• Journal of Korea Game Society
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• v.9 no.1
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• pp.127-134
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• 2009

This paper presents a motion generation technique for arbitrary morphologies with the user defined correspondences between joints. Users can define the controlling part in the source character and the part to be controlled in the target character in our system. To remove the restriction in the morphology of the target character, we use the pair of example posture sets. In our system, in order to provide the correspondence regardless of the number of joints, the deformed part in the target character is simplified into the direction vector. The final postures are then generated with the weighted sum of the examples. Our experimental results demonstrate that our approach can generate motions for various target characters and can control the user defined joints in real-time.

• Journal of Korea Multimedia Society
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• v.23 no.2
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• pp.368-375
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• 2020

In this study, the area of interest(AOI) of Soju ad poster was tracked for analysis the time to frist fixation, the average of fixation duration and count by the study indexes. As a result of the analysis, Visual attention was higher the face than the body shape of the ad model. This means "when we look at printed ads, we see picture elements first, not language one" but language elements can't be overlooked either. Also, the importance of the model role could be verified by measuring the visual attention on the Soju ad poster. Based on the results of this study, if further research on ad posters is carried out and scientific and quantitative interpretation methods are presented, it can be used as product marketing data that can be reflected in ad model selection and poster design.

• Journal of Digital Contents Society
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• v.12 no.3
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• pp.397-407
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• 2011

Characters' nonvocal communication plays an essential role in delivering lines and expressing emotions. A character in a game is represented with its nonvocal behavior combined with a large number of lines. In this paper, characters' nonvocal communication behaviors are categorized and analyzed. Furthermore, characters' gestures and movements are designed with bones for character gesture generation in 2D games. Besides, characters' movements are visualized. In brief, a nonvocal communication system for emotional expression of characters in 2D games is proposed.

• Journal of Korea Game Society
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• v.20 no.3
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• pp.25-34
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• 2020

This study is a VR system design designed to evaluate the impact of interaction on user experience analyzed by developer's perspective for the interactive VR fashion show. In the VR fashion show design, we produced an interactive system through the four interactive elements of camera viewpoint, cloth, effects, and sound. The interactive design system is proposed based on three application facto rs in VR space design: speed, range, and mapping. The study focused on the user experience based on format conversion to apply the Unity3D engine using 3D model, animation, 2D UI design, and simulation.

• Cartoon and Animation Studies
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• s.19
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• pp.127-143
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• 2010

The purpose of this study is to aesthetically approach a game, which was popular at home, through microscopic analysis on World of Warcraft. World of Warcraft(hereunder called WOW), which improved a game method of MMORPG that had been popular conventionally at home, from several angles, is suggesting new paradigm of MMORPG game. This study aims to propose new vision on game analysis by approaching this new method from the perspective of player. For this, it divided WOW into shift method, instruction implementation method, and communication configuration method, and analyzed this, respectively, by introducing a concept of empty time, empty space, and non-place, which was borrowed from Zygmunt Bauman's "Liquid Modernity". WOW's shifting method rather extends empty time, that is, the waiting time, contrary to the conventional MMORPG, which used a method of removing. Instead of maximally reducing boring, which becomes disturbance of a game, it is what overwhelmingly enlarges time that needs to be waited, thereby being what induces a sense of time, which a player experiences daily life, to the inside of a game. WOW's instruction implementation method offers one of hugely single map instead of zone-system necessary for map loading in the discontinued form. This minutely implements even a greatly insignificant place in playing a game, thereby stirring up a sense of travel, which explores there in reality. Finally, WOW's community configuration method makes a hunting-targeted group clear, which added a concept of hunting called the raid to the existing gild system. The raid, which is a large party of being bound to the inside of Instant Dungeon, clearly gives a performance role to each of party members, thereby allowing the identity in character to be connected directly to the identity of player. Through this, the player filled the suggested 'space' with experience, thereby being able to change it into 'place' that is significant to an individual.

• 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.

• The Journal of the Korea Contents Association
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• v.17 no.11
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• pp.470-478
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• 2017

Costume play is an act of imitating the appearance or behavior of characters in digital games, cartoons or animations. In recent years, cosplay culture has become popular in China as the digital game is made into a movie. The number of cosers has also increased. Especially, Qiwei Zoe has been very popular among cosers because her cosplay photography reflects the understanding of the cosplay culture. A number of cosers admit that her work shows a commercial and artistic potential of cosplay photography. This paper analyzed how she maintains the contents of the original but creatively reimplementing them. She shoots the fantastic image of the character like it really exists in reality so that she can avoid excessive editing work. She emphasizes the character's action that symbolizes its personality and utilizes a variety of outdoor shooting locations similar to the original scenes. We also discussed how cosplay photographers can create cosplay photography by maintaining its artistic features.

• Cartoon and Animation Studies
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• s.40
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• pp.33-53
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• 2015

The movement of characters is one of the crucial elements to deliver their emotion flowing inside. Though it is the same movement, it may appear or be expressed differently according to the character's personality or emotion or the particular situation. The purpose of this study is to analyze not only the movement found superficially in an animation but also a character's internal emotion and attitude with Laban's movement analysis system, particularly effort, one of its analysis categories, and examine how effectively Laban's movement analysis often employed at the circles of dance can analyze movement in an animation. is about a monster that constantly makes efforts to realize its dream to be a scarer. Functional movement forms the most part, but expressive movement to show how a character thinks or feels also appears harmoniously. Characters' externally shown movement can express their internal emotion properly sometimes, but they also often move expressing their feelings in moderation. Therefore, this study analyzes the movement of characters found in the four scenes of with LMA's effort. According to the findings, at the scene where Michael enters the door leading to the human world following the scarer, the emotional state of Michael envious of the scarer is expressed with the Vision Drive giving the strong feel of dreaming. At the scene of the second game to choose the best scare team, it shows us the Spell Drive with its careful and light movement having clear intention to survive at the game. At the scene where there is a party held for the teams that have survived, it shows the Passion Drive of being eagerly expressing happy and delightful feelings without considering what is around. At the scene where Michael and Sullivan are pursued by people, the Action Drive was used to express movement that was heavy and strong and was getting faster gradually by focusing the feelings of the characters in haste into one place.

• Cartoon and Animation Studies
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• s.14
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• pp.165-176
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• 2008

In the future there would be many kinds of digital images for many industrial markets. 3D stereoscopic images for variable fields; medical operation, film and animation, broadcasting, internet, game, or design for art and architecture. And many people to work about computer programming, and digital image making will concern about it more and more. However, these kinds works and studies are focused on the professional technical fields like 3D display or computer programming technology so far. To revitalize the market of a variable stereoscopic contents, there should build up the foundation for easy processing of the making stereoscopic images. This paper is based on stereoscopic making skills for anaglyph system. An anaglyph system has an old history about making stereoscopic images, and very simple method to produce the stereoscopic images. Particularly this study is focused on color compositing technique, and camera positioning on the compositing system. It will help optimization of the environments to create 3D motion graphic and animation contents.

• Cartoon and Animation Studies
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• s.36
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• pp.493-510
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• 2014

From game consoles to TV and Hollywood films, 3D rendering technology is involved in various fields. Up until the late 90s, the computer image rendering method was rasterization that mainly used Phong Shading, and up until recently it was the go-to method for movies and film animation. In the 21st century, the quality provided by Ray Tracing and the development of Global Illumination was much more realistic and thus became popularized. However, despite its growing use in architectural rendering to the markets, Global Illumination in film animation and movies was limited due to its long render time. So, in this thesis, if one were to take the concept from each rendering method and consider it from a mathematical perspective, one could adapt the Ambient Occlusion's equation to the illumination loop equation used in rasterization. This algorithm modification has the capability to reflect the lighting of a diverse array of colors, like in Global Illumination, with a fast render time, as in rasterization, and the example RenderMan Shader is based upon this new algorithm. In conclusion, with Global Illumination's naturalistic lighting and rasterization's rendering speed, the combination of the best points of each is a new method with a short rendering time while producing good quality. I hope animations and films can benefit from this algorithm by the reduction of budget with an overall better quality output in VFX production.