• Journal of Digital Convergence
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• v.13 no.11
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• pp.357-364
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• 2015

Because of the unique images of monsters and people curious about the unknown things in the game, gamers escape from ordinary life to explore a whole new world of games in the virtual space. Gamers monster while dealing with characters that are not in the real world, I feel the joy and freshness, much to the popularity of these unique characters are gamers. Is the study of the game Monster character to now is still food that fell short, there is currently many games with the simple design by limiting the monster character design for simple figurative design in the characters monster representation of the figurative simple character designs is fulfilling the week The feed. To analyze the convergence of the monster character design in various ways and to apply the formative apply thoughtful design of the monster characters. This study combines research with a multidisciplinary approach based on the traditional image of the monster character image.

• Journal of Digital Contents Society
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• v.18 no.8
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• pp.1649-1659
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• 2017

China, Korea and Japan are all neighbors, but there are quite a few differences in monster culture. In this article, through studying of Korea games highest export countries--China and Japan, as well as analysis on their historical origin of development of "Monster culture", so as to explore the similarities and differences between development of monster culture. In addition, combining these differences and similarities, through the study of "monster culture" related game works, it aims to explore the impact of these countries' monster culture on modern life culture and the development characteristics of all kinds of monsters under the background of modern culture. Besides, based on above analysis, developed a monster character design that can form a bond of sympathy in three countries by comparing and combining the most popular parts of the monster characters in this three countries. The final aim is to create a game monster character that both in rich ancient culture charm and loved by all people, so as to being taken as an example to illustrate the significance and value of promoting the development of monster culture. The result of this research will help to design monster characters in game production in the future.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2010.05a
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• pp.328-331
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• 2010

The ratio of roles, involving characters created by 2D or 3D Graphic Technology, has risen within games, recent animations, movies and the educational sector. However, the "monster character" appears mainly in "Shanghai Ching" and Greek and Roman mythology. To receive worldwide accolade, it is time that we should use our games, movies and animations to present the history and spirit of Korea. I researched Korean myths so as to understand the characteristics a "Korean monster" would need to portray. This also allowed me to visualise the monster and realize the necessary manufacturing processes involved.

• Cartoon and Animation Studies
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• s.18
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• pp.37-56
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• 2010

This paper focalizes on the 'evolution' of monster animation and . Actually, Many characters' 'Evolution' is a very powerful convention of Japanese genre animation. Lots of young people feel a huge pleasure about character's evolution. It is a fantastic spectacle to boys and girls. The first characteristic point of characters' evolution is growing-up body to an adult. For example, magical girls genre shows a woman's sexy body. This scene gives a sexual fantasy to young girl spectators, a voyeuristic visual pleasure to young boy spectators. The second point is that a transforming-body gains some super power or magical power. The third point is that a great many characters is in one text. In , characters' numbers go on increasing through 6 ways-hybrid type, mutant-reiteration type, metamorphosis type, simple-grownup type, narrative type, multiple evolution type. The evolution of has to pay attention to only one transforming way. Most Digimon characters are becoming to a human-weapons cyborg. In my opinion, this is very dangerous phenomenon with a political ideology.

• Cartoon and Animation Studies
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• s.50
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• pp.153-185
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• 2018

This study analyzed the comic "Monster" based on J. Lacan's psychoanalytic theory. J. Lacan advocated a new psychoanalytic theory through S. Freud's psychoanalytic theories and socio-cultural studies. The main theory of his theoretical background is the 'desire theory' which analyzed human desires. He distinguished human desires as desires and demands and had the basic proposition that 'human desire is the desire of the other'. J. Lacan (J. Lacan) studied in depth the relationship between oneself and others, which he defined by dividing it into an imaginary system (mirror stage), a symbolic system (Oedipus complex), and a real system (desiring subject). Based on these theories, the main purpose of this study is to analyze the comic "Monster" by Naoki Urasawa focused on the desire theory of J. Lacan based on psychoanalysis to examine what new meaning could be extracted. In order to analyze the comic "Monster", the qualitative research method was used and the method of analysis was the descriptive phenomenological method devised by Giorgi (1985). Through this analytical method, the background, characters, and symbols of "Monster" were analyzed and content analysis was performed based on the theory of Giorgi (1985) and the desire theory of J. Lacan As a result of the analysis of the meaning unit and components related to the desire theory through content analysis, the contents analysis was divided into four components: identification, reproduction of desire, alienation, and unique desire and freedom. The results of this study are summarized as follows. First, on the basis of psychoanalysis, "Monster" is classified into four elements, identification of twin characters, reproduction of desire, feeling of alienation and unique desire and freedom of characters based on desire theory of J. Lacan. Second, the characters analyzed by the desire theory of J. Lacan attempted to reproduce their desires through identification and projection of twins due to their traumatic experience when they were young. Also, the characters who felt alienated in the process of reproduction made a tragic ending to complete human desire and freedom to fill in their emptiness. This result shows that desire theory of J. Lacan based on psychoanalysis can be used as a new analytical theory, a comic analysis which suggested a new meaning. The results of this study suggest that a new field of research, a comic analysis using psychological theory, needs to be created and further studies in this field are required.

• Cartoon and Animation Studies
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• s.16
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• pp.141-163
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• 2009

This paper examined the goblin characters in Japan animation. The meaning of the goblin in this paper is not a just monster. They have a spirit. This concept is based on animism in japanese mind. I attempted a chase of goblin character's making methods. My theoretical approaches lean on the concepts "inter-textuality" of Julia Kristeva and "text" of Roland Barthes. First of all, I compared some beings of the old chinese myth-geographical book with some characters of Japan animation . The making method of goblin characters is two. One is 'Hybrid', the other is 'Mutant'. And than I appled to Japanese traditional image, "Baek-kuy-ya-hang-do"(hundreds of goblins' parade). The making method of goblins is combined to a inter-textual way as hybrid or mutant.

• Cartoon and Animation Studies
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• s.40
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• pp.33-53
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• 2015

The movement of characters is one of the crucial elements to deliver their emotion flowing inside. Though it is the same movement, it may appear or be expressed differently according to the character's personality or emotion or the particular situation. The purpose of this study is to analyze not only the movement found superficially in an animation but also a character's internal emotion and attitude with Laban's movement analysis system, particularly effort, one of its analysis categories, and examine how effectively Laban's movement analysis often employed at the circles of dance can analyze movement in an animation. is about a monster that constantly makes efforts to realize its dream to be a scarer. Functional movement forms the most part, but expressive movement to show how a character thinks or feels also appears harmoniously. Characters' externally shown movement can express their internal emotion properly sometimes, but they also often move expressing their feelings in moderation. Therefore, this study analyzes the movement of characters found in the four scenes of with LMA's effort. According to the findings, at the scene where Michael enters the door leading to the human world following the scarer, the emotional state of Michael envious of the scarer is expressed with the Vision Drive giving the strong feel of dreaming. At the scene of the second game to choose the best scare team, it shows us the Spell Drive with its careful and light movement having clear intention to survive at the game. At the scene where there is a party held for the teams that have survived, it shows the Passion Drive of being eagerly expressing happy and delightful feelings without considering what is around. At the scene where Michael and Sullivan are pursued by people, the Action Drive was used to express movement that was heavy and strong and was getting faster gradually by focusing the feelings of the characters in haste into one place.

• Proceedings of the Korea Contents Association Conference
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• 2013.05a
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• pp.159-160
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• 2013

본고는 한국과 미국의 MMORPG 게임에 나타난 몬스터 캐릭터 각 100개를 뽑아서 비교연구를 진행하였다. 몬스터 캐릭터에 대한 이해부터 착수하여 몬스터 캐릭터의 비례, 색채, 하이브리드와 뮤트턴의 응용, 다자인 머티어리얼 등 여러 각도에서 비교연구를 해보았다.

• Journal of Popular Narrative
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• v.26 no.1
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• pp.9-39
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• 2020

The aim of this study is to examine how heroic characters with supernatural powers are portrayed, and what shortcomings and desires are present in the societies they are born into, with reference to television series with superheroes such as , , and out of many motifs of Korean television fantasy series. The common feature of the superheroes represented in these three dramas is that they are viewed as monsters symbolizing vigilance and alienation instead of being regarded as typical heroes that are the object of praise and admiration. All three dramas criticize the corruption and limitations of bureaucratic powers such as the judiciary, prosecution, and police. The protagonists showcase their heroics by correcting such problems and helping the weak and the victimized by using their supernatural powers. At the same time, they broach uncomfortable topics, highlight truths that some may wish to hide, and also argue the concept of 'normality' and the 'world of naturalness'. For this reason, they are treated as monsters and alienated. Despite being called upon to solve the problems in reality, the deficiencies and contradictions of our society are also revealed by them. The idea of expressing the repressed desires in reality, is similar to the attributes of fantasy in that it criticizes and overthrows reality in order to meet the desires. This study verified not only the subversive characters of fantasy, but also the limitations when such attributes were combined with the characteristics of the medium of television shows. The significance of this study is to give attention to a genre that had previously been neglected by Korean productions but is now gaining traction, and also to suggest many tasks for researching more subdivided and diversified fantasy dramas in the future.