• Journal of Korea Game Society
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• v.4 no.3
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• pp.77-84
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• 2004

Game environment, game map and background graphic design is very important elements and factors that support fun, look & feel, immersion and player's acting fields. In this paper we defined elements of game background environment. And then make an investigation and refer to sundry records and books, we described elements of periodic environments, historic environments, natural environments, artificial environments, cultural environments, virtual environments, weather environments. Especially, the study suggests the model of game environment desgin to apply game map and game background graphic design.

• Journal of Korea Game Society
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• v.12 no.5
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• pp.43-56
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• 2012

The purpose of this research is to provide the rationality of placement of game objects using the space analysis for game map so that the game designers can find out the proper position for each object in the map. The significance of this research is beyond the limitations of the existing research using Space Syntax theory is confined to the analysis of the behavior of players in the map, this research suggest the method of the efficient placement of game objects in level design step. This paper as the worth of the industry is expected to be able to reduce the repetitive tasks that may occur during game level design steps. Through this, it is also expected by reducing game development period and development costs in accordance with the reasonable placement of game objects.

• Journal of Korea Game Society
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• v.11 no.4
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• pp.15-26
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• 2011

Game level design is a collaborative work to create a virtual world for a computer game including maps, agents, monsters, objects, players and events based on predefined its game scenario. It is a promising collaborative design application. The game level design generally requires much time and cost, as the size of its target game space becomes huge. However, traditional game level design tools do not provide concurrency control mechanisms among multiple participating game designers. They do not provide consistency of undo and redo mechanisms for erroneous collaborative tasks during iterative modifications and updates of collaborative tasks among multiple designers. In this paper, we propose a concurrency control and a collaborative editing mechanism to enhance productivity of the collaborative game level design. The proposed system provides hierarchical structures of shared objects and a concurrency control mechanism for each object. The proposed system also provides a consistent undo and redo mechanism to enhance modifications and updates on intermediate results of the level design procedures.

• Journal of Korea Game Society
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• v.16 no.6
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• pp.59-68
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• 2016

Many researchers have paid attention to contents generation within the area of game artificial intelligence these days with various reasons. Efforts on automatic contents generation without game level designers' help were continuously progressed in various game contents. This study suggests an automatic map generation without an isolated cave using cellular automation enhanced by binary space partitioning(BSP). In other words, BSP makes it possible to specify the number of desired area and cellular automation reduces the time to search a path. Based upon our preliminary simulation results, we show the usefulness of our automatic map generation by applying the contents generation using cell automation, which is enhanced by BSP to games.

• Journal of Korea Game Society
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• v.15 no.4
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• pp.29-38
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• 2015

In the stealth game design, level designers are to develop many interesting game environments with a variety of difficulties. J. Tremblay and his co-authors developed a Unity-based level design tool to help and automate this process. Given a map, if the designer inputs several game factors such as guard paths and velocities, their vision, and the player's initial and goal positions, then the tool visualizes simulation results including (clustered) possible paths a player could take to avoid detection. Thus with the help of this tool, the designer can ensure in realtime if the current game factors result in the intended difficulties and players paths, and if necessary adjust the factors. In this note, we present our improvement on this tool in two aspects. First, we integrate a function that if the designer inputs some vertices in the map, then the tool systematically generates and suggests interesting guard paths containing these vertices of various difficulties, which enhances its convenience and usefulness as a tool. Second, we replace the collision-detection function and the RRT-based (player) path generation function, by our new collision-check function and a Delaunay roadmap-based path generation function, which remarkably improves the simulation process in time-efficiency.

• Korean Journal of Computational Design and Engineering
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• v.9 no.2
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• pp.148-157
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• 2004

Interactive simulators that simulate mechanical systems are being developed for the purpose of performance evaluation of product design, replacement of physical training, and entertainment game. Use of flight simulator is increasing to reduce risk and cost of physical training, and we need virtual environment which covers large area terrain. We need a method that can reduce development cost and construction time of virtual environment that simulate the real environment. There have been attempts to link GIS or remote sensing field with virtual reality. This paper examines a method that helps to construct virtual environment, and attempts to link geographic information with virtual reality. A construction method of virtual environment based on digital map and satellite image has been studied.

• Journal of Korea Game Society
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• v.21 no.5
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• pp.87-104
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• 2021

Ludo-narrative dissonance is a prevalent problem among open-world genre video games. However, Ghost of Tsushima (2020) alleviates this issue by designing its characters and narrative structure influenced by Akira Kurosawa's samurai films. The game's protagonist represents "Bushido," a samurai code, and the structure exudes similarity to Joseph Campbell's "Hero's Journey," which heavily influenced Kurosawa's films. The developers also designed the gameplay mechanics such as level-up system, map design, and side quests based on these narrative traits, ultimately making the goal of the narrative and the gameplay mechanics cohesive.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.15 no.6
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• pp.1333-1337
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• 2011

3D engines loading, and expansion of the usable capacity, next-generation smartphone game markets are rising briskly by the improvement in CPU processing speed of Phones (hardware of smartphone). Therefore, in creating 3D game characters, realistic and free-form animations in a small screen of a smartphone are becoming important. Through this paper, as a method of creating characters and operating for game characters to cause user's feeling, with NURBS data of MAYA, We completed a face in turns of eyes, a nose, and a mouth, and with Polygon Cube tool, modeled hands and feet. After dividing a cube into half and modeling it, through mirror copying We completed the whole body and modeled the low-polygon. Then to model realistic and free-form characters, We completed each detail with ZBrush and applied Divide level up to 4. Though they might look rough and exaggerated, We tried to express stuck-out parts and fallen-in parts effectively and smoothly with Smooth brush effect, map and design the low-polygon 3D characters.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2011.05a
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• pp.300-303
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• 2011

Owing to the improvement in CPU processing speed of Phones (hardware of smartphone), 3D engines loading, and expansion of the usable capacity, next-generation smartphone game markets are rising briskly. Therefore, in creating 3D game characters, realistic and free-form animations in a small screen of a smartphone are becoming important. Through this paper, as a method of creating characters and operating for game characters to cause user's feeling, with NURBS data of MAYA, We completed a face in turns of eyes, a nose, and a mouth, and with Polygon Cube tool, modeled hands and feet. After dividing a cube into half and modeling it, through mirror copying We completed the whole body and modeled the low-polygon. Then to model realistic and free-form characters, We completed each detail with ZBrush and applied Divide level up to 4. Though they might look rough and exaggerated, We tried to express stuck-out parts and fallen-in parts effectively and smoothly with Smooth brush effect, map and design the low-polygon 3D characters.