• Proceedings of the Korea Contents Association Conference
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• 2006.11a
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• pp.213-217
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• 2006

4 panels Comic Strips spreads it's story with introduction, development, turn and conclusion. The structure of introduction, development, turn and conclusion adds to the fun of story through the envelopment of deduction, induction so in the work the narrative structure is unfolded so many evolutions in order to communicating with further effective and funny. Therefore the study is mostly mended deduction, induction unfolding on the 4 panels comic strips. The purpose of this study is based on search for formation of the story and comparison of humor comic strips and satire comic strips through analysis of the narrative structure on 4 panels comic strips in internal and external.

• Journal of Digital Contents Society
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• v.14 no.3
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• pp.367-379
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• 2013

The Media facade is valuing more than utilizing to the display space and has potential as a new urban culture. The possible role of the contents, which can be a variety of expression can be seen that the more importance. Using narrative structure, which is a component of the story, discourse, temporality, spatiality, to analyze to the contents of media façade and this study suggests that new contents of narrative is an appropriate utilization at the new media environment.

• The Journal of the Korea Contents Association
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• v.21 no.4
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• pp.744-761
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• 2021

Recently, public interest in Healing Games is increasing. But, due to the absence in an agreed concept, an academic discussion on the healing games has not commenced. Thus, this study proposed a concept for the 'Healing Games' and sought to draw key features. First, a comparison between healing games and medical serious games were compared to confirm that key concept of healing games. Afterwards, healing games were selected and reviewed to identify the narrative, structural and sensory features.

• The Journal of the Korea Contents Association
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• v.9 no.9
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• pp.143-150
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• 2009

A quest in MMORPG functions as a unit of game narrative. It is an essential part to progress game narrative and to construct player's own storyline. In addition, it makes player to expand her territory and helps with character growth by giving reward. A quest consists of four essential elements : the quest giver, the background story, the objective and the reward. A quest shows a blanch structure with two nodes which is same as Claude Bremond's elementary sequence. The sequence of each functions cannot be changed, therefore, it can be explained through a syntagma model. On the other hand, spatial disposition of quests follows a paradigm model. In order to construct a MMORPG narrative, a player connects quests into a single narrative by carrying out them.

• Journal of Popular Narrative
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• v.27 no.1
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• pp.227-264
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• 2021

This paper summarizes the concept of ludonarrative dissonance that occurred in the realm of full-scale game criticism, and materializes it with the latest work . In the process, it is examined that this game actively utilizes the ludonarrative dissonance to deliver cognitive experiences to players that go beyond the definition of gameness. Along with the all-round development of AAA-class games, the ludonarrative dissonance is emerging as an important task that each game must overcome. On the contrary, however, it should be noted that has a different effect than expected by revealing rather than overcoming the ludonarrative dissonance. The ludonarrative dissonance conveyed by has the effects of ironic interpretative possibilities. This paper looks at dissonance in two dimensions, and the first is the dissonance between the play-narrative structure inside the game. induces the player to recognize the dissonance and actively reconstruct the meaning of the whole game by reminding the player of the dissonance that occurs between the two structures. Second, it stimulates the cognitive dissonance that exists inside the player playing the game beyond the internal structure of the game. That is, by expanding the concept of gameness, it evokes the possibility that games can function more than a tool for convenient self-efficacy. As such, the ludonnarrative dissonance can be a more fundamental redefinition of game nature and an expression of a problem consciousness about the possibility of change.

• 기호학연구
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• no.54
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• pp.177-203
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• 2018

On this study, we analyzed the movie With gods's narrative structure. This movie makes most people who has seen it feel deeply moved. We think that people can get deep feeling from a film at last after people who has seen the movie accept a context, story, and a message of the movie gladly. We focused on a special system in this movie With gods that can make give an ordinary message and big touch to people. Also we focused on every episodes of every space in a movie, and someone who moved freely between the spaces. A repetitive form and repetitive contents in a narrative become a special code itself -repetitiveness- for people and make them do auto-communication. Specifically, an information, the movie's repetitiveness, out of people become a special code for them, and then that make people bring memory and new information by themselves. Watching movie, people can look back up on life with every trial in the movie. In short, a repetitiveness and an auto-communication are a special system in the movie, that can make deeply touched.

• The Journal of the Korea Contents Association
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• v.11 no.5
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• pp.172-184
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• 2011

The purpose of this paper is to explore a cinematographic approach in interactive storytelling on the film . The film contains an allegory of the Genesis myth and the origins of sin. However the narrative cannot firmly construct without spectators' intervention. The narrative of this film is generated not deterministic but interactive and emergent. In this study, I analyze key interfaces, which encourage spectators' participations which cause the effects of interactive storytelling. These study results will contribute to broaden the horizontal level to film as interactive storytelling.

• Journal of the Korean Society for Railway
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• v.5 no.2
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• pp.27-33
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• 2002

궤도의 역할은 열차 하중을 지지하고, 이것을 분산시켜 구조물에 전달함과 동시에 열차의 주행을 위한 원활한 (안전하고 승차감이 좋은) 안내로를 제공하는 것이다. 그러나, 궤도는 열차의 반복 주행에 의하여 구성 재료의 열화ㆍ손상이나 궤도 틀림의 진행이 부득이 하므로 일상적인 궤도정비 작업이나 재료교환 작업을 피할 수 없기 때문에 될 수 있는 한 적은 보수비로 열차 주행에 필요한 궤도 품질을 실현하는 기술의 확립이 궤도 기술에 관한 연구 개발의 최대 사명이다. 궤도 보수에 관계하는 비용은 크게 세 가지로, 즉 궤도 재료의 교환ㆍ보수 작업, 궤도 틀림의 정비 작업, 각종 검사나 유간 정정 등의 기타 작업으로 대별할 수 있다. (중략)

• Journal of Digital Convergence
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• v.16 no.3
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• pp.429-438
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• 2018

Brad Bird, a screenwriter and animation director in the United States, criticized the situation in which most animations were produced and released for the children since the early 2000s. He said that animation is an art form capable of conveying messages not only to children but also to adults, and that their development potential is high. In this study, I analyzed overall components such as narrative structure, character, subplot, symbol, and foreshadow of Brad Bird's animated feature films , , and examined his narrative features and strategies. As a result, the narrative features of animation as an art form are as follows: First, conveying the message of a serious subject that will deeply sympathize with adults as well as children. Second, expressing the social agenda which criticizes the contradiction of the real world and the periodic mistakes. Third, solid narrative structure through a dense plot based on realistic situation setting. I hope that this study will be used as basic research material for various animation production in the future.

• The Journal of the Korea Contents Association
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• v.12 no.1
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• pp.265-274
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• 2012

This study aims to examine the physical language of dance art's acceptability of the discourse method of story-telling as a narrative discourse system from the view of story-telling of cultural contents. Dance, through the establishment of relationship between dancers and stage art, can form a discourse system with various literary devices including figures of speech, metaphors, and symbols. The argument over manifestation of dance's narrative components in the concept of story-telling is shown as follows; the background as an object can offer time and spatial backgrounds through stage art and the dancers' performance elements; and, for the character, the dancer himself can be the first-person-narrator and possibly makes plane personality descriptions. As for the elements of main affairs of dance, the stage art components present the background of primary motif of incident and the dancer's diverse relationships form conflicts through the correlation of solo dance, duet, and group dance. The plot as a process of developing the main affair is led by actant such as the dancer's mime actions, gestures, facial expressions, etc. The element of dance's revealing narration is the dance art itself and the developing structure of narration is the dance language's own grammar. Choreographers should compose persuasive dance texts to convey stories efficiently through character decisions, their actions, stage art's elements that display the time and spatial backgrounds, and the development of plot, as a narrative discourse of dance.