• Journal of Korea Entertainment Industry Association
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• v.14 no.5
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• pp.59-72
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• 2020

Video games have become a powerful tool to tell a complex story realistically thanks to modern technology. Rockstar Games' Red Dead Redemption 2 (2018), is a video game title that touts cinematic qualities such as superb acting by the voice actors and jaw-dropping cinematography as well as a rich narrative following the protagonist, Arthur Morgan's quest for redemption. Using Aristotle's Poetics and Robert Mckee's Aristotelian theory on storytelling, this study highlights Arthur's gradual change from a ruthless gunman to an altruistic hero, from which it derives the theme of redemption, and his super-objective to protect those he cares about. Then, it also explains a variety of possibilities in the narrative of the game determined by the opened-ended game mechanics, particularly the "honor" system, which reflects Arthur's moral choices on the narrative presentation with different sets of dialogue and endings. However, the study ultimately argues Red Dead Redemption 2 to be incohesive in its storytelling due to "ludonarrative dissonance," a concept coined by Clint Hocking, which indicates a conflict between the narrative and game mechanics of a video game. It's mainly because the game's various narrative choices bring changes to neither the theme nor Arthur's super-objective. Furthermore, the double-standard of evaluation in the "honor" system, and its numeric ranking system of honor also lend themselves to ludonarrative dissonance even further. After all, the study ultimately claims ludonarrative dissonance in Red Dead Redemption essentially disrupts the game's narrative unity, which is Aristotle's one of most emphasized upon traits of any story and signifies the game's instability as a storytelling medium.

• The Journal of Korean Institute of Communications and Information Sciences
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• v.32 no.9C
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• pp.881-887
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• 2007

In this paper, we proposed a method for content based automatic summarization of basketball game videos. For meaningful summary, we used the score information in basketball videos. And the score information is obtained by recognizing the digits on the score caption and analyzing the variation of the score. Generally, important events of basketball are the 3-point shot, one-sided runs, the lead changes, and so on. We have detected these events using score information and made summaries and highlights of basketball video games.

• Electronics and Telecommunications Trends
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• v.32 no.5
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• pp.39-48
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• 2017

Since the world's first 3D commercial film with red-blue glasses was introduced in 1922, remarkable progress has been made in the field of 3D video. 3D video content gained enormous popularity with the movie "Avatar," which greatly increased the sale of 3D TVs. This momentum has weakened owing to lack of 3D content. However, the recent trend of virtual reality (VR) and augmented reality (AR) made 360 VR video and 3D games using a head mounted display wide spread. All these experiences mentioned above require wearing glasses to enjoy 3D content. Super multi-view content technology, on the other hand, enables viewers to enjoy 3D content without glasses on a super multi-view display. In this article, we introduce the technologies used to make super multi-view content, interact with it, and author content, which are developed by ETRI.

• The Journal of Korean Institute of Communications and Information Sciences
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• v.32 no.8C
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• pp.738-744
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• 2007

In this paper, we proposed a method for content based automatic summarization of basketball game videos. For meaningful summary, we used the score information in basketball videos. And the score information is obtained by recognizing the digits on the score caption and analyzing the variation of the score. Generally, important events of basketball are the 3-point shot, one-sided runs, the lead changes, and so on. We have detected these events using score information and made summaries and highlights of basketball video games.

• International journal of advanced smart convergence
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• v.11 no.3
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• pp.85-92
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• 2022

Known as "The Ninth Form of Art", video game is a form of hypermedia art rising in response to the rapid development of modern technology, with millions of fans worldwide. From the perspective of the game market, those games that have high stickiness and a long operating cycle usually have abundant doujin works. As a spontaneous behavior of the players, doujin culture reflects the players' feelings towards and perception of the games, and it reacts upon the original game while relying on it, exerting a far-reaching influence on the operation of game products. We try to analyze the influences of doujin culture on game operation performance, hoping to provide game operators with some useful ideas.

• Journal of Korea Game Society
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• v.11 no.6
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• pp.159-170
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• 2011

It seems that social distrust toward morality of video games has not been deducted even the influence of video game has increased drastically for last few decades. To rationalize the identity of video game and its social legitimacy, this paper first considered video game genre as a new art form. By doing so, we could derive various aesthetical and moral issues to dispute in modern society. Secondly, by considering former issues, this study could figure out moral vulnerabilities of the genre according to its own form, by categorizing them into virtual reality, interactivity and simulation. To suggest most effective way to overcome its immorality by functionalize social feedbacks which elaborately designed based on John Dewey's pragmatist aesthetics and immoralism.

• Asia pacific journal of information systems
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• v.32 no.3
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• pp.684-705
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• 2022

A new trend has been emerging in recent years, with video game live streaming becoming a meeting ground for gamers, as well as a marketing strategy for game developers. In line with this trend, the emergence of the "Let's Play" culture has significantly changed the manner in which people enjoyed video games. In order to academically explore this new experience, this study seeks to answer the following research questions: (1) Does engaging in video game streaming offer the same feeling as playing the game? (2) If so, what are the factors that affect the feeling of telepresence from viewers' perspective? and (3) How does the feeling of telepresence affect viewers' learning experience of the streamed game? We generated and empirically tested a comprehensive research model based on the telepresence and consumer learning theories. The research findings revealed that the authenticity and pleasantness of the streamer and the interaction of viewers positively affect telepresence, which in turn is positively associated with the gained knowledge and a positive attitude toward the streamed game. Based on the research findings, various practical implications are discussed for game developers as well as platform providers.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.21 no.1
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• pp.72-81
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• 2017

There is a common misbelief that female gamers prefers simple cute easy games so that they are incompetent if higher skill level is required or disqualified to be a winning party member in MMORPG. This pink game theories are the results of video game analysis done in US and Europe way before online games and mobile games become popular thus. there are many evidences that such misconceptions do not hold anymore. However, researches on gender game culture and gender preferences have not been seriously conducted since 2007 in Korea. Thus, in this paper, we surveyed 88 male and 151 female gamers from their late teens to 30s and found a gap between behavior and perception due to serious gender stereotypes. Gender differences are still found in several areas, but the degree of differences were weakened or in different direction from 2007. The game design to attract female gamers should understand such gender gaming culture and gender difference.

• Journal of Industrial Convergence
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• v.20 no.5
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• pp.69-76
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• 2022

This paper summarizes the features and functions of game video on each platform through a study on streaming technology. Game videos have a high relationship with game content itself for the purpose of marketing and disseminating game play methods using games as the subject matter. The video length is short and it is easy to spread. The main types of game video content are game commentary, game strategy, funny, imitative, music video, and game information. As a game promotion video function, etc., it is used as a direct or indirect publicity for the game by the producer and the user for each reason. This article analyzed the production subject and production conditions of game videos, focusing on the production process. The production subject is divided into professional creators, non-professional creators, and general users. The motive for producing game videos is mainly to obtain economic benefits. The production process was extracted and presented through examples of game videos.

• Journal of Korea Game Society
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• v.12 no.1
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• pp.57-65
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• 2012

Interactive games allow users to obtain embodied experience using the bodies as controllers. The same is true in interactive media arts where users engage in active participation. In contrast to video games, physical body feedback is desired and such practice can be found in robotic arts. I suggest that interactive media arts and interactive games should share common foundations. In this context, I introduce and explain an interactive robotic art work implemented. This work is a musical instrument that employs a robot which travels sitting on two strings in response to audience positions. In results, the robot modulates the vibrations of the strings by causing the effective lengths of the strings changed. The robot uses an economic multi-cell proximity sensor in order to track the audience. In the interaction, phenomenological tension could take place in the performative narrative space. In this paper, I discuss this interactive robotic work in the context of interactive games with a few examples.