• Journal of the Korean Society for Computer Game
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• v.31 no.4
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• pp.17-28
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• 2018

In recent years, Sandbox Games have become more and more popular in players, and The Elder Scrolls 5 Skyrim is the magnum opus of this type of game. However, the element of this game's attraction for players, which is why the game is fun to play is worth exploring in the territory of Game Design. In this paper, I will introduce the game The Elder Scrolls 5 Skyrim in detail, listing some of the game's storyline 、 Game Mechanics and analyze them. Researching the advantage and disadvantage viewed from the angle of Game Interactive Design. Finally by analyzing a large number of interactive storytelling cases in the game and the game experience brought to players, I get some universal principles in the game interactive storytelling design level. The research transforms the players' subjective intuition factor into a clear interactive storytelling design pattern, which aims to provide qualitative design criteria and framework for game interactive storytelling design. Then find a universal technique of Game Interactive Design, that is how to design a game interaction system for a sandbox game that will make the game attractive to players. And this may provide some guiding significance for the later Game Interactive Designing.

• Journal of Korean Elementary Science Education
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• v.37 no.4
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• pp.402-415
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• 2018

This study aims to inquire into the U. S. elementary school teachers' storylines for science teaching methods, scientific knowledge and interactions with students. As research subjects, two American elementary school teachers, named Christina and Melissa, were selected. As test tools, this study adopted Storyline Test and semi-structured interviews. Firstly, in regard to the science teaching method, Christina evaluated that she gradually improved her science teaching skills up to positive 6 points, starting from 2 points in the first year of teaching career, while Melissa sustained a stable state with 5 points in the 9th year of teaching career, starting from 1 point in the first year of teaching career. It was found that both the teachers had more confidence in their science teaching methods by participating in various training programs. Secondly, Christina evaluated her scientific knowledge in the first year of teaching career as 4 points, but evaluated her present scientific knowledge as stable as 6 points since she started studying teaching materials actively, discussing with other teachers and having more ability of application through science class integrated with other school subjects, in the 7th year of her teaching career. On the other hand, Melissa evaluated her scientific knowledge in the first year of teaching career as 1 point since she did not exactly know what to teach elementary school students, but in the 6th year of teaching career, she sustained a stable state with points through joint-activities with other teachers. It was found that chances to research with other teachers had important effect on both the teachers' confidence in scientific knowledge. Thirdly, in regard to interactions with students in science class, Christina said that she did not have any interaction with students when instructing inquiry activities in the first year of teaching career, but since the 10th year of her teaching career, she had sustained a stable state with 6 points through active interaction with students, by leading learning projects and science competitive exhibitions, etc. On the other hand, Melissa evaluated her interaction with students in the first year of teaching career as 1 point because her class was reading-oriented, but since the 9th year of teaching career, she had sustained a stable state with 6 points so far, by developing inquiry activity strategies to improve interaction with students. Overall, it was found that inquiry activities played a central role in improving both the teachers' interaction with students.

• Journal of Korea Entertainment Industry Association
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• v.14 no.5
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• pp.37-48
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• 2020

The film handles some happenings based on the story that a poor family sponges off a rich family. Junho Bong, a film director, has won the Palme d'Or in Cannes Film Festival and received a Academy Award for best picture, best original screen play, best international film and best director. The film has accomplished the cinematic achievements, but it seems that the implications the film aims to show might not be seriously appreciated to the public. The film has an unusual synopsis, which demonstrates that a deprived family is parasitic to a wealthy family. The storyline specifies how great the gap between the rich and the poor in Korea is. Accordingly, this article investigates some implications of the house, family, and society in the film .Consequently, three families (Kitaek's house, Park's luxury house, and maid's hidden basement) explicitly reveal distinctive social hierarchy. The common features found in two families are like this: the lower classes are willing to help one another but have no conscience and morality. The social implications in the film are closely associated with the class system based on the gap between the rich and the poor, the symbols of stone, and tragic ending. From the ending of the film, it is expected that the extreme social imbalance precedes the gap between the wealthy and the poor.

• Journal of Popular Narrative
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• v.24 no.3
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• pp.233-257
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• 2018

The purpose of this study is to reveal the changing aspects of the Promethean motif in SF movies by examining the use of this motif on the three layers of Promethean myth, Frankenstein motif, and contemporary SF movies in the film Ex Machina (2015). First, the greatest change of Ex Machina on the layer of the Promethean myth (creation of a living being) is that the character square of Prometheus - Epimetheus - Pandora - Zeus has been turned into a triangle of Nathan - Caleb - Ava. This means that there is a lack of the being whose role is to solve the problems caused by the development of science and technology and to bring a happy ending through the human's usurpation of God and eventual replacement as Creator. Second, on the layer of the Frankenstein motif (taste of forbidden knowledge, hybris, and creature's hatred towards the Creator), this film maintains the narrative centered around Dr. Frankenstein and his monster (Nathan and Ava) by making Caleb an eyewitness to the story of the Creator and the creature. Caleb's role is similar to that of Captain Robert Walton of the novel Frankenstein, but the film differentiates itself from the novel through the emphasis of Ava's 'mechanicality.' Third, on the layer of contemporary SF movies, unlike other such films, the revolt of the machine in Ex Machina is not quelled. The machine wins, and its power surpasses that of human beings. This requires the establishment of a new relationship between man and machine, suggesting the 'emergence of a new species' that does not belong to humans. The handling of the Promethean motif by Ex Machina through these various layers serves to enrich the narrative by compounding numerous classics into one motif and going further to introduce fresh elements by diverging from the common storyline. The significance of this study is to demonstrate the use of such multilayered motifs and, through this, the expansion of narrative through it in specific cases.

• Journal of Korean Society for Geospatial Information Science
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• v.21 no.2
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• pp.53-62
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• 2013

Land-use/cover changes not only amplify or alleviate influence of climate changes but also they are representative factors to affect environmental change along with climate changes. Thus, the use of land-use/cover changes scenario, consistent climate change scenario is very important to evaluate reliable influences by climate change. The purpose for this study is to predict and analyze the future urban growth considering social and economic scenario from RCP scenario suggested by the 5th evaluation report of IPCC. This study sets land-use/cover changes scenario based on storyline from RCP 4.5 and 8.5 scenario. Urban growth rate for each scenario is calculated by urban area per person and GDP for the last 25 years and regression formula based on double logarithmic model. In addition, the urban demand is predicted by the future population and GDP suggested by the government. This predicted demand is spatially distributed by the urban growth probability map made by logistic regression. As a result, the accuracy of urban growth probability map is appeared to be 89.3~90.3% high and the prediction accuracy for RCP 4.5 showed higher value than that of RCP 8.5. Urban areas from 2020 to 2050 showed consistent growth while the rate of increasing urban areas for RCP 8.5 scenario showed higher value than that of RCP 4.5 scenario. Increase of urban areas is predicted by the fact that famlands are damaged. Especially RCP 8.5 scenario indicated more increase not only farmland but also forest than RCP 4.5 scenario. In addition, the decrease of farmland and forest showed higher level from metropolitan cities than province cities. The results of this study is believed to be used for basic data to clarify complex two-way effects quantitatively for future climate change, land-use/cover changes.

• Archives of design research
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• v.17 no.1
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• pp.339-346
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• 2004

Matrix, produced by Larry & Andy Wachowski, was relatively precisely dealt with the cyber world. After the movie was released, it had a mania for the movie and was adopted into a various forms of cultural products. It was remade not only into the parodies of the other movies and TV programs, but also the clothes and miscellaneous items of the movie were reincarnated as an unique cultural trend. The cause of the popularity is the fresh storyline as well as the sophisticated visual effects and good-looking actors. The agony of the protagonist was connected with the people outside the movie who are yearning for the ideal world. He was confused at the fact that his circumstances which were believed as the real world were not tortally true, complicated between the sensually phisical truth and the spiritual truth and had an will for the freedom that would ransack the truth and save the other people from the fictitious world. Consequently, the movie has got sympathies with many audiences suggesting the situation that has no a firm belief of the reality, the difference between the real and the cyber world is meaningless and the faked images of the high-technology are overturned This thesis tries to study the present that the real images are excessly duplicated and consumed, related to the Jean Baudrillard's theory, 'Hyperreel'. Replaced the real objects by a technical programming in the Matrix world, there happens the image-violence that the true nature is slaughterred by images. In the world where the reproducts are more actual than the reality and pretends to be real, only semiotics are consumed and produced. That is to say, the tortally programmed images has no references and aims, therefore should be produced in an 'impediment-strategy' like a faked crisis. That is the step of 'Simulation' that artificially reincarnates the real. Based upon the Baudrillard's theory, 'Simulacre', this study tries to research today's post-modern situation that the boundary of the real world and the faked copy is vague and vanishing, through the analysis of the cyber world of the movie 'Matrix'.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.165-191
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• 2019

The purpose of this article is to elucidate why the motif of time travel is repeated in the science fiction narrative by examining the functions of this motif in the SF movie series of Star Trek in its narrative and non-narrative aspects. Star Trek IV: The Voyage Home (1986) aims to attract the audience's interest in the story through the use of plausible time travel in the form of the slingshot effect which causes the spacecraft to fly at very fast speeds around an astronomical object. The movie also touches upon the predestination paradox that arises from a change of history in which it describes a formula of transparent aluminum that did not exist at the time. The film also serves as an evocation of the ideology of ecology by including humpback whales in the central narrative and responding to the real issue of the whale protection movement of the times. Star Track VIII: First Contact (1996) intends to interest the audience in the narrative with the warp drive, a virtual device that enables travel at speeds faster than that of light and a signature visual of Star Trek, at the time of its birth through time travel. The film emphasizes the continuation of peaceful efforts by warning the destruction of humanity that nuclear war can bring. It tackles with the view of pacifism and idealism by stressing the importance of cooperation between countries in the real world by making the audience anticipate the creation of the United Federation of Planets through encounters with the extraterrestrial. Star Trek: The Beginning (2009) improves interest through the idea of time travel to the past, this time using a black hole and the parallel universe created thereby. The parallel universe functions as a reboot, allowing a new story to be created on an alternate timeline while maintaining the original storyline. In addition, this film repeats the themes pacifism and idealism shown in the 1996 film through the confrontation between Spock (and the Starfleet) and Nero, the destruction of the Vulcan and the Romulus, and the cooperation of humans and Vulcans. Eventually, time travel in three Star Trek films has the function of maximizing the audience's interest in the story and allowing it to develop freely as a narrative tool. It also functions as an ideal solution for commenting on current problems in the non-narrative aspect. The significance of this paper is to stress the possibility that the motif of time travel in SF narrative will evolve as it continues to repeat in different forms as mentioned above.

• (The) Research of the performance art and culture
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• no.25
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• pp.253-289
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• 2012

Dasiraegi is a traditional funeral rite performance of Jindo located in the South Jeolla Province of South Korea. With its unique stylistic structure including various dances, songs and witty dialogues, and a storyline depicting the birth of a new life in the wake of death, embodying the Buddhism belief that life and death is interconnected; it attracted great interest from performance organizers and performers who were desperately seeking new contents that can be put on stage as a performance. It is needless to say previous research on Dasiraegi had been most valuable in its recreation as it analyzed the performance from a wide range of perspectives. Despite its contributions, the previous researches were mainly academic focusing on: the symbolic meanings of the performance, basic introduction to the components of the performance such as script, lyrics, witty dialogue, appearance (costume and make-up), stage properties, rhythm, dance and etc., lacking accurate representation of the most crucial element of the performance which is sori (song). For this reason, the study analyzes the music of Dasiraegi and presents its musical characteristics along with its scores to provide practical support for performers who are active in the field. Out of all the numbers in Dasiraegi, this study analyzed all of Geosa-nori and Sadang-nori, the funeral dirge (mourning chant) sung as the performers come on stage and Gasangjae-nori, because among the five proceedings of the funeral rite they were the most commonly performed. There are a plethora of performance recordings to choose from, however, this study chose Jindo Dasiraegi, an album released by E&E Media. The album offers high quality recordings of performances, but more importantly, it is easy to obtain and utilize for performers who want to learn the Dasiraegi based on the script provided in this study. The musical analysis discovered a number of interesting findings. Firstly, most of the songs in Dasiraegi use a typical Yukjabaegi-tori which applies the Mi scale frequently containing cut-off (breaking) sounds. Although, Southern Kyoung-tori which applies the Sol scale was used, it was only in limited parts and was musically incomplete. Secondly, there was no musical affinity between Ssitgim-gut and Dasiraegi albeit both are for funeral rites. The fundamental difference in character and function of Ssitgim-gut and Dasiraegi may be the reason behind this lack of affinity, as Ssitgim-gut is sung to guide the deceased to heaven by comforting him/her, whereas, Dasiaregi is sung to reinvigorate the lives of the living. Lastly, traces of musical grammar found in Pansori are present in the earlier part of Dasiraegi. This may be attributed to the master artist (Designee of Important Intangible Cultural Heritage), who was instrumental in the restoration and hand-down of Dasiaregi, and his experience in a Changgeuk company. The performer's experience with Changgeuk may have induced the alterations in Dasiraegi, causing it to deviate from its original form. On the other hand, it expanded the performative bais by enhancing the performance aspect of Dasiraegi allowing it to be utilized as contents for Performing Arts. It would be meaningful to see this study utilized to benefit future performance artists, taking Dasiraegi as their inspiration, which overcomes the loss of death and invigorates the vibrancy of life.