디지털융복합연구 (Journal of Digital Convergence)

  • 제18권9호
  • /
  • Pages.391-402
  • /
  • 2020
  • /
  • 2713-6434(pISSN)
  • /
  • 2713-6442(eISSN)
한국디지털정책학회 (The Society of Digital Policy and Management)
권호 표지
DOI QR코드

DOI QR Code

실시간 편집 영상으로 구현하는 인터랙티브 스토리텔링 - 볼륨 브렌치 구조 제안 -

Interactive Storytelling Materialized with Real-Time Edited Videos - A proposal of a volume branch structure -

  • 권동현 (경기대학교 애니메이션학과)
  • 투고 : 2020.06.27
  • 심사 : 2020.09.20
  • 발행 : 2020.09.28
PDF 다운로드
⟨ 이전 논문 다음 논문 ⟩

초록

오늘날은 미디어 컨버전스 시대로 게임처럼 스토리를 선택하는 드라마를 시청하거나 영화처럼 연출하는 게임을 즐길 수 있다. 두 매체는 인터랙티브 스토리텔링을 구현하고 있으며 이 대한 논의는 오래전부터 현재까지 진행 중이다. 본 연구는 인터랙티브 스토리텔링의 새로운 브렌치 구조를 제안함과 동시에 브렌치 구조 스토리텔링 진행 방법에 대한 새로운 관점을 모색함을 목적으로 한다. 지금까지 인터랙티브 스토리텔링을 가장 잘 구현하고 있는 게임을 주된 연구대상으로 하였으며 연구결과 스토리의 내러티브를 유지하면서도 이용자가 자유롭게 상호작용을 느낄 수 있는 인터랙티브 스토리텔링 구조로서 Plot border와 Adjuster 개념을 포함한 Volume 브렌치 구조를 제안하였다. 이 구조는 게임매체 속에서 실시간 편집 영상으로만 구현할 수 있으며 지속적으로 발전하고 있는 물리엔진과 현재까지 게임에는 적극 도입되지 않고 있는 인공지능을 적용할 때 가능함을 설명하였다.

In today's era of media convergence, users can watch a drama by choosing a story like a game or enjoy a game directed like a movie. These two media material interactive storytelling, and there have been discussions about them for many years. The purposes of this study are to propose a new branch structure for interactive storytelling and find a new perspective for the method of proceeding with a branch structure. The main research targeted a game that materialized interactive storytelling best. Based on the findings, the study proposed a volume branch structure including a plot border and adjuster concept for interactive storytelling to keep the story narrative and help the users feel interactions freely. This structure can be materialized only with real-time edited videos in the game media and will be possible in the application cases of a physical engine that continues to develop and artificial intelligence that has not been introduced in games actively.

키워드

참고문헌

  1. The Federation of Korean Information Industries. (2020). COVID 19 Non-face-to-face service trends and implications. FKII Issue Report 2020-01
  2. M. H. Song. (1995). Digital Media Convergence and Interactivity in Film Narrative. Journal Of The Korea Contents Association, 15(1), 114-122. DOI : 10.5392/JKCA.2015.15.01.114
  3. C. N. Hyun & K.J. Deok. (2008). A Study on the interaction of the minor unit of interactive films. Archives of Design Research, 21(1), 53-62.
  4. Y. C. Kang & K. J. Park. (2009). Digital Media Convergence and Interactivity in Film Narrative. Journal of Basic Design & Art, 10(1), 3-10.
  5. Y. S. Lee. (2014). A Study about interaction narrative structure on film of mobile game . Korean Society For Computer Game, 27(4), 131-141.
  6. J. Howe & J. Ito. (2016). Whiplash: How to Survive Our Faster Future. New York : Grand Central Pub.
  7. H. J, Choi. (2018). Video grammar, basic principles for video production and editing. Seoul : Hanul.
  8. M. W. Leep. (2015). VR and Cinema. Cine forum, 22, 351-375. DOI : 10.19119/cf.2015.12.22.351
  9. D. H. Kwon. (2020). A Study on Interactive Editing for Real-time $360^{\circ}$ 3DAnimation -Focusing on -. Journal of The Korean Society for Computer Game, 33(1), 23-39. DOI : 10.22819/kscg.2020.33.1.003
  10. T. E. Kim. (2018). The Existence of Implicit Frames in VR Movies. Journal Of The Korea Contents Association, 18(8), 272-286. DOI : 10.5392/JKCA.2018.18.08.272
  11. D. Y Lee & J. H. Sung. (2008). A Study of Theory and Form of Storytelling User Interface -Establishing Theory by Study of the Game Interface-. Journal of Korea Game Society, 8(3), 43-50.
  12. B. Y. Kwon. (2017). Gamification strategy of the gamebook narrative : focused on . Humanities Contents, 45, 59-83. DOI : 10.18658/humancon.2017.06.45.59
  13. D. H. Lim & M. J. Byun. (2016). A Study on Storytelling in Nonlinearity & Nonnarrative of Film- Multi Branching Structure of , . Korea Science & Art Forum, 25, 353-367. DOI : 10.17548/ksaf.2016.09.25.355
  14. A. Glassner. (2017). Interactive Storytelling Techniques for 21st Century Fiction. Natick: A K Peters Ltd.
  15. propaganda. (2004). image, Movie dictionary. NAVER. https://terms.naver.com/entry.nhn?docId=349802&cid=42617&categoryId=42617
  16. wikipedia. (2020). Primetime Emmy Award for Outstanding Interactive Program. wikipedia. https://en.wikipedia.org/wiki/Primetime_Emmy_Award_for_Outstanding_Interactive_Program
  17. M. H, Nam. (2019). Analysis of The Multiple Path Narrative on Black Mirror : Bandersnatch. Journal of image and Cultural Contents, 17, 151-172. DOI : 10.24174/jicc.2019.06.17.151
  18. Netflix. (2020). Netflix's interactive TV shows and movies. Netflix. https://help.netflix.com/ko/node/62526.
  19. KOCCA. (2018). Four basic elements of the game. kocca online lecture. http://bit.ly/2EX7vlf.
  20. J. McGonigal. (2012). Reality Is Broken(Everyone plays the game). Seoul : RH.Korea
  21. Codex Gamicus. (2020). List of video games with multiple endings. Codex Gamicus. https://gamicus.gamepedia.com/List_of_video_games_with_multiple_endings#Alternate_endings
  22. Koshino. (2020). Late Shift. flow diagram of the storys. Steam. https://steamcommunity.com/sharedfiles/filedetails/?id=1207863498
  23. K. Fog & C. Budtz & B. Yakaboylu. (2008). Storytelling: Branding in Practice. Seoul : mentorbook.
  24. EBS Documentary Prime'The Power of Story' Production Team. (2011). The Power of Story. Seoul : Golden fish.
  25. S. King. (2002). On Writing. Seoul : Gimmyoung.
  26. S, J. Kang. (2020). 5 reasons to do'Half Life: Alix'. inven. http://www.inven.co.kr/webzine/news/?news=235946
  27. wikipedia. (2020). Artificial intelligence. wikipedia. https://en.wikipedia.org/wiki/Artificial_intelligence
  28. wikipedia. (2020). Half-Life (video game). wikipedia. https://en.wikipedia.org/wiki/Half-Life_(video_game)