• Journal of Korea Game Society
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• v.7 no.3
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• pp.67-76
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• 2007

As the performance of game consoles is so highly progressed that services such as internet browsing become available on the consoles, the need for text input schemes on game consoles is rapidly raised. In this paper, we present a text input method of alphabet characters and several symbols using a gamepad, which is a widely used input device for most game consoles. Just like other text input methods using gamepad, our method allows users to enter texts by manipulating the gamepad with a user interface displayed on the screen of the console. A key idea of this paper is to present the user interface that is similar to the $4{\times}3$ keypad on mobile phones. The motivation of this idea is a principle that the experience of using a text input tool can be transferred to another tool that has similar interface. Another motivation is that the keyboard-based interface is too complex to be easily manipulated by simple input from a keypad, which is four orthogonal directions and several fire signals. Since most of keys on keypad of $4{\times}3$ keys are represented by a combination of two orthogonal directions, users feel easier in entering texts using keypad-based interface. We prove this argument in this paper by a user test of ten subjects. After about two experiment sessions, subjects reach 13 WPM in average, which proves that the proposed text input method enables much faster text input than the existing keyboard-based text input methods.

• The Research Journal of the Costume Culture
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• v.13 no.6 s.59
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• pp.919-933
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• 2005

This study goes into the field of CosPlay that takes place in Korea, and directly observes the people who engage in CosPlays. Based on in-depth interviews, this research identified the reasons why the CosPlay aficionados participate in this practice and their cultural preferences. Ethnography methodology was used to understand the behavior of the cultural entities of CosPlays. Moreover, this research attempted to understand their daily formalities through their own perspective and language instead of superficial language. In general, CosPlay form that they manifest is classified into two main categories: those who enjoy posing by becoming their favorite characters and those like to wear the clothes of their favorite characters and go up on the stage to perform an act of animation or game where the applicable character appears. Some of these groups are: 1) 'Bishojo CosPlay' that CosPlays mostly Bishojo cartoon characters and wants to just stand out, 2) 'Aekyo' group that CosPlays merely for the sake of the enjoyment of wearing costumes instead of having the mania-like characteristics, 3) 'CosPlayer Group' who enjoy doing organized team CosPlay in order to present a performance, 4) 'J-Rock CosPlay' group that CosPlay Japanese visual rock groups and prepare to be among a professional CosPlay team, and 5) 'People related to Cospre.com' who try to make CosPlay rooted in as one of new cultures.

• Journal of Digital Convergence
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• v.17 no.11
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• pp.451-457
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• 2019

Reflecting the current craze for early childhood education, the demand for learning contents has soared, kids content is emerging as a key topic of the contents industry. The industry developing digital content for young learners is called the 'angel industry', it is attracting a lot of attention because of the increased demand for early childhood education. This paper selects characters used in successful digital products to study character design for OSMU children's educational contents. Through advanced research, analysis criteria were prepared and analyzed to derive general success strategies for character design. As a result, common design features in the analyzed characters were found and confirmed the need for further research. Hopefully, this study will contribute to OSMU character design and lead to improved development of educational contents and commercialization of various characters.

• Journal of KIISE
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• v.44 no.3
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• pp.314-322
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• 2017

In MMORPG (Massively Multiplayer Online Role-Playing Game), users advance their own characters to get to the maximum (max) level by performing given tasks in the game scenario. Although it is crucial to retain users with high levels for running online games successfully, little efforts have been paid to investigate them. In this study, by analyzing approximately 60 million in-game logs of over 50,000 users, we aimed to investigate the process through which users achieve the max level and churn of such users since the moment of achieving the max level, and determine possible indicators related to churn after the max level. Based on the result, we can predict churn of the max level users by employing behavioral patterns before the max level. Moreover, we found users who are socially active and communicate with many people before the max level are less likely to leave the service (p<0.05). This study supports that communication patterns are important factors for persistent usage of the users who achieve the max level, which has practical implications to guide elite users on enjoying online games in the long run.

• Journal of Game and Entertainment
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• v.1 no.1
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• pp.47-54
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• 2005

Squash & Stretch principle is playing an essential principle for animation action. The application of this principle gives the illusion of weight and volume to an animation character, and makes it possible that an animation action be the smooth and soft by escaping from the stiffness and rigidity. If an action of human or object on animation is expressed like a real world, it seems to be unnatural. Any action without Squash & Stretch will look rigid, uninteresting and not alive. It can be applied to movement of all objects, characters' actions, dialogues and facial expressions with a basic rule of mass, volume and gravity. Any action will not be well expressed without this principle. To be a good animation action, it should be deeply applied in 3D animation, not only 2D animation. Thus, a systemic analysis of Squash & Stretch principle is required.

• The Journal of the Korea Contents Association
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• v.17 no.11
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• pp.470-478
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• 2017

Costume play is an act of imitating the appearance or behavior of characters in digital games, cartoons or animations. In recent years, cosplay culture has become popular in China as the digital game is made into a movie. The number of cosers has also increased. Especially, Qiwei Zoe has been very popular among cosers because her cosplay photography reflects the understanding of the cosplay culture. A number of cosers admit that her work shows a commercial and artistic potential of cosplay photography. This paper analyzed how she maintains the contents of the original but creatively reimplementing them. She shoots the fantastic image of the character like it really exists in reality so that she can avoid excessive editing work. She emphasizes the character's action that symbolizes its personality and utilizes a variety of outdoor shooting locations similar to the original scenes. We also discussed how cosplay photographers can create cosplay photography by maintaining its artistic features.

• Journal of Korea Game Society
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• v.2 no.2
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• pp.28-36
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• 2002

In general, triangular meshes have been used for modeling geometric objects such as virtual game characters. The dense meshes give us considerable advantages in representing complex, highly detailed objects, while they are more expensive for storing, transmitting and rendering the objects. Therefore, several researches have been performed for producing a high quality approximation in place of detailed objects, that is, a simplification of triangular meshes. In this paper, we propose a new measure with respect to edges and vertices, which is called an approximate mean curvature and is used as criteria to simplify an original mesh. An edge mean curvature is computed by considering its neighboring edges, and a vertex mean curvature is defined as an average of its incident edges' mean curvatures. And we apply the proposed measure to simplify the models such as a bunny, dragon and teeth. As a result, we can see that the mean curvatures can be used as good criteria for providing much better approximation of models.

• Journal of Korea Game Society
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• v.15 no.5
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• pp.29-38
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• 2015

The purpose of this study is to analyze how auto-combat function in mobile RPG satisfies player's desires. The auto-combat is classified into two types-complete and partial- by timing of activation and degree of control. With elicited aspects of play, players' desires are examined based on Lacan's Desire Theory. A player employing partial auto-combat desires to master higher stages with perfect or flawless control, and one's 'object petit a' is to be the difficulty of the stages. On the other hand, a player applying the complete auto-combat demands to fully comprehend the rules of the game and to attain the rewards of completed stage to build more competent characters. Once a player acquires the desirable object, one recognizes the illusion of one's achievement and seeks for new objects. In this succession, auto-combat function is utilized as an active action of willingness for fulfilling one's desire.

• Journal of the Korean Society of Costume
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• v.64 no.3
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• pp.126-141
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• 2014

The purpose of this study is to analyze the specific mimesis types of common character costumes in MMORPGs, which have stories that are very similar in structure to ancient myths and fantasy novels. As the subject of the research I have selected "Diablo 3" created by the American video game developer, Blizzard Entertainment Images of 5 characters, for both genders - Barbarian, Witch Doctor, Monk, Demon hunter, Wizard - were compiled for a total of 10 images, and these images were compared to popular archetypes in mythology, religion and literature. analyzed them separately according to the mimesis type. For this study, Articles and books containing the Aesthetics, Mimesis and Digital culture were researched in order to study the costume features and the Mimesis types and compare them to the costumes in the MMORPG. Firstly, the character Barbarian is a successor of the barbarian character of the previous product. The outfit worn by the game figure is based on the common images expressed in the movie . The makers created an analogous-imitation mimesis by replicating the image in an exaggerated and grand form. Second, the character Witch Doctor derived its motif from the Voodoo cult, and was expressed in analogous-imitation mimesis, using the very shades and patterns used in real life. Third, the character Monk, blending the image of a priest in Eastern Europe and images of its oriental counterparts, was expressed in transposition-diversion mimesis. Fourth, the Demon Hunter took the source of its inspiration from the image of a Witch hunter in the medieval times. The game character has a sharper sleeker figure than its model, and uses more acute shapes and darker gloomier colors expressed in an analogous-imitation mimesis. Finally, the character Magician took a formless character and expressed it in transposition-diversion mimesis taking as its basis some fantasy novels.

• Journal of Korea Multimedia Society
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• v.12 no.8
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• pp.1128-1141
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• 2009

Graphical expressions are continuously improving, spurred by the astonishing growth of the game technology industry. Despite such improvements, users are still demanding a more natural gaming environment and true reflections of human emotions. In real life, people can read a person's moods from facial color and expression. Hence, interactive facial colors in game characters provide a deeper level of reality. In this paper we propose a facial color adaptive technique, which is a combination of an emotional model based on human emotion theory, emotional expression pattern using colors of animation contents, and emotional reaction speed function based on human personality theory, as opposed to past methods that expressed emotion through blood flow, pulse, or skin temperature. Experiments show this of expression of the Facial Color Model based on facial color adoptive technique and expression of the animation contents is effective in conveying character emotions. Moreover, the proposed Facial Color Adaptive Technique can be applied not only to 2D games, but to 3D games as well.