• Journal of Digital Convergence
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• v.11 no.12
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• pp.777-784
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• 2013

A novel is a conversation between self and the real world. They are not only sensitive act to the real world, but also a pattern of the real through the converse between self and the real world without making the real his own. This analysis on the works of Son and his essence shows that he tried to express his self-denial aesthetics and human-denial aesthetics as well as self-closing aesthetics.

• Cartoon and Animation Studies
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• s.28
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• pp.235-263
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• 2012

Regarding the theme park business as an area of cultural content business, this study focuses on the trend of pursuing indoor theme parks as a small-scale small capital strategy escaped from the existing approach oriented to large-scale outdoor complex theme parks. It is because although existing large-scale outdoor complex theme parks require the capital with the scale of hundreds of billion won and also high-level technique and the latest operational know-how that they have a great barrier for new entry as well as enormous risk, the rent indoor theme parks succeed in market entry with efficient risk management and flexible market strategies. Thereupon, this study examines the current status of the children's indoor theme park market with Korean characters as their theme as a new market among the indoor theme parks and also investigates the market strategies of this market in the two aspects of expansion: the expansion of Korean characters' property value and the expansion of the local theme park market. For that, this article reviewed the advanced researches on theme parks and divided the types of theme parks existing in Korea with the criteria of classification by space and theme or classification by main users. Also, among the children's indoor theme parks with Korean characters as their theme, this study visited five ones located in the capital area to examine the current status. And about two located in the capital area and also four in the local area, the current data were received from the persons in charge of the companies for analysis. Also, with the subjects of spectators visiting the 'DIBO VILLAGE, Cheonggye-cheon' newly opened on April 25th, 2012, the research on satisfaction was conducted for analysis. Through that, this study analyzed the structure of the existing children's indoor theme park business with Korean characters as their theme and suggested the ground to analyze the effectiveness of market strategies being implemented. It is expected that this study will establish the clues of systematic and profound discussion for the indoor theme park business that can be said to be the niche market of the theme park business and allow the small-scale areal indoor theme parks to be examined as a significant business model for the local theme park industry. In the aspect of character business as well, it is expected that this will give a chance to establish a new model of spatial storytelling expansion in terms of the property value of Korean animation characters.

• Journal of the Korea Computer Graphics Society
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• v.25 no.3
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• pp.85-92
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• 2019

A 3D virtual character playing a role in a digital story-telling has a unique style in its appearance and motion. Because the style reflects the unique personality of the character, it is very important to preserve the style and keep its consistency. However, when the character's motion is directly controlled by a user's motion who is wearing motion sensors, the unique style can be discarded. We present a novel character motion control method that uses only a small amount of animation data created only for the character to preserve the style of the character motion. Instead of machine learning approaches requiring a large amount of training data, we suggest a search-based method, which directly searches the most similar character pose from the animation data to the current user's pose. To show the usability of our method, we conducted our experiments with a character model and its animation data created by an expert designer for a virtual reality game. To prove that our method preserves well the original motion style of the character, we compared our result with the result obtained by using general human motion capture data. In addition, to show the scalability of our method, we presented experimental results with different numbers of motion sensors.

• Journal of the Korean earth science society
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• v.42 no.1
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• pp.65-75
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• 2021

Over the past decade, the number of national geoparks has rapidly increased, and 13 areas are currently designated as geoparks. After Jeju Island (2010), Cheongsong (2017), Mudeungsan (2018), and Hantangang River (2020) National Geoparks were listed as UNESCO Global Geoparks. Despite the continuous increase in the number of national geoparks and UNESCO global geoparks, the public interest in geoparks and the effect of regional economic development by geoparks are not yet very significant. Some geopark management organizations have developed geopark characters to appeal to the public through intimacy and friendliness, utilizing parks for education and tourism. However, the characters are not being utilized properly due to a lack of plannings, expertise, storytelling, and management. For geopark characters, which have been neglected since development, to perform their original roles, content production based on appropriate budget compilation and analysis of consumption trends in the character market is necessary. Instead of merely using geopark characters, geopark characters should be loved by the public, as well as local residents.

• The Journal of the Korea Contents Association
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• v.21 no.3
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• pp.103-113
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• 2021

Rather than a directing method of existing animations, VR animation needs a different method of direction. Existing animations were displayed on a screen in movie theaters. But using an existing direction method for the 360° perspective in a VR animation makes it difficult for the user's gaze to move in a way the directors have intended. I analyzed 3 VR animations with a theoretical background of Rudolf Arnheim's visual perception theory and Bruce Block's visual factors that bring high attention. In the process of perception of space, focus on the gaze, movement of the gaze, the 'movement' factor was used most often to attract the gaze. An interactive VR animation attracts user's gaze by allowing users to participate in important points of the story. With an analysis of the animation, it proposed a gaze attraction through the movement of the character with an interaction directing method for reducing motion sickness. Also, it proposed intuitively attracting gaze movement by using GUI and attracting user's participation by using an interactive event with an interaction directing method of storytelling comprehension. With two types of directing proposal, we expect it to be utilized as a basic research method for attracting users to be immersed in storytelling while reducing cyber motion sickness, which is a problem in VR animation.

• Cartoon and Animation Studies
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• s.41
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• pp.57-73
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• 2015

A pose is an important component in the animation with timing and spacing. Pose is the key to describe the story-telling or how the animation behavior. Key animation method is Straight Ahead and pose to pose method. Many animaters have been using these two methods, or by a mix of two ways. It is possible that computer animation make a pose using interpolation between keyframes. The many animators of computer animation are using pose to pose in their work. It is depend on good and strong pose that make audience understand a story or a situation. This makes animators to be efficient of inefficient operation. In this study, according to the effective good pose to catch proposes four ways. There are four methods of making pose that are stretch and squash, the height of the character, the center of weight, step. The law of 12 kinds of Disney Animation is a good reference for the study.

• Trans-
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• v.15
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• pp.25-56
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• 2023

VR is a dynamic image simulation technology with very high information density. Among them, spatial depth, temporality, and realism bring an unprecedented sense of immersion to the experience. However, due to its high information density, the information contained in it is very easy to be manipulated, creating an illusion of objectivity. Users need guidance to help them interpret the high density of dynamic image information. Just like setting up navigation interfaces and interactivity in games, interactivity in virtual reality is a way to interpret virtual content. At present, domestic research on VR content is mainly focused on technology exploration and visual aesthetic experience. However, there is still a lack of research on interactive storytelling design, which is an important part of VR content creation. In order to explore a better interactive storytelling model in virtual reality content, this paper analyzes the interactive storytelling features of the VR animated version of <Wolves in the walls> through the methods of literature review and case study. We find that the following rules can be followed when creating VR content: 1. the VR environment should fully utilize the advantages of free movement for users, and users should not be viewed as mere observers. The user's sense of presence should be fully considered when designing interaction modules. Break down the "fourth wall" to encourage audience interaction in the virtual reality environment, and make the hot media of VR "cool". 2.Provide developer-driven narrative in the early stages of the work so that users are not confused about the ambiguous world situation when they first enter a virtual environment with a high degree of freedom. 1.Unlike some games that guide users through text, you can guide them through a more natural interactive approach that adds natural dialog between the user and story characters (NPC). Also, since gaze guidance is an important part of story progression, you should set up spatial scene user gaze guidance elements within it. For example, you can provide eye-following cues, motion cues, language cues, and more. By analyzing the interactive storytelling features and innovations of the VR animation <Wolves in the walls>, I hope to summarize the main elements of interactive storytelling from its content. Based on this, I hope to explore how to better showcase interactive storytelling in virtual reality content and provide thoughts on future VR content creation.

• Journal of Digital Convergence
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• v.10 no.8
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• pp.53-61
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• 2012

This study investigates the determinants of continuous user intention of playing on-line games. Based on the data collected through on-line survey, we find that telepresense and commitment influence on the perceived utility of on-line games which, in turn, has effects on continuous user intention of and information sharing among on-line game players. In addition, the findings support the premise that the method of playing game and challenges influence on commitment, whereas rewards for playing game do not. As another determinant of perceived utility of on-line games, telepresense is found to be guided by diplomatic system and storytelling in on-line games.

• The Journal of the Korea Contents Association
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• v.20 no.4
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• pp.530-539
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• 2020

In this paper, we implement a digital content that visualizes the ten kings of Hell kings appearing in Buddhist myths according to their keyword. The ten kings of Hell are called ShiWang, and can be found in ordinary temples as tangible cultural Heritage such as paintings of the Buddha. ShiWang is a great king who controls the underworld and has been passed on in various forms in shamanism and Buddhist culture. We analyze the ShiWang, who appears in ancient literature, analyzes its features by hell and categorizes keywords. When the public chooses keywords of interest from implemented digital content, digital content represents the ShiWang and Hell image and descriptions associated with the selected keywords. Applications of the digital content are as follows; development of games and cultural characters, digital storytelling using traditional culture, teaching Buddhist culture and doctrines, games, etc.

• Journal of Korea Game Society
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• v.18 no.2
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• pp.59-68
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• 2018

A visual novel, a type of digital content combining novel and game, was designed as hypermedia which includes various media, for instance, image, sound, and video. The narrative of visual novel contains multimedia elements and highlights multi-scenario structures based on hypertext. Prior to creating visual novel scenario, a writer should thoroughly consider two main points. First of all, the scenario should cover the multimedia features of visual novel. Secondly, the scenario should be structured as a multi-scenario providing with performativity to players for interaction with readers. This study examines the influence of changes in platforms on visual novel scenario adjusted to mobile environment. It would provide an opportunity to understand how storytelling changes and adapts to rapid transformation of digital media contents.