• Journal of Korea Game Society
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• v.21 no.5
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• pp.63-74
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• 2021

The format of game play varies depending on the priority of game design components by genre. In this study, in order to quantitatively derive the priority of game design components by genre, 6 game design components and 6 genres were extracted through prior research on game design components and genres, and then the research model was designed, and priorities were derived through AHP. Feedback system in action games, story in adventure games, mechanics in role-playing games, mechanics in simulation games, feedback system in table games, and mechanics in puzzle games were highly prioritized.

• Journal of Korea Game Society
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• v.21 no.1
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• pp.139-148
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• 2021

In a game, the visual environment element is a means of expressing the intention of the developer, and is mediums that enable the player to gain to play experience of interaction. In this paper, the player's reaction to the visual environmental elements of the adventure game was patterned with a collection and analysis process by empirical experiments. The data collected through the experiment were about 10,000, and as a result of the analysis, 24 types of player reaction patterns were found in total. This can be used as a guideline for game space design by matching the properties of visual environment elements and the reactions against players occurring in the game play process to examine the play experience.

• Journal of Korea Game Society
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• v.20 no.6
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• pp.3-12
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• 2020

Player experience study includes the behavior and psychological responses of player to game content. And, it focuses on the player's aesthetic experience for specific game elements rather than comprehensive game experiences. This paper presents the player's aesthetic experience data derived from the gameplay process as a code, and analyzes the aesthetic experience data by player experience level for adventure games. These researching results might complement the limitations of existing game analysis research, and provide practical data which creator could apply at the design stage of game.

• Journal of Korea Game Society
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• v.12 no.3
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• pp.37-48
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• 2012

"White Day", a horror adventure game that has gone down in the history of the Korean gaming industry, is not a cruel horror game with hideous monsters and spooky mood, but a Korean-style horror game with auditory effects of ghastly sound. This paper aims at identifying the positive story-telling structure through the components of the game. This study found that the game is based on a well-organized scenario by the background, events and characters. In addition, its design and story-telling structure turned out to reinforce the positive effects of the game, by not imitating the western-style splatter games. As it provides players with playful components that bear mimicry and ilinx to maximize interactive fun, White Day is a prime example of positive games that are strongly needed in this era.

• Journal of Korea Game Society
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• v.14 no.5
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• pp.137-146
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• 2014

Recently, the games on the market are getting rich and excellent in the category of design and productions. The style and production quality of cut-scenes also have achieved a continuous development, so how to stand out from multiple designs and gain popularity always acts as a challenge to designers. However, such design strategy up to developers will be failed to judge whether or not design achievements are loved by players and thus cannot meet rapidly changing market demands on both in a quantity and quality. Therefore, this study holds that cut-scene design for video games must set out from user-centered design(UCD). According to literatures with respect to product market, we know that Market Pull imposes far more impacts on success in bringing new products to the market than the technology Push, hence players actually determines the success of a game in competitive game market. This study will help to enhance the immersion of playing game, including the interest and standing out the designer's message without distorting the original impression in the game publishing environment.

• Journal of Korea Multimedia Society
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• v.24 no.5
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• pp.717-726
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• 2021

The zombies in AVG games are not divided into different game occupations. To address this issue, this paper starts by selecting those popular zombie games as the research object. Then, a number of samples will be collected from the roles of zombie and these different roles of zombie will be classified by profession depending on the characteristics of these roles. On this basis, the roles will be given a new title to describe their profession. Then, semantic analysis will be conducted to search for the words that can be used to describe the roles of zombie. Besides, there will be 10 experts in design and 10 professional zombie game players invited to choose from the collected adjectives. The most selected words will be used in this study to conduct cognition assessment, before the making of questionnaire. Then, the questionnaire data will be collected and converted into a statistical model form for indicating the value of ability by group and profession.

• Journal of the Korean Society for Computer Game
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• v.31 no.4
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• pp.51-59
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• 2018

The purpose of this study is to analyze genre differentiation in digital games and examine the changing characteristics of core genre elements. Especially this study focuses on the aspect that how players recognize genre differentiation based on the conceptual blending theory. The evolution of the genre does not end with decline or extinction. The genre keeps being divided into sub-genres through partial use of genre elements. The differentiation of the genre results from the principle of frame confrontation or expansion with a parent genre. Rogue-like games are differentiated from Role-playing games by frame conflict, while Metroidvania games are differentiated from Platform adventure games by frame expansion. In the former case, the core genre elements are independent and easily combined with other genres. For example, the core mechanism of Rogue-like genre like 'perma-death' or 'procedural generation' has a decisive effect on the differentiation of the game experience become an independent genre element. In the latter case of Metroidvania, the core genre elements strongly reveals context dependency and are difficult to use outside the genre convention. The core mechanism of Metroidvania is 'backtracking' in the labyrinth style map, but it could be effective genre element within the specific context like side-scrolling action-platformer.

• Journal of Korea Game Society
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• v.17 no.1
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• pp.51-62
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• 2017

Game is an activity for the tension, joy and fun. Playing the manipulative button for the game, gamers have unique experience for various ways to use the button. In this study, separating the manipulability of game into the complexity and the fun of button controlling, we tried to discuss the implication about the manipulability of game for the manipulability type to use the objects in adventure game. Namely, either complicated or simple, game has fun feature and needs to design the button controlling in consideration of action characteristics.

• Journal of Game and Entertainment
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• v.1 no.1
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• pp.39-46
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• 2005

Communication is an element of the story-telling in processing of the game as well as basic role of information exchange. In case of communication-based adventure games which are processed through communication, the communication is playing the role beyond its basic role up to providing a limited information on quests and solutions in Massively Multiplay Online Role Playing Game(MMORPG). Even though the communication is one of most important element for absorbtion into game, current communications with Non Playable Characters in games are just monotonous event-driven method following pattern based on prepared game scenario. In this research, we have analyzed natural language processing systems which are being used in the area of Artificial Intelligence for the purpose of more realistic communications in games, and have studied methods to apply these communications on games.

• The Journal of the Korea Contents Association
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• v.9 no.9
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• pp.114-124
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• 2009

73 percent of online games in Korea hold perspectives of medieval times in them. So far in history, about a millennium in medieval times is said to be a period of darkness and savagery, but it is newly revived in the digital virtual world. Such phenomenon is paradoxical and meaningful to often bring out 'medieval times' as a theme for online games, which are revealed by up-to-date technologies in present days. This research examines the background of views of medieval times appeared in online games and how they are realized. Medieval fantasy games have appeared because people dream about escaping from pre-modem times and have fantasy about medieval times. Moreover, perspectives of medieval times have enormously influenced background epics, quest stories, creation of characters in a game scenario. The dual structure having coexistence of nature and super naturalness acts an important role to set up the epic for medieval fantasy games. And medieval romance literature, which has a three-step quest narrative of 'targeting - adventure and fight - achievement' is reflected in a quest story of medieval fantasy games. The strict pyramid system represented by feudalism forms a meaningful metaphor for designing characters, and players organize communities for online games through horizontal collective consciousness in such vertical system of history at the same time.