• Journal of Popular Narrative
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• v.26 no.2
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• pp.87-122
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• 2020

This study explores the method of representation of traumatic history in 2D horror game Detention developed by Taiwan game production company Red Candle through an analysis of its method of storytelling. Unlike conventional public media, video/digital games are based on interactivity, in which game players engage in the narratives. Thus, the relationship between players and the history in the game world may also change. This research investigates how the players build their way of remembering and recognizing the past in a different relationship. Detention, which was well received, not only in Taiwan but also around the world upon its launch in 2017, is set in a middle school during the martial law era in Taiwan in the 1960s. In the game, the main character encounters her lost memories in the process of following clues and game rules, and finally realizes she is implicated in the 1960s' event. Detention was cinematized after the success of the game. The film achieved enormous popularity both in terms of box office success and criticism. In this paper, the strategy of the game's storytelling is introduced in comparison to the film's approach in the representation of historical events. In particular, the paper explores elements such as the interactivity of the game medium, narrative fragmentation, quests, hints and cues, and the horror genre, that asks users to understand history beyond the game world differently from the point of view of other media. Though this study, it can be considered that the digital game is a medium exploring history in a serious manner. In particular, Detention invokes the matter of game-mnemonics as well as cine-mnemonics. Compared to plentiful research in cine-mnemonics, game-mnemonics has not been extensively studied to date. Therefore, through the analysis of Detention, this paper explores the relationship between digital games, history and memory.

• Journal of Korea Game Society
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• v.9 no.6
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• pp.57-68
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• 2009

The purpose of this article is analyzing the ironic characteristics of MMORPG character. The MMORPG character's ironic characteristics are: inner irony which is caused by relationship between each character, outer irony which is formed by relationship between character and player. The inner irony is based on the heroic role of character and its context. The death and rebirth system of game make the outer irony. The result of analysis shows us that MMORPG is a presentational art and it can give us a profound meaning of life.

• Journal of Korea Entertainment Industry Association
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• v.13 no.4
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• pp.83-91
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• 2019

Gameplay exists not only in game activities, but also in other art forms. An animated film with strong gameplay whose gameplay narrative follows the presupposition principle, achieved through unimaginable sound effects, exaggerated visual styling, hypothetical time and space concepts, fictional storylines and character performances. The strength or the presence or absence of gameplay in animated films is reflected in the grasp and use of these gameplay elements in the process of animated film narratives. The gameplay narrative of animated films fully utilizes the characteristics of gameplay thinking. In the process of scriptwriting and narrative, it combines entertainment, action, adventure, competition and other elements to fully reflect the characteristics of "gameplay". Gameplay narratives often use the strategies of reverse setting, repetition and interaction, and rules and challenges setting, which not only enhances the fun of animated film narratives, but also attracts the attention of the audience, which then can enhance the audience's viewing experience.

• Journal of Korea Game Society
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• v.16 no.2
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• pp.97-110
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• 2016

Digital game is an entertainment content as well as a cultural content so that digital game can deliver social messages to make people confront with current problems. Based on Gonzalo Frasca's expanded model theory, this study aims to analyze independent games parodying reality on the level of the narrative and the gameplay to demonstrate that digital game can be a powerful medium to represent a satire on society. Parody games describe irrational side of society as being comical and provoke players' repetitive gameplay. Therefore, players can experience serious theme through casual play in the first-person, and realize the tragic reality directly.

• The Journal of the Korea Contents Association
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• v.9 no.3
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• pp.118-126
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• 2009

The computer game has a narrative structure, which scenario is proceeded by player's consecutive interactive. The interaction is the core of game plays that is not only storytelling in itself, but also is implemented by interface. The UI of computer game is as a tool for communication between player and game, which has been designed by usability on use. However, is it the necessary for us to get synchronization of feelings about game scenario in terms of a psychological in order to deepen the pleasure that is the game's ultimate goal. Effectively, as a way to lead in this empathy. This study tries to application of storytelling to the UI that occurred player's interactive for the first time. Moreover, presented the result as the UI designs of casual MMORPG.

• The Journal of the Korea Contents Association
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• v.11 no.10
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• pp.69-76
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• 2011

As a smallest unit of the game story, quest needs to be analyzed in terms of structure in order to study quest storytelling. This thesis introduces structuralist theory of narrative function of folk-tale by Propp to determine the structure of the quest. Propp proposed immutable elements of the characters as 31 kinds of Folk-tale functions. I analyzed assigning quests in MMORPG. As a result, 13 essential functions of the Quest, and 5 add-ons were drawn and the order among functions was figured out. Most quests in MMORPG followed the order of the essential functions and optional add-ons and showed a repeating pattern. The essential and optional functions and its order can be utilized to arrange appropriate element for quest storytelling and to strengthen and lead the various ways of the quest storytelling.

• Journal of Korea Game Society
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• v.19 no.3
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• pp.101-112
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• 2019

This study examines the potentials and limitations of interactive movies at present by reading the narrative of the interactive movie, through the concept of gamification. The 'quest' of the is to choose an option to play out the story in unpredictable world, and the 'reward' is the hierarchy of the ending. It is necessary to reduce uncertainty between option and ending, intensify playfulness, and provide a variety of discriminative endings in order to make viewers immerse deeper in interactive movies. Such an analysis implies that the intensification of gamification elements may influence the immersion in interactive movies positively.

• Journal of Popular Narrative
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• v.27 no.2
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• pp.107-142
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• 2021

Emergence of new media platform had changed relationship between the broadcaster and the viewer, which used to form 'performer-audience' structure. This research has focused on the transition of 'streamer-viewer' role in single-media broadcasting, such as Youtube or Twitch, and identify how they progress group storytelling as a team. Walter Benjam and Leslie Marmon Silko's notion of 'story and storyteller' and Erving Goffman's 'social role theory' was used to define participants' role in new media broadcasting. channel, on Youtube, was selected and analyzed as example case. The domain of 'front stage' was broadened in recorded contents comparing to live streaming. The audience of live streaming is included to the front stage during the expansion. The role of streamer, game participant, and live stream contents viewer is also adjusted during the change, which leads to group-creation of the contents. Streamer plays a role of main-storyteller and suggest identity of the community. Game participants work as sub-storyteller, filling in the blank space in game storytelling and making it sophisticated. They also perform based on community's identity, which streamer has built in advance. Lastly, live steam viewers are intermittent sub-storyteller, which seldom add up the narrative. Though, their main role is to preserve identity of game broadcasting community by reacting according to community's identity. As a result, the game broadcasting narrative is developed by combining and adding up pieces of story made in different level and role of participants. The research redefine the role of viewer and storytelling method in new media, especially in single-person broadcasting. Considering the rapid shift in recent media and contents, a new approach to the streamer-veiwer role and group storytelling of this research can be one of the new method to analyze contents produced in new media, such as Youtube.

• Archives of design research
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• v.19 no.2 s.64
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• pp.195-206
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• 2006

The computer game industry has managed to become the fastest growing segment of the entertainment industry nowadays. However, only a very low number of computer game products manage to cover the costs of production and generate earnings. According to traditional marketing wisdom, customers' preferences are a core issue in creating successful products, and the design process in game is crucial for guaranteeing garners' satisfaction. This research aimed to explore key design factors for the game design based on the new framework of the usability evaluation. We examined the usability in Massively Multi-player Online Role-playing Games (MMORPGs) and reviewed literatures related to games simultaneously. We identified eighteen usability issues in MMORPG and presented its recommendation relevant to the issues. Moreover, the results of the study showed fifty four key design factors composed of game interface, game play, game narrative, and game mechanics for the game design. The research is concluded with key implications to support the early stage of the design process in game.

• Journal of the Korean Society for Computer Game
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• v.31 no.4
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• pp.29-36
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• 2018

The purpose of this paper is to examine the temporal and spatial characteristics of mobile games through Mikhail Bakhtin's chronotope concept in order to examine the changes of mobile games and gaming. Based on chronotope, a concept that refers to the inner relation between time and space reproduced in the novel, I examined the inner relation between the space - time experience in the mobile game platform and the reconstruction of the mobile game text. The mobile game builds the present-here world based on the player's will while superimposing the act of playing through the mixed platform of existence based on the player with the time and space of everyday life. The chronotope of a mobile game with players as platforms is created in the current space of now-here rather than connecting to the virtual world. In this paper, I review the role of chronotope reproduction in mobile games, focusing on role-playing games and location based games. In the mobile role-playing game, an unhistorical chronotope appears in which the player has a loose sense of distance around the automatic combat system, while the narrative and relational experience is weakened. In a location-based game, a chronotope of player-driven generation that generates amusing meanings through the overlap of the virtual world and the real world appears.