• Proceedings of the Korea Society of Design Studies Conference
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• 2001.10a
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• pp.43.1-43
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• 2001

• 한국HCI학회:학술대회논문집
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• 2009.02a
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• pp.1279-1286
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• 2009

"Interactivity refers to the possibility of an audience actively participating in the control of an artwork or representation." Andy Cameron, Dissimulations Interaction can be described as a way or function that improves the participation of audiences/viewers to being immersed into the medium itself. Until now, however, in terms of interactive cinema, interaction has not shown a sufficient participation for audiences. Specifically, audiences/viewers described that the structure of storytelling has failed to satisfy their requirements, in order to participate in the structure of storytelling. The aim of the research itself, therefore, began to ask and wonder why audiences/viewers criticised the participation which audiences/viewers are able to control storytelling, in interactive cinema, could not satisfied them in order to control and follow a storyline of interaction. In general idea, in interactive cinema, the function which allows audiences/viewers to be immersed into the storylines, must allow the immediacies of interaction. Audiences/viewers must therefore be able to satisfy the general idea of interactive cinema through controlling the directions of every choice offered. They must also be able to be immersed in the interactive storylines. Which of the prime causes can be improved or re-considered, to satisfy the participation requirements of audiences/viewers? The intention of this research also began to investigate a suitable method of storytelling within a narrative structure of interactive medium (interactive cinema). Through questioning the matter (it will be described in a later chapter), this research will be focused on the relationship between narrative structured interaction and audiences/viewers, which is of prime importance in relation to interaction. To further the research, Pilot study (experiment with the basic interactive narrative structure) was offered in order to understand and maintain a suitable method of storytelling within a narrative structure of interactive cinema and it also was explored to understand how the aim of the research would be maintained for further qualitative research.

• The Journal of the Korea Contents Association
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• v.22 no.4
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• pp.765-774
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• 2022

Neflix, a Global Over The Top(OTT) has produced various 'interactive contents' since 2015. The interactive contents mean the works in which the video users directly make choices suitable for circumstances on behalf of characters, and the conclusion of story is changed according to those choices. This thesis researches the works that attempted many narrative variations such as in 2020 and released in 2021. Compared to the previous interactive contents, these works had more diverse subjects and choices while the conflict factors and main messages of works were changed. Through this, this study examines and analyzes the diversified aspect and characteristics of narrative structure of the interactive contents in OTT.

• International journal of advanced smart convergence
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• v.9 no.1
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• pp.163-171
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• 2020

There are many differences in narrative delivery between common movies and Virtual Reality(VR) films due to their differences in the appreciation structure. In VR films, scene changes by cuts have hindered the immersion of the audience instead of promoting narrative delivery. There are a range of experiments on narratives and immersion to solve this issue in VR films. Floating Tent applies hand gestures and immersive effects found in game elements and does not disturb narrative delivery by setting proper spaces and employing a direction technique to enable the melting of narratives into the characteristics of the spaces. There are time limits to offsound and mission performance, and devices fit for apocalyptic spatial expressions are made through a program. One of measures for the increasingly growing interactive storytelling in VR films is effective immersion. In narrative delivery, it is important to consider spatial setting and immersion to enable active intervention into events for immersion rather than passive audience only supposed to watch characters' acting.

• The Journal of the Korea Contents Association
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• v.21 no.10
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• pp.332-343
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• 2021

This study shows that reality in interactive documentaries can be distinguished between narrative reality and visual reality, which can be defined as a feature of reality-based interactive documentaries. This study reveals the visual reality in that all audiences who visually watched "The Maribor Uprisings" were immersed in the movie presented by the producer, and thus sympathized with the problems of non-violent protests and social conflicts through two-way communication between the audience and the actors. This study also confirms that epic reality in that it can selectively participate in the narrative of movies through questions about democracy in action. Besides, this study finds that the reality expressed in the interactive documentary deepens the audience's 'immersion', showing that the direction of the narrative can be determined by reflecting the opinions of the audience on an event or narrative of the movie. In this process, the audience was found to have the characteristics of being able to recognize and rediscover events in the movie as if they were close to them.

• Cartoon and Animation Studies
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• s.37
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• pp.83-106
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• 2014

The trends of smart devices and interactive media are demanding expansion of the form of Animation and there were some challenges to create interactive animation as completed contents. However, most of interactive storytelling with the branch structure do not meet the audiences' expectation and the use of distracters has even audiences' immersion drop down. This paper proposes 4 conditions for the completed interactive animation content. To suggest the way how to complete a story by the roles and actions of the audiences' participation, which is the most important one among 4 conditions above, this study has analyzed the story of . This interactive animation is considered as a successful case of interactive animation as an interactive contents with a completed story. This paper analyze the story with 20 functional narrative structure, semiotic rectangle and 'Actantial model' by Greimas in semiotics. Finally, this paper concludes 'what the interactive elements will be' and 'where the interactions will take place' in a traditional narrative structure through finding the answers of what the audience's role is.

• Journal of Digital Contents Society
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• v.18 no.8
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• pp.1481-1487
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• 2017

In this article we describe our preliminary work to create VR interactive storytelling particularly for building empathic relationships between the reader (or the player) and story characters. As a practical guideline for developing empathy-based VR interactive story, we propose four key factors: first, narrativity considering narrative theories and concepts including the notion of focalization by Gerald Genette; second, interactivity for balancing between narrative and player control in interactive storytelling domain; third, consideration of virtual reality in human computer interaction domain; fourth, empathy in narrative from the viewpoint of psychology and cognitive science. We also introduce an example interactive storytelling scenario based on Little Red Riding Hood story. Finally we conclude with our VR implementation using Unreal game engine and HTC Vive.

• The Journal of the Korea Contents Association
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• v.10 no.5
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• pp.107-114
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• 2010

A nonlinear story is generated through the interactivity with users using the interactive storytelling system. In a play or movie, audiences can watch one scene at a time, and in order to watch next scene, they should wait for the end of current scene. In the real world, however, various events can simultaneously happen at different places, and even those events performed by characters may dramatically affect the flow of the story. This paper suggests Constraint Based narrative structure to create such story, known as "Simultaneous Story Arcs", and "Multi Viewpoint" to simultaneously lead the direction of the stories in each place.

• Proceedings of the Korea Society of Design Studies Conference
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• 2002.05b
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• pp.272-273
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• 2002

• The Journal of the Korea Contents Association
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• v.13 no.5
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• pp.117-125
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• 2013

Existing works to measure readers' understanding of interactive e-books have mainly employed quantitative approach which are difficult to get direct interpretation of the evaluation results. Attentive to interactive, visual and narrative features, this paper proposes a new method for measuring readers' engagement by making them to reconstitute a storyboard. Experimenting with real readers, we validated that this method could give a qualitative assessment that allows finding out problematic narrative phases and the adequacy of interaction formation.