• Journal of Gastric Cancer
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• v.24 no.1
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• pp.69-88
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• 2024

This review comprehensively examines the diverse spectrum of gastric cancers, focusing on unusual or uncommon histology that presents significant diagnostic and therapeutic challenges. While the predominant form, tubular adenocarcinoma, is well-characterized, this review focuses on lesser-known variants, including papillary adenocarcinoma, micropapillary carcinoma, adenosquamous carcinoma, squamous cell carcinoma (SCC), hepatoid adenocarcinoma, gastric choriocarcinoma, gastric carcinoma with lymphoid stroma, carcinosarcoma, gastroblastoma, parietal cell carcinoma, oncocytic adenocarcinoma, Paneth cell carcinoma, gastric adenocarcinoma of the fundic gland type, undifferentiated carcinoma, and extremely well-differentiated adenocarcinoma. Although these diseases have different nomenclatures characterized by distinct histopathological features, these phenotypes often overlap, making it difficult to draw clear boundaries. Furthermore, the number of cases was limited, and the unique histopathological nature and potential pathogenic mechanisms were not well defined. This review highlights the importance of understanding these rare variants for accurate diagnosis, effective treatment planning, and improving patient outcomes. This review emphasizes the need for ongoing research and case studies to enhance our knowledge of these uncommon forms of gastric cancer, which will ultimately contribute to more effective treatments and better prognostic assessments. This review aimed to broaden the pathological narrative by acknowledging and addressing the intricacies of all cancer types, regardless of their rarity, to advance patient care and improve prognosis.

• 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.19
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• pp.89-112
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• 2010

Today many countries consider the culture and technology industry as a high value-added industry, and make intensive investments into cultural content for its growth. In the culture and technology industry, the OSMU (One Source Multi Use) business structure, which creates content using diverse media based on one original work and thus generates a high added value, has received much attention. Recently Korea has also witnessed an increase in the cases in which the cartoon medium is converted into movies or drama. Cartoons are now put to the most use as an original source, in which the process of active secondary reproduction and recreation are taking place. In the process of recreating original works, media characteristics function as an important variable. Stories are newly reproduced by the detailed information (form) characteristics of each medium. Despite those developments, however, there are not as many active comparative studies on media-converted works as there are actual productions of them, which calls for a need to more fully activate specific comparisons of cases. By comparing and investigating original works and secondarily recreated ones through media conversion, the study made comparisons between the cartoon and movie medium and described the common and different features of the two media in terms of detailed information characteristics. In order to provide a specific case, it also analyzed the cartoon Tajja and movie Tajja through media conversion, focusing on 'conversion of narrative structure.'

• Journal of Digital Convergence
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• v.17 no.6
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• pp.373-380
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• 2019

In this study, I examined the visual elements for narrative structure and the symbols, scene components and visual styles in the images through analyze the flat staging in Tomm Moore's animated feature film, . As a research method, I figure out the general theories about staging and analyze extracted scenes which revealed flat staging in the , then summarize and clarify the flat staging production elements and features of Tomm Moore. As a result, in , the composition of the screen using the basic shapes, the screen composition containing the spiral which is symbol of the Celtic traditional pattern, the stable and flat frame expression through the balanced screen composition, expression of spatial sensation using perspective, appearance of the period by using the inverted perspective, and composition that can emphasize the flat formability are appeared as a characteristic. Through this, the two-dimensional planarity was maximized to convey the feeling of appreciating the illustrations of fairy tales. Tomm Moore, who produced animation based on folk tales in order to inherit the traditional culture of Ireland, has been attracting worldwide attention because of its flat staging to help narrative, enhancing the original expression and performance of animation. I hope that this study will be used as basic data for industry workers and researchers who make unique and excellent animated feature film.

• (The) Research of the performance art and culture
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• no.18
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• pp.283-314
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• 2009

This paper is an attempt to examine historical drama which change rapidly in the manner of seeing history. Historical records are treated differently unlike in the field of modern history. Now the distinction between historical facts and fictions becomes no longer important. This change is affected by micro history, new cultural history, or post-modern history. History and narrative become interactive each other. In this respect they are no more historical drama. by Han Areum (director Suh Jae-hyung) represents this new trends. Of course, it doesn't suddenly pop up in 2005. It began in by Lee Yoon-Taek, was reinforced in by Kim Tae-Woong, and bloomed in . I intended to search important features of by following three. First is the interest about unimportant persons such as a maid of honor, an eunuch. In , they are the main characters. The author described much about those trivial people revealing the truth in different way of the existence. Second is the way of calling a past. In this piece, the past is not continuous. The past always appears at the stage by the present in the form of split which is imagination, recollection, revival. Third is a mixing genre. Comics, melodrama, and thrillers are all together in . This is a similar phenomenon to historical novel and movie of new trend. Strictly speaking, this piece isn't a history thriller. The accident of lost prince doesn't be treated importantly and the result isn't clear either. In this piece, detective genre is used for a symbol showing that writer pursuits the history, not the event. This represents well the characters of new historical drama because how historical facts are carefully recreated and constructed are important. It's enough to show the possibility to mix genre through comics and melodrama.

• Journal of Popular Narrative
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• v.26 no.2
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• pp.191-219
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• 2020

This paper aims to identify the key features of the novel writing of Korean American immigrants and their meaning as one aspect of movement and contact occuring in the early modern period. The late return of the novels written by Nakcheong THUN in the 1930s is significant in that it restored ideas on the diversity of early modern mobility and confronted the history and culture of immigrants who were excluded from records and memories. Not only are these novels a product of the phenomenon of immigration, but they have also created a crack in the dichotomous perceptions of domination and subordination, center and periphery by envisioning it as a space that creates new history, culture, institutions and values. These novels treat the free love of intellectual, emotional, and ethical figures as a central event, demystifying Western free love, and at the same time, a society divided by various identities including class, race, and gender. The novels by Nakchung THUN visualize the active exchange between the immigrant and the indigenous community through the character of Jack, and imagines the heterotopia as a place where not for the immigrants' utopia, but for everyone's coexists. These novels have declared a kind of memory war on the subordinate and marginalized contact zones. The contact zones of the immigration area had been a place for experiencing extreme conflicts and discords, and at the same time, it has served as a place where various groups and communities are connected. The contact zones were common areas of solidarity and creation before being subject to division and occupation. The contact zones are far from the border or borderlands, so it is not a fixed and immutable deadlock. As a world free from central domination the contact zones have been a space that preoccupied history and culture through various encounters, and have been a community.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.9-43
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• 2019

Web novels are one of the most actively adapted genre novels under a new medium called the Internet. Research on cultural content implemented on top of digital media is naturally closely related to environmental changes in digital media. The same goes for Web novels sparked by the identity of Web platforms. Especially in the case of web novels, the platform itself that provides them has triggered direct changes in genre code and reading patterns. From this perspective, this thesis wanted to examine the formation process and strategic features of web novels, which became content and products on the web platform environment. First of all, through the formation process ranging from communication novels to Internet novels and web novels, I arranged the transition to digital media and the change of genre novel market. This was an attempt to extract that Web novels not only have continuity as genre novels, but also have a turning point as digital content. Web novels are digital content that internalizes the values of the Web 2.0 era. It should also be a core product that grows the pie in the market in its own right. This paper noted that web novels are content that embodies these consumption values. So this thesis considered about what is the visualization and commercialization strategy of the web-based novels that is currently formed, and what is the current status of the web-based romance novels as the content and the product that is driving OSMU most actively in the process of commercialization. Through this process, I found that the greatest characteristic of web novels as genre novels that have evolved into digital content is their division and crack of genre.

• Cartoon and Animation Studies
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• s.49
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• pp.325-357
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• 2017

It can be assumed that the reasons why the animation characters, 'Olaf (in Frozen Kingdom)' and 'Minions (in Super Bad)', etc., which were very successful in the merchandising market while having won the popularity better than the main characters are very popular even though such characters appeared only by playing a funny role while assisting the adventures of the main characters are not only because of their cute appearances but also because such characters have their own core features in their inner world as the transitional object-characters. Simply expressing, a 'Transitional Object' as a concept suggested by a child psychologist, 'Donald Winnicott', means a lovey doll or an imaginary friend which temporarily replaces an infant's mother during the procedure when the infant is mentally separated from its mother. However, in case that the theory of transitional objects was applied directly to many narrative content characters for doing a study, there must have been done some studies in advance for establishing some new criteria and indexes related to the transitional object-characters of such narrative contents. Accordingly, while thinking that the 'emotional relationship' between a growth-subject and a growth mediator must be dealt with as the most important content in order to define a transitional object-character in a narration clearly, this researcher established some emotional index for judging the propensities of a transitional object-character on the basis of such way of thinking. The index is composed of 4 kinds of emotional roles (quasi-family member, growth mediator, lovey doll, an imaginary friend), 6 kinds of emotional supports (hugging, protecting, accepting, giving the initiative, improving the relationship and mutual supervising) and 4 kinds of emotional impressions (impression by contacting, impression to protect and impression accepting an attack). In case that some main characters of a family feature animation, 'Inside Out', are analyzed while the index mentioned above is applied, it was found that 'Bing Bong' and 'Sadness' have a high propensity as a transitional object-character. Especially, it could be inversely inferred in which ways some good transitional object-characters can help the narrations on growth of a family feature animation by taking a look at the character, 'Sadness' that has the highest propensity as a transitional object-character. The transitional object-character, 'Sadness' assists the narration on growth internally and externally by helping the internal maturity of a growth-subject in a way of projecting the tasks for the internal maturity of a growth-subject while helping the growth-subject to be successfully externally in a way of providing the growth-subject with some kinds of facilitating emotion. As the results from this Study, since such kinds of emotional experiences provided by such transitional object-characters are displaced to not only the relevant growth-subjects but also the audience who are emphasized with such growth-subjects as they are, such transitional object-characters play a role of hidden benefactors who induce some immersion into the narrations and provide child and adult audience with various layers of emotional satisfaction.

• Cartoon and Animation Studies
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• s.39
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• pp.451-472
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• 2015

Lian Huan Hua(連環畵) has occurred in the history of China Cartoon was initially developed as a unique literary style of Chinese painting and narrative combined. Also Lian Huan Hua are also tend to form once the fusion 1920s was also a very creative fashion cartoon style. This is also referred to as chain cartoon. In 1950-1960, China 's Lian Huan Hua also mature a 'golden age' legal group reaches to indicate the unique formal features developed independently. This work is a dramatic expression of Lian Huan Hua narrative, shows a more realistic representation techniques and art forms such as portraiture is a very big breakthrough was achieved artistic maturity of the work increased significantly. by He You Zhi(賀友直) and by Hau San Chuan(華三川) is a masterpiece of artistry and maturity in the period leading side. Chapter 2 looked at the origin and development of Chinese Lian Huan Hua, it was seen by the fact that China achieved new progress in Lian Huan Hua upset every time the combination of content and form, In addition, the work of 1950-1960 in the development process of China's Lian Huan Hua confirmed the fact that they won the biggest achievement in artistry and maturity surface. Therefore, Chapter 3 how 'golden age' masterpiece of and the dramatic narrative of expression by analyzing a specific angle in the multifaceted image of the , realistic portraiture, such as the acquisition of Chinese concrete artistry Lian Huan Hua I want to show. Analysis of the figures depicting nature, landscape screens. consisted of highlights and background and techniques of utilization, production methods. The purpose of this research work is to identify two conditions of great Lian Huan Hua through analysis of concrete work and painting techniques such as framing and directing the Lian Huan Hua's artistic achievements is to investigate the influence of China in the early comics. These two works are focused on a realistic view of life and put out was to create a more effective representation of information it attempts to pass a new production techniques and will have the significance. Also completed was a new style absorbed throughout the aesthetic advantages are compelling own personality writers of Eastern and Western paintings are remarkable in that its performance. But the difference in the two works represent all types and painting techniques has a the mood of common China's lives.

• Journal of Korea Game Society
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• v.12 no.3
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• pp.25-36
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• 2012

Cross-Media Storytelling(CMS) is the new method of media representation. It picks the features and the elements in one media, and uses them in another media. 'Remediation' in digital era uses the content of old media in new form based on new technology. But 'CMS' represents the basic elements of the media experience in each unique style of media. It changes the focus from the technology to experience. So CMS is the new strategy of the media not based on the new technology. Adam PESapane's (2006) is a example for this strategy. It takes the game media as a subject matter. But it expresses the meta-representation of game experience in the "stop motion animation" Especially it emphasizes the narrative chain between the usual phenomenon and the visual imagination. And it shows the possibility of representation of new media experience in the old media genre. So it suggests the conditions of CMS.