• Digital Contents
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• no.11 s.162
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• pp.88-91
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• 2006

국내에도 상당한 팬 층을 확보하고 있고 전세계적으로 1억권 이상의 단행본이 팔린 인기 연재만화<원피스>를 연작으로 한 애니메이션 <원피스>시리즈가 드디어 극장판으로 우리 곁을 찾아왔다. 이번에 국내에서 첫 개봉된 <원피스-기계태엽성의 메카거병>은 기존의 TV시리즈보다 더욱 화려해진 스케일과 새로운 캐릭터들의 등장으로 색다른 감동과 풍성한 볼거리를 제공한다. 일반적으로 만화를 원작으로 한 극장판 애니메이션들이 만화에서 모티브를 그대로 가져오는 반면 <원피스-기계태엽성의 메카거병>은 만화책과 TV시리즈에서 한번도 선보이지 않았던 이야기와 새로운 등장인물로 기존 팬들에게는 새로운 에피소드로의 초대를, 처음 접하는 관객에게는 기존 시리즈를 알지 못해도 이해 가능한 새로운 애니메이션과의 만남을 제공한다. 세상에서 가장 값진 보물 원피스를 찾아 떠난 루피 해적단의 신나는 모험의 세계에 빠져보자.

• Cartoon and Animation Studies
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• s.39
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• pp.85-109
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• 2015

have been transformed to many products and game of various platform as successful animation be making for 26 seasons. However past studies were concentrated on characteristic of as an TV animation series, almost never focused on transforming strategy. is showing distinguished strategy for how long living TV animation series can be made to user participating contents constantly. This paper analyzed a characteristic transforming strategy to game of as focusing on that EA company was made for mobile platform and it has been popular for a long time comparatively. So first we analyzed characteristic narrative of animation, and then searched how it is appeared to space managing simulation game . It will be helpful study how to build narrative strategy when TV animation series will be transformed to game as analyzing gamification process of .

• Digital Contents
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• no.11 s.138
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• pp.126-128
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• 2004

플래시 애니메이션에서 인기를 끌면서 지난해 캐릭터 시장을 강타한‘뽀글이’를 이제 TV에서도 만나볼 수 있게 됐다. 원작사인 앤캐릭엔터 테인먼트는 뽀글이 캐릭터를 장수 캐릭터로 계속 성장시켜 나간다는 전략으로 TV 애니메이션으로 제작키로 하고 지난 6월부터 기획과 제 작에 들어갔다고 밝혔다. 내년 하반기 TV 방영을 목표로 현재 시나리오 작업이 한창이다. 9살짜리 소녀 뽀글이가 11살이 돼 우리 앞에 어 떤 모습으로 다가올지 사뭇 궁금해진다. 가제‘뽀글이-나만의 마니또’TV 시리즈로 새롭게 태어날 뽀글이를 미리 만나본다.

• Cartoon and Animation Studies
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• s.21
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• pp.1-17
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• 2010

As animation emerged as a high value-added content business, more studies are conducted focusing on the fact that the key to the success of animation is not a story but a character. This study aims to examine the characters of , the globally loved animation, and figure out its interactive way of attracting viewers based on Spectatorship Theory, so that it can help set the nation's TV animation series to be made on the right track. To achieve this goal, it will explore various aspects including the concept of animation character, the relations between ideology and character, and the changes in design according to a social phenomenon, then based on Spectatorship Theory will analyze and suggest how the characters of fulfill the required conditions to attract viewers. In addition, it will examine the wide application of the characters of . In conclusion, unlike theatrical animation, TV animation has a characteristic that it can easily and repeatedly deliver messages to viewers over a long time, however, domestic TV animation turned out to fail to utilize the advantage. In other words, while its character has distinct individuality, it is not supported by creative and solid story line, and the character is not attractive as much as the characters of which successfully evoke sympathy from viewers. In animation, arousing sympathy from its viewers or audiences is very important, so a character that well reflects social discourse is an integral part of it. Therefore, in-depth and specialized study on animation's character is highly required for the sustainable success and growth of domestic animation.

• The Journal of the Korea Contents Association
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• v.11 no.3
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• pp.157-166
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• 2011

TV sitcom animation is a immensely popular to any religion and age, sex. The five yellow main characters and a great amount of sub characters appear to tell their broad stories every sequence. It makes people laugh using parody and pastiche with the American social subjects and political issues. This paper examines the study of story structures for sitcom animation and main factors of the Simpsons' popularity. The case works are focused on 'The future of korean TV sitcom animation'.

• Digital Contents
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• no.8 s.135
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• pp.94-96
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• 2004

어릴 적부터 소꼽 친구였던 소드맨 로안과 어콜라이트 유파는 목적 없는 여행을 하고 있었다. 그런데 마법사 타키우스를 만나고 다른 여러 사람들과 조우하면서 생각도 못한 일들에 말려들어가게 되고 죽은 걸로 알고 있었던 유파의 친오빠인 나이트 키오의 행방이 나타나게 되는데…. 귀여운 캐릭터로 한국, 일본 등 아시아 지역에서 큰 인기를 얻고 있는 그라비티의 MMORPG라그나로크의 애니메이션 줄거리다. 온라인게임에서의 신화를 애니메이션까지 이어간다는 복안으로 기획된 라그나로크 애니메이션은 이 게임의 일본내 서비스를 맡고 있는 겅호 온라인 엔터테인먼트와 그라비티가 함께 TV시리즈로 제작했다. 현재 일본에서 상영중이며 높은 시청률을 기록하며 많은 관심을 모으고 있다. 순조로운 출발로 고공행진을 하고 있는‘라그나로크’애니메이션을 만나본다.

• Digital Contents
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• no.9 s.136
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• pp.118-121
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• 2004

어릴 적부터 소꼽 친구였던 소드맨 로안과 어콜라이트 유파는 목적 없는 여행을 하고 있었다. 그런데 마법사 타키우스를 만나고 다른 여러 사람들과 조우하면서 생각도 못한 일들에 말려들어가게 되고 죽은 걸로 알고 있었던 유파의 친오빠인 나이트 키오의 행방이 나타나게 되는데…. 귀여운 캐릭터로 한국, 일본 등 아시아 지역에서 큰 인기를 얻고 있는 그라비티의 MMORPG 라그나로크의 애니메이션 줄거리다. 온라인게임에서의 신화를 애니메이션까지 이어간다는 복안으로 기획된 라그나로크 애니메이션은 이 게임의 일본내 서비스를 맡고 있는 겅호 온라인 엔터테인먼트와 그라비티가 함께 TV시리즈로 제작했다. 현재 일본에서 상영중이며 높은 시청률을 기록하며 많은 관심을 모으고 있다. 순조로운 출발로 고공행진을 하고 있는‘라그나로크’애니메이션을 만나본다

• Cartoon and Animation Studies
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• s.49
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• pp.143-167
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• 2017

The purpose of this study is to analyze the characteristics that appear when actual comedy movie is made into animation, from the singularities which arise from producing remake of existing media contents into animation. Animation and slapstick comedy movies possess a similarity in that they both evoke laughter from the viewer via exaggerated motion, expression and action. In the case of live action film, people must carry out the acting and there exists spatial limitations, whereas animation does not have such limits, which allows the comic animation to materialize spatial scene directing and acting which are different from that of live action comic films, despite the fact that they share elements of the same genre. Accordingly, this study performs comparative analysis of and which is based on the contents of the same event, from the English comedy TV program and the , the TV animation which is a remake animated version of the original series, to conduct comparative analysis the character acting and the scene directing in accordance with the live action movie and animation. The result of studying the point that makes it easy to create comic genre into animation and the advantages possessed by the media of animation, through analyzing two works that deal with the same character and the same event, were as follows. It was proven through the analysis that comedic directing with doubled composure and amusement is possible through the anticipation of exaggerated directing in the acting through expression and action, and diversity of the episodes with added imagination in the story, as well as the estrangement effect of the slapstick expression and etc.

• Cartoon and Animation Studies
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• s.36
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• pp.303-323
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• 2014

After TV Broadcasting service started, American Animation Industry changed dramatically. Through 1930th to 1940th, Major Animation Studios made every effort to adapt to new Animation production environment. Those efforts led rapid improvement of Animation again by succession of heritage in the golden age of American Animation. in spite of successful outcome, some critic like Bernard Oma blamed Animation on repeated chasing pattern, glamorized violence with exaggeration and humor caused by lack of idea. Nevertheless the decade passed by, achievement of the era still have influenced today. The animated films of the age have attractive power in comparison to today's works and Chuck Jones was a glamorous one of the age-leading masters. "Tom and Jerry" series, "Bugs Bunny", "Daffy Duck", and so on, he planned, designed characters and directed those masterpieces. In this study, episodes of "Tom and Jerry" that had been directed by Chuck Jones during 1963 and 1967 are analysed in the view point of direction style. In recently, Korean Animation Industry seems to be accumulated power for rising again by showing new animations that are adapted to new media. Thus, this study aims to give an idea for the new vision of Korean Animation through analysing Chuck Jones' Masterpieces.

• Proceedings of the Korea Contents Association Conference
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• 2007.11a
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• pp.894-898
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• 2007

Now a day, lots of the animations include TV series Animations are made by the technique of 3D Animation. However, 3D Animation obstructs visual elements and deteriorates an acquaintance with the limit of unfamiliar material methods and dispersion of light. For this reason, a large of number of 3D Animations are repacked with the style of 2D Animation. Most of previous studies for the conversion of output 3D Animation to the style of 2D Animation are analysis for 2D rendering techniques. In case of Non-realistic 3D Character Animation, first and foremost it needs investigation of the basic producing method for the 2D Animation is different with the realistic expression way of the one for the 3D animation. For a case study, expression methods for the non-realistic and the non-actuality 2D Character Animation come with impossible ways in the real life. This study for the 3D Animation with the style of 2D Animation is to investigate on the keynote for effective expression methods, when we turn 3D Animation into the style of 2D Animation.