• Proceedings of the Korean Society of Computer Information Conference
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• 2011.01a
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• pp.217-220
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• 2011

영상 압축 기술의 발전과 인터넷의 보급으로 사람들은 언제 어디서나 고화질의 미디어를 쉽게 접할 수 있게 되었다. 또한 미디어 플레이어에서 문자열의 출력을 지원함으로써 사용자들은 쉽게 영상의 자막을 만들고 볼 수 있는 환경이 만들어졌다. 그러나 문자는 번역을 위한 역할만 할 뿐 미디어에서 나타내고자 하는 감성을 전달하는 역할은 하지 못한다. 본 연구에서는 애니메이션 캐릭터와 콘텐츠 로봇을 사용하는 새로운 의미전달 기술을 적용한 감성형 콘텐츠 서비스를 제안한다. 제안하는 기술은 동기화 시나리오를 구성하여 미디어가 재생되는 동안 애니메이션 캐릭터 데이터를 제공하며, 또 다른 출력장치인 로봇과 동기화되어 상황에 따른 로봇의 움직임을 통해 시청자에게 내용 전달의 효과와 함께 감성 전달의 효율을 증대시켜주는 역할을 한다. 본 논문에서는 감성형 콘텐츠를 제작한 후 시현을 통해 감성 전달의 효율이 높아짐을 확인하였다.

• Science of Emotion and Sensibility
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• v.24 no.3
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• pp.3-16
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• 2021

Studies have found that people with higher social status pay little attention to other people's emotions and facial expressions. However, only a few studies have made similar observations on adolescents with high cyberspace social status. Therefore, this study sought to identify how adolescents with different online game character social statuses interpreted the smile emoticons in negative and positive situations, that is, did they perceive the emoticon to be positive (smile, encouragement, and consolation) or negative (derision, ridicule, and sarcasm). In Experiment 1, the participants were separated into three groups; those who had a lower than global average online game character status, those who had the same as the global average, and those who had higher than the global average. The participants were then asked to judge the meaning of the smile emoticon received in various positive or negative situations. In Experiment 2, the game character levels of the participants were set to be either higher or lower than the others' characters, and they were again asked to judge the meaning of the smile emoticon received in the positive or negative situations. In Experiment 3, the participants were separated into four groups; lower level than the average game character status (no information on the level of acquaintance's game character), lower than the average but higher than the character of the other, higher than the average status (no information on the other's character level), and higher than the average but lower than the character of the other, and asked to judge the meaning of the smile emoticon in positive or negative situations. It was found that when participants had a lower-level character compared to the average, had a lower-level character than the other, and had higher than the average but lower than the other's character, they interpreted the smile emoticon as derision, ridicule, or sarcasm. However, participants with higher level characters, higher than that of the other, and lower than the average but higher than the other interpreted the emoticon as a smile or consolation. This study was significant because it demonstrated the impact of an adolescent's social cyberspace status on their online communication.

• Journal of Korea Game Society
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• v.6 no.3
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• pp.23-32
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• 2006

Users connect to game server for considerably many hours and perform their roles in MMORPG(Massively Multiplayer Online Role Playing Game), users' immersion degree is very higher than other games, have known affluent contents make users play various roles in game world. However, although contents of games are improved quite much, MMORPG remains still boring game. It is because that the NPC (Non Player Character)' behavior patterns that are the most important elements to make games fun are so simple. So, in this paper we proposed a method to create NPC that react in player's inclination by implanting personality and emotion to NPC.

• 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.

• Archives of design research
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• v.20
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• pp.135-144
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• 1997

Italian industrial design influences strong impression worldwidely by their identity of free style, unique and artistic character, and get a very important status in aspect of the history of design and economy. Also, italy has many common feature with Korea in the geographic back- ground, character of history, culture, and nationality that is well-oriented by emotion, and it seems to be formed a valuable study. This study is based on the book 'Italian Design Through Generations' by kazuko Sato and tried to examine the character of Italian design by searching history, exam- ples, representative designers and enterprises of Italy, and to draw some lesson from it for establishiment identity of Korean design by reflecting to the origin character of Korea. Also, this study aims to inspect change of the civilization paradigm which is entering new aspect, and to suggest an ablity of our origin character and direction of the development.

• The KIPS Transactions:PartB
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• v.8B no.5
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• pp.485-492
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• 2001

Recently, character agents are used as a user-friendly interface. In this paper, we have studied a generic framework for emotional character agents which are designed to infer emotions from diverse personalities, situations, user behaviors and to express them. The method of emotion inference is based on blackboard systems which are used to solve the problems in AI. Because it keeps independence between knowledge sources which are rules of emotions, a blackboard-based inference engine is easy to manage knowledge sources, Blackboard-based systems gave the system flexibility. So we can adapt the engine to various application systems. Each emotional agent monitors user behavior, learns user profile and infers user behavior. And it generates characters emotions according to the user profile. So, in case of same situations, the agent can generate different emotions according to users. We have studied to build an personalized emotional character agent which according to situations and user modeling.

• Journal of Information Technology Applications and Management
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• v.27 no.6
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• pp.1-14
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• 2020

Since the birth of animation, the United States has created many classic characters. For example, Mickey Mouse and Minnie, Tom and Jerry, Lion King, and Nemo, which are imaged with animal images, include Snow White, Bell, Mulan, and Aladdin. In addition, there are villain characters designed with strong personality and personality design, such as Snow White's stepmother Grimheel, Ursula, Bad Girl Crew El Radville, Scar, Captain Hook, and so on. These animation characters have been remembered for a long time with stories in people's minds, and have also brought laughter and emotion to people all over the world, which has brought a lot of business value to animation companies. Recently, the villain of American animation works is becoming more and more suited to the taste of the audience. The villain is not a symbolic image of the brutality we have seen before. They are not only visual images with rich and diverse personalities, but are also designed to suit the tastes of the public with a multifaceted inconsistency. They appear as ordinary people in our lives in works, or as powerful people who are not realistic. The villain characters designed in this way are real human miniatures appearing in the relationships in our lives, and they cannot judge good or bad only by their appearance. Through the study of villains in American animation, many villains in American animation were summed up, and villains could be classified into three types: brutal, violent, and sneaky. Based on this, it was possible to analyze the appearance and attire of the villain character in American animation, and to create a vivid and popular image of the villain, it was found that the character of the character should be emphasized when constructing the shape and costume of the villain character. In conclusion, the attractive formation of villain characters is an important part for successful animation. The production of vivid and long-lasting villain characters must begin with detailed settings such as personality, shape, and dress from the planning stage, which is not only the intention of the producer, but also a reflection of the aesthetic psychology that society should pay attention to today.

• Design Convergence Study
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• v.14 no.4
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• pp.193-208
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• 2015

This study is to search a meaning of treagedy to show by the 6th generation through charecter's tragedy in the 6'th Generation Chinese film. For this, it examined an inner characteristic behind of the tragedy's moment and externalized ending in directors' films of the 6'th Generation's representation. The 6'th Generation of Chinese film reorganized newly Chinese film's cultural topography in the 1990s. The 6'th Generation films, which rebelled against the primary melody and the 5'th Generation on the system, is expressed commonly a tragedy moment with the time and space by character's tragedy. Characters of the 6'th Generation in the tragedy moment attempts various efforts to escape from the tragedy moment. However, no one can overcome the wall of reality, and their concealed emotion as keeping it out of the public eye lead that play. The moment that the 6th generation film meets a tragedy, the main character's accumulated tragedy situations begin to unfold all together. A tragedy embodied through : a collapsed tragedy due to the past's wound, a tragedy due to loss of jobs, a tragedy due to a family's departure, a tragedy from a time of chaos, a tragedy of a woman who became a head of a household and other tragedies.

• Journal of Korea Multimedia Society
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• v.10 no.10
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• pp.1310-1318
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• 2007

First of all, What was the modeling technique used to model 3D-Game character? It's a technique developed along several years, by experience... here is the bases Low polygons characters I always work in low polygon for two reasons -You can easily modify a low-poly character, change shapes, make morph for facial expressions etc -You can easily animate a low-poly character When the modeling is finished, Second, In these days, Computer hardware technologies have been bring about that expansion of various 3D digital motion pictured information and development. 3D digital techniques can be used to be diversity in Animation, Virtual-Reality, Movie, Advertisement, Game and so on. Besides, as computing power has been better and higher, the development of 3D Animations and Character are required gradually. In order to satisfy the requirement, Research about how to make 3D Game modeling that represents Character's emotions, sensibilities, is beginning to set its appearance. 3D characters in 3D Games are the core for the communications of emotion and the informations through their facial expression and characteristic motions, Sounds to Users. All concerning about 3D motion and facial expression are getting higher with extension of frequency in use. Therefore, in this study we suggest the effective method of modeling for 3D character and which are based on 2D Graphics.

• The Journal of the Korea Contents Association
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• v.13 no.12
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• pp.108-116
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• 2013

Park Jung-hoon started his acting career in movie since undergraduate year at Chungang University, Drama and Cinema school, and till now he is a very active and nationally beloved actor in Korea. However, to this day there isn't any study about him, so this study might be the right time to take a look at his acting style again. This report will find and review his distinctive patterns in acting, and roughly assess the character expression from character, Dong-chul, in the movie, My Dear Desperado; which has been evaluated as the best movie to show the inner side of character. His acting pattern is segmented by 3 parts; Park Jung-hoon style comical acting, expression of macho side of masculinity, and subtle inner emotion expression acting. Then his acting technique is analyzed from character Dong-chul in the movie, My Dear Desperado, which he acted out change in character from low-class nonsense gangster to a good-hearted man flawlessly. In addition this report will try to find his acting technique that made impossible distance between the characters possible. This study hopes to start and continue other studies that discuss many movie actors' and actresses' different character expression method and their training technique, also wish many actors and actresses could find helpful in their acting training.