• Digital Contents
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• no.10 s.149
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• pp.70-75
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• 2005

디지털 스토리텔링은 활자 속에 묻혀 있던 인문정신이 과학기술과 결합해 만들어진 새로운 문화 콘텐츠기법이다. 어려운 고전문학도 디지털 스토리텔링을 통해 쉽고 재미있고 다양한 이야기로 다시 태어난다. 디지털 스토리텔링 기술 중 특히 많은 사람에게 회고되는 것은 '영웅 스토리텔링'이다. 특히 게임의 경우 '영웅 서사'에 대한 이해만 확실하게 되어도 스토리텔링을 하는데 문제가 없다고 할 정도로, 스토리텔링의 기본을 '영웅 스토리'에 두고 있다. 영웅의 여행에 대한 스토리 텔링은 디지털콘텐츠에서 많은 이들의 사랑을 받는데 한몫해 왔다. 이번 호에는 많은 이들의 사랑을 받는 영웅 스토리텔링에 대해 집중적으로 살펴보고자 한다.

• Journal of Korea Entertainment Industry Association
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• v.14 no.3
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• pp.181-190
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• 2020

Asura: The City of Madness, which was released in 2017, attracted great attention even prior to its release with the combination of Director Kim Sung-su, and actors, Jung Woo-sung, Hwang Jung-min, Ju Ji-hoon and Kwak Do-won. Faithful to its genre as a crime film of film noir, Asura: The City of Madness created multi-layered issues by the overthrow of the archetypal hero character and variation of the heroic narrative structure drew diverse interpretations among both critics and viewers alike. This study aims at analyzing the heroic narrative structure of Asura: The City of Madness based on Christopher Vogler's "The Hero's Journey" and examining how the universality and typicality of narrative structures as mentioned by Vogler are applied to this film. Although the universal and typical characteristics of all narrative structures cannot be analyzed through Christopher Vogler's The Hero's Journey, five atypical characteristics could be derived from this film that deviate from the universality mentioned by Christopher Vogler by looking at the characteristics of the heroic narrative structure implemented as Han Do-kyung, the leading character and a "hero," proceeds through the 12 stages. This study examines which variations such atypical characteristics brought to the heroic narrative structures in crime films what has changed in audiences' expectations, and how it could work as an alternate narrative.

• Journal of the Korean Society for Computer Game
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• v.31 no.4
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• pp.175-184
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• 2018

The commercial success of the game has also led to animation of the original game, especially the live version of The Street Fighter II in 1994 and a variety of videos of the game-based version, 2D Animation and 3D Animaion until now. But animations are not always successful because they are based on popular and commercially successful games. That's because when the original game was remade into an animation, the difference between the narrative structure of the original game story and the setting of the game and animation is striking. Nevertheless, a feature-length animation based on the Angry Birds game, which was released on May 19, 2016, has also been a huge commercial success, with this paper analyzing the case applied to the 12th stage of Christopher Vogler's hero's journey, Aengibird the Movie, and discussing the way in which the animation developed based on the game compared with other animations. Christopher Vogler, a Hollywood playwright, analyzed the structure of popular-loved movies based on the common narrative of the myth as the main motif of the mythologist Joseph Campbell. His narrative style is a hero's journey, using a total of 12 stages of epic narrative structure to help the protagonist find himself and achieve what he wants. Foreign heroes, adventure films as well as animations from big studios like Disney, Pixar, and Ghibli are using the story-development method of this Christopher Vogler.

• 지역과문화
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• v.6 no.4
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• pp.23-45
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• 2019

The main research is on how to find source stories and develop and utilize content that will properly show the value of Panmunjom and the surrounding DMZ on the Korean Peninsula, which are receiving worldwide attention. Three methods were used as research for the high-end branding of Panmunjom and the surrounding DMZ. The first is the interest of prospective visitors through the travel cycle, using Joseph Campbell's "The Hero's Journey." The second was to incorporate Roland Bart's "third meaning" into the subjective travel and emotional stimulation, which is the trend of modern travel. The third introduced Kevin Lynch's theory and tried to place five elements of the path, edge, district, node and landmark in the core location of Panmunjom. Through the study, the excavation of contents in Panmunjom and the surrounding DMZ needs to be collected to a third meaning using a direct interview method that listens to the stories of related figures as well as organizing historical events. The priority should be given to those over the age of 80 and interviews should be conducted at least three times and over three generations. The process of building it into an archive, selecting a story, and then going through a culture collage and networking and branding takes place in five stages. This can create a virtuous circle of content processing, content utilization, job creation in the region and revitalizing the local economy through discovery of source stories and storytelling. Content development should be able to touch sensibility while saving time, history, place, originality and sincerity. Taking the center between tourism and travel, development and damage concerns, a careful but long-term plan and large-scale discovery of source stories should be made, and a consensus should be formed on the need for proper storytelling.

• The Journal of the Korea Contents Association
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• v.6 no.11
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• pp.95-103
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• 2006

A good storytelling is essential to make a computer game more immersed and appealing as it impress the players emotion. The Storytelling consists of many factors. Among them, the Plot, or the flow of the story (Story-flow) is significant. The 'Call of Duty' is a successful computer game in the aspect of the story-flow. In this paper, the way to apply traditional theories about the story-flow to this game is analyzed. And an applying policy of traditional story-flow theories to computer games is presented.

• The Journal of the Korea Contents Association
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• v.15 no.8
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• pp.85-95
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• 2015

This study examined adaptational aspects by analyzing culture contents, which use Jeju myth "Chasabonpuri" as a writing material. "Chasabonpuri" has a heroic narration of Ganglim, who becomes the grim reaper by solving the serious problem through a journey to the world beyond. Also, it has a value as an archetypal narration because of its reflection on Korean world view of afterlife. Culture contents, which use "Chasabonpuri" as a writing material, have features of 'accurate reproduction of heroic narration' (Ganglim who becomes the grim reaper), 'tragic conversion of narration through humanization' (The way home), 'extension of narration through merging with traditional and modern elements'(Together with God), 'Unique view of the world that reflects the contemporary trend' (Ghost Messenger).

• Sim-seong Yeon-gu
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• v.31 no.1
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• pp.41-94
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• 2016

A Korean fairy tale "The uproot of an archenemy in the underworld" is discussed and interpreted from the perspective of analytical psychology. The essence of the story is as follows; When the three princesses were kidnapped by an archenemy in the underworld, a warrior appeared to save the princesses. He went to the underworld and killed the archenemy with the princesses help. When they tried to come back to the castle, he had difficulties because king's soldiers betrayed him. But a old wise man and a flying horse helped him to come back to the castle. He killed the soldiers that betrayed him and married one of the princesses and got the wealth from the underworld. The kingdom could be prosperous and peace because of the marriage. The psychological meaning of the three princesses were taken by the archenemy is that the archetypal shadow appeared from the unconscious and grasped a part of consciousness and repressed it in unconsciousness. This status could be called the lost of soul. So the warrior ego went through an unconscious trip, saving his anima from the archetypal shadow, and taking her back to consciousness and renewing the collective consciousness. The ego's trip is the individuation process like Shaman in primitive society. This fairy tale has hero motif. It reveals the feature of archetypal shadow. It also shows us man can make conscious with cautious attitude in the individuation process.

• Cartoon and Animation Studies
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• s.29
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• pp.173-207
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• 2012

The four-phased plot which consists of introduction, development, turn and conclusion in the long-story structure tends to be patterned and schematized. The behavior of characters is in line with the beginning of human beings and the plot of comic strips basically has four phases. It is, however, not a simple arrangement but a complex one which was developed by organizing patterns of human power, behavior and emotions. With the results from a survey with college students studying comic strips, this study aims to categorize four characters from the archetypal system by Carol Pearson, four phases of the hero's journey by Joseph Campbell, and the four phases of the plot based on Aristotle's theory, which is the frame of the comic strip structure through supporting evidence extracted from comic strips in an integrated way. In this study, the categorization is performed by simplifying and systemizing a character's life cycle, which is a factor of a story structure in complex comic strips. This study is to identify what comic strip writers express by using the metaphor in the complicated long-story structure of comic strips This study reveals that the structure of introduction, development, turn and conclusion based on the plot theory by Aristotle is the metaphor of human life and fate and that the phases of development in the archetypal system by Carol Pearson, a Jung researcher influenced by Jung's theory are the metaphor of human life and fate. Also, the theories of Joseph Campbell, who also was influenced by Jung, are the metaphor of human life and fate as they projected complex emotions of joy, anger, sorrow, and pleasure onto the archetype of heroes and used the metaphor of the hero's journey. Lastly, the theories are introduced with the approach of 'guide to screenwriters' by Christopher Vogler. Meanwhile, this metaphor is the objective and goal of this study. The comic strips selected for this study seem to have long complex stories which have characters leaving their homes, going through adventures and difficulties, meeting the world in another way, experiencing tension, competition, wars, and hardship and returning home with compensation. They grow mentally and psychologically through their journeys and finally become heroes. They express the meaning of our introspection in a narrative through plots and images of comic strips. This appears complex but the basic structure of long comic strips has four phases of plot. The life style of an extraordinary character traveling for adventures and growing in long comic strips can be divided into four phases symbolizing childhood, adolescence, adulthood, and senescence and it is a psychological growth process. The archetypes of the character can be divided into four phases and the growth process can be explained. The hero's journey symbolized by the character can be also divided into four phases. Through theories, the complex arrangement of four-phased plots in comic strips corresponds with the growth process of introduction, development, turn and conclusion through the stages of life. At the same time, this study found that the characters becoming heroes are the metaphor of introspection and that the characters' growth and life correspond with the four phases in life through long comic strips. Long stories in long comic strips written by comic strip writers show that characters go on their journeys and change their lives through hardship and difficulty by logical construction of plot and their growth processes are presented in archetypal images and they reach introspection as heroes. The readers share time and space through images in comic strips and realize that they had the same experience as the characters emotionally by being moved by the stories.

• Cartoon and Animation Studies
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• s.30
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• pp.59-86
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• 2013

'Spectacles' and 'factuality' provided by computer technology are strengths of CG animation to still lure the audience and after commercial success of a number of theatrical CG animations whose typical producing companies are PIXAR and DreamWorks, were produced to be commercially successful and they win massive popularity even now. In Korea as well, several works tried to achieve a box office success including , , etc. but the result was truly miserable. In the past, this failure was often attributed to a lack of 'technical expertise', but it became clear that in the process of continuous trial and error, 'narrative' and 'images of imagination' which are bases and characteristics of animation are key elements of commercial success. Actually, statistics indicate that narrative is what is considered to be the most important by the audience when they select animation and its importance is so absolute that they say the most significant thing in animation is 'story.' In particular, it can be said that 'characters', 'situations', and 'ideas' play a key role in them which become elements of the story. This paper studied with what characteristics each animation aroused pleasure and fun focused on characters, situations and images in relation to , , and which are American theatrical CG animation films which succeeded in gaining popularity home and abroad. We hope that analysis in this paper will be helpful even just a little bit as a reference material, which allows domestic writers and producers to develop familiar and characteristic works based on imagination and creativity expressing each work's unique personality and characteristics.

• 한국HCI학회:학술대회논문집
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• 2008.02b
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• pp.527-533
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• 2008

본 연구는 기존 RPG에서 주요한 재미 요소로 기능하던 성장 모티프가 MMORPG(Massive Multi-user Online Role Palying Game)에서 어떤 식으로 변형되어 나타나는 지 살펴본다. 성장과 역할 수행을 통해 재미를 얻는 게임인 MMORPG는 성장 서사에서 많이 나타나는 구조인 여정형 혹은 탐색형의 구조를 보편적으로 차용하고 있다. 그러나 기존 서사물에서 성장 모티프가 정체성 찾기와 같은 내면적인 변화를 나타내기 위해 구조를 차용하는 반면, 게임에서는 위의 구조를 통해 얻은 성장의 결과물을 수치의 증가나 외적 형태의 변화를 통해 나타낸다. 즉, 경험치나 아이템을 통해 성장이 수치화되어 나타나는 것이다. 이는 여정형 탐색담이라는 성장 서사의 보편적 구조에서 게임적인 특수성이 더해진 것이라 할 수 있다. 성장 소설만의 서사적 유형이란 바로 주인공의 변화 양상이 미숙에서 성숙으로, 불완전에서 완전으로, 결핍에서 충족으로 변화하는 과정을 담고 있는 이야기적 특질을 의미한다. 그러한 미숙하고 불완전한 존재가 변화하게 되는 계기와 과정, 그리고 그 결과로 구조화된 유형적 특질을 갖고 있는 소설 양식이 성장소설이라 할 수 있는 것이다. 이러한 구조화된 유형적 특질은 신화나 민담에서는 탐색담이나 여행담으로 나타난다. 게임에서의 성장은 캐릭터의 성장과 직결된다. 본격적으로 플레이어와 동일시되어 성장을 대리 경험적으로 체험하는 것은 D&D 온라인을 거쳐, 현재 MMORPG의 형태를 구현해낸 울티마 온라인이 이후부터이다. 세부적으로 구현된 세계와 온라인을 통해 생성된 방대한 네트워크 안에서 플레이어는 자신과 동일화된 캐릭터를 플레이하면서 대리경험을 하게 된다. 즉, 플레이어가 캐릭터의 성장에 작용하는 여러 가지 변수를 선택하고, 조작해가면서 자신만의 캐릭터를 생성해 나가면서, MMORPG가 구현하는 게임 세계에 구성원이자 일원이 되는 것이다. MORPG는 기존의 RPG의 선형적인 성장에 비해 복합적인 양상을 보여준다. 문화에서의 성장 서사에서 일반적으로 발견되는 여정형의 탐색담은 개발자 서사인 배경 스토리에서 나타나며, 레벨시스템과 이에 따른 공간의 배치에 따라 플레이어에게 직접적인 영향'을 끼친다. 영속적인 세계와 플레이어 간의 상호작용을 통해 일어나는 사용자 서사는 완결된 형태의 캐릭터를 무의미하게 만든다. 플레이어는 비선형적인 성장을 끊임없이 계속하게 되는 것이다.