• Journal of Korea Game Society
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• v.9 no.2
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• pp.41-50
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• 2009

The convergence paradigm that appears with the integrated media environment has effect on digital storytelling using digital technology, then 'Trans-media storytelling' which is a new form of digital storytelling makes gradual expand its scope. This study focused on the Alternative Reality Game which adopt trans-media storytelling in the game genre. This paper interpreted the idea of ARG on comparing different forms of ARG and existing games and the distinctive features of ARG storytelling which is blurring the line between real and virtual on the Simulation theory. This is a valuable study for understanding the new storytelling form within the media convergence and developing the digital storytelling in the future.

• Journal of Korea Society of Digital Industry and Information Management
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• v.11 no.2
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• pp.153-166
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• 2015

This paper proposes a trans-media branding for the trans-media-based cultural content marketing strategy. Trans-media brand analytical framework is proposed with previous studies. And mobile messenger Character 'Line Friends' is analyzed for the text. Trans-media branding is accessible through a multi-platform in the technological environment. Consumer culture, as well as participate include business models to generate revenue also as brand equity. While the character elements that make up the story from the perspective of cultural content storytelling act as an independent cultural goods. Character is segmented elements. Therefore, trans- media branding of the characters are more meaningful. 'Line Friends' trans-media branding can be summarized as follows: First, it takes advantage of the characteristics of the existing Information-Technology-based mobile. Second, it puts consistently found the content of the attributes of Mobile Messenger 'communication' and 'friendship'. And third, while the content of each platform is constantly linked with other platforms, the brand is positioned inside the window effect.

• Journal of the Korea Society of Computer and Information
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• v.26 no.11
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• pp.67-74
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• 2021

This paper intends to analyze the role expansion of characters, which was an important factor in setting the worldview in storytelling. With the development of media, the way of setting the worldview began to change. At the center of these changes are 'Transmedia' and 'Metaverse', which have recently been receiving attention. With the development of trans media, where the intersection and convergence of media is actively attempted, characters are breaking free from their innate limitations, crossing various media, and performing various activities in new stories. In addition, in the metaverse, an extended concept of the real world, avatars play a role in constructing and expanding the metaverse world as users and creators. By analyzing these changes, we would like to deal with the phenomenon in which character setting, which was used as an element in orthodox world view setting, replaces the world view.

• Proceedings of the Korea Contents Association Conference
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• 2015.05a
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• pp.135-136
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• 2015

트랜스 미디어 스토리텔링은 이용자의 적극적인 참여를 기반으로 디지털 컨버전스 시대에 새롭게 등장한 텍스트 유통 관습이자 미디어 경험 양식으로 영화, 드라마, 애니메이션 등의 콘텐츠 사업의 경우 다양한 트랜스 미디어 스토리텔링 시도가 활성화 되고 있지만 기업 브랜드의 경우 아직 기존의 OSMU의 범주를 크게 넘어서지는 못하고 있는 실정이다. 그러나 본 연구에서는 OSMU의 범주를 넘어 커뮤니케이션했던 브랜드의 트랜스 미디어 스토리텔링의 대표적 사례인 모닝케어 레이디 티안나걸스(T-ANNA Girls)의 사례를 통해 디지털 컨버전스에 적응하며 새로운 부가가치를 창출할 수 있는 브랜드 커뮤니케이션의 발전적 방안에 관해 논의코자 한다.

• The Journal of the Korea Contents Association
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• v.19 no.11
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• pp.644-652
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• 2019

This study recognizes the problem of terminology surrounding the concept of transmedia and attempts to arrange and examine the concept by applying the syntagmes theory of linguistics. In transmedia, the prefix 'trans' means transversal, transformation, and transcendence. This versatility of the word transmedia itself provides a starting point for recognizing the concept of transmedia as an incomplete syntagmes with the verbal paradigm of transversal, transformation and transcendence. Depending on who is the subject of media content, such as media companies, creators, and users, syntagmes of transmedia is linked to terms such as transmedia franchise, transmedia storytelling, and prosumer. The purposes of the three subjects in the discourse of transmedia are different, using IP, expanding the story world, and enjoying the work. However, the common desires of 'repeat', 'extension', 'secure' and 'connection' are found in the purpose of three subjects. If terms like transmedia franchise, transmedia storytelling, and prosumer are 'parols' of the transmedia concept, then repetition, extension, securing and linking are the 'langues' of the transmedia concept.

• Trans-
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• v.2
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• pp.95-130
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• 2017

In the 21st century, developing cultural industry is an important issue world-wide. Since the Kim Daejoong government, Korea has focused on cultural industry development and has thereby treated it as one of the basic, necessary industries. Therefore, the industry is being supported both financially and politically. This policy nurtured the development of quality and quantity within the cultural content industry. However, most of the reports and studies about Korean cultural content have shown it is still not strong enough to compete with leading countries in the field. Competitiveness of storytelling is especially weak. The goal of this study is to find the best direction for the funding policy to strengthen competitiveness in storytelling. Analysing the policies of the No Moo-hyun and Lee Myoung-park governments, we can see that they primarily focused on developing infrastructure in investment and the distribution environment. Support for producing content and distribution follows after confirmation of results. Moreover, policies for the support of developing ideas within culture content are vertical. Currently in the industry, a person or company decides how and where to use the moneys available for investment in the development of content. However, we need to invest more directly, initial funding is required. We analysed the market, studying its activity, achievement and limitations. As a result, we suggest a 'Storytelling Factory' like the group writing system adopted by US TV Shows.

• 지역과문화
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• v.7 no.3
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• pp.23-48
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• 2020

Hahoebyeolsingut Talnori, which is under permanent performance, has lost its relevance to folklore and rituals of the villagers and has secured the possibility of change depending on the actor's choice. This article seeks to expand the current stuck performance of Hahoe mask play, which has great significance as a play and play for the audience. To this end, We studied the possibility of expanding the performance of Hahoe Talnori by trans-identity of the Choragi. Chorangi character derides yangban, seonbi and monk, who are representatives of the establishment. Those who have a consciousness of potential transformation, those who passively represent the masses, and those who are tacitly authorized by the audience to ridicule the ruling class. The audience feels exhilarated by the super-cool, but at the same time reduces the limits. We transformed Chorangi who is clever but cannot overcome the limits of his status, into a character with a sense of transformation by applying the method of turnning identity and changing identity of the theory of trans-identity. And I applied the method of expansion of the media conversion storytelling theory to create a new Chorangi Madang that conforms to the audience's needs and the spirit of the times. In addition to the performance of Yangban Seonbi Madang(Act of Nobleman and Scholar) which ends with an ambiguous reconciliation, we wanted to complete it in a way that even today's audiences could accept by applying the function of the Hahoebyeolsingut Talnori ambassador and the principle of implementation. And We writed it in a script. This article is meant to be an experimental study that attempted to transform traditional performing arts in the context of new creation of tradition. Preservation and transmission of traditional performing arts are important, but it is necessary to move forward according to the trend and spirit of the times.

• Trans-
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• v.15
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• pp.25-56
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• 2023

VR is a dynamic image simulation technology with very high information density. Among them, spatial depth, temporality, and realism bring an unprecedented sense of immersion to the experience. However, due to its high information density, the information contained in it is very easy to be manipulated, creating an illusion of objectivity. Users need guidance to help them interpret the high density of dynamic image information. Just like setting up navigation interfaces and interactivity in games, interactivity in virtual reality is a way to interpret virtual content. At present, domestic research on VR content is mainly focused on technology exploration and visual aesthetic experience. However, there is still a lack of research on interactive storytelling design, which is an important part of VR content creation. In order to explore a better interactive storytelling model in virtual reality content, this paper analyzes the interactive storytelling features of the VR animated version of <Wolves in the walls> through the methods of literature review and case study. We find that the following rules can be followed when creating VR content: 1. the VR environment should fully utilize the advantages of free movement for users, and users should not be viewed as mere observers. The user's sense of presence should be fully considered when designing interaction modules. Break down the "fourth wall" to encourage audience interaction in the virtual reality environment, and make the hot media of VR "cool". 2.Provide developer-driven narrative in the early stages of the work so that users are not confused about the ambiguous world situation when they first enter a virtual environment with a high degree of freedom. 1.Unlike some games that guide users through text, you can guide them through a more natural interactive approach that adds natural dialog between the user and story characters (NPC). Also, since gaze guidance is an important part of story progression, you should set up spatial scene user gaze guidance elements within it. For example, you can provide eye-following cues, motion cues, language cues, and more. By analyzing the interactive storytelling features and innovations of the VR animation <Wolves in the walls>, I hope to summarize the main elements of interactive storytelling from its content. Based on this, I hope to explore how to better showcase interactive storytelling in virtual reality content and provide thoughts on future VR content creation.

• Cartoon and Animation Studies
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• s.51
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• pp.159-179
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• 2018

As digital media evolves, image changes have evolved from 2D to 3D. At the end of the 1930s when the US overcame the economic crisis and met the Second World War, people needed a hero to escape reality. In DC (Detective Comics), superhero comics started to become popular by making superhero series mainly with Super Man and Bat Man. Timely Comics, founded by Martin Goodman in 1939, also published Marvel Comics, the first comic strip in epochal comics on October 1 of the same year. From this point on, Marble has developed mainly in the cartoon industry. However, in the development of the times and the change of media, Marble boldly grasps the influence of Hollywood movies from the comic centered development system, and moves from the cartoon market to the movie market. Especially, the trans-media storytelling strategy was well reflected in the movie "Avengers" series, which Marvel produced after the merger with Disney. In this paper, When Marble Comics compares with the time when the comic book industry developed before the merger and the time when the movie industry was focused after the merger with Disney What kind of change and development, and The purpose of this study is to investigate the causes of these changes.

• The Journal of the Korea Contents Association
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• v.15 no.1
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• pp.506-518
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• 2015

Recently there are growing needs and demand to enhance 'Unity of knowledge' as the concept of "Creating new value through integration and convergence" is developing rapidly in many different areas in the society. This also has significant implication to education. Especially, it requires paradigm shift in terms of required capabilities and qualifications for the students with science major. To accommodate this trend, Natural Sciences and Engineering's College has been increasing convergence education which focus on cultivating creative and cooperative learning capabilities as well as acquiring fundamental knowledge of individual majors. However, convergence education developed and implemented by Sciences college or liberal education so far has been mechanical combination of knowledge from different academic fields - not effectively integrated and interdisciplinary education. Given this situation, this research is to develop and propose a "convergence education program based on the development of scientific and cultural contents" as an education tool to enhance capabilities to apply and re-create integrated knowledge as well as acquire and learn existing knowledge. Education program developed in this research aims to achieve two different and sequential capabilities. First is to understand 'Science and Technology' and 'Cultural Archetype' which would be essential and useful to create cultural contents. Second is to develop capabilities to convert this understanding into cultural contents - a storytelling capability. This education program is differentiated in that it defines cultural contents as a medium to converge and integrate science and technology and humanities. By leveraging the concept of cultural content and storytelling, this education program would be able to overcome restrictions of existing interdisciplinary approach. Also, this program would encourage students to try in-depth research and new applications, and develop logical and creative thinking.