• Journal of Korean Theatre Studies Association
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• no.52
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• pp.189-228
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• 2014

The purpose of this research was to summarize Korea and China's researches on Noh and to examine main domain in this field, by investigating the academic books and articles published in two countries. In 1960s, since Nohgaku has been introduced to China, academic articles on Zeami's theories and aesthetics have emphasized on aesthetic characteristics of Chinese plays and Japanese Nohgaku through the similarities of oriental plays. The number of researches on Kabuki is almost twice as that of researches on Noh in China. While most researches on Kabuki were compared with the styles and music of Pecking Opera and the theatrical theories of liyu[李漁], those on Noh has been highlighted the comparative studies on $Y{\bar{o}}kyoku$[謠曲], Chinese Noh plays. The main difference among the researches on $Y{\bar{o}}kyoku$ in Korea and China was the material regarding characters of Noh. Because song yuanzaju[宋 元雜劇]and Nohgaku in Chinese-Japanese plays were the mature form of the classic plays and those were representative of traditional nation plays, this researches tried to ascertain the cultural origins of two countries regarding the aesthetic characteristics by referencing lyrical and narrative features[曲詞] of yuanzaju[元雜劇]and the classic waka of Nohgaku. While the comparative studies on Noh and song yuanzaju and kunqu[昆劇] in China were prevalent, national researches have emphasized on the inner world of the main character and dramaturgy through the verbal description of Noh. Especially, this research tried to investigate the inner world of the main character and the intention of the writers through the verbal description of Noh authorized in the history of the works. Also, the researches on Buddhism in the Middle Ages and religious background were examined significantly. In addition, the $Y{\bar{o}}kyoku$ has influenced on European modern playwrights and the comparative studies between the materials of $Y{\bar{o}}kyoku$ and Western modern plays were concerned. In Korea, the comparative studies on Noh between Korea abd Japan has been most focused on the origin theory of Noh. The fact that appearance theory of Noh had originated from Sangaku was common opinion among Korean, Chinese, and Japanese scholars. However, they are agree with the opinion that according to the formation of the different genres, Noh's mainstream was different among three countries despite of the same origin. Yuan drama and Noh play have the same origin, but different branch. In relation to the Noh's origin theory, there are literature comparative studies in religious background, the studies presumed the origin of instrumental music related to those in mask plays, and the comparative studies between Korean mask plays and $ky{\bar{o}}gen$ of Nohgaku. Kyogen is the Comedy inserted among the stories in Nohgaku performed in just one day. Therefore, $ky{\bar{o}}gen$ must be discussed separately from the relations of 'shite[任手]'s inner action veiled with masks. This research figured out that the lacking points of the two countries' researches were the acting methods of Noh. Academic articles written by foreign scholars studying Korean and Chinese theatres should be included when this issue will be dealt with. In Korea and China, translation studies and writings regarding Nohgaku have studied by those who are major in Japanese literature or oriental literature. This case is the same in Korea in that scholars whose speciality is not theatre, but Japanese literature has studied. Therefore, this present study can give a good grasp of whole tendency on Nohgaku's research in theatre fields.

• Sim-seong Yeon-gu
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• v.26 no.2
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• pp.149-188
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• 2011

This thesis presents the research of analytical psycholoy in respect of Jindo Dasiraegi. In a funeral of Jindo, situated in the southern island of Korea, there is a theatrical performance which is called Dasiraegi(rebirth). This research manifested a basic, universal meaning of psychological approach related the implicit of death in performing theatre from a analytic psychological point of view. The characteristics of this theatrical feast are like these ; 1) funeral festival 2) entrance of clown(the existence of antipole and conflict) 3) eroticism 4) active participation of female character 5) difficulty in her delivery 6) the moment of joy thanks to childbirth. The prerequisite of this feast should be a propitious mourning of person dying old and rich. That is, after having a complete life, it could be an entire death. Three main roles in Dasiraegi ; a bat-blind buddhist devotee, a strolling actor teasing men, an apostate monk, theses characters lock horns in a form of triangle conflict relations, then they keep a balance with a fake mourner as a protagonist , modulator and narrator. These characters are indeed clowns who manifested a metaphor as a decent, sacred and reasonable part of shadow regards group consciousness. The alive and the deceased, mourner and fake mourner, piety and confusion, wail and laugh, silence and grumble, death and birth, diverse antipole all coexist then theses are in harmony. The blind devotee and the monk are in antipole, the entertainer(anima) provokes a conflict between them. The infant is a solution as same as a result of conflict. This conflict seems to be eased by birth of a baby which is a symbol of wholeness(ganzheits) but the conflict of antipole is reenacted as insisting his parental right so this solution is leaving the baby to the chief mourner who is fourth character and the first beginning. Unconsciousness, hereby, is negotiating with appeared reality. The Images in unconsciousness are conscious and this new energy in unconsciousness is proceeding towards consciousness, then it became a therapeutic power for the loss of consciousness. Dasiraegi is the play of consolation much more for the alive than the deceased. The death signified not a loss but a resurrection and this intends a transition of new leading independent role for the alive. These make us have more prudent consideration concern the double sense of renewal for the dead and the alive. It is preserved as only a form of drama on stage after disappearance of Dasiraegi in a funeral recently. Dasiraegi was a manifestation of unconsciousness for compensation about the unilateral attitude of group consciousness to the strict death excessively. Therefore, this will enable reflect the relativeness and the attitude which regards the death as the end today.

• (The) Research of the performance art and culture
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• no.41
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• pp.219-255
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• 2020

This article was triggered by Victor H. Mair's book 'Painting and performance'. The book explained that Buddhist paintings are common in the area where Buddhism was spread, and there are also performances using them. And although it has nothing to do with Buddhism, it has been shown that this form of performance can be global. However, the problem was not 'Korea'. It was because there was no record or transmission of the corresponding performance soon. In this situation, the landing method of Samcheok stable temple was announced in 2018. On the one hand, the academic community is very pleased, but on the other hand, it is troubled. The worries are summed up as 'synchronic and diachronic universality'. Is the landing method inherited from the Samcheok stable temple a unique type of temple? Otherwise, it is a question of whether it has been passed down or is it universal at the national level. However, prior to this essential question, we do not yet know the full picture of the stable landing method. So this article was prepared to show the overall outline of the stable landing method. There is a 'picture' in common throughout the landing method, and understanding how to operate it in various ways is the first step in understanding the landing method. There are five repertoires (which are called main halls) that are considered important, and more than that. What these repertoires have in common is the narrative structure of a Buddhist character. In this narrative, the most important thing is the revised figure, and it was the earthly method to inform the contents of the revised figure in various ways. In the case of Byeonsangdo, which serves as a clue to the narrative, there was a problem that could not be seen in the evening without light, which required special design. It is the way of shadow play and Yeongdeung. In other words, there are three types of performances in the landing method. The first is the method of using reparation, and the second is the method of using shadow. The third is the way of eternity. This method is not a selection based on the contents of the repertoire, but a selection based on the performance environment. If there is light and you can see the picture, use reparation. However, in the evening, it was impossible to see it dark (when there was no electricity in the past). The use of the visual method as a tool in this method is to confirm the transition to a visual culture that is a step further from the level of culture. Moreover, unlike the epic narrative, the power of the implied image provided an opportunity for viewers to experience the mystery of Buddhism through emotional stimulation.

• Fashion & Textile Research Journal
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• v.6 no.1
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• pp.41-50
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• 2004

This research proposes the on-stage costumes for the play Hamlet of Shakespeare performed by Yunheedan Guhri Pae - the Street Theater Troupe. Stage costumes have an important role in displaying the characteristics of each characters to the audience and has big visual effects. However, in order to design the costumes in the object viewpoints of the audience, the survey on the images of the characters who had actually watched the performance was taken place and proposed the costume design according to the results of the survey. Hamlet a: This result was applied to propose a sweater in black color, black leather pants and vest. Hamlet b: This result was applied to propose hooded coat in purple in middle level of brightness and color spectrum and yellow coat. For free image, loose pants in blue and vest in the same color tone were proposed. Gertrude a: This result was applied to use purple (violet) with reddish tone to propose the formation of a dress applying tailored suit. Gertrude b: This result was applied to propose purple gown and the one-piece dress with black laces. Ophelia a: This result was applied to propose feminine white dress and cape in purple color tone. Ophelia b: This result was applied to propose dyed and weaved clothes. Through the surveys as above, the images of each character was driven in adjectives, and using the results driven from the brightness, coloration, and color, color images were proposed. Only one costume cannot make up for the stage costumes and because it exists as an element of stage production, it is true that costumes are limited in some areas. However, that limit can become the motive of the costume. There is a limit, which the designer cannot produce the costumes as he or she had designed but I believe it is the center of the on-stage customers to display the characteristics of the characters according to the given concept. The limit of this research is the fact that because the costumes were designed so they fit the conditions already given, thus it was difficult to regard the process of designing and producing the costume as a project done according to the interaction. And in the future, if it is possible, I wish for the joint research with the people responsible for stage art to take place as a practical stage art. It was possible to produce practical costume since they were produced for actual performance and the production of costumes considering the dance steps, line of flow, and acting, was able to reduce the trial and error on stage. Through this research, I felt that the understanding and smooth interaction on diverse other areas not limited to the costume design should be taken place and believe that this was a research that proposes new research method since there had been only a few previous research regarding the on-stage costumes for actual performances. Therefore, this research had depended on the surveys given to the audiences to endow objectivity, however, I wish this research can contribute to defining effective process and methods for the on-stage costumes with more active researches with diverse methods and in diverse areas. I am sorry that the costume production for all the characters and all the scenes in Hamlet couldn't be done due to many limitations. As the following research assignment, I am planning on designing the costumes for all the scenes.

• Cartoon and Animation Studies
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• s.40
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• pp.367-395
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• 2015

Mobile games have taken 80% of the market sales in smart device application industry that is highly regarded as one of the fast growing pool of cultural content after the distribution of smart devices. One of the most successful mobile games after the smart device's appearance is . created by Gung-ho Online entertainment under Softbank Japan, has gained the sales revenue of one trillion dollars after its release in 2012, just after one year of its exposure to the market. The game also has been the top rank by Worldwide Mobile Game Revenues for 2years achieving 40 million downloads worldwide in 2015. However, there is no place for a Korean game in world mobile game sales ranks yet. Even though the mobile game industry has been expanding every year, Korean games are losing its places in the market. Therefore, the analysis of a successful game such as is vital for diagnosing Korea's game content and its lack of direction. This study utilizes K. Masanao's Matrix for Creating Profit System for analyzing 's factors for its success. First, the game has incorporated puzzle and RPG contents for creating a new genre, which led various age groups to play the game. Second, the developers have applied 'limited time' in-game festivals and collaborations between the game and famous contents such as God Festival and Character Draw system to increase the profit revenue. Third, the company communicated with on and off line players to seek their needs for developing the game's better development. Consequently, the three success factors of deduced from this study not only reflect the related researches and academic values, but also contribute for the search in finding better ways to developing game contents for Korean mobile game industry.

• Proceedings of the Korea Association of Crystal Growth Conference
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• 1996.06a
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• pp.258-292
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• 1996

In the last year great interest appears to YBCO thin films preparation on different substrate materials. Preparation of epitaxial film is a very difficult problem. There are many requirements to substrate materials that must be fullfilled. Main problems are lattice mismatch (misfit) and similarity of structure. From paper [1] or follows that difference in interatomic distances and angles of substrate and film is mire important problem than similarity of structure. In this work we present interatomic distances and angle relations between substrate materials belonging to ABCO4 group (where A-Sr or Ca, B-rare earth element, C-Al or Ga) of different orientations and YBCO thin films. There are many materials used as substrates for HTsC thin films. ABCO4 group of compounds is characterized by small dielectric constants (it is necessary for microwave applications of HTsC films), absence of twins and small misfit [2]. There most interesting compounds CaNdAlO4, SrLaAlO4 and SrLaGaO4 were investigated. All these compounds are of pseudo-perovskite structure with space group 14/mmm. This structure is very similar to structure of YBCO. SLG substrate has the lowest misfit (0.3%) and dielectric constant. For preparation of then films of substrates of this group of compound plane of <100> orientation are mainly used. Good quality films of <001> orientations are obtained [3]. In this case not only a-a misfit play role, but c-3b misfit is very important too. Sometimes, for preparation of thin films substrates of <001> and <110> orientations were manufactured [3]. Different misfits for different YBCO faces have been analyzed. It has been found that the mismatching factor for (100) face is very similar to that for (001) face so there is possibility of preparation of thin films on both orientations. SrLaAlO4(SLA) and SrLaGaO4(SLG) crystals of general formula ABCO4 have been grown by the Czochralski method. The quality of SLA and SLG crystals strongly depends on axial gradient of temperature and growth and rotation rates. High quality crystals were obtained at axial gradient of temperature near crystal-melt interface lower than 50℃/cm, growth rate 1-3 mm/h and the rotation rate changing from 10-20pm[4]. Strong anisotropy in morphology of SLA and SLG single crystals grown by the Czochralski method is clearly visible. On the basics of our considerations for ABCO4 type of the tetragonal crystals there can appear {001}, {101}, and {110} faces for ionic type model [5]. Morphology of these crystals depend on ionic-covalent character of bonding and crystal growth parameters. Point defects are observed in crystals and they are reflected in color changes (colorless, yellow, green). Point defects are detected in directions perpendicular to oxide planes and are connected with instability of oxygen position in lattice. To investigate facets formations crystals were doped with Cr3+, Er3+, Pr3+, Ba2+. Chromium greater size ion which is substituted for Al3+ clearly induces faceting. There appear easy {110} faces and SLA crystals crack even then the amount of Cr is below 0.3at.% SLG single crystals are not so sensitive to the content of chromium ions. It was also found that if {110} face appears at the beginning of growth process the crystal changes its color on the plane {110} but it happens only on the shoulder part. The projection of {110} face has a great amount of oxygen positions which can be easy defected. Pure and doped SLA and SLG crystals measured by EPR in the<110> direction show more intensive lines than in other directions which allows to suggest that the amount of oxygen defects on the {110} plane is higher. In order to find the origin of colors and their relation with the crystal stability, a set of SLA and SLG crystals were investigated using optical spectroscopy. The colored samples exhibit an absorption band stretching from the UV absorption edge of the crystal, from about 240 nm to about 550 m. In the case of colorless sample, the absorption spectrum consists of a relatively weak band in the UV region. The spectral position and intensities of absorption bands of SLA are typical for imperfection similar to color centers which may be created in most of oxide crystals by UV and X-radiation. It is pointed out that crystal growth process of polycomponent oxide crystals by Czochralski method depends on the preparation of melt and its stoichiometry, orientation of seed, gradient of temperature at crystal-melt interface, parameters of growth (rotation and pulling rate) and control of red-ox atmosphere during seeding and growth (rotation and pulling rate) and control of red-ox atmosphere during seeding and growth. Growth parameters have an influence on the morphology of crystal-melt interface, type and concentration of defects.

• Journal of the Society of Cosmetic Scientists of Korea
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• v.30 no.1
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• pp.63-71
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• 2004

The human skin is constantly exposed to environmental irritants such as ultraviolet, smoke, chemicals. Free radicals and reactive oxygen species (ROS) caused by these environmental facts play critical roles in cellular damage. These irritants are in themselves damaging to the skin structure but they also participate the immensely complex inflammatory reaction. The purpose of this study was to investigate the skin cell protective effect of Juniperus chinensis xylem extract on the UV and SLS-induced skin cell damages. We tested free radical and superoxide scavenging effect in vitro. We found that Juniperus chinensis xylem extracts had potent radical scavenging effect by 98％ at 100 $\mu\textrm{g}$/mL. Fluorometric assays of the proteolytic activities of matrix metalloproteinase-l(MMP-1, collagenase) were performed using fluorescent collagen substrates. UV A induced MMP-1 synthesis and activity were analyzed by enzyme-linked immunosorbent assay (ELISA) and gelatin-based zymography in skin fibroblasts. The extract of Juniperus chinensis showed strong inhibitory effect on MMP-1 activities by 97％ at 100 $\mu\textrm{g}$/mL and suppressed the UVA induced expression of MMP-1 by 79％ at 25 $\mu\textrm{g}$/mL. This extract also showed strong inhibition on MMP-2 activity in UVA irradiated fibroblast by zymography. We also examined anti-inflammatory effects by the determination test of proinflammatory cytokine, interleukin 6 in HaCaT keratinocytes. In this test Juniperus chinensis decreased expression of interleukin 6 about 30％. Expression of prostaglandin E$_2$, (PGE$_2$) after UVB irradiation was measured by competitive enzyme immunoassay (EIA) using PGE$_2$ monoclonal antibody. At the concentrations of 5-50 $\mu\textrm{g}$/mL of the extracts, the production of PGE$_2$ by HaCaT keratinocytes (24 hours after 10 mJ/$\textrm{cm}^2$ UVB irradiation) was significantly inhibited in culture supernatants (p〈0.05). The viability of cultured HaCaT keratinocytes was significantly reduced at the doses of above 10 mJ/$\textrm{cm}^2$ of UVB irradiation, but the presence of these extracts improved cell viability comparing to control after UVB irradiation. We also investigated the protective effect of this extract in sodium lauryl sulfate (SLS)-induced irritant skin reactions from 24 hour exposure. Twice a day application of the extract for reducing local inflammation in human skin was done. Irritant reactions were assessed by various aspects of skin condition, that is, erythema (skin color reflectance) and transepidermal water loss (TEWL). After 5 days the extract was found to reduce SLS-induced skin erythema and improve barrier regeneration when compared to untreated symmetrical test site. In conclusion, our results suggest that Juniperus chinensis can be effectively used for the prevention of UV and SLS-induced adverse skin reactions such as radical production, inflammation and skin cell damage.

• The Sea:JOURNAL OF THE KOREAN SOCIETY OF OCEANOGRAPHY
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• v.17 no.2
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• pp.33-44
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• 2012

Transparent exopolymer particles (TEP) are formed by aggregation of polysaccharide products excreted by phytoplankton and have sticky character like gel. They play important role in the production of marine snow in water column. To study the distribution pattern of TEP concentration and its role in carbon cycle in the surface ocean, we measured pH, Total alkalinity (TA), and chlorophyll-a in addition to physical characteristics of seawater within the surface water column. TEP concentrations ranged from nearly undetectable values to $338{\mu}g\;Xeq\;l^{-1}$. They were considerably lower than previously reported values from costal sites, but showed similar values observed in other oceanic region during phytoplankton bloom periods. The spatial distribution of TEP concentrations were similar to those of chlorophyll-a, which indicate that the production of TEP were closely related to phytoplankton. Calculated total dissolved inorganic carbon ($TCO_2$) from the pH and TA was normalized to 35 psu of salinity ($NTCO_2$) and showed negative linear relationship with temperature. Biological drawdown of $NTCO_2$ ($NTCO_{2bio}$) was estimated from the difference between theoretical $NTCO_2$ values and observed $NTCO_2$. In the warm region located south of $40^{\circ}N$ along the $132.5^{\circ}N$ meridional lines, $NTCO_{2bio}$ showed negative value and TEP concentrations were high. This suggested that negative $NTCO_{2bio}$ may be attributed to the biological processes. At the stations located between 44 and $46^{\circ}N$, TEP concentrations showed high concentration at the chlorophyll-a maximum layer within the water column while they showed low concentration in the surface layer. Carbon content of TEP constituted about 40% of $NTCO_{2bio}$ at the chlorophylla maximum layer. In this study, we could not observe any positive and negative relationship between TEP concentration and $NTCO_2$ or pH. It is obvious that we should consider the importance of TEP in the biological carbon cycling processes within surface layer.

• Electrical & Electronic Materials
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• v.12 no.7
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• pp.7-11
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• 1999

Fully sealed field emission display in size of 4.5 inch has been fabricated using single-wall carbon nanotubes-organic vehicle com-posite. The fabricated display were fully scalable at low temperature below 415$^{\circ}C$ and CNTs were vertically aligned using paste squeeze and surface rubbing techniques. The turn-on fields of 1V/${\mu}{\textrm}{m}$ and field emis-sion current of 1.5mA at 3V/${\mu}{\textrm}{m}$ (J=90${\mu}{\textrm}{m}$/$\textrm{cm}^2$)were observed. Brightness of 1800cd/$m^2$ at 3.7V/${\mu}{\textrm}{m}$ was observed on the entire area of 4.5-inch panel from the green phosphor-ITO glass. The fluctuation of the current was found to be about 7% over a 4.5-inch cath-ode area. This reliable result enables us to produce large area full-color flat panel dis-play in the near future. Carbon nanotubes (CNTs) have attracted much attention because of their unique elec-trical properties and their potential applica-tions [1, 2]. Large aspect ratio of CNTs together with high chemical stability. ther-mal conductivity, and high mechanical strength are advantageous for applications to the field emitter [3]. Several results have been reported on the field emissions from multi-walled nanotubes (MWNTs) and single-walled nanotubes (SWNTs) grown from arc discharge [4, 5]. De Heer et al. have reported the field emission from nan-otubes aligned by the suspension-filtering method. This approach is too difficult to be fully adopted in integration process. Recently, there have been efforts to make applications to field emission devices using nanotubes. Saito et al. demonstrated a car-bon nanotube-based lamp, which was oper-ated at high voltage (10KV) [8]. Aproto-type diode structure was tested by the size of 100mm $\times$ 10mm in vacuum chamber [9]. the difficulties arise from the arrangement of vertically aligned nanotubes after the growth. Recently vertically aligned carbon nanotubes have been synthesized using plasma-enhanced chemical vapor deposition(CVD) [6, 7]. Yet, control of a large area synthesis is still not easily accessible with such approaches. Here we report integra-tion processes of fully sealed 4.5-inch CNT-field emission displays (FEDs). Low turn-on voltage with high brightness, and stabili-ty clearly demonstrate the potential applica-bility of carbon nanotubes to full color dis-plays in near future. For flat panel display in a large area, car-bon nanotubes-based field emitters were fabricated by using nanotubes-organic vehi-cles. The purified SWNTs, which were syn-thesized by dc arc discharge, were dispersed in iso propyl alcohol, and then mixed with on organic binder. The paste of well-dis-persed carbon nanotubes was squeezed onto the metal-patterned sodalime glass throuhg the metal mesh of 20${\mu}{\textrm}{m}$ in size and subse-quently heat-treated in order to remove the organic binder. The insulating spacers in thickness of 200${\mu}{\textrm}{m}$ are inserted between the lower and upper glasses. The Y\ulcornerO\ulcornerS:Eu, ZnS:Cu, Al, and ZnS:Ag, Cl, phosphors are electrically deposited on the upper glass for red, green, and blue colors, respectively. The typical sizes of each phosphor are 2~3 micron. The assembled structure was sealed in an atmosphere of highly purified Ar gas by means of a glass frit. The display plate was evacuated down to the pressure level of 1$\times$10\ulcorner Torr. Three non-evaporable getters of Ti-Zr-V-Fe were activated during the final heat-exhausting procedure. Finally, the active area of 4.5-inch panel with fully sealed carbon nanotubes was pro-duced. Emission currents were character-ized by the DC-mode and pulse-modulating mode at the voltage up to 800 volts. The brightness of field emission was measured by the Luminance calorimeter (BM-7, Topcon).

• Cartoon and Animation Studies
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• s.46
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• pp.85-106
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• 2017

With the media's shift into the digital era in the 2000s, comic book publishers attempted a transition into the new medium by establishing a distribution structure using internet networks. But that effort shied from escaping the parallel-page reading structure of traditional comics. On the other hand, webtoons are showing divers changes by redesigning the structure of traditional sequential art media; they tend to separate and allot spaces according to the vertical scroll reading method of the internet browser and include animations, sound effects and background music. This trend is also in accordance with the preferences of modern readers. Modern society has complicated social structures with the development of various media; the public is therefore exposed to different stimuli and shows characteristics of differentiated perceptions. In other words, webtoons display more relevant and entertaining characteristics by inserting sounds and using moving texts and characters in specific frames, while traditional comics require an appreciation of withdrawal and immersion like other published media. Motions in webtoons are partially applied for dramatic tension or to create an effective expression of action. For example, hand-drawn animation is adopted to express motions by dividing motion images into many layers. Sounds are also utilized, such as background music with episode-related lyrics, melodies, ambient sounds and motion-related sound effects. In addition, webtoons provide readers with new amusement by giving tactile stimuli via the vibration of a smart phone. As stated above, the vertical direction, time-based nature of animation motions and tactile stimuli used in webtoons are differentiated from published comics. However, webtoons' utilization of innovative techniques hasn't yet reached its full potential. In addition to the fact that the software used for webtoon effects is operationally complex, this is a transitional phenomenon since there is still a lack of technical understanding of animation and sound application amongst the general public. For example, a sound might be programmed to play when a specific frame scrolls into view on the monitor, but the frame may be scrolled faster or slower than the author intended; in this case, sound can end before or after a reader sees the whole image. The motion of each frame is also programmed to start in a similar fashion. Therefore, a reader's scroll speed is related to the motion's speed. For this reason, motions might miss the intended timing and be unnatural because they are played out of context. Also, finished sound effects can disturb the concentration of readers. These problems come from a shortage of continuity; to solve these, naturally activated consecutive sounds or animations, like the simple rotation of joints when a character moves, is required.