• Journal of the Korea Institute of Information and Communication Engineering
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• v.25 no.9
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• pp.1190-1198
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• 2021

In this paper, we present the results of implementing an interactive lecturer introduction game that allows new students or freshmen to learn about their lecturer's information using a Digital Game-based Learning (DGBL) methodology. This game provides information such as the lecturer's name, photo, the courses that they teach in the form of a quiz game, with Unity and PHP used as the development environment. Communication between the game, Content Management System (CMS), and the database is by using the REST API, which enables the administrator to manage the content of the game such as score and number of questions for each level, user's password, and performance threshold, as well as the lecturer's information itself. Since the developed interactive game uses an integrated CMS, the content can be updated dynamically according to the situation, therefore, it can be easily applied to other departments, as well as other various educational games.

• 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 Korea Game Society
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• v.20 no.1
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• pp.33-46
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• 2020

The purpose of this study was to examine the differences in the factors that determine the game immersion of adolescents by the level of school. The results of this research showed that among the internal variables, loneliness, self-control, and among the psychological variables, game leadership, game subjective norm, and game efficacy played a common role in game addiction in all groups. To be specific the factors determining game overflow by the level of the school were identified as discriminatory. These findings can help making policies or developing a program on adolescent's overflow.

• ETRI Journal
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• v.36 no.2
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• pp.280-285
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• 2014

In this paper, the optimal power control problem in a cooperative relay network is investigated and a new power control scheme is proposed based on a non-cooperative differential game. Optimal power allocated to each node for a relay is formulated using the Nash equilibrium in this paper, considering both the throughput and energy efficiency together. It is proved that the non-cooperative differential game algorithm is applicable and the optimal power level can be achieved.

• Archives of design research
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• v.17 no.4
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• pp.129-140
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• 2004

The process of game development is contained of many steps that is hard to forecast success or failure. In order to develop successful game, the development period should be shorter, which could reduce development cost. In order to reduce development period and cost, it is needed to make a communication among planners, programmers, graphic designers and investors lively with a prototype as a communication tool. In this study, the concrete examples are demonstrated how to use prototypes as a tool for communication and feedback of team members, in the process of game development. This paper explains the characteristics of various types of prototypes according to types of game contents. This paper demonstrated two types of prototype according to development stage, one type is a prototype to gather feedback in the planning stage, the other is a prototype to make team members cooperate and communicate in the stage of production stage.

• Journal of Korea Game Society
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• v.15 no.2
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• pp.115-122
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• 2015

In this paper we propose a serious game for experience of music performance, which allows users to readily enjoy musical playing, even if the player has little or no experience in playing musical instruments. This game makes it easier for users to correctly perform given melodies along with standard performance, using a score-adjusting algorithm that can cope with the particular errors commonly made by beginners. This music performance is achieved by the agent to interpret the gestural sign of the user. We understands the interaction of the user and the agent as a communication model from the Peircean Semiotic perspectives.

• International Journal of Advanced Culture Technology
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• v.9 no.4
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• pp.417-423
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• 2021

Recently, in the Game industries, they are increasing to use of game engines to reduce the development cost of 3D content and software. In particular, Unreal Engine provides a blueprint visual scripting function that enables software production without programming (coding). Although High-end video content can be produced, the problem is that content development is complicated and requires advanced manpower. To solve this problem, we propose an optimized VR game context process. This is because 1) a Blueprint visual script is used, 2) VR games with various interactions can be produced, 3) Non-majors in the software field (or groups) can develop advanced content. In various related industries such as defense, medical care, manufacturing, and construction, we may easily develop any game content without programming with our refined VR rhythm action game development process. We expect to reduce the development cost with the process advantages in the game industries.

• International Journal of Internet, Broadcasting and Communication
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• v.15 no.2
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• pp.181-186
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• 2023

With the development of VR technology, the visual immersion of VR games has been greatly enhanced nowadays. There has been an issue that has been troubling players in previous VR games, which is motion sickness. Therefore, VR games have been limited in terms of game mechanics, game duration, and game scale, greatly reducing the immersive experience of visual immersion. However, <Half-Life: Alyx> is different from previous VR games in that players can actually perform spatial displacement in the game scene, rather than being fixed in one place for 360-degree observation and interaction. At the same time, compared to traditional games, VR games no longer need to rely on screens, and the complete visual immersion enhances the fun and playability of the game. This research focuses on the VR game <Half-Life: Alyx> to explore its immersive factors in terms of visual perception. Through in-depth analysis of elements such as color, texture mapping, lighting, etc. in VR games, it was found that the game creates a strong sense of visual immersion in these aspects. Through analysis, it is helpful to gain a deeper understanding of the factors that contribute to visual immersion in VR games, which has certain reference value for game developers and related professionals.

• International Journal of Internet, Broadcasting and Communication
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• v.15 no.4
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• pp.185-190
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• 2023

With the continuous development of the game field, the subdivision of game types is becoming more and more precise. There are also more and more games that draw on some achievements in other fields in their game design. Among them are meta-fiction games based on metafiction. This article will explore whether the combination of a meta-fiction game and a side-scrolling game with a unique visual experience is appropriate. If the side-scrolling game is the external form of the game, then the meta-fiction game is the internal content core of the game. The degree of fit between the external form and the internal core will undoubtedly determine the lower limit and upper limit of the game quality. Based on alienation theory, this article takes several highly rated side-scrolling games on the market as examples to conduct a theoretical analysis on the compatibility of side-scrolling games and metafiction games. The analysis results suggest that compared to first-person games, side-scrolling games with a unique third-person perspective have the best compatibility with meta-games.

• KSII Transactions on Internet and Information Systems (TIIS)
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• v.9 no.9
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• pp.3312-3334
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• 2015

In this paper, a mechanism for spectrum allocation in overlay cognitive radio networks is proposed. In overlay cognitive radio networks, the secondary users (SUs) must first sense the activity of primary users (PUs) to identify unoccupied spectrum bands. Based on their different contributions for the spectrum sensing, the SUs get payoffs that are computed by the fusion center (FC). The unoccupied bands will be auctioned and SUs are asked to bid using payoffs they earned or saved. Coalitions are allowed to form among SUs because each SU may only need a portion of the bands. We formulate the coalition forming process as a coalition forming game and analyze it by game theory. In the coalition formation game, debtor-creditor relationship may occur among the SUs because of their limited payoff storage. A debtor asks a creditor for payoff help, and in return provides the creditor with a portion of transmission time to relay data for the creditor. The negotiations between debtors and creditors can be modeled as a Bayesian game because they lack complete information of each other, and the equilibria of the game is investigated. Theoretical analysis and numerical results show that the proposed auction yields data rate improvement and certain fairness among all SUs.