• Cartoon and Animation Studies
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• s.17
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• pp.188-204
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• 2009

This study purpose development cg technique our nation because present Technique limit of Computer graphic R&D that the best competition of 3D Computer graphic part and present a answer of how to overcome Technique limit of Computer graphic R&D with success example of Computer graphic R&D an advanced country. if we make full of mutuality supplementation of C.T and I.T then hold a dominant position and the over the limit solution We researches on multi or group simulation of cyber character and water, fire, wind, fog Simulation System of Computer graphic and purpose development of direction Computer graphic R&D to people in Computer graphic the result of this study and introduction of project of a research institution and inflection method this time is a point of R&D time of determined and resolution instead creative part.

• Journal of Korea Game Society
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• v.15 no.5
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• pp.29-38
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• 2015

The purpose of this study is to analyze how auto-combat function in mobile RPG satisfies player's desires. The auto-combat is classified into two types-complete and partial- by timing of activation and degree of control. With elicited aspects of play, players' desires are examined based on Lacan's Desire Theory. A player employing partial auto-combat desires to master higher stages with perfect or flawless control, and one's 'object petit a' is to be the difficulty of the stages. On the other hand, a player applying the complete auto-combat demands to fully comprehend the rules of the game and to attain the rewards of completed stage to build more competent characters. Once a player acquires the desirable object, one recognizes the illusion of one's achievement and seeks for new objects. In this succession, auto-combat function is utilized as an active action of willingness for fulfilling one's desire.

• The Journal of the Korea Contents Association
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• v.15 no.12
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• pp.141-152
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• 2015

If we look into genre movie, we can see that almost similar forms are repeated in a movie. Such similar elements are largely divided into three units from a mass of story to a very small camera angle. Those can be explained as Formula, Convention, and Iconography. Among those three, convention means custom and it is a structure or an incident in which one story can be divided into second one. Convention is an incident visualized in individual genre, and a movie director tunes audiences through the incident. The director leads a familiar story but all of a sudden, he transforms the familiar scene to a new story. As a product established from the beginning of movie history, movie convention helps communication between audiences and a director. Audiences familiarize themselves with movie convention through repeated activities of watching movies, and the director utilizes it to provide audiences with familiarity. Director Bong Joon-ho not only tunes audiences through traditional convention but also creates a new art work through transformation of convention. A study is conducted on how he used traditional convention and transformation to get a new idea and to engage in his work through his work .

• Journal of Digital Convergence
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• v.13 no.1
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• pp.495-502
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• 2015

The main goal of psychological serious game, which is called "SAVE ME, LOVE ME" made on the purpose of sound identity for teenagers is to reach inner awareness through the process of dilemma problem solving by the support of unconditional love. This action game is about how to deal with routine dilemma through the first person narration that teenagers are faced to. Its features are on the metaphorical use of 'A Prodigal Son' in the Bible, one of religious wisdom narratives to heal the psychological stresses which teenagers suffer from. This game is aimed at helping teenagers to build a positive and solid sense of self by fighting against growing threatens to teenager's solid sense of self, by defeating monsters, and by listening to the various stories which game characters tell.

• Cartoon and Animation Studies
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• s.33
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• pp.31-53
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• 2013

In the early twentieth century, history of animation began by modern artists, they produced various experimental images with the newly invented film and cameras. Artists in the field of movie, photography, paintings and others manipulated images in motion. But as some animated movies won industrial success and popularity, they became the trend but experimental style of early animation preserved by so-called non-mainstreamers or experimental animators, counteracting commercialism. Disney animation also followed the trend by applying realistic Hollywood film style, the worse critics placed a low value on the animation and it tarnished the image, although it was profitable investment from a business standpoint. To make images realistic, they opened a drawing class that animators developed skills to imitate motions and forms from subjects in real life. Also some techniques and gizmos were used to mimic and simulate three dimensional objects and spaces, multiplane camera and compositing 3D CG images with 2D drawings. Moreover, they brought animation stories from fairly tales or folk tales, and Walt's personal interest in live-action movies, they applied Hollywood-film-like narratives and realistic visual, and harsh criticism ensued. On the surface early disney animations' potential seems to be weakened, but in reality it still exists by simplifying and exaggerating forms and color as modern arts. Disney animation employs concepts of the modernism paintings such as simplified shapes and colors to a character design, when their characters are placed together in a scene, that visual elements cause mental reaction. This modification gives a new internal experience to audiences. As conceptual colors in abstract paintings make images appeared to be flat, coloring characters with no shading make them look flat and comparing to them, background images are also appeared to be flat. On top of that, multi-perspective at background images recalls modernist paintings. This essay goes in details with the animation pioneers' works and how Disney animation developed its techniques to emulate real life and analyses color schemes, forms, and spaces in Disney animation compared with modern artists' works, in that the visual language of Disney animation reminds of impression from abstract paintings in the beginning of the twentieth centuries.

• Journal of Korea Entertainment Industry Association
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• v.15 no.7
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• pp.259-269
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• 2021

This study examines the legend of 'Grandmother Seolmundae and Five Hundred Generals', the cultural archetypes of Jeju, and analyzes the characteristics of its contents. After analyzing the feasibility of using the analyzed cultural prototype as cultural contents such as games and animations, based on this analysis, we tried to suggest a cultural planning approach based on the cultural prototype to the cultural agency. Therefore, the implications of this study are as follows. First, among the cultural prototypes in Korea, 'Grandmother Seolmundae and Five Hundred Generals', which represent the legends of Jeju Island, are being organized centered on many historical researchers and Chaerokga, but there is no precise establishment of the exact timing of the legend and how it arose. Therefore, when planning and developing content based on the cultural prototype, it is most important for cultural agencies to develop a story after researching historical evidence and opinions of local residents to identify a consistent point of view. Second, although the contents of the cultural archetype are arranged slightly differently by historians and recorders, the main contents and characteristics of the story are found to have a similar form. Therefore, cultural agencies should focus on finding the point of view and characteristics of a story, even if a story is written differently by different people when doing a cultural prototype. Third, when planning a game based on the cultural prototype, the main elements such as the elements to be expressed in the game and the fun elements should be found and presented. In particular, because fun and rules are the most important parts of games, if this part cannot be derived from the story of the cultural archetype or cannot be made, it is difficult to transform the cultural archetype into a game. Therefore, it can be seen that it is important for cultural agencies to set their game plan intentions in consideration of story expression and fun, even if it is the core or non-core of the entire story of the cultural archetype. Lastly, although the cultural prototype 'Grandmother Seolmundae and Five Hundred Generals' was presented as animation content, it is important to develop it considering the story, characters, media, and audience. Therefore, cultural agencies should be able to derive the elements such as stories, representative and auxiliary characters, and viewers that can be adapted from the cultural prototype as much as possible. It will be an important part of raising.

• Cartoon and Animation Studies
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• s.28
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• pp.1-25
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• 2012

The rapid digitalization across all aspects of society since 1990 led to the digitalization of cartoons. As the medium of cartoons moved from paper to the web, a powerful visual culture emerged. An encounter between cartoons and multimedia technologies has helped cartoons evolve into a video culture. Today cartoons are no longer literate culture. It is critical to pay attention to cartoons as an "expanded fest" and as visual and video culture with much broader significance. In this paper, the investigator set out to diagnose the current position of cartoons changing in the rapidly changing digital age and talk about future directions that they should pursue. Thus she discussed cases of changes from 1990 when colleges began to provide specialized education for cartoons and animation to the present day when cartoon and Multimedia Comics fests exist in addition to the digitalization of cartoons. The encounter between new technologies and cartoons broke down the conventional forms of cartoons. The massive appearance of artists that made active use of new technologies in their works, in particular, has facilitated changes to the content and forms of cartoons and the expansion of character uses. The development of high technologies extends influence to the roles of appreciators beyond the artists' works. Today readers voice their opinions about works actively, build a fan base, promote the works and artists they favor, and help them rise to stardom. As artist groups of various genres were formed, the possibilities of new stories and texts and the appearance of diverse styles and world views have expanded the essence of cartoon texts and the overall cartoon system of cartoon culture, industry, education, institution, and technology. It is expected that cartoons and Multimedia Comics will continue to make a contribution as a messenger to reflect the next generation of culture, mediate it, and communicate with it. Today there is no longer a distinction between print and video cartoons. Cartoons will expand in every field through a wide range of forms and styles, given the current situations involving installation concept cartoons, blockbuster digital videos, fancy items, and characters at theme parks based on a narrative. It is therefore necessary to diversify cartoon and Multimedia Comics education in diverse ways. Today educators are faced with a task to bring up future generations of talents who are capable of leading the culture of overall senses based on literate and video culture by incorporating humanities, social studies, and new technology education into their creative artistic abilities.

• Cartoon and Animation Studies
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• s.41
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• pp.279-306
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• 2015

This paper is a study of the changing nature of software for virtual Cyborg self and the virtual body that occur in the game from a philosophical point of view. Looking broadly, the cyborg concept refers to the combination of man and machine. Specifically, there is a hardware cyborg organism to combine human and restoration of machine In addition, there is software cyborg by electronic the human brain of converting a virtual body. Virtual games are cases software-Cyborg applied. In the game , There seems to have characteristics of virtual body and ego that different from general cyborg meaning. To analyze the features, I applied the concept of software-cyborg of Hans morabek and the multiple selves in cyberspace properties of Kim Sun-Hee. generally, software cyborg cloning the brain type tended to invalidate the body due to the nature of the virtual world. But If you look at third-person's view and the game character that made from real actors, it is pursuing the realism of photographic images and it stressed the need for a virtual body in order to maintain the psychological identity of the player. And, The game player crosses the eight characters to choose while completing the mission. This is a big role in the reality ego leads to the desired final ending with the selection and experience to be experienced as self-replication to multiple. These cyber multi-ego looks for an active and positive features compared to the multi-ego in the real world and highlights the advantages of the software cyborg. Game The characteristics of the final result varies depending on the selection of the player. The life and death of a friend is determined by the relationship between the characters friendship. In this case, the virtual self is empirically through trial and error, moral, and try to select the desired setting the standard for intuitive and self own choice. Also It can be fused to the knowledge of multiple selves as one step is formed by a high spiritual introspection. This process is a positive interpretation of the world and their own forms of mental reflection through self-overcoming human, Nietzsche is said that the process is Wibeomenswi.

• Cartoon and Animation Studies
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• s.40
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• pp.55-81
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• 2015

Animation as a public visuals media have been expanding increasingly its social and cultural influences beyond the ages and nations on the basis of global consumption. However, animation increases the negative impact in modern popular culture, and in regard to this, 'the recovery of ethics' should be considered in a reflexive and educational perspectives for the social role of animation. Thus, the research addresses the animation films of Brigham Young University students which contain a ethical values and receive attention by New York Times, etc. as a successful educational model. To do this, firstly, literature has reviewed by focusing on the negative impact of animation, 1) violence, 2) excessive sensationalism, 3) confusion of cultural identity, 4) gender discrimination, and 5) distorted view of history. Secondly, the education system of animation course at Brigham Young University will be analysed. Thirdly, based on this, the case study will be conducted by focusing on the 13 animation films of students to reveal the characteristics of the way of film direction. Through this research, firstly, most of animation films are comic genre, consisting of children and animal characters, family-friendly and lyrical story style and deployment of coincidental and allegoric incident. Thirdly, the religious spirit and multidisciplinary methods of education in Brigham Young University has influenced to the ethical expression and technical perfection in animation filmmaking. In the light of this, the research and suggests the new paradigm is for the practical disciplines of animation in the restoration of the ethical perspective and explores how the animation production adopts the moral significance.

• 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.