• Journal of Korea Game Society
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• v.20 no.6
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• pp.3-12
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• 2020

Player experience study includes the behavior and psychological responses of player to game content. And, it focuses on the player's aesthetic experience for specific game elements rather than comprehensive game experiences. This paper presents the player's aesthetic experience data derived from the gameplay process as a code, and analyzes the aesthetic experience data by player experience level for adventure games. These researching results might complement the limitations of existing game analysis research, and provide practical data which creator could apply at the design stage of game.

• Proceedings of the Korean Society of Computer Information Conference
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• 2023.01a
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• pp.455-456
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• 2023

본 논문에서는 Puzzle Adventure 장르의 평범한 게임에 긴장감을 높이는 Action, 진화하는 Graphic과 같이 다양한 요소를 가미하여, 퍼즐을 끝까지 풀고 탈출할 때까지 흥미진진한 Room Escape 게임 'Mementomori'를 개발하였다. 게임을 끝까지 진행하고 탈출하기 위해 Player는 매 Stage 바뀌는 주변 환경을 고려해가며 적절한 퍼즐을 풀고, 환경에 따라 등장하는 다양한 위험요소에 재빠른 대응을 해내야만 한다.

• Journal of Korea Game Society
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• v.17 no.1
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• pp.51-62
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• 2017

Game is an activity for the tension, joy and fun. Playing the manipulative button for the game, gamers have unique experience for various ways to use the button. In this study, separating the manipulability of game into the complexity and the fun of button controlling, we tried to discuss the implication about the manipulability of game for the manipulability type to use the objects in adventure game. Namely, either complicated or simple, game has fun feature and needs to design the button controlling in consideration of action characteristics.

• Journal of Korea Game Society
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• v.14 no.5
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• pp.137-146
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• 2014

Recently, the games on the market are getting rich and excellent in the category of design and productions. The style and production quality of cut-scenes also have achieved a continuous development, so how to stand out from multiple designs and gain popularity always acts as a challenge to designers. However, such design strategy up to developers will be failed to judge whether or not design achievements are loved by players and thus cannot meet rapidly changing market demands on both in a quantity and quality. Therefore, this study holds that cut-scene design for video games must set out from user-centered design(UCD). According to literatures with respect to product market, we know that Market Pull imposes far more impacts on success in bringing new products to the market than the technology Push, hence players actually determines the success of a game in competitive game market. This study will help to enhance the immersion of playing game, including the interest and standing out the designer's message without distorting the original impression in the game publishing environment.

• Proceedings of the Korean Society of Computer Information Conference
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• 2014.07a
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• pp.285-287
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• 2014

본 논문은 어드벤처 게임의 몰입도를 향상시키기 위해 퍼즐요소를 추가해 개발한 게임 'Labyrinth'에 대해 다루고 있다. 'Labyrinth'는 지하유적을 탐험하며 함정을 피하고 퍼즐을 풀어 최종적으로 보물을 획득하는 게임이다. 본 논문에서는 액션 어드벤처 게임에 퍼즐요소를 추가하여 게임에 대한 사용자의 피로도를 감소시키고 몰입도를 향상시키도록 하였다.

• Journal of Korea Game Society
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• v.21 no.5
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• pp.63-74
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• 2021

The format of game play varies depending on the priority of game design components by genre. In this study, in order to quantitatively derive the priority of game design components by genre, 6 game design components and 6 genres were extracted through prior research on game design components and genres, and then the research model was designed, and priorities were derived through AHP. Feedback system in action games, story in adventure games, mechanics in role-playing games, mechanics in simulation games, feedback system in table games, and mechanics in puzzle games were highly prioritized.

• Cartoon and Animation Studies
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• s.36
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• pp.573-592
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• 2014

Following rapid development of software and hardware technologies and increasing enhancement in arithmetic capability, there are more and more content that can be accommodated and processed in video games, which is also increasingly complex and fine. Cutscene as a main narrative method have been developed, which have become necessary to express some key plots and important scenarios in games. Good cutscene can strengthen engagement of players with virtual world in games and make players share affection and sorrow with roles in games; while badly-designed cut-scene or overused cut-scene will impair immersion of players and affect players' gaming experience; for this reason, developers should not continue cut-scene design just from opinions of designers nor make players passive receivers, instead, they should reduce as much as possible interruption by cut-scene to players' immersion and grant players with better immersion. After all, only designs depending on demands and preferences of players by having some knowledge of impacts of cut-scene on players' immersion can be accepted by players.

• KSII Transactions on Internet and Information Systems (TIIS)
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• v.12 no.5
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• pp.2313-2326
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• 2018

The method of operating a game could determine the psychological distance between the player and the game character, and thus, in the Virtual Reality, players' control methodologies are important to enhance their immersion. This study has the objective of examining the difference in games according to the method of operation based on the player's movements. This study researched the effect of the method of operating movement conforming to the movement of the character and the physical operation of the body on forming game experiences for the player. The result of performing an experiment increased reality for the game player through a controller in the shape of the actual control, to increase focus in the game. As so, game play through movements, including actual movements by the player displayed to enhance game satisfaction. In the part of media remediation field, Game can be defined as media which has their own unique hypermediacy. Especially, in the motion based game, players' movement mediates players and the game, therefore, players' movement could make players' experience augmented or immediate in accordance with the characteristics of movements. Even though sports and dances genres of motion-based games are common, RPG or adventure genres are rare. It can be explained that the characteristics of the action have been explained in the immediacy. In a game of fantasy, which is difficult to experience in real-life situations, the nature of the player's motion can increase the immersion of the game, which can contribute to utilization of players' motion and experience design in the various genres and suggestion of grounds theory. In addition, through this study, it is able to design motion-based games of various genres.

• Journal of Families and Better Life
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• v.20 no.3
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• pp.63-71
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• 2002

This study is an investigation of children's video and computer games usage. The respondents included 286 third and fourth grade children, of whom 152 were boys and 134 were girls. The participants were selected from a pair of elementary schools in Seoul. The instruments used consisted of children's self-reported computer game use and their evaluations of the video and computer games. I employed frequencies, percentiles, means, Chi-squares, 1-tests, one-way ANOVA, and the Scheffe Test. Ninety-five percent of the children interviewed reported having played video and computer games. Among these children, most reported that they played the games 2 to 3 times per week for 112 to 1 hour each time. The most common reasons given for playing was 'fun'. The most popularly played games included themes of action, adventure, violence, and competition. There was a significant gender difference in playing and usage. Boys played games longer than the girls. Boys played the games with their friends while the girls played the games with their siblings. Children who played these games longer perceived themselves to be faster, more attentive, and more stable than children who played for a shorter period of time.

• The Journal of the Korea Contents Association
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• v.11 no.1
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• pp.157-164
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• 2011

Since the movie "Avatar" made world-widely a big success, people's interest to 3D stereoscopic vision has been increasing explosively. However, it is hard to predict that for how long this tremendous attention to 3D stereoscopic would last; consumers have accumulated experience and predominant consciousness from social and cultural environmental various factors. This paper, we will try to see how people interact with 3D stereo through the empirical study. Using Jannett (2009)'s immersion questionnaire, we will measure how different people get immersed while playing game in 3D stereoscopic and 2D.