• Journal of Game and Entertainment
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• v.2 no.2
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• pp.35-44
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• 2006

Whereas comics were printed on a paper in the past, it is now possible to produce digital comics thanks to the development of computer technology. However, it only came to be implemented on a monitor instead of paper and did not fully utilize a digital environment. That is because most digital comics have been made to be transferred in 'one-way' which means that contents of authors are transferred only to readers not vice versa. Recently, the notion of the 'interactive' in the digital contents takes its own shape even at the 'interactive way' of the communications change through the author and the reader's interactivity using the digital technology. As such, the study put more importance on the digital comics in a proper interactive story-telling structure and one of its category through the suggestion of the above and the soil where to develop the following study.

• Journal of Multimedia Information System
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• v.8 no.3
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• pp.167-174
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• 2021

This paper compares VR cinema with interactive cinema from an interactive perspective to examine cinemas as a new medium. Rather than revealing the difference through this, the focus is on presenting a methodology that understands the cinema in a new environment that is now standing at the starting point. The development of video technology is changing not only the external elements of content but also the internal storytelling method, but the lack of killer content has always been pointed out as a problem compared to the remarkable development of technology. Therefore, it is necessary to specify the characteristics and types of interactions represented by VR (virtual reality) and new media represented by interactive media and to present directions. Therefore, the types and characteristics of interactions were compared with VR film produced in line with the new phenomenon and interactive film . Through this, we would like to present the meaning and value of the new film format from a media perspective.

• Journal of Digital Convergence
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• v.11 no.2
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• pp.263-269
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• 2013

This research paper is applying Writing Supporting System on the previous research study about writing tool data model on interactive storytelling about family Story. Family story writing supporting system enables users to create text, images, videos and digital contents based on experimental knowledge collected from the first and second generations. The paper about studies on writing tool system on family story, aims to create documentary based high quality contents about each family members and family history. At the same time, overcome generation gaps and the lack of creation infrastructures. Throughout this process, the author will contribute to the expansion of creation devices which can be applied in other researches and writing tools.

• Design Convergence Study
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• v.14 no.3
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• pp.1-15
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• 2015

Storytelling which is part of human nature, has changed over millions of years. The development of technology and media has shaped Storytelling into various forms and shapes, and due to the recent spread of smart devices, the influence of interactive storytelling has grown significantly. The technology which allows diverse and natural input of users, have transformed the listener to user and has allowed the user to 'experience' the story rather than 'hear' it. In line with the trend in the development of these technologies, this study seeks to design and implement an interactive tale for children on an ipad platform. Focusing on the interaction aspect, this story is designed mainly for 3-7 years olds, which contains various multimedia elements and interaction elements that use built in technology such as multi-touch technology and microphone technology to allow user input that aline with the context of story. Focusing on children's experience and empathy with the characters of the story, 'Three Little Pigs and the Wolf' contains 22 steps and was published in the itunes Store.

• Journal of Information Technology and Architecture
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• v.10 no.3
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• pp.361-370
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• 2013

Digital Storytelling, one of the most efficient way of delivering contents and messages, is also being used at a digital experiential space as a communication strategy to lead interactions between digital contents and humans, also between a space and humans. This study aims to examine Digital storytelling which is used in digital experiential spaces and to discuss the interactivity of it. To go on this study, firstly, digital contents and digital storytelling of digital experiential space were analysed at an epistemology level. Secondly, it was discussed about space storytelling at a digital experiential space. Also, it was argued about interactivity and sensible experiences of a user, who is an active subject of digital experiential space. Lastly, digital storytelling, space storytelling and interactive elements of a specific digital experiential space, 'Pangyo iQarium', were examined in this study.

• Journal of Korea Game Society
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• v.21 no.2
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• pp.55-66
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• 2021

The research studies how features of games can be utilized and converted into storytelling elements by analyzing specific transmedia storytelling cases. For the research, was selected for subjects of analysis. From the analysis conducted, first, how game can be expanded and transformed into interactive animations was observed. Also, use of representative elements of the original game, concepts and basic settings in was seen. And lastly, implementation of transmedia storytelling strategies that constitute narratives based on character creation and connection between spaces was also observed.

• The Journal of the Korea Contents Association
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• v.17 no.3
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• pp.523-531
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• 2017

This paper tried to study how the narrative to allow the audience to emotionally immerse in documentary using virtual reality platform has shown. For this purpose, it defined the VR documentary as contents what make creative approach and rebuild reality using VR media platform, and analyzed it by comparison with narrative of existing documentary. First, the contents like succeeding journey documentary use mainly virtual realty as experience of accessibility. However the contents that have purpose to experience other people's reality show from self-narrative of first person documentary to interactive storytelling of web interactive documentary. The case of interactive VR documentary is taking a step forward from web documentary and shows easy way to reach internal purpose of documentary as making experience with virtual self. The VR documentary has a lot of possibility as virtual space experience to give accessibility and virtual self.

• Journal of Korea Multimedia Society
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• v.21 no.8
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• pp.991-1001
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• 2018

In the context of the 4th Industrial Revolution, IoT, Big Data, and VR are rapidly emerging as core sectors of future industries. In particular, the VR has been under the limelight as a new media content appealing to new generation. And the VR user is not merely a 'spectator', but the 'actor'. In other words, the newness of VR is not in the 'more likely representation of the virtual reality', but in the 'making it act more virtual (more technically, 'interactive')' in the virtual world. In this paper, we examine the VR cinema in terms of film composition unit, montage, cinematic space, mise-en-$sc{\grave{e}}ne$ and perspective. The VR cinema, which is in the early stage of evolution, is basically based on $360^{\circ}$ image that strengthens the autonomy of the audience's point of view, but other factors like haptic or sonic immersion are becoming increasingly important. In addition, the VR cinema will be combined with AR, MR, SR, and Interactive technologies, and will expand its horizon as it is produced in various forms. Therefore, it is expected that more detailed viewpoint will be applied in the subsequent study on VR cinema.

• 한국HCI학회:학술대회논문집
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• 2008.02b
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• pp.576-581
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• 2008

For the improved game industry, this society was permitted as an incorporated association for spearhead of game society from Ministry of Culture & Tourism on February 14, 2001 with a sense of duty and a strong will toward a powerful game country. This society has objectives of academic research and distributions on creations of game contents, technologies of game producing and developments of game cultures. We will develop the game culture and industry through an industry-academic cooperations by each expert field, and spread out academic activities for cultivation of policy, technology, education, etc of the game industry in the future.

• Proceedings of the Korean System Dynamics Society
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• 2003.02a
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• pp.29-55
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• 2003

최근의 통신서비스 시장은 경쟁의 도입과 기술의 발전이라는 두 축에 힘입어 양질의 서비스를 보다 저렴한 요금으로 소비자들에게 제공하고자 노력하여 왔다. 그러나 이러한 통신서비스의 질적 향상 노력에도 불구하고 여전히 통신서비스의 품질은 소비자들의 기대수준에는 미치지 못하고 있다는 지적이 있다 더욱이 문제가 되는 것은 소비자가 인지하고 있는 통신 서비스 품질의 기대수준은 시간의 흐름에 따라 동태적으로 변화하는 것이어서 한 시점에서의 통신 서비스 품질 수준의 측정으로는 정책적으로 큰 의미를 설명하기 어려운 실정이다. 이와 관련하여 많은 선행 연구들이 다양한 측면에서 시행되어져 왔지만 이제까지의 많은 선행 연구들은 대부분이 통신서비스의 특성을 제대로 고려하지 않고, 고객만족의 향상과 불일치를 가져오고 있는 성능품질만을 측정한다거나, 시간의 흐름에 따라 변화해 가는 소비자가 서비스에 대해 인지하고 있는 중요도나 기대수준을 고려하지 않고 있으며, 각 구성요소간의 동태적 인과고리에 대한 고려 없이 연구가 이루어져 전반적인 통신 서비스의 고객만족을 전체적인 시각에서 평가한 연구는 극히 드물다. 따라서 본 연구는 통신서비스의 고객만족을 피드백 관점, 동태적 관점, 사실적 관점의 시스템 다이내믹스 방법론을 적용하여 전반적인 동태적 고객만족 모형을 구현하고 이를 정책적으로 활용할 수 있는가에 대한 접근을 시도하였다. 고객만족은 결코 한순간에 머물러 있는 것이 아니며 체감품질 및 기대수준의 영향을 받아 지속적으로 변화해간다 따라서 어떻게 기대수준을 관리하고 고객의 기대에 부응하는 체감품질을 관리하는 것이 지속적인 고객만족을 획득할 수 있는 가를 시뮬레이션 모형을 통해 가시적으로 시스템의 행태를 구현함으로써 그 이해의 폭을 넓히고자 시도하였다.으로써 웹에서의 혁신적이며 크로스 사이트, 크로스 장르적인 컨텐츠 플래닝의 가능성을 시사하는데 의의가 있다고 하겠다.y used to some of interactive storytelling through hyper text in CD-ROM and web sites. More complicated and different structured models were born through games that offered graphics, virtual spaces and interactivity. When drawn onto a structural graph, few attributes and similarities seem to occur. This paper will try to outline and discuss structural graphs of interactive storytelling methods and suggest some ways for better storytelling design.eal sales volume, but the case study could verified that this method is effective to the evaluation of marketability in case of completely new product got on the typical category and the product category could be set up the population clearly.의 무게와 부피는 24주간 다소 감소하는 경향을 보였으나 통계적인 유의차는 없었다. 냉동저장 감자의 무게와 부피 변화는 48주간 전혀 없었다. 상온 냉장저장 감자의 조직의 강도(hardness)는 24주