• Archives of design research
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• v.17 no.3
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• pp.39-50
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• 2004

According to the survey done among the 20s of university students in Oct. 2002, the female animation characters from Korea and Japan have almost no distinction. Speaking of the features of the characters, they have big eyes, a long nose, an oval face. However, their eyes and mouths are expressed exaggeratedly, which makes them hard to get a good impression from the people. It seems that the identity of Korean female animation characters is disappearing in terms of the copycat from western animation characters. Through the research, the features of 20s of Korean and Japanese girls are compared and they were reviewed from the ideal and biological point of view. Then, the animation characters, which physiognomy has been applied, are created based on result, which I am trying to find the standard model of Korea female animation character. As an ideal point of view, it turns out that Korean has a positive reaction on the female animation characters with the cute & introspective characteristics. On the contrary, Korean has a negative reactions on the ones that were created in a biological viewpoint and has a highly sensitive and discontented characteristics. This shows that Korean do not prefer the female animation characters with highly sensitive and discontented characters. According to the survey, 73.5% of people could find the same 7 kinds of female characters which are shown frequently in the animation. This means that the oriental physiognomy is an effective way to approach to the features of the character's face depending on the characteristics of each female characters. The characters in this study are based on real face of female, but we can create the various animation characters if we apply the partial feature of distinctive each personal face.

• Cartoon and Animation Studies
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• s.36
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• pp.91-119
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• 2014

This paper analyzed and compared the storytelling of female characters in Korean, American, Japanese animations and revealed the ideal image of woman of each culture. Chapter 2 analyzed the superficial images of the female characters and figured out how these images reflected awareness of a reality. This paper revealed that female characters act as a representative cultural symbols and embodies the paradigm and the order of those cultures. In Chapter 3, this paper analyzed and compared how the female characters solve the dramatic events in the entire narrative structure, and revealed the cultural implications of their action and these events. Korean characters were imitating the idols as an extension of the real world, and American characters were drawn as unreal Super Heroes who were utilized to enhance the order of the world if the United States. Japanese characters, the magical girls are led to create a magic circle and then become surreal goddesses. In this way, this paper revealed that female characters in animation reflect the male-centered ideology of each culture according to the awareness of a reality and cultural paradigm.

• Cross-Cultural Studies
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• v.31
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• pp.197-216
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• 2013

This thesis analyzes various becomings of female characters in Rose Gate written by Tie Ning. By this analyzation, we can pick out what identity the female characters eager to have decomposed, what identity they hope to create, and what do these procedures mean. Si Qiwen's 'becoming male' presents strong desire to shift from periphery to center. However, it is meaningless when her tragic life can not be justified by those same female people. Zuxi's 'becoming wanderer' shows that Tie Ning refuses usual reality of woman's life which vest in man. Sumei's 'becoming mother' is the exact point where torn female ego gets to consolidate, and it means Tie Ning takes 'mother-becoming' as ultimate truth of woman's life. Besides, Tie Ning finds women's becoming something new as escaping from the other and she denies equation of man with savior.

• Journal of Korea Game Society
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• v.16 no.5
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• pp.79-88
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• 2016

This study analyzes the status of female characters in several fighting action games. From July 15 to 17, 2016, the world-famous fighting action game tournament EVO 2016 was held in Las Vegas, Nevada. In this tournament, nine fighting action games were selected for competition, and this study examines the status of female characters on the basis of 1) Appearance 2) Ability in these fighting actions games. After doing comparison between female characters and male characters in the fighting action game, it reflects on the status and right of female characters in the virtual world.

• Korean journal of communication and information
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• v.49
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• pp.122-143
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• 2010

This study is designed to figure out what kind of female images TV dramas have represented from 2000 to 2007 and what kind of relationship these images and the actual roles the female characters perform have in the drama. The total number of dramas analyzed is 27, and 152 female characters are analyzed. The result finds that 45% among 152 characters is in her 20's, and most of them play the main roles. Only 4 dramas use 3,40's female characters as main figures. Most 4,50 female characters play mother or grand mother roles of main characters, and they usually interrupt main character's love relationships or don't play any meaningful roles for the narrative. The old female characters over her 60's tend to play foolish and ridiculous roles and don't show any physical charms. The female main characters are beautiful and young, and the more they play good roles, they have better natural beauty comparing the bad characters. The youth and beauty of main characters helps the owner to earn the love of main male characters. It's obvious that the dramas show that female's body as physical capital to achieve higher class and power.

• The Research Journal of the Costume Culture
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• v.16 no.5
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• pp.963-978
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• 2008

This study examined the images and formative features of female characters portrayed in fantasy films. This study aimed at providing an applicable theory to modern fashion by reconsidering the images of women appearing in fantasy films and arranging fantastical features reflected in costumes of female characters. The followings were the results of the study: The first divine nature that human beings discovered was woman nature. The discovered stone worked of the prehistoric age had a meaning of the great mother of universe and expressed a positive image. Such positive images of the goddess were variously differentiated to negative images or reduced in their roles and meanings in the settlement process of patriarchy as well as sociocultural transition. The foremost examples of negative image were expressed as grotesque, destructive, otherness, sensual, and exotic. The positive image of a goddess in fantasy films was not especially emphasized. On the other hand, the negative images of the goddess and the case of costumes were variously expressed as well as emphasized the typicality of the negative image of the characters. It was reconsidered that the typical features of characters in fantasy films were a result of the image of women following sociocultural transition. In addition, it was confirmed that such result was being reflected in film costume.

• International journal of advanced smart convergence
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• v.12 no.4
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• pp.314-320
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• 2023

This paper examines how the design of female characters in Disney animations is evolving over time, and explores whether these changes are related to the social status of women in modern society. We analyze in detail how Disney's female character design has undergone changes in form, characteristics, and personality with the transition from 2D animation to 3D animation, and show that the change in perception of women in modern society is behind this change. It shows. It deals with changes in the design and personality of female characters, focusing on major Disney animation works before and after 2010. Starting with the movie <Rapunzel>, released in 2010, female characters showed stronger and more active characteristics and changed from traditional Disney princesses. Disney is bringing about this social change by breaking away from the image of an independent woman and showing the growth process of overcoming hardships based on one's abilities and the support of one's family, as well as the increasing number of female characters of various races and appearances. The conclusion was reached that it shows a conscious and active willingness to accept it.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.25 no.3
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• pp.403-411
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• 2021

While there is no apparent gender difference on the number of game players and playing time in market survey especially if the age group is under 30, there still exists a strong gender stereotype on female characters with sexual objectification especially in team based battle games. Furthermore, there seldom exists any research on female gamers in this genre. In this paper, we investigate the preference of female characters and reasons of their choice among female gamers with Overwatch and Cypers which are recognized as having enough female players. In Overwatch with 231 responses, subjects prefer 'girl-crush' characters such as non-sexual Ana who age is in 60s. However, in Cypers that does not have female warrior character, subjects' preference is more affected by appearance but those characters with less functional ability are not frequently used in playing. Such practical avatar choice is often discovered among male players thus there is no gender difference in this case.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2019.05a
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• pp.232-235
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• 2019

In recent years, Japanese style Chinese Moe-tic Ship personification games have enjoyed success in Korean game market - starting from 'Girl's Frontier' in 2017 to recent 'Azur Lane' in 2018. Their 'all female' characters have overly sexual appearance thus young male adults/adolescents are main consumers of the genre. In this paper, we investigate all 300+ character skins of the game 'Azur Lane' on how much their character illustrates have sexual exposure of the female body for the sexism and how their standard attire have different patterns with respect to the affiliated nationalities. We report that the sexual exposure is highly related to the payable skins including swim suits and there exists some sexual stereotype in characters' attire. Japanese and Chinese characters emphasize their traditional Chipao and Kimono. Japanese also wore school uniforms. German characters wore uniforms the most and many British characters wore maiden uniform. Although this game is classified as adult game, its overly sexualized female characters are harmful for young adults to cause sexual objectification of females.

• Journal of Sericultural and Entomological Science
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• v.34 no.1
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• pp.21-29
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• 1992

In the experiment, gene actions were analyzed for seven silkworm varieties in order to obtain basic information on their genetic improvement by diallel crosses. The results obtained were summarized as follows : in analysis of variance, significantly maternal and reciprocal effects were observed for all character except female cocoon shell percentage and female pupal weight. Over-dominance was shown by Vr-Wr graphic analysis in three characters such as female cocoon weight, female and male pupal weight, and partial dominance in five characters such as male cocoon weight, cocoon shell percentage in both female and male. Component of genetic varience analyzed for five characters such as male cocoon weight, cocoon shell weight, cocoon shell percentage in both female and male showed that additive effects were higher than dominant effects, and female cocoon weight showed dominant effects higher than additive effects. Heritability of narrow sence was higher more than 0.51 and heritability of broad sence was higher more than 0.77 in all characters except for female pupal weight. The directions of dominance were negative for female cocoon shell weight and somewhat higher for female and male cocoon shell percentage. Meanwhile cocoon weight, pupal weight in both female and male showed positive in the direction of dominance.