• Journal of Korea Game Society
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• v.19 no.6
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• pp.37-48
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• 2019

This paper aims to clarify the game performance and its principle and operation method at the depth of successful content through gameness transition, which is one of the transmedia phenomena of games. This paper investigated the current state of gameness transition and analyzed the game structure and working principle by using Chris Crawford's creative expression taxonomy model. As a result, the types of gameness transition could be extracted into space exploration type, stage type, reasoning competition type, and mutual competition type.

• Journal of Korea Game Society
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• v.14 no.2
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• pp.29-44
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• 2014

This Study analyzes gameness in SNS. SNS is not only communication tool for real life but also game like media for the experimental fiction. As the media like games, SNS meets 6 classic game features. After the Tatradic analysis, Expressive and manipulation rules move SNS paidia direction, player's effort and negotiable outcome are obsolesced. Player's attachment is enhanced and in SNS, the tradition of MUD retrieves abstract ground with representative expression. As following result, SNS is able to extend its own area to the player's creative world for the possible. SNS is the media like games.

• Journal of Popular Narrative
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• v.27 no.1
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• pp.227-264
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• 2021

This paper summarizes the concept of ludonarrative dissonance that occurred in the realm of full-scale game criticism, and materializes it with the latest work . In the process, it is examined that this game actively utilizes the ludonarrative dissonance to deliver cognitive experiences to players that go beyond the definition of gameness. Along with the all-round development of AAA-class games, the ludonarrative dissonance is emerging as an important task that each game must overcome. On the contrary, however, it should be noted that has a different effect than expected by revealing rather than overcoming the ludonarrative dissonance. The ludonarrative dissonance conveyed by has the effects of ironic interpretative possibilities. This paper looks at dissonance in two dimensions, and the first is the dissonance between the play-narrative structure inside the game. induces the player to recognize the dissonance and actively reconstruct the meaning of the whole game by reminding the player of the dissonance that occurs between the two structures. Second, it stimulates the cognitive dissonance that exists inside the player playing the game beyond the internal structure of the game. That is, by expanding the concept of gameness, it evokes the possibility that games can function more than a tool for convenient self-efficacy. As such, the ludonnarrative dissonance can be a more fundamental redefinition of game nature and an expression of a problem consciousness about the possibility of change.

• Journal of Digital Contents Society
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• v.8 no.3
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• pp.301-308
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• 2007

The purpose of this study is to establish the principle that the contents transfer from one media to another media, especially between game and film. Firstly I described the advent of the media and the relationship between these two media applying the logic of 'remediation' suggested by J.Bolter and R.Grusin suggested. Based on these analysis, I draw the gameness and the storytelling, and study the case of transmedia storytelling between game and film. Finally, I suggest the meaning and the value of transmedia storytelling in media culture.

• Journal of Korea Game Society
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• v.17 no.5
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• pp.27-38
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• 2017

The purpose of this study is to analyze the game dynamics of 'Battle Royale' genre and how these dynamics create dramatic tension, focused on . Battle Royale games maintain the dramatic tension through the intersection of uncertainty and inevitability. Uncertainty is reinforced by randomness of the game world and hidden information of player statement. Inevitability is emerged from the level design with choke point, and restriction of playable field over time. From this mechanism, Battle Royale genre establishes the gameness which derives player's meaningful choice and maintains player's tension until the end of the game.

• Journal of Korea Game Society
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• v.17 no.4
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• pp.71-80
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• 2017

This paper presents an investigation into time in games. Many researchers have studied time in games including Jesper Juul (2004), arranging time in games according to the criterion of the concept of time in reality. Most of this research distinguishes internal time from external time in games. The present study, thus, examined internal time in games from the viewpoint of the observer, believing that the most important element of the game was gameness or play and further experience rather than the relationship between reality and games. Thus, the investigator classified internal time in games into "oriented time" and "non-oriented time" and examined the operations of those time classifications in the gamers' experiences.