• The Journal of the Korea Contents Association
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• v.17 no.7
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• pp.478-486
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• 2017

The development of webtoon accelerated with development of smart devices. It became a daily life to enjoy digital contents such as webtoon using smartphones on the streets and subways, not just for the novelty of the new generation. With the advent of smart devices, the webtoon market has grown rapidly and webtoons of various themes and genres are pouring out. The growth of webtoon market is a good opportunity for artists, but competition is getting worse and it is difficult to satisfy readers with low quality. In order to create webtoon that can satisfy the readers, the artists are considered as important homework that can show the interesting story and show it effectively. In this study, I tried to prove that the method of directing using shot among the elements of animation can be utilized for directing webtoon effectively. In order to explain this, I have tried to explain the characteristics of webtoon and its relation with animation, and I chose the most important example of webtoon, 'Ko Soo(Ryu Ki woon, Moon jeong hu, 2015)', which has been popularized with successful storytelling and directing, and described character shot and time transition shot.

• Cartoon and Animation Studies
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• s.50
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• pp.453-478
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• 2018

Mobile learning, which provides educational services with a mobile platform, has been greatly expanding with the increasing spread of digital devices. The transition from PC-based online education to mobile-based education enables users to access online education anytime and anywhere. Despite this expansion of mobile learning, there is a lack of user-oriented content design. Therefore, this study intends to derive a measure to evaluate usefulness of the content design. We conducted a literature survey to reflect characteristics of existing measures, which evaluate usefulness and content of mobile learning. As educational mobile applications have both educational service and mobile device features, they can be representative of pedagogical usability criterion and can be divided into system and content areas to further develop effectiveness of learning. We conducted questionnaires on the use of these applications on 15 experts using the del phi technique. The analysis suggests the ease of use, learning efficiency, aesthetics, and ease of learning to be criteria of pedagogical usability. This study expects to serve as a basis to improve the usability of mobile learning users.

• Journal of the Korea Computer Graphics Society
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• v.29 no.4
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• pp.7-16
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• 2023

For decades, creating a desired locomotive motion in a goal-oriented manner has been a challenge in character animation. Data-driven methods using generative models have demonstrated efficient ways of predicting long sequences of motions without the need for explicit conditioning. While these methods produce high-quality long-term motions, they can be limited when it comes to synthesizing motion for challenging novel scenarios, such as punching a random target. A state-of-the-art solution to overcome this limitation is by using a GAN Discriminator to imitate motion data clips and incorporating reinforcement learning to compose goal-oriented motions. In this paper, our research aims to create characters performing combat sports such as boxing, using a novel reward design in conjunction with existing GAN-based approaches. We experimentally demonstrate that both the Adversarial Motion Prior [3] and Adversarial Skill Embeddings [4] methods are capable of generating viable motions for a character punching a random target, even in the absence of mocap data that specifically captures the transition between punching and locomotion. Also, with a single learned policy, multiple task controllers can be constructed through the TimeChamber framework.

• Cartoon and Animation Studies
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• s.42
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• pp.213-240
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• 2016

The character is not dependent on an original story world any more. It is not limited to it's own story, but gets out and expands the other story with new character, background story, and event regardless of genre and media. The purpose of this study is to analyze why should this phenomenon happen from the media perspective and to build a character storytelling model through the specific examples. With the advent of the digital paradigm the storytelling model is emphasized character storytelling. Character is no longer limited to just one narrative and extended beyond the boundary narrative, media and genre. There are four background. First, disappearance of the big story with the advent of postmodernism and the emergnece of small story. Second, the emergence of fandom culture and charater's liberalization. Third, character as public goods with database. Fourth, changes in author's position. In fact, in the traditional narrative theory there has been discussion about the character all the time. But character storytelling meets transmedia storytelling, discussions were accelerated. The character was preceded by a narrative independent existence. Even if that character has occurred even while leading cause narrative. In this paper, we suggest two model as specific methodology to expand the story world fixed character. One is phychology transition, another is roll transition. This study get the value to build the new storytelling model with digital paradigm.

• 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.

• Cartoon and Animation Studies
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• s.28
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• pp.79-99
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• 2012

As a type of mass media, cartoon has been changed by political, economic, and social cultural influences. Certainly, sports cartoon also has been influenced by them. Ever since Park Ki Jung's cartoon came out, which was assumed as the first sports cartoon in Korea, sports cartoons had been used as a means of vicarious satisfaction until 1980s. Sometimes they reflected the phases of the era that struggled to overcome poverty, and adversity followed by war. Sometimes they showed people's suppressed feelings against their society. However, in modern society, the perspective of readers changes in various ways because of the influence by postmodernism. They put more weight on individualism rather than on group, they consider individual tastes very important since personal tastes and diversity has been one of significant factors. For these reasons, sport cartoons were no more what they had used to be. By 1990s, sports cartoons had attracted readers' attention again by presenting distinctive characters, and describing fancy sports skills in cartoons trying to escape from cliche story plots such as stories about rivals, competitions, winners-losers composition, and characters' diligence. Moreover, some sports cartoons contained professional contents focusing on expert sport knowledges, and deepen information of sports. From the point of cultural industries view, these tendencies are heavily affected on sportainment industry which stands out as an emerging industry recently. The ultimate purpose of sportainment industries is making a profit by providing entertainment and amusement for their readers beyond sports games. This study focused on influences that the transition of sports cartoons affects sportainment through concrete cases in context of cultural industries since 90s. The study will analyze the concept of sportainment industries, and discuss the process of sports cartoons' transition. Once sports cartoons keep trying to challenge, and make a progress with aggressive changes, it would give great influences not only to sportainment industries but also to other kinds of pop cultural industries.

• Cartoon and Animation Studies
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• s.27
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• pp.177-198
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• 2012

Development of digital media and interest in education bring big progress at digital device of education globally. UK which is advanced country of education is using digital education devices such as digital chalkboards, digital desks etc. and Japan plan digital text book's through the state. At 2011, Korea which is advanced country of internet adopted digital text book 2007 with mathematics, through science and English digital text book through the state. Korea's digital textbook is in a transition period, that needs case-study of advanced country of education for setting design guide and educational effect to Digital text book plan. All researches are based on LG europe design center at London, UK and target countries are UK and Sweden which is advanced country of education and a welfare state. Analysis by using FGI, KJ, survey of questionnaire, heuristic method, concentration observation. Through analytical researches prefer using digital text book with paper text book to using solo that can offer each advantage to user and teacher. Especially Interactive GUI design of digital text book to easy to access for teacher whom not friendly with digital device. When plan Digital text book content and design needs methodical design guide for target who students and teachers an in-depth study of the appraisal and method. The results of the research are introduce the design plan as a basic research and giving useful design plan to make digital text book and digital educational media in industrial aspect.

• Cartoon and Animation Studies
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• s.51
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• pp.225-254
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• 2018

For the domestic web-toon industry, a new industrial environment has been created by the growth various domestic and international factors, such as technology development, the increase of platforms, charged web-toon, and globalization. Although the role of the agency has not been emphasized at the formation and introduction time of the web-toon, the role growth of the agency has been regularized with the expanding of the web-toon industry. The expending web-toon industry is due to the introduction of smart-phone, by which people can consume the web-toon without any limit of time and place, so the web-toon industry has been growing rapidly. Thereafter the production of the second contents using the web-toon IP has been actively carried out and the activity area of the web-toon artist has been diversified, so the necessity of the specialized web-toon agency has begun to be brought in earnest. In this study, the web-toon industry has been, firstly, classified as transition period of cartoon industry, foothold formation period of web-toon, introduction period of web-toon industry, expansion period, and maturity period according to the industrial life cycle theory. As a result, the web-toon agency has been emerged from the expansion period of web-toon industry, and the role of agency, to prevent web-toon industry entering into declining period from its maturity period, has been researched in this study.

• Cartoon and Animation Studies
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• s.40
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• pp.315-336
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• 2015

Since it is imperative to share the values with the spectators to convince the public of the era, the main characters of a story that underwent numerous adaptation through time would change gradually. This paper examined changes of the main characters in various versions of Cinderella. Until the mid-20th century, Cinderella would be portrayed as a meek, passive and obedient girl as in the original fairy tale version of Perrault. As moving to 70s, a heroine who acts with her own feelings and thoughts began to appear. In the 90s, spectators could meet a protagonist who fought fiercely to be the owner of her own fate, and in the recent Disney movie, Cinderella stood up for herself while accepting herself as she was. The prince character also underwent similar transition. In the early versions of Cinderella, the prince would be a vague figure with a title who was desired by all maids in the country. It is in the 70s that the prince began to be portrayed as a person who has his own problems. In the recent years, the spectators could see the process that the prince transformed from a naive aristocrat to a man with responsibilities. In modern society, women have more social opportunities compared to the past, and women's social statuses do not need to be secured by relationship with men any longer. Thus Cinderella story is not as popular nowadays, moreover somebody whose dream is becoming Cinderella would subject to social reproach. However, beside the gender, the story could be the only hope for people who feel a sense of helplessness that there is no chance in their lives. As result variations of Cinderella story will go on as long as people of social deprivation exist.

• Cartoon and Animation Studies
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• s.16
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• pp.101-112
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• 2009

The purpose of this study is to analyze trilogy by means of semiotics. trilogy constructs a story as a whole while each piece delivers a concluded ending. This study used 'modele actantiel' and 'carre semiotique' of Greimas in order to clarify not only the meaning structure but also the course of narrative of . is a compelling story which reverses the fairy tale of a beautiful princess and a heroic prince. Each piece of the trilogy unfolds as following; (1)ls the love of a princess and an ogre possible? (2)Can the marriage of the couple get confirmed? (3)Can Shrek be free again? The repeated meaning structure of trilogy is the binary opposition of nature versus culture, and the narrative course forms the meaning square on the basis of the opposition. Human culture represented by the lord Farquaad and Duloc castle signifies cleanness, order, complex, anxiety, paranoia, authoritarian, and violent. On the contrary, Nature represented by Shrek and the swamp signifies barbarity, freedom, confident, maturity, unstrained, and humar. The meaning of Shrek series is generated by the structure of the basic discrimination of culture versus nature. However, as story twists the bias and fixed idea, the meaning structure of Shrek shows a unique relationship of culture and nature. Although Shrek, an ogre, lives alone in a swamp because of the bias of human world, he is depicted as self-sufficient, comfort, and broad-minded. On the basis of this meaning structure, Shrek is not a story that an ogre(nature) strives to enter the human culture, nor a story that nature wins a victory at the confrontation between culture and nature, but a story that human(culture) and ogre(nature) overcome their fixed ideas through the transition from culture to nature and vice versa.