• Korean Journal of Child Studies
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• v.18 no.1
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• pp.53-63
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• 1997

The purpose of this study was to investigate the relationship between age, internal state information, and narrative structure. Another purpose was to examine how the kinds of replica play and story props affect the theme of children's narratives. The subjects were 36 4-and 5-year-olds. Children's narratives were audiotaped and analyzed accordmg to narrative structure, themes and internal state factors. The results indicated that 5-year-olds showed well organized narrative structure such as a descriptive narrative and a primary plotted narrative whereas 4-year-old presented no response and a descriptive narrative. Also, 5-year-olds used more internal state information in the narratives than 4-year-olds. The replica figures serve to remind the chiidren of story themes: the children with police props presented negative themes while children with playground props showed positive themes.

• Journal of Korea Game Society
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• v.11 no.2
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• pp.3-11
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• 2011

A game designer is the initial design of the quest based on narrative. It is important that to predict game character of play experience to establish these static content. This paper deal with player's affective interaction distinguishing among game characters are perform quest-play based on their characteristic status. To achieve this, First of all, previous studies regarding pre-visualization of narrative structure for other visual media are reviewed. Secondly, it is specified that quest-play experience and player's cognitive behavior. At last, these features of status by character were pre-visualized with QUG(Quest Unit Graph), which could be represented differences in precess of quest-play through analysis on world of warcarft game. Previous research is about of numerical balance in terms of character's achievement, whereas this study is meaningful that is proposed that visual model of quest-play interaction focused on narrative structure to predict game designer's architecture of quest experience.

• Journal of Digital Convergence
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• v.17 no.8
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• pp.401-406
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• 2019

Recently, as multi-platform game environments become common, many games of convergence genre have been produced, and the boundaries of genre division by existing platforms have become blurred. The game genre is convergence content consisting of user-centered 'narrative and play'. In this paper, we propose a game genre classification according to the user 's behavior type based on the essential recognition that the subject of the game is the user. The user's actions are done in different genres and goals and rules, and the interaction is an important act for immersion. Therefore, the user's behavioral classification and perception by the game genre are important and expected to help redefine the game structure.

• Journal of Korea Game Society
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• v.10 no.5
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• pp.25-38
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• 2010

This study examines the possibility of applying ORPG to narrative education in schools. At first, in terms of applying games to education, the choice of the appropriate games for various subjects and lessons seems to be limited. Also there is not much active research being done in the classroom promoting students to create their own games. As a substitute, this article suggests ORPG, known as 'a play of thinking', could possibly be applied to narrative education. In ORPG, gamer's thoughts are defined as 'a thinking of being conscious of hallucinations(幻)' and 'a thinking of a 彈指神功'. The students are encouraged to create 'scenarios of ORPG' and directly experience them by participating as gamer. Focusing on these two class circumstances, the practical effects of applying ORPG to narrative educational field was reviewed and, additionally the students' feedback was surveyed. As a result, two meaningful educational effects were drawn out which may show the positive potential of ORPG being used in narrative education.

• Journal of Korea Game Society
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• v.11 no.3
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• pp.31-42
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• 2011

This article is designed to investigate the nature of gamestorytelling as action-narrative through analyzing player acting in game context. Gamestorytelling is a narrative product which makes up of acting by players with story elements by producers, in a different such as novels, movies that express of showing and telling. The tradition of action-narrative can be found in myth and play.

• The Journal of the Korea Contents Association
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• v.14 no.3
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• pp.113-124
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• 2014

Ah! My Goddess has impressive narrative structure including a "narrative as a discourse," a "narrative as a story" and a "narrative by narrator": in a narrative as a discourse, North and South Korean soldiers make friendship; in a narrative by a narrator, main characters (including Sun-ho, Seok-gu, Ju-hwa, Chang-seop and Dong-hyeon) appear in the outer story and narrate the inner story of characters (including Dong-hyeon, Goddess and Seok-gu) within the frame of a play within a play; and in a narrative as a story, reality and fantasy intersect by the appearance of the "Goddess." This narrative structure contributes largely to 1) the character formation of space, 2) the strategic minimization of the stage, 3) the multiplicity of main characters, 4) the repetition of similar life story, and 5) the flexible change of a point of view. And the musical number serves as dramatic functions such as 1) pursuing the multiplicity of characters, 2) maximizing the effect of the expression of tragic feelings, 3) drawing audience's interest by irony and fantasy, 4) evoking the nostalgia for delicate feelings and pure wishes, and 5) ordinary female characters' playing the role of healing and salvation, thereby contributing to the reconstruction of reality and the style of fantasy.

• Korean Journal of Child Studies
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• v.27 no.3
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• pp.81-100
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• 2006

This study explored the relationship of behavioral inhibition to narrative representations. Narratives of 96 four-year-old children were recorded and analyzed by the scoring system of Robinson, Holmberg and Klute(in press). Six clusters were found : Constrained(47.9%), Anxious/Restricted(23.9%), Emotional Integrated/Empathic(12.5%), Empathic/Avoidant(6.3%), Dysregulated(5.2%) and Anxious/Avoidant(4.2%) clusters. Behavioral inhibition was determined by observations using "Play with Unfamiliar Peers(Rubin et al., 2002)". Behavioral inhibition differences corresponded to the children's narrative representation clusters; The Anxious/Restricted Cluster was related to more and the Emotional Integrated/Empathic Cluster to less inhibited behavior. In context-specific differences, more inhibited behavior was related to Anxious/Avoidant Clusters during show-and-tess and to Empathic/Avoidant Clusters during card-sorting activities, respectively.

• The Journal of the Korea Contents Association
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• v.7 no.4
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• pp.103-113
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• 2007

This paper attempts to construct a storytelling model of computer games by using the Greimas's schema of narrative. Analysis target is multi-play of Starcraft, which has the non-linearity and interactivity. As a result, the process of manipulation and sanction, occurred in epistemological level at very short time and the process of competence had lots of small schema of narratives and repeated that small narratives. This model may be applied to other games, because it looks that most of games have very short process of manipulation and sanction at epistemological level and have long process of competence as main game play.

• 한국HCI학회:학술대회논문집
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• 2008.02b
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• pp.405-410
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• 2008

There is always a rhythm in our language and speech. As soon as we speech out, even just simple words and voice we make are edited as various emotions and information. Through this process we succeed or fail in our communication, and it becomes a fun communication or a monotonous delivery. Even with the same music, impression of the play can be different according to each musician' s emotion and their understanding. We 'play' our language in the same way as that. However, I think, people are used to the variety, which is, in fact, the variation of a set format covered with hollow variety. People might have been living loosing or limiting their own creative way to express themselves by that hollow variety. SPACIAL POEM started from this point. This is a new type of 'real-time visual interaction' expressing our own creative narrative as real-time visual by playing a musical instrument which is an emotional human behavior. Producing many kinds of sound by playing musical instruments is the same behavior with which we express our emotions through. There are sensors on each hole on the surface of the musical instrument. When you play it, sensors recognize that you have covered the holes. All sensors are connected to a keyboard, which means your playing behavior becomes a typing action on the keyboard. And I programmed the visual of your words to spread out in a virtual 3D space when you play the musical instrument. The behavior when you blow the instrument, to make sounds, changes into the energy that makes you walk ahead continuously in a virtual space. I used a microphone sensor for this. After all by playing musical instrument, we get back the emotion we forgot so far, and my voice is expressed with my own visual language in virtual space.

• Journal of Korean Academy of Nursing
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• v.35 no.2
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• pp.407-418
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• 2005

Some fifty survivors participated in the narrative therapy sessions from March 2003 to December 2004, and thirty cases were analyzed using the transcripts. Each participant's surviving story was summarized, and then interpreted and reinterpreted by the survivors themselves in collaboration with the researcher. The two main principles in narrative analysis were hermeneutical distanciation and hermeneutical circulation. Result and Conclusion: First, nursing involvement should play active roles from the early stages of disaster incidents. Specifically, emergency nursing and flexible coping plans are to be available according to the specific properties of each case. Secondly, it is necessary to try to understand the extreme emotional experiences of disaster survival. The horror and pain people feel at an incident cannot simply be generalized, and it requires that each case be approached individually to help stop social alienation. Thirdly, more constant and long-term studies are required to set up nursing strategies for disaster survivors. Forming a trusting relationship with survivors is basic, and formally registering as participants is necessary for continuous interventions. Fourthly, we should deeply appreciate the danger and complexity of modern society and understand the complex nature of disaster. Fifthly, interdisciplinary activities and studies are necessary in combination with various other fields to establish a framework of total nursing care for disaster incidents. Lastly, it is urgently necessary to educate families and friends of the survivors and the society as a whole about life after a disaster.