• 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.

• Journal of Popular Narrative
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• v.26 no.3
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• pp.255-288
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• 2020

The purpose of this study is to propose 'plot lamination methodology' for planning and analyzing of storytelling. The story contents with a certain volume of narrative might have several important characters. Most of the characters have meaningful influences on the context of the story through their choices and actions as they go through dynamic changes to construct and deconstruct relationships. The plot lamination methodology is the result of an attempt to look at the process from the 'strategic' point of view by focusing on the fact that the main characters with supplementary nature contribute to the independent formation of subplot based on the main plot driven by the protagonist. Regardless of how they live their own unique and autonomous life in the narrative, the main characters hold a relatively subordinate position within the centripetal force of the main plot. Their journeys tend to expand/emphasize/divide up the process of the main plot's 'persuasion via causality,' and also individualize into the functions of emotional sympathy (pathos), moral, ethical perspective (ethos), and rational logic (logos). As such, the subplots of main characters are laminated according to these three functional traits, which could become multi-layered through second or third laminations, depending on the number and roles of other characters. If the plot lamination methodology is further developed through follow-up studies, it will open up the possibilities of the strategic design (planning) and aesthetic criticism (analysis) regarding the procedure of conjugation /branching of subplot and/from the main plot.

• Journal of Digital Convergence
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• v.18 no.1
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• pp.271-276
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• 2020

This study is intended to compare and analyze the figurative characteristics of game characters focusing on the MMO shooting game 'Battle Ground' and the MOVA game 'League of Legends,' which currently have the largest number of users in Korea, in order to assess how much effect the figurative shape of game characters has on the immersion of players. As a result, the shape of characters from MOVA or MMORPG games with storytelling as an important factor was revealed to have a greater effect on the immersion degree of players than that of the characters from fast-paced shooting games. In particular, it was found that in games where the level of each character is raised as items are added, the height of most characters is the same as their own eight or nine heads, which is longer than ordinary people.

• Proceedings of the Korean Society of Computer Information Conference
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• 2014.07a
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• pp.499-502
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• 2014

본 논문에서는 'M-virus'게임의 설명과 작업자들의 제작의도를 보여준다. 'M-virus'는 '꿀사주세요'팀의 졸업 작품 게임으로 딸의 감염을 치료하기 위해 숙주를 찾는 아버지의 스토리를 기반으로한 3인칭 액션게임이다. '캐릭터 변이'를 특징으로 플레이어의 성향에 따라 캐릭터를 자유자재로 바꿀 수 있으며 캐릭터마다의 고유 스킬로 다양한 플레이를 경험할 수 있다.

• (The)Study of the Eastern Classic
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• no.66
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• pp.303-330
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• 2017

The purpose of this article is figuring out the modern understanding of SimChong Jeon's narrative and its storytelling strategy in the movie (2014). In the movie, there are three steps which are based on the temporal flow of narrative. shows the web-like structure of desire especially by focusing on the male character Sim Hakkyu. The relationship among characters in is gradually broken because of the desire. Moreover, the desire pushes Sim Chong who is Sim Hakkyu's daughter into the sacrifice. This part seems similar with the narrative of SimChong-Jeon which has been transmitted since 18~19 century in Choson dynasty. However, also tells a different story which describes the progress of Sim Hakkyu's seeking the real relationship filled with love. This difference is able to make people read with the 'stroytelling' point of view. All the lack or problem in is closely related to the desire of Sim Hakkyu. His narrative is something different from the typical story of SimChong-Jeon. A new narrative of Sim Hakkyu is not Sim Chong centered story but rather the anti of it. 'The other narrative' in seems social practice of storytelling in order to break down the preconception of SimChong-jeon called 'cannon'. This is the storytelling strategy of and it suggests the another way of creating new narrative which is based on the classical cannon.

• Journal of the Korean BIBLIA Society for library and Information Science
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• v.31 no.2
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• pp.223-266
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• 2020

Massively Multiplayer Online Role-Playing Games (MMORPGs) are played by millions of people around the world. Within MMORPGs, players explore, solve mysteries, craft items, battle against dungeon or raid bosses, or compete against other players, all while using a variety of information and information behaviors. Role-players in MMORPGs develop identities and engage in interactive storytelling with other role-players as their characters. An ethnographic approach combining overt participant observation and engagement, semi-structured interviews, and artifact collection was used to explore and describe the social information behaviors of role-players through the lens of the theory of information worlds. The social types evident in the role-playing community in WildStar, a science fantasy-themed MMORPG, are closely interrelated to and differentiated by social norms and information values that dictate acceptable characters, stories, character actions, and appropriate lore sources as well as how to role-play without violating the boundary between in- and out-of-character information worlds. Role-players maintained the in-character and out-of-character boundary using a set of specific information behaviors to enable engaging and immersive role-playing experiences. Implications of the findings for the theory of information worlds as well as potential applications of role-playing and MMORPGs are also discussed.

• 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.

• Journal of Digital Contents Society
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• v.9 no.4
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• pp.669-677
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• 2008

Since the great success of the Disney animations like , the classification of audience target in animation according to an age group started a possibility of edutainment in the industry. Especially, a few animations for preschool children made by Korea have been largely successful in domestic and foreign markets. The study analyzed a distinguished structure of a story stressed by character by Greimas's theories in the educational animation. The animation for kids as this study target is one of successful contents in edutainment. It also analyzed as one of parallel contents in abroad. It is a meaningful study which considers a story structure of the animation as aspects of edutainment contents for preschool children.

• Journal of the Korea Fashion and Costume Design Association
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• v.21 no.2
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• pp.139-151
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• 2019

This study intends to present the directions for effective up-cycling design using Marquage painting through analysis of trends and the formative characteristics of fashion products. Research was conducted through a literature review (published papers, books and web site contents). Cases were analyzed by examining the contents of web sites of global luxury brands, representative workshops, and social network sites (SNS). The results of the study are categorized as follows, First, Marquage paintings are continuously used by global luxury brands and have developed as an expression of self-ownership and the personalization of one's identity. Second, fashion brands use Marquage painting as a customized service for sales. On the other hand, Marquage paintings are used as a kind of up-cycling to present old goods as brand new ones. Third, the patterns used in Marquage painting were classified into five types: geometric patterns, logo patterns, character patterns, lettering patterns, and art patterns. Moreover, formalization by Marquage patterns is represented by identification, customization, and up-cycling. Finally, to up-cycle the expressive features of Marquage- sustainability, scarcity, storytelling, and originality based on factors of up-cycling need to be reflected.

• Journal of Intelligence and Information Systems
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• v.17 no.4
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• pp.279-292
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• 2011

Movie is a representative media that can transmit stories to audiences. Basically, a story is described by characters in the movie. Different from other simple videos, movies deploy narrative structures for explaining various conflicts or collaborations between characters. These narrative structures consist of 3 main acts, which are beginning, middle, and ending. The beginning act includes 1) introduction to main characters and backgrounds, and 2) conflicts implication and clues for incidents. The middle act describes the events developed by both inside and outside factors and the story dramatic tension heighten. Finally, in the end act, the events are developed are resolved, and the topic of story and message of writer are transmitted. When story information is extracted from movie, it is needed to consider that it has different weights by narrative structure. Namely, when some information is extracted, it has a different influence to story deployment depending on where it locates at the beginning, middle and end acts. The beginning act is the part that exposes to audiences for story set-up various information such as setting of characters and depiction of backgrounds. And thus, it is necessary to extract much kind information from the beginning act in order to abstract a movie or retrieve character information. Thereby, this paper proposes a novel method for extracting the beginning boundaries. It is the method that detects a boundary scene between the beginning act and middle using the accumulation graph of characters. The beginning act consists of the scenes that introduce important characters, imply the conflict relationship between them, and suggest clues to resolve troubles. First, a scene that the new important characters don't appear any more should be detected in order to extract a scene completed the introduction of them. The important characters mean the major and minor characters, which can be dealt as important characters since they lead story progression. Extra should be excluded in order to extract a scene completed the introduction of important characters in the accumulation graph of characters. Extra means the characters that appear only several scenes. Second, the inflection point is detected in the accumulation graph of characters. It is the point that the increasing line changes to horizontal line. Namely, when the slope of line keeps zero during long scenes, starting point of this line with zero slope becomes the inflection point. Inflection point will be detected in the accumulation graph of characters without extra. Third, several scenes are considered as additional story progression such as conflicts implication and clues suggestion. Actually, movie story can arrive at a scene located between beginning act and middle when additional several scenes are elapsed after the introduction of important characters. We will decide the ratio of additional scenes for total scenes by experiment in order to detect this scene. The ratio of additional scenes is gained as 7.67% by experiment. It is the story inflection point to change from beginning to middle act when this ratio is added to the inflection point of graph. Our proposed method consists of these three steps. We selected 10 movies for experiment and evaluation. These movies consisted of various genres. By measuring the accuracy of boundary detection experiment, we have shown that the proposed method is more efficient.