• Journal of the Korea Computer Graphics Society
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• v.23 no.3
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• pp.9-17
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• 2017

This study proposes a third-person virtual reality content production pipeline to provide users with a new experience and presence in a new virtual reality environment. For this purpose, we first create third-person virtual reality content, which includes a story, fun factors, and game characteristic. It consists of a tutorial scene in which a user can pre-learn the proposed interface suitable for a third person different from existing virtual reality content and a content scene that achieves its purpose by using game factors based on the background story. Next, we design an interface suitable for the third-person virtual reality content. This study proposes an interface in which users can interact with a virtual environment or object by using their hand. The proposed interface consists of three steps: character movement, virtual object selection with multiple selection, and 3D menu control using virtual space. Finally, through the survey experiment, third-person virtual reality content produced based on the proposed interface was confirmed to be easily controlled while ensuring high satisfaction.

• Cartoon and Animation Studies
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• s.41
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• pp.357-378
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• 2015

The recent domestic toy market is filled with the fever of 'Turning Mecard' produced as a character product of units showing in . The toy market of the domestic character licensing industry has shown such rapidly changing trends during the period of broadcasting contents like animation or special films targeting children. Through these contents, the characters are cognized, and also the immersion and loyalty can be increased depending on the progress of the story, on top of marketing effect while the animation is broadcasted. This effect is called gamification meaning that consumers voluntarily participate in the contents after receiving fun. Through the purchase of character products, the immersion and loyalty participate in the animation. Thus, this study analyzed the gamification elements by examining the animation and toy products of currently gaining popularity in the toy market. In the results of the study, the story structure of has the sustainment just like game, which is connected to its character product. Therefore, the users who have watched build up the relationship with each other, and the competition and reward can be done through the game using the character products, which is connected to such high immersion and loyalty.

• Information Systems Review
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• v.7 no.2
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• pp.41-59
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• 2005

Mobile games have emerged as the most innovative entertainment technology adding new revenue streams, taking advantage of the potential of wireless consumer applications and service offerings. Mobile games, like any other types of computer game, offer a unique value for users in providing an exciting digital experience in virtual worlds. Players can become empowered through the development of new characters and strategies within games to achieve rewarding successes against the computers and other players. In this paper, we attempt to investigate the factors influencing the usage and acceptance of the mobile games in Korea, based on the extended version of the Technology Acceptance Model(TAM). Based on data collected from survey, we show that perceived usefulness is the major determinant for users to play mobile games. Two factors, including perceived enjoyment and self-expressiveness, are empirically shown to determine perceived usefulness. In addition, perceived ease of use, rewards, operational quality of device, and design/story have been showed to significantly and directly affect perceived enjoyment. It was also confirmed that self-efficacy and operational quality of device are the antecedents of perceived ease of use. Based upon the statistical results, some useful guidelines for game development and market penetration strategies are also provided.

• Journal of Korea Game Society
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• v.11 no.1
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• pp.3-14
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• 2011

Nowadays, it becomes a widespread and frequent practice that one content as a source is converted into diverse media formats. However, it is hard to answer the question whether the converted content might become successful again. That is mainly because one needs to have clear understanding about the characteristics of the target media format. This explains the phenomenon that there are very few successful movies which have been adapted from successful digital games. Thus, it is essential to conduct thorough and sufficient researches on the success factors of the adapted movies. The objective of this research is to investigate and analyze common factors of successful movies from digital games in terms of their visuals and narratives. We have found that successfully adapted movies from digital games shares three commonalities in the work of adaptation for effective cinematic impacts. Firstly, the adaptors of the successful movies have composed scripts with riveting storytelling through simplification, compression and removal of the original story. Secondly, they have satisfactorily re-implemented the original game avatars in the process of adaptation. Finally, they have effectively discovered inherent attractiveness of the original games and incorporated into the target movies with faithful following of cinematic grammar. We expect that our work contribute to reduce failure rate of the prospective movies converted from games by the proposed analysis of success factors shared among successfully adapted movies through the proposed case studies.

• Journal of Korea Entertainment Industry Association
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• v.13 no.3
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• pp.1-12
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• 2019

The 4th industrial revolution has become a topic of 'experiential games' that utilize technologies such as virtual reality, augmented reality, and complex reality, and they are promoting various experiential game contents to attract tourists in the tourism industry have. The trend of tourism is the concept of the healing which aims to enhance the quality of life of the individual in the concept of simple travel, that is, the consumer is not satisfied with the sight, There are many changes in the form of tourism. In this study, domestic and foreign cases that utilized the fun and experience of tourism in the game were examined using case study methods. In domestic case, although service was provided by using smart phone, there is a problem that simple information is provided, mission quest method is not continuously provided, and the story is limited. I tried to find out the solution through this case. Developing and applying various experience contents, utilizing active investment and various stories for continuous service, and utilizing new technology such as virtual reality, it will bring about improvement of domestic tourism industry and satisfaction.

• Journal of Digital Convergence
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• v.10 no.10
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• pp.147-154
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• 2012

I made an analysis on the case of Kakao Talk, which is Korean top mobile instant messaging service, to find the growth potential of Korean Social Network Service in the global market. First, I found that unlike the PC messenger services, Kakao Talk is not only unlimited in mobile IM service provider but also has evolving into a social network service firm. Second, attempts with a variety of social services such as photo-based Kakao Story and Marketing Platform for Mobile Game, Kakao Talk successfully landed as a SNS company. Third, with 'Plus Friends' Service, soon-to-be launched Avatar and App Market Service, Kakao Talk is evolving into social media and social platforms. The big success of Kakao Talk in Korean market is expanding and reproducing into Japanese and Southeast Asian markets through the 'Line' serviced by NHN. Line is applying the proven success stories of Kakao Talk to the Japanese and Southeast Asian markets. It means that Kakao and Line, both are mobile IM services, have raised the possibility of success in the global SNS market although online web-based SNS Cyworld has failed in the global market.

• Journal of Digital Convergence
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• v.13 no.7
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• pp.349-357
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• 2015

Giant character used various SF movies and games in media convergence ages, and is essential for giant character in success contents. It This study defined giant character of SF movies and games, it analysed the eight of external characteristics and internal characteristics of giant character in SF movies and games. The external characteristics defined shape, silhouette, size and color, the internal characteristics defined fear, satanism, image and story focus, playfulness. Above, it was structured positioning model of giant character based eight characteristics and analyzation of example of SF movies and games. The elements of positioning model of giant characters are darkness, huge, abnormal, human, animal, fear, satanism, story focused, image focused and playfulness, and this study was proposed these model of elements of eight in SF movies and games.

• The Journal of the Korea Contents Association
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• v.4 no.4
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• pp.21-32
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• 2004

This study is aimed that reappearance and restoration of Korean tradition monster's original shape be able to contribute in scenario material development which is filled with history, culture and long imagination of our country. As for method of this study, it is on the basis of literature investigation in history, tale, folk-tale etc. and expert's research, and also restored 50 items of Korean tradition monster in digital way. Study finding is as following. First, prescribed scope of Korean tradition monster including god, ghost, bogy and animal. Second, Korean tradition monster's pattern is classified with S degrees and 4 classes to according to grade of rank and appearance place. Third, each of 50 traditional monsters which are usable to scenario substance development was produced with graphic image and flash animation. Fourth, suggested idea for material development of cultural contents industry as like game and character based on each monster's story. Expect the developed result production from this study to be used as a resource of elevating in comprehension forward to our cultural tradition, to be used as a unique material in field of culture contents industry of game, character, cartoon and movie etc.

• Journal of Korea Game Society
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• v.17 no.1
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• pp.79-88
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• 2017

This study aims to examine attributes of fandom related to storytelling of media conversion in terms of division of obsession and hysteria from the psychoanalysis. Fandom of crossmedia storytelling represented by adaptation of the original is the subject who experienced a great satisfaction from the original and also the obsessive subject who does not accept easily story transformation by adaptation. Besides, fandom of transmedia storytelling is the hysterical subject who recognizes lack of the storyworld and enjoys such a lack. The original fandom of crossmedia enjoys phallic order in the authority of an original author and the original storyworld, and fandom of transmedia experiences continual and infinite 'other enjoyment' through active and direct experience beyond the linguistic order. This study is a theoretical argument to identify characteristics of fandom shown from both extremes of media conversion through comparison of obsession and hysteria. It is expected to prepare a foundation for understanding fandom of media conversion through complementing qualitative analysis on the real fandom in the follow-up research.

• Journal of the Korean Society of Costume
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• v.63 no.1
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• pp.27-41
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• 2013

This study is to examine the costumes of Gyeokgu in different situations and to suggest when and how they should be used in historical drama. Gyeokgu is a type of polo game that was played in Korea and it was also known as Gyeokbong and Bonghee. The accounts of the game show that it was played during the South-North period as recorded in Balhaego, Haedongyeoksa, and Goryeosa until the Joseon period. The scenes of Gyeokgu have been shown in some historical dramas in order to make the story exciting or to show the life of royalty. The costume of Gyeokgu in the South-North period should be suggested Danryeong(團領), Bokdu, and Haw(靴) in a formal situation. The Gyeokgu in the Goryeo period was a sport for royalty. So the Gyeokgu costume in the Goryeo period was required to be worn with Danryeong(團領), Bokdu, and Haw(靴) for the kings and military officers in the early Goryeo period and with Cheollik(帖裡), Balip or Huklip(黑笠), and Haw(靴) from the middle of the Goryeo period. Women could wear Chima(skirt), Jeogori(blouse), Pyo, and Li(履) when they play Gyeokgu in the Goryeo period in the historical dramas. The Gyeokgu in the early Joseon period was a sport for the kings. After the king of Sejong, the Gyeokgu became a martial art for the military officers. The costume of Gyeokgu in the Joseon period should be Red Cheollik(紅帖裡), Kwadu, Jonglip, Gwangjodae(廣組帶), Sagu, and Haw(靴) as recorded in Muyedobotongji in the 18th century. The kings, servants, and military officers could wear the Cheollik and should be made in the different Git(collar), shape of the sleeves, and the proportion of the upper part and the underpart in each period properly. When the citizens play Gyeokgu, they could wear Geon(巾), Baji(pants), Jeogori(shirt), and Gipsin in the late Joseon period.