• 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.

• Cartoon and Animation Studies
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• s.51
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• pp.129-158
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• 2018

China has had many excellent Chinese-style animation since the 1950s. These animations are of distinctive Chinese national characteristics. They have won many awards both at home and abroad, such as "Feelings of Mountains and Waters", "Uproar In Heaven", "Why is the Crow Black-Coated" and so on. But nowadays, Chinese animations that mimics Japanese and American animation are very often, and there are few animation works with rich traditional Chinese culture. There are some works in the name of Chinese style, but they have not been fully accepted by the audiences. If one wants to create animated works of Chinese style, the author must have an in-depth understanding of Chinese traditional and folk art. Animation can not be designed only on the surface. This paper mainly studies the traditional five color concept in China and its application in animation. The purpose is to provide some references to differentiate Chinese animation from other countries in terms of style and color. The main content of this paper is to understand the concept and history of Chinese traditional five color views, and to know that this color system has reflected the ancestors' concept of nature and society. On the basis of five monochromatic colors, red, yellow, green, white and black, it is a kind of complex color concept that has been developed and perfected continuously after a long period of accumulation and precipitation in the practice of life. It is the theoretical basis of Chinese traditional color system and a complete set of historical, cultural, philosophical and religious theories. Finally, this paper analyzes the colors and their symbolic meanings of the main roles in "Uproar In Heaven", a color long animation produced by Shanghai Animation Film Studio, including Sun Wukong, the Jade Emperor and Na Zha. Color is the first visual language. The use of color symbols to express the inner feelings, status, good and evil of the characters will affect the audience's emotions, behaviors and opinions imperceptibly. The traditional Chinese five color concept has gone through such a long history, and its symbolic meaning has a more profound impact on Chinese people. Applying the color concept and symbolic meaning of Chinese traditional five color concept will further highlight the personalities and emotions of the roles in Chinese style animations. This paper takes the five-color view as the theoretical basis, and through the analysis of cartoons with traditional Chinese color, the author finds ways to flexibly use traditional Chinese culture.

• Cartoon and Animation Studies
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• s.36
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• pp.147-165
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• 2014

Around the turn of 21st century, there has been a major technological shift in the animation industry. With development of reality-based computer graphics, major American animation studios replaced hand-drawn method with the new 3D computer graphics. Traditional animation was known for its simplified shapes such as circles and triangle that makes characters' movements distinctive from non-animated feature films. Computer-generated animation has largely replaced it, but is under continuous criticism that automated movements and reality-like graphics devaluate the aesthetics of animation. Although hand-drawn animation is still produced, 3D computer graphics have taken commercial lead and there has been many changes to acting of animated characters, which calls for detailed investigation. Firstly, the changes in acting of 3D characters can be traced from looking at human-like rigging method that mimics humanistic moving mechanism. Also, if hair and clothing was part of hand-drawn characters' acting, it has now been hidden inside mathematical simulation of 3D graphics, leaving only the body to be used in acting. Secondly, looking at "Stretch and Squash" method, which represents the distinctive movements of animation, through the lens of media, a paradox arises. Hand-drawn animation are produced frame-by-frame, and a subtle change would make animated frames shiver. This slight shivering acts as an aesthetic distinction of animated feature films, but can also require exaggerated movements to hide the shivering. On the contrary, acting of 3D animation make use of calculated movements that may seem exaggerated compared to human acting, but seem much more moderate and static compared to hand-drawn acting. Moreover, 3D computer graphics add the third dimension that allows more intuitive movements - maybe animators no longer need fine drawing skills; what they now need is directing skills to animate characters in 3D space intuitively. On the assumption that technological advancement and change of artistic expressionism are inseparable, this paper compares acting of 3D animation studio Pixar and classical drawing studio Disney to investigate character acting style and movements.

• Cartoon and Animation Studies
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• s.10
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• pp.137-148
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• 2006

The purpose of this article is to study the aspects of transformation of Treasure Island(1883), Robert Louis Stevenson's novel in two feature animations (1987) of Osamu Dezaki and (2002) of Ron Clements and John Musker by analyzing characters. In the original novel, as a typical wicked villain and traitor, Long John Silver functioned as an obstacle in Jim Hawkins' Bildungsroman. And Osamu Dezaki laid great emphasis on the friendship between Jim and Stiver His might be an excellent example of the faithful adaptation. But in Disney's , from initial mistrust, to friendly co-worker, to mentor and protege, and finally, to mutual rescuers, Jim and Silver have created a permanent bond that can never be broken - their coming together has changed both their lives forever. Jim's voyage of searching for treasure is not just for the discovery of material riches unimaginable but also for the discovery of his own true worth. Making the Sliver/Jim relationship more focused, Jim ends up discovering not just an obvious treasure; he discovers an inner treasure. From this viewpoint, this feature film could be an outstanding transformative adaptation.

• Cartoon and Animation Studies
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• s.22
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• pp.17-30
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• 2011

This paper analyzes Blood: the Last Vampire (2009) in comparison with the original Blood: the Last Vampire (2000). This digital movie, released in 2009, faithfully re-presents the visual of the original animation using more budget and more developed technology. Though these two movies share very similar visual style, they have slightly different modes of expression that can be easily detected in their opening scenes. The original Blood chooses to tell its story in more indirect way. Some shots are intentionally vague and forcefully separated by black credit screen, leaving audience guessing exactly what happened. The remake version of Blood provides faster, more diverse, and more sophisticated images. It also uses invisible and slick editing, leaving no room to guess. These differences comes mainly from the difference of media. However, since the differences between two movies lie mainly in their narratives, we can ascribe the box office slump of the digital movie version of Blood: the Last Vampire to its narrative flaws. The heroin's inner conflicts were not convincing enough, supporting roles were not probable enough, and the whole story was not unique enough. As a result, the new Blood: the Last Vampire became another bad example that shows the importance of narrative in films.

• Cartoon and Animation Studies
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• s.9
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• pp.18-32
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• 2005

Comic has a story. Comic exits as a some kind of media to convey the story the writer wants to say and it not only is a message described by sign, content, and complexity but also works in more vast communication condition. This Study treats that the rhetoric expression of 4 panels comicstrip in internal and external weigh with the narration of story. If the rhetoric is the sort out of the words, in the rhetoric of 4 panels comicstrip, the target is how easy to read, how interesting to read. Here are the analysis of the narrative structure in daily life and current affair 4 Panel Comic Strips. To analyze and compare the narrative structure of two above strips proposes actual model of basic skill making 4 Panel and further will be applied in the narrative structure of long comics. The study of explaining the feature of 4 Panel Comic Strips is proposed, based on the basic act in all comics. The narrative structure of the 4 Panel Comic strips Comic Strips has the basic structure of long serialized comics and story telling.

• Cartoon and Animation Studies
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• s.25
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• pp.133-154
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• 2011

Yang, Youngsun's 1001 has been a monumental "Web-toon" work optimized in Web Environment. This paper has intended to explain semantics of 1001 (reconstructed works of the Arabian Nights) by mimesis theory of desires and scapegoat mechanism of Ren$\acute{e}$ Girard; Shahriah, the protagonist, had been hurt by Queen's affair, but in the depth of his mind, he had suffered the problem of injured self-esteem by his model, father. However, Shahriah's mind had been recovered slowly by story therapy of Sheherezade. Sheherezade's story therapy had made up by contrasting states, violence and sacrificial love. In the very end, Shariah had solved all the problems of the structural Negativities by accepting his fate.

• (The)Study of the Eastern Classic
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• no.69
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• pp.373-400
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• 2017

The objective of this study is to compare the modern transformation of a folk tale in each country. A folk tale is a story about a man who obtained an ability to see the original look of humans with tiger's eyebrows successfully found a new wife suitable for him by using them. In Korea, China, Japan, and India, folk tales similar to have been transmitted. 'Tiger's Eyebrows' is differently shown in each country like 'Wolf's Eyebrows' in Japan, 'Tiger's Whisker' in China, and 'Vulture's Feather' in India. This paper looked for works that modernly transformed this folk tale in each country. In the results, there were diverse works in each country such as fairy tale book, musical, short story, and game in Korea, full-length novel in China, and fairy tale, animation, and cartoon in Japan. Meanwhile, in India, there was only a mention of the folk tale in a collection of papers. Among them, there were works showing the significance of modern transformation in the aspect of genre or contents like a short story of Korea, a full-length novel of China, and a cartoon of Japan. The Korean novel shows that human is a being with the animal's instinct while human tries to ignore it. On the other hand, the Chinese novel shows that humans are not much different from animals especially in case when facing pains or death. The Japanese cartoon shows that it is meaningless to feel shame as human in the world which is filled with monsters or animals. In India, there were no works modernly transformed because Indian folk tales might be stories based on the mythic belief rather than fun.

• The Journal of the Korea Contents Association
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• v.11 no.9
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• pp.118-128
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• 2011

The function of music in a motion picture ranges widely from supporting the storyline to being the main storyline delivering the major plots. This trend and can be seen in recently produced films, advertising as well as in music videos. Many attempts were made to express music visually in the past. But it was through Disney's creative production, "Fantasia", that such attempts became a reality in a motion picture. This paper will look into the difference between the "Fantasia" and "Fantasia 2000" through a comparative analysis of the correlation between the musical element and the storyline of the 2 Disney animation movies. The most distinct difference is that the "Fantasia" has a storyline that is faithful to the original interpretation of the true meaning of the music, while, on the other hand, the "Fantasia 2000" has a storyline that endeavors to express the special features of the overall sound of individual pieces as best as possible. And the differences between the two animations, thus compiled, is hoped to facilitate and enhance a better understanding of the two Disney's finest animations.

• Cartoon and Animation Studies
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• s.36
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• pp.417-436
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• 2014

Stories have existed with the history of mankind along with drawings. Any genre of art that discusses the flow of time, such as literature, film, and play, cannot be free from narratives. The comics are not an exception. The comics tell the narratives with drawings from the cartoons in single blocks to the full-length series in tens of volumes. Nevertheless, there are not many studies that discuss the narratives in the comics. They may have been overlooked because they have been studied in the field of literature. However, I am envious of the field of film, which unravels the narratives with the same visual images, profoundly explores its own narratives and experimentally modifies and expands them into various levels. Therefore, I would like to make a narrative approach to the comics in this study. This study will discuss the non-narratives. It may sound ironic that the study of narratives will discuss the non-narratives, but the narratives cannot exist without the non-narratives. The non-narratives in the narratives compose the narratives in various ways. Therefore, Chapter II will discuss how the theory of narratives in literature classifies the narratives and the non-narratives as a theoretical background. Then, Chapter III will analyze the forms of non-narratives in Han Jo Kim's "The Texture of Memory" to discuss how the non-narratives of comics are composed, while Chapter IV will summarize the preceding studies. Finally, the narratives should be actively studied as it is an essential component of comics. I hope that this study can lay the foundation for more in-depth discussions of the narratives in the comics.