• International journal of advanced smart convergence
• /
• v.11 no.2
• /
• pp.71-76
• /
• 2022

The continuous development of virtual reality technology in the last five years has brought about a big change in the future film industry. Interactive VR movies using virtual reality technology in movies showed the result of increasing the immersion of the audience due to the characteristics of interaction. This will provide a unique opportunity for a new experience of immersion in various forms of cinema in the near future. In this paper, the interaction of narrative VR movies was studied as an example of the movie , which won the [The Best VR Experience Award] at the Venice International Film Festival, In future development, improve the scene transition, Dizziness, Ways of interaction and other questions, let the audience increase the sense of participation, immersion and curiosity when watching movies, and make watching movies a more interesting thing in life.

• International Journal of Internet, Broadcasting and Communication
• /
• v.16 no.2
• /
• pp.75-80
• /
• 2024

Research on the visual narrative impact of Unreal Engine's Lumen lighting system in games aims to delve into how Lumen's lighting technology plays a crucial role in game design and gameplay experience, thereby enhancing the visual storytelling of games. Lumen, Unreal Engine's dynamic global illumination solution, calculates lighting and shadows in real-time during gameplay, creating a more realistic and immersive environment. Analysis indicates that Lumen technology not only provides visually realistic and dynamic lighting effects but also significantly enriches the expressiveness and immersion of the game narrative through its changes in light and shadow.

• 한국경영정보학회:학술대회논문집
• /
• 2007.06a
• /
• pp.640-645
• /
• 2007

In theese day, games are often referred as the most potential media to have artistic and entertaining features of digital technology, In this study, used to derive the factors of enjoyment and immersion that users experience from interaction and narrative levels in games were derived The framework of interaction and narrative levels in games was adopted from Marie-Laure Ryan's(2002) and Hyewon Han's(2005) study. The framework was used as the basic instrument for focus group interviews. The result of this study provides a practical model for game-design.

• Journal of Digital Contents Society
• /
• v.18 no.8
• /
• pp.1481-1487
• /
• 2017

In this article we describe our preliminary work to create VR interactive storytelling particularly for building empathic relationships between the reader (or the player) and story characters. As a practical guideline for developing empathy-based VR interactive story, we propose four key factors: first, narrativity considering narrative theories and concepts including the notion of focalization by Gerald Genette; second, interactivity for balancing between narrative and player control in interactive storytelling domain; third, consideration of virtual reality in human computer interaction domain; fourth, empathy in narrative from the viewpoint of psychology and cognitive science. We also introduce an example interactive storytelling scenario based on Little Red Riding Hood story. Finally we conclude with our VR implementation using Unreal game engine and HTC Vive.

• Journal of Digital Convergence
• /
• v.20 no.5
• /
• pp.751-759
• /
• 2022

Game graphics provide players with a sense of immersion, leading to active participation. This paper aims to analyze the mythological meaning for symbolic design of game skill visual effects that reproduce the narrative and the worldview of games borrowing myths. The research method classified the visual effect image into a symbol of the form of a universal archetype representation and a symbol of color expressing the narrative in the game, and analyzed it by applying Roland Barthes' semiological scheme. Through this study, it was possible to analyze the meaning of visual effects as a mythical meaning that can be universally sympathized and an implicit meaning that symbolizes the narrative of the game. The symbolic expression of the visual effect, which reproduces the narrative of the game reflecting the myth, can induce players to engage and participate, and the design direction was intended to provide the visual effect to have a unique symbolism that reflects the game's mythical worldview of the game.

• Cartoon and Animation Studies
• /
• s.34
• /
• pp.23-43
• /
• 2014

The development of the Internet in the 21st century had made a variety of cross-cultural environment so that animations also have evolved with new features to Web-Animation. In Korea, the web-based flash animation leap forward to the animation Utopia in the early 2000's, but did not last long. The web-based animations should attract audience's attention not only with it's minimum streaming capacity but also with showing it's best qualities as well, Therefore, the stimulating narrative strategies were mandatories for web-animation in 2000's. The absence of in-depth research on media, poor revenue structure, and the emergence of mobile games and e-learning industries made the web-animation become just a one-time/one-consumable content. There were no subsequent generation of korean web-animation ever since. In this study, I want to introduce and analyze the american web animation series, (2005) as a new type of web-animation in current digital culture, In particular, I want to discuss how this web animation appeal to the audience with its narrative strategies through using some aspect of the internet culture which's differentiated from traditional media based cultures. This research could suggest diverse narrative strategies for the future web-animation with new vision. Moreover, This also allows to look at latest web-animation trends and its new experiments.

• Journal of Digital Convergence
• /
• v.16 no.3
• /
• pp.429-438
• /
• 2018

Brad Bird, a screenwriter and animation director in the United States, criticized the situation in which most animations were produced and released for the children since the early 2000s. He said that animation is an art form capable of conveying messages not only to children but also to adults, and that their development potential is high. In this study, I analyzed overall components such as narrative structure, character, subplot, symbol, and foreshadow of Brad Bird's animated feature films , , and examined his narrative features and strategies. As a result, the narrative features of animation as an art form are as follows: First, conveying the message of a serious subject that will deeply sympathize with adults as well as children. Second, expressing the social agenda which criticizes the contradiction of the real world and the periodic mistakes. Third, solid narrative structure through a dense plot based on realistic situation setting. I hope that this study will be used as basic research material for various animation production in the future.

• Journal of Korea Game Society
• /
• v.8 no.4
• /
• pp.45-53
• /
• 2008

This paper analyzed the narrative construction of ‘World of Warcraft’ which is very popular worldwide. Narratology and ludology should be interrelated in the larger area of art, rather than existing as separate fields. Dramatic narrative constructions of game would be made when the rules of game emerge with the circumstances of play. This paper reviews how 'World of Warcraft' generates its tremendous popularity through analyzing the overall narratives of 'World of Warcraft' and sub-narratives such as quest, PvP and hunting systems. The distinctive feature of this game is its well-designed story flow which is emerged by both underlying linear original story and non-linear multi-scenario that offers rich interactivities to the game users.

• 한국노년학
• /
• v.29 no.3
• /
• pp.1123-1140
• /
• 2009

The purpose of this study is to explore the process for the elderly with palsy to solve conflicts with the elderly with dementia in day care center through the narrative therapy group work. For this, the researcher enacted the Narrative therapy group work on the 12 elderly with palsy for seven sessions, and analysed these data through qualitative case study method. The results of this study are as follows. First, the elderly with palsy became to recognize the elderly with dementia as 'the people suffering from dementia' rather than 'the problem', and tried to care them rather than to blame. Second, they became to recognize themselves as 'component people' rather than 'the victim'. Third, they grew intimate and collaborated with themselves. Fourth, they participated actively in day care center. It was discussed connection between these changes and narrative therapy skills, such as to separate problem from people, to respect client as expert for one's problem, to seek unique outcome. The recommendation is suggested that it is important to enlarge choice to participate for long-term care service consumer and to apply narrative therapy on the elderly.

• The Journal of the Korea Contents Association
• /
• v.10 no.2
• /
• pp.146-154
• /
• 2010

Argument on the postmodernism of philosophy and history, epic and effect, and culture and art is becoming more ambiguous in scope due to digital technology development. Digital technology makes to change of aesthetic approach over the length and breadth of art and culture including medium art. Analysis of Digital images is changed from presence of images to feature analysis of images which is made by digital technology, and raise the question of how to analyze the images of reproducing digital technology focused on realism. Digital image, focused on hyper reality, should be approached not by film aesthetic approach but by shot unit. Due to emphasizes image reality reproduction by frame unit and not the short unit of the narrative approach, the artistic approach should differ from previous realism practice. Particularly, when considering movies which is focused on illusion, the realistic approach should be realized not in the of realistic approach in narrative aspect but in the aspect of realistic approach in painting aspect.