• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2019.05a
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• pp.232-235
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• 2019

In recent years, Japanese style Chinese Moe-tic Ship personification games have enjoyed success in Korean game market - starting from 'Girl's Frontier' in 2017 to recent 'Azur Lane' in 2018. Their 'all female' characters have overly sexual appearance thus young male adults/adolescents are main consumers of the genre. In this paper, we investigate all 300+ character skins of the game 'Azur Lane' on how much their character illustrates have sexual exposure of the female body for the sexism and how their standard attire have different patterns with respect to the affiliated nationalities. We report that the sexual exposure is highly related to the payable skins including swim suits and there exists some sexual stereotype in characters' attire. Japanese and Chinese characters emphasize their traditional Chipao and Kimono. Japanese also wore school uniforms. German characters wore uniforms the most and many British characters wore maiden uniform. Although this game is classified as adult game, its overly sexualized female characters are harmful for young adults to cause sexual objectification of females.

• Cartoon and Animation Studies
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• s.51
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• pp.129-158
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• 2018

China has had many excellent Chinese-style animation since the 1950s. These animations are of distinctive Chinese national characteristics. They have won many awards both at home and abroad, such as "Feelings of Mountains and Waters", "Uproar In Heaven", "Why is the Crow Black-Coated" and so on. But nowadays, Chinese animations that mimics Japanese and American animation are very often, and there are few animation works with rich traditional Chinese culture. There are some works in the name of Chinese style, but they have not been fully accepted by the audiences. If one wants to create animated works of Chinese style, the author must have an in-depth understanding of Chinese traditional and folk art. Animation can not be designed only on the surface. This paper mainly studies the traditional five color concept in China and its application in animation. The purpose is to provide some references to differentiate Chinese animation from other countries in terms of style and color. The main content of this paper is to understand the concept and history of Chinese traditional five color views, and to know that this color system has reflected the ancestors' concept of nature and society. On the basis of five monochromatic colors, red, yellow, green, white and black, it is a kind of complex color concept that has been developed and perfected continuously after a long period of accumulation and precipitation in the practice of life. It is the theoretical basis of Chinese traditional color system and a complete set of historical, cultural, philosophical and religious theories. Finally, this paper analyzes the colors and their symbolic meanings of the main roles in "Uproar In Heaven", a color long animation produced by Shanghai Animation Film Studio, including Sun Wukong, the Jade Emperor and Na Zha. Color is the first visual language. The use of color symbols to express the inner feelings, status, good and evil of the characters will affect the audience's emotions, behaviors and opinions imperceptibly. The traditional Chinese five color concept has gone through such a long history, and its symbolic meaning has a more profound impact on Chinese people. Applying the color concept and symbolic meaning of Chinese traditional five color concept will further highlight the personalities and emotions of the roles in Chinese style animations. This paper takes the five-color view as the theoretical basis, and through the analysis of cartoons with traditional Chinese color, the author finds ways to flexibly use traditional Chinese culture.

• Cartoon and Animation Studies
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• s.47
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• pp.103-123
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• 2017

In recent years, some of the brands of cosmetics in Korea have launched the BB Cream only for man. Cosmetics is not only necessary for woman and it has been accepted by the male. A programme hosted by 김기수 is aimed to teach the female how to make up. As a result, the comprehension of the gender and the development of the times have been combined closely. The understanding of gender has been developed from binary opposition to the diversity of gender. The movements that were aimed at advocating feminism caused by some events reminded us of that we should pay attention to the equalization of the gender. We can see that people want to liberate themselves from the sexual stereotype through these social phenomenons. Meanwhile, animation advertising has also experienced a transformation, which is from that to shape a role under sexual stereotype to that to pay more attention to the diversity of gender during the progress of shaping a role. During the initial stage of the animation advertising's prosperity, what it described was based on the male. The male was the permanent theme. On the contrary, the female only played a subordinate role. However, with the development of feminism, to realize self-worth of the female and to fight for the gender equality have been mentioned more and more frequently. All these factors have prompted the animation advertising to break the stereotype when shaping a new role and change the sexual stereotype in order to create new animation figures.

• Proceedings of the Korean Information Science Society Conference
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• 2004.04b
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• pp.490-492
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• 2004

영화, 애니메이션, 게임 등 디지털 문화 컨텐츠에서 의상을 입은 캐릭터들의 사실성이 강조되는데, 기존의 패션 CAD나 의상 애니메이션 소프트웨어들은 디자인에 있어서 여러 단계의 작업을 거쳐야 하고 의상 디자인의 전문성을 요구한다 특히, 최근 우리 문화 원형의 디지털 컨텐츠화로 디지털 한복의 수요가 증가하고 있으며, 한복은 재단이나 착용방식 등에서 양복과는 구성학적 차이점을 지님에도 불구하고 디지털 한복 제작을 위한 전문 시뮬레이션 도구는 전무하다. 따라서, 본 연구에서는 전통적인 한복의 제작에서 사용하는 신체 치수 측정방법과 옷본 및 체형에 따른 사이즈 조정 방법을 지식베이스로 구축하였다. 이를 통해 한복에 대한 사전 지식이 업는 사용자들도 가상 캐릭터에 쉽게 한복을 착용 시킬 수 있는 지식 기반 한복 드레이핑 방법을 제안한다.

• Proceedings of the Korea Information Processing Society Conference
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• 2004.05a
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• pp.1615-1618
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• 2004

영화, 애니메이션, 게임 등 디지털 문화 컨텐츠에서 의상을 입은 캐릭터들의 사실성이 강조되는데, 디지털 의상 제작에 있어서 기존의 패션 CAD나 의상 애니메이션 소프트웨어들은 여러 단계의 작업을 거쳐야 하고 의상 디자인의 전문성을 요구한다. 특히, 최근 우리 문화 원형의 디지털 컨텐츠화로 디지털 한복의 수요가 증가하고 있으며, 한복은 재단이나 착용방식 등에서 양복과는 구성학적 차이점을 지님에도 불구하고 디지털 한복 제작을 위한 전문 시뮬레이션 도구는 전무하다. 따라서, 본 연구에서는 전통적인 한복의 제작에서 사용하는 신체 치수와 체형특징에 따른 옷본의 크기 조정 방법을 지식베이스로 구축하고, 이를 사용하여 한복에 대한 사전 지식이 없는 사용자들도 가상 캐릭터에 쉽게 한복을 착용시킬 수 있는 지식 기반 한복 드레이핑 시뮬레이션을 제안한다.

• Cartoon and Animation Studies
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• s.43
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• pp.185-209
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• 2016

Pattern refers to singular or repetitive decorative form in a blank surface, Also pattern is not just something to simply fill in the blanks, and has more meanings. Pattern reflects the specific culture or regional feature. So Depending on which pattern to use, creator can give particular of identity. which is generally utilized in visual arts such as painting, architecture, craft, as well as animation. Pattern in animation plays a role of decorating background or surfaces of characters' outfits or props. And Parttern is effective way to describe the story of the times and space environment of the background. Tomm Moore, an animation director in in Ireland mainly produces animations based on traditional folk stories or myths. He usually utilizes cultural and artistic factors related to the themes in his work production. One example is the insertion of pattern closely associated with the narratives and backgrounds of animations to create profound scenes. Tomm Moore used the Irish Celt pattern in Secret of Kells (2009) and Song of Sea (2014) and Islam geometric pattern and plant pattern in a short nimation named On Love from Kahlil Gibran's The Prophe (2014). This study attempts to examine the historical and cultural foundation and the narratives of these two animations, Song of Sea(2014) and Kahlil Gibran's The Prophet: On Love (2014) in which Tomm Moore participated as the director and producer, exploring their relevant traditional patterns. Moreover, it also attempts to analyze how these traditional patterns are utilized in the animations.

• Journal of Korea Entertainment Industry Association
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• v.14 no.8
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• pp.141-152
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• 2020

This thesis is a study on the creation of characters of "personality actors and character actors" among the concepts of "star persona" of S. Prince. This study selected 7 representative films of Jung Woo-sung, a representative personality actor in the Korean film industry, and analyzed how 'Jung Woo-sung-character' is embodied in the film as a character component suggested by R. Dyer. In the traditional sense, the actor's acting has been highly valued for transformation and impersonation in character creation, but discussing the method of creating a character focusing only on the actor's acting in a movie acting implemented in combination with advanced technology I don't think it's suitable for movie acting research. Theorists such as R.Dyer and Edgar Morin, who studied film actors and stars, also emphasize that 'movie actors are different from theater actors' (by the film medium). Therefore, in this thesis, a detailed analysis of the acting of a personality actor was avoided. As Morin pointed out that the character in the movie can be implemented through the actor's image and type, not playing the type of role. I tried to propose the significance of this character creation method of the personality actor by analyzing actor Jung Woo-sung and his character.

• Journal of Korea Game Society
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• v.5 no.3
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• pp.17-24
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• 2005

The interaction property of digital media have changed traditional storytelling into a new concept, digital-storytelling, which has been widely accepted. Nowadays open-ended game storytelling, which different from story design of movie or animation, is chosen for the development of RPG. It can make infinite stories according to player character's decision. In this paper, we propose a game storytelling structure focused on the characters for RPG, and analyze how characters designed with various story-values interact with background stories and events in the cyber game world through case studies. This research is necessary to design predictable game mechanics and provide methods to control game play in case of special-purpose game.

• Journal of the Korea Computer Graphics Society
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• v.18 no.2
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• pp.55-62
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• 2012

This paper presents a new method to represent the secondary deformation effect using simple mass-spring simulation on the vertex shader of the GPU. For each skin vertex of a 3D character, a zero-length spring is connected to a virtual vertex that is to be rendered. When a skin vertex changes its position and velocity according to the character motion, the position of the corresponding virtual vertex is computed by mass-spring simulation in parallel on the GPU. The proposed method represents the secondary deformation effect very fast that shows the material property of a character skin during the animation. Applying the proposed technique dynamically can represent squash-and-stretch and follow-through effects which have been frequently shown in the traditional 2D animation, within a very small amount of additional computation. The proposed method is applicable to represent elastic skin deformation of a virtual character in an interactive animation environment such as games.

• 지역과문화
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• v.7 no.3
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• pp.23-48
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• 2020

Hahoebyeolsingut Talnori, which is under permanent performance, has lost its relevance to folklore and rituals of the villagers and has secured the possibility of change depending on the actor's choice. This article seeks to expand the current stuck performance of Hahoe mask play, which has great significance as a play and play for the audience. To this end, We studied the possibility of expanding the performance of Hahoe Talnori by trans-identity of the Choragi. Chorangi character derides yangban, seonbi and monk, who are representatives of the establishment. Those who have a consciousness of potential transformation, those who passively represent the masses, and those who are tacitly authorized by the audience to ridicule the ruling class. The audience feels exhilarated by the super-cool, but at the same time reduces the limits. We transformed Chorangi who is clever but cannot overcome the limits of his status, into a character with a sense of transformation by applying the method of turnning identity and changing identity of the theory of trans-identity. And I applied the method of expansion of the media conversion storytelling theory to create a new Chorangi Madang that conforms to the audience's needs and the spirit of the times. In addition to the performance of Yangban Seonbi Madang(Act of Nobleman and Scholar) which ends with an ambiguous reconciliation, we wanted to complete it in a way that even today's audiences could accept by applying the function of the Hahoebyeolsingut Talnori ambassador and the principle of implementation. And We writed it in a script. This article is meant to be an experimental study that attempted to transform traditional performing arts in the context of new creation of tradition. Preservation and transmission of traditional performing arts are important, but it is necessary to move forward according to the trend and spirit of the times.