• 한국게임학회지
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• v.6 no.1
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• pp.70-72
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• 2009

This research is focused on defining interaction within the context of digital media and creating a multi cultural definition of interactivity. The concept of multi digital culture and a definition of interaction in digital media have often been overlooked by other researchers and this has caused the emergence of many different notions on this issue. As a result of these varied notions of the concept, public confusion has arisen regarding interactivity. The main purpose of this research is to find a suitable multi definition of interaction through examining local digital culture. In order to analogise multi digital culture, the video game culture is employed as a metaphor to interpret local digital culture. The reason for this is that a specific national culture can be easily identified within the video game culture. Four countries, South Korea, Japan, the U.S. and the UK have been chosen for comparison purposes. Case study, questionnaire and publicly accessible video game related data, such as, video game charts, are used for formalising and analysing unique local digital culture. The Heyri POP UP IMAGE Festival, S. Korea, was also used as a pilot study, with some of the above research methods being employed to analyse South Korean digital culture. In relation to western cases, interview and questionnaire were primarily used. The data from the case countries was carefully compared and analysed and then it became the basis of a theory of multi definition of interaction in digital media. The case study employed the cultural metaphor for this research and in addition video game culture related questionnaires and interviews with experts of interactive art genre, regarding new notions of digital interaction were utilised. The survey was conducted simultaneously in the four different cultural case nations of this research. Twenty respondents from each case nation participated in the survey, in order to investigate firstly, the existence of 'local digital culture' and secondly, the trends and phenomena of 'digital culture' in these four different 'local digital cultural areas'. In terms of interviews with experts of the interactive art genre, these were focused on obtaining their understanding of contemporary digital culture in their research. Using gathered data from the observation of local digital culture, the basic theory of interaction and the terminology of interaction are reformed. Localised definitions of interaction on digital media, control based interaction and communication based interaction are presented, in order to identify a 'locality' in terms of various contemporary digital cultures. As a result of analysing digital culture, new definitions of 'multi definition of digital interaction' were formulated. As mentioned above, 'control' and 'communication' based interaction were initiated, based on 'user to media' relationships. Based on the degree of physical interaction, 'liminal' and 'transitive' interactions were initiated. Less physical digital interaction is named 'liminal' interaction and more physical digital interaction is named' transitive' interaction. These new definitions of interaction were applied to the real world examples of uses of digital interaction, such as, digital interactive installation artworks and video games. The newly defined meaning of digital interaction can be applied to analysing digital interactive installation artworks and possibly indicate their future development and the prospects of future electronic games. Three leading digital interactive artists were selected for this analysis and their works were studied in terms of the implementation of 'multi definition of digital interaction'. Throughout these processes, the meaning of 'communication' in digital interactive media was emphasised. Many of the selected artists' digital installations were focused on 'communication' or 'interaction between each user through digital media', rather than the concept of 'control' in digital interaction, otherwise termed, 'communication with digital media'. In their artworks, interaction between each audience was digitally engaged within the physical interactive environment which was created by the digital media. Both the audience's action and all the reaction throughout the interaction between the audiences, triggered the digital media' s reaction. This audience-audience-media interaction is the key to understanding the concept of 'communication' in physical digital media and it is the main interactive concept upon which the selected digital interactive installation artists for this research and many other artists from similar fields, are concentrating their efforts. In the case of the video game, a similar trend was noticed to that of digital interactive installations. Based on this research's 'multi definition of digital interaction', the video game has evolved from the early stage of being conventional game, which was focused on control based interaction, to the on-line game which was focused on communication based interaction, to physical interactive games, such as, Nintendo Wii, which are focused on more physical interaction and finally, the ubiquitous interactive game, which is mainly concentrated on the concept of 'communication' in physical digital interaction. It is possible that this evolution of the video game concept of interaction is comparable to the progress of digital interactive artworks. This view is based on the fact that both genres show evidence that they are developing in the direction of the concept of 'communication', in terms of physical digital interaction. The important emphasis of this research's results is 'locality' and 'communication' in physical digital interaction. The existence of different digital culture trends, which were assessed by the 'multi definition of digital interaction', can explain the concept of 'locality' in digital interaction. This meaning of 'locality' may assist in understanding contemporary digital culture and can reduce possible misunderstanding as regards 'local' digital culture. In the application of the concept of digital interaction to the field of either artworks or video games, it is possible to form the opinion that an innovative concept of physical digital interaction is 'communication' within this context. This concept and its applications can improve the potential of both digital interactive culture and technology.

• Journal of the Korean Home Economics Association
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• v.40 no.9
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• pp.35-46
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• 2002

This study was to investigate whether there are any differences in social competence by the frequency of young children's video and computer game use. Social development was categorized as peer popularity and social competence. The subjects were 215 children(118 boys, 97 girls) aged 4-6 years(M= 63.6 months, SD=6.8) from 3 kindergartens in Chung-Cheong Nam Do. The frequency of children's video and computer game use was reported by their parents. Peer popularity was rated by their classmates and social competence by their teachers with Kohn Social Competence Scale(KSCS). No significant relationship was found between game use and peer popularity. The children who played video and computer games once or twice a week got the highest score on the‘social interest and participation’But social cooperation dimension was not related with the frequency of video and computer game use but with the sex of children.

• Journal of Korea Multimedia Society
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• v.11 no.6
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• pp.729-736
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• 2008

Using video synthesis to depict flowing water is useful in virtual reality, computer games, digital movies and scientific computing. This paper presents a novel algorithm for synthesizing dynamic water scenes through a sample video based on a dynamic texture model. In the paper, we treat the video sample as a 2-D texture image. In order to obtain textons, we analyze the video sample automatically based on dynamic texture model. Then, we utilize a linear dynamic system (LDS) to describe the characteristics of each texton. Using these textons, we synthesize a new video for dynamic flowing water which is prolonged and non-fuzzy in vision. Compared with other classical methods, our method was tested to demonstrate the effectiveness and efficiency with several video samples.

• Journal of Digital Convergence
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• v.16 no.12
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• pp.619-624
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• 2018

The purpose of this study was to examine the trend of men's gymnastics on floor exercise final(8 gymnasts) in the 2018 Asian Games through digital video materials. Video recordings of floor exercise final were collected from the 2018 Asian Games. The cross-check with three international gymnastics judges on floor exercise final was analyzed. To fulfil the D-score, 8 gymnasts were the most performed backward saltos elements group(36 elements), forward salto with 1/1 turn(8 gymnasts), backward salto with 5/2 turn(8 gymnasts) and backward salto with 3/1 turn(8 gymnasts). The scores showd average the D score 6.0, E score 7.9, and connection values 0.25. To get a good results on floor exercise, gymnasts need to get a average the D score over 6.0, E score over 8.5, and connection values over 0.3.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2016.10a
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• pp.210-212
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• 2016

Today, video games created via 3D softwares become a core part of the essential the video game contents field because their properties that can produce more easier than 2D games and can save budget of contents makings. It is very important that reducing polygon counts of 3D characters and environments for Gaming optimization. We can formulate elaborate 3D game models with low polygon counting in virtue of technological advancements, and these technologies continue to evolve. In 2012, Pixar made public Open subdivision which is the new technology to make high quality 3D models with low polygons and distributed that via Open source verification. This paper will compare and analyze the characteristics, and merits and demerits of these various kinds of these skills(Mesh smooth, Turbo Smooth, Open subdivision) and will inquire which method is the most efficient one to make 3D video games.

• KSII Transactions on Internet and Information Systems (TIIS)
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• v.13 no.11
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• pp.5512-5526
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• 2019

In sports video games, especially ball games, motion capture techniques are used to reproduce the ball-driven performances. The amount of motion data needed to create different situations in which athletes exchange balls is bound to increase exponentially with resolution. This paper proposes how avatars in virtual worlds can not only imitate professional athletes in ball games, but also create and edit their actions effectively. First, various ball-handling movements are recorded using motion sensors. We do not really have to control an actual ball; imitating the motions is enough. Next, motion is created by specifying what to pass the ball through, and then making motion to handle the ball in front of the motion sensor. The ball's occupant then passes the ball to the user-specified target through a motion that imitates the user's, and the process is repeated. The method proposed can be used as a convenient user interface for motion based games for players who handle balls.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2011.05a
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• pp.478-480
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• 2011

As the recent games industry grows slowly, the consumers come to have interests in new types of games which has different types from the conventional games. While the conventional games play with a simple interfaces such as a joystick and buttons, the new games are designed to have acceleration sensors, infrared sensors and video motion detection sensing using several types of sensors and allow users to play more actively. In this paper, we propose a method which uses the electromyogram(EMG) signals in interface.

• Child Studies in Asia-Pacific Contexts
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• v.5 no.2
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• pp.63-81
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• 2015

The present study examined electrical brain activations in participants playing three different video games. Forty-five adolescents between the ages of 13-17 (M=14.3 years, SD=1.5) were randomly assigned to play either a violent game, non-violent game, or brain training game. Electroencephalography (EEG) was recorded during video game play. Following game play, participants completed a questionnaire measuring prosocial personality. Results show an association between prosocial personality factors and differential patterns of brain activation in game groups. Adolescents with higher empathy playing the brain training game were positively correlated with frontal asymmetry scores, while empathy scores for those in non-violent and violent game groups were negatively linked to frontal asymmetric activation scores. Those with higher scores in helpfulness in the non-violent game group showed a positive association to left hemisphere activation. Implications behind these findings are discussed in the manuscript.

• Cartoon and Animation Studies
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• s.13
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• pp.223-236
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• 2008

The video game industry is obsessed by the perception of "Next Generation Game". Appearance of the next generation game console has required the video game industry to renovate new technologies for their entire production. This tendency increases a huge mount of production cost. Game companies have to hire more designers to create a solid concept, artists to generate more detailed content, and programmers to optimize for more complex hardware. All those high cost efforts provide great locking games, but the potential of next generation game consoles does not end there. They also bring possibilities of the new types of gameplay. Next generation game contains a much larger pool of memories for every video game elements. The entire video game used to use roughly 800 animation files, but next generation game is pushing scripted event well over 4000 animation flies. That allows a lot of very unique custom animation for pretty much every action in the game. It gives game players much more vivid and realistic appreciation of the virtual world. Players are not being able to see any recycling of the same animation over and over when they are playing next generation game. The main purpose of this thesis is that defines the concept of next generation game and analyzes new animation-pipeline to be used in the shooter games.

• Journal of Korea Game Society
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• v.17 no.6
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• pp.173-188
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• 2017

This study explores the gender status of $Pok{\acute{e}}mon$ Series by analyzing the aspects of male/male-dominated $Pok{\acute{e}}mons$ and female/female-dominated $Pok{\acute{e}}mons$. Counting from the First Generation to the Seventh Generation $Pok{\acute{e}}mon$, there are 802 characters. Each $Pok{\acute{e}}mon$ has different gender ratio; the one $Pok{\acute{e}}mon$ could have more "possibility" to become male, female, equal, or genderless when he/she is born. This study examines those $Pok{\acute{e}}mons$ in three criteria: 1) Frequency 2) Stats 3) Diversification of Type, and it compares them based on their gender. $Pok{\acute{e}}mon$ Series is different than other video games as it provides many characters ($Pok{\acute{e}}mons$). Thus, it helps the audience to view the gender status of video game characters more closely and meaningfully.