• Design Convergence Study
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• v.14 no.1
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• pp.83-98
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• 2015

This study will examine the visual composition by which Secretly Greatly, in a circumstance that even the good original Manhwas or Webtoon have not made a hit on the market until now, could attract the spectator, in other word, illustrate the analogousness of the images through analysing visual texts. The study draw, first of all, a meaning of the box office performance caused by analogousness of image, that is similarity between the webtoon and film. In addition, the study will come up with an answer to the question that the webtoon, not in a temporary trend but in a sustainable form, can make itself develop. For this, the study suggests a meaning, worth and importance of the transformation, analysing visual components of a webtoon to film adaptation, Secretly Greatly. It primarily ranges over visual components, mise-en-scène identified with its expression formula, frame to frame changes and colour and tone. The examination sets the cinema's visual expression manner against the webtoon's on their concrete components: the size of scene, movement, color and tone, narrative condition and its background, spatial composition and depth, contrast, expression manner and disposition manner.

• Cartoon and Animation Studies
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• s.46
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• pp.85-106
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• 2017

With the media's shift into the digital era in the 2000s, comic book publishers attempted a transition into the new medium by establishing a distribution structure using internet networks. But that effort shied from escaping the parallel-page reading structure of traditional comics. On the other hand, webtoons are showing divers changes by redesigning the structure of traditional sequential art media; they tend to separate and allot spaces according to the vertical scroll reading method of the internet browser and include animations, sound effects and background music. This trend is also in accordance with the preferences of modern readers. Modern society has complicated social structures with the development of various media; the public is therefore exposed to different stimuli and shows characteristics of differentiated perceptions. In other words, webtoons display more relevant and entertaining characteristics by inserting sounds and using moving texts and characters in specific frames, while traditional comics require an appreciation of withdrawal and immersion like other published media. Motions in webtoons are partially applied for dramatic tension or to create an effective expression of action. For example, hand-drawn animation is adopted to express motions by dividing motion images into many layers. Sounds are also utilized, such as background music with episode-related lyrics, melodies, ambient sounds and motion-related sound effects. In addition, webtoons provide readers with new amusement by giving tactile stimuli via the vibration of a smart phone. As stated above, the vertical direction, time-based nature of animation motions and tactile stimuli used in webtoons are differentiated from published comics. However, webtoons' utilization of innovative techniques hasn't yet reached its full potential. In addition to the fact that the software used for webtoon effects is operationally complex, this is a transitional phenomenon since there is still a lack of technical understanding of animation and sound application amongst the general public. For example, a sound might be programmed to play when a specific frame scrolls into view on the monitor, but the frame may be scrolled faster or slower than the author intended; in this case, sound can end before or after a reader sees the whole image. The motion of each frame is also programmed to start in a similar fashion. Therefore, a reader's scroll speed is related to the motion's speed. For this reason, motions might miss the intended timing and be unnatural because they are played out of context. Also, finished sound effects can disturb the concentration of readers. These problems come from a shortage of continuity; to solve these, naturally activated consecutive sounds or animations, like the simple rotation of joints when a character moves, is required.

• JOURNAL OF ELECTRICAL WORLD
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• no.5 s.15
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• pp.37-51
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• 1969

이 원고는 표기와 같이 Electrical World지의 오스트레일리아 및 동남아시아관계 편집자인 W. Diesendorf씨의 동남아시아 전기사업의 시찰시행기이다. 주로 전기사업에 있어서의 최근의 동향 및 설비확장상황에 대하여 조사하였고 그 조사대상국은 서말레이시아, 태국, 필리핀, 홍콩 및 싱가포르이다. 이들 제국에서는 민간 및 국제자금, 세계은행차관과 업자차관을 자금원으로 하여 전력설비의 건설을 진행하고 있다. 홍콩은 과거에 722.5Mw의 혹$\cdot$운(Hok Un)발전소로 인한 대기오염 때문에 곤란을 겪어 왔으나 중화전등전력회사와 ESSO의 공동출자로 설립된 반도전력회사(PEPC)의 칭$\cdot$이(Tsing Yi) 발전소가 베이스부하발전을 맡게 되고 시내로부터 멀리 떨어져 있는 위치와 높은 연출에 의하여 1969년도에는 심한 대기오염을 완하하기로 계획되어 있다. 싱가포르는 1971년까지 240Mw의 쥬롱(Jurong)발전소가 운전을 개시하기로 되어 있다. 싱가포르는 $5\~6$년마다 배증하는 부하를 가지고 있는데 이것은 주로, 철강, 시멘트 및 섬유공업에 의한 것이다. 말레이시아는 포오트$\cdot$딕슨(Port Dickson)발전소의 제1기 60MwX4가 $1969\~1972$년에 운전을 개시하기로 되어 있고 제2기는 수개의 유니트가 구성될 예정이며 카메론고지수력개발계획이 진행되고 있다. 태국에서는 유명한 꾸아에$\cdot$야이(Quae Yai)강의 칸$\cdot$리엥(Kany Rieng)에서 200Mw를 개발하기로 되어 있으며 그 제1기 공사는 1973년에 시작될 예정이다. 1975년까지 얀히이(Yanhee)전기청의 부하는 400Mw의 원자력발전소의 건설을 가능케 할 것으로 생각되고 있다. 마닐라에서는 중유화력의 가아드너(Gardener)발전소의 건설을 진행시키고 있으며 첫 번째의 165Mw의 유니트는 곧 운전을 개시할 것이며 두 번째 유니트도 1969년도에 운전이 개시될 예정이다. 마닐라전기회사는 연율 $12\~13\%$의 부하성장율을 흡수할 수 있도록 설비확장공사를 추진시키고 있다. 지리적으로만 보더라도 우리나라와 가까운 동남아시아의 전력설비현황을 알기 위한 참고로서 이 원고를 소개하기로 한다.

• Cartoon and Animation Studies
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• s.50
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• pp.101-130
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• 2018

Since the advent of the Smart Devices, the smartphone has become a popular tool to view Webtoon. This phenomenon has caused the convergence of cutting-edge technologies and Webtoons in diverse forms, creating unique versions of Webtoons including, but not limited to Smart-toon, Effect-toon, Cut-toon, Dubbing-toon, Moving-toon, AR-toon, VR-toon, and Interaction-toon. By comparison to these rich diversities of Webtoons in the online industry, there is a lack of academic research on this topic. There are some papers which talk about the different types of multimedia technology conversion and its case presentation or the effectiveness and problems of visual effect, but the effects of these convergence technologies on comic readers' concentration and reading effectiveness have never been investigated so far. Therefore, this paper will discuss the unique method of immersive storytelling that is often used in comics and analyze each aspects of immersive method in technology-converged Webtoons along with its problems. Furthermore, this paper will analyze different aspects of "immersion" and interaction elements that can be found in the popular Interaction-toon, (Encountered). Through this, this paper discusses the positive influence of the interaction elements on comic readers' immersion level and its limitation. To classify the technology-converged Webtoons in terms of the immersion level, the Effect-toon sometimes interferes viewer's flow by using excessive use of multimedia effect, creating information overload. The Smart-toon which applied motions to each frame under horizontal mode of smartphones was a good try, but it hindered the readers' activeness and made it hard for the readers to be fully absorbed in the story. The VR-toon, which utilizes virtual reality gadgets to allow viewers to explore the world of Webtoon was also a nice try to overcome the limitation of vertical screens. However, it often caused dispersion of user's attention and reduced the users' immersion level. The Moving-toon which only emphasized the reading convenience also invaded readers' activeness and disturb users' concentration. On the other hand, the cartoonist Il-Kwon Ha applied high technologies such as face recognition technology, augmented reality techniques, 360-degree panorama technology, and haptic technology to his cartoon (Encountered). This allowed the readers to form a sense of closeness towards the cartoon characters which let the readers to identify themselves with the characters and interact with them. By this way, the readers can be fully immersed in the story. However, technology abuse, impractical production and hackneyed storylining often showed later in the story remains as its limitations.