임(31％)이 많은 비중을 차지하고 에듀테인먼트 게임에 대한 개발 비중이 상대적으로 적은 편이다. 따라서 틈새시장을 공격하는 에듀테인먼트 게임의 개발에 대한 컨텐츠 연구가 필요하다. 그래서 본 연구는 온라인 게임의 사례를 통해 게임의 그래픽 요소, 게임 내용 요소, 교육적 요소를 분석하여 에듀테인먼트 기반의 온라인 게임에 대한 현황을 분석하였다.