• The Journal of the Korea Contents Association
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• v.10 no.5
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• pp.107-114
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• 2010

A nonlinear story is generated through the interactivity with users using the interactive storytelling system. In a play or movie, audiences can watch one scene at a time, and in order to watch next scene, they should wait for the end of current scene. In the real world, however, various events can simultaneously happen at different places, and even those events performed by characters may dramatically affect the flow of the story. This paper suggests Constraint Based narrative structure to create such story, known as "Simultaneous Story Arcs", and "Multi Viewpoint" to simultaneously lead the direction of the stories in each place.

• Trans-
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• v.13
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• pp.91-116
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• 2022

Web series, as one of the products in the network era, are different from traditional TV dramas, With the contents preferred by youngsters, wed series, as a form of fast food culture, are increasingly gaining popularity, such as being uploaded on online video platforms like Naver TV and Youtube. This study aims to examine the characteristics of narrative closure and continuing serial form of Youth Web Series through the youth web series production company "playlist original" in Korea and analyze the narrative structure caused by narrative closure and continuing serial form and nonlinear narratives.

• The Journal of the Convergence on Culture Technology
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• v.9 no.4
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• pp.423-430
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• 2023

This dissertation discusses the formulation of a nonlinear storytelling board that preserves the contextual perspective of characters. Storytelling encompasses the director's creative intention by leveraging the interaction of various elements to construct a logical narrative that explores cause and effect. Its primary objective is to enhance viewers' empathy. Consequently, there is a pressing need for comprehensive research on differentiating storytelling from storyboarding. Moreover, the integrated approach to storytelling and storyboarding holds scholarly value in understanding the process of narrative composition and visualization. Thus, a study proposes a method for constructing nonlinear storytelling boards considering the discrete camera perspective and contextual scene continuity, ultimately contributing to visual complexity and correlation comprehension. This approach enables a careful and simultaneous consideration of the correlations that deepen cognition, including the physical, emotional, and event rhythms mentioned in Karen Perlman's theory.

• The Journal of the Korea Contents Association
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• v.21 no.8
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• pp.60-68
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• 2021

The purpose of this paper is to examine the formal characteristics of , which has been screened on Netflix since 2018. This film can be considered an interactive narrative because it gives viewers the opportunity to select their own narrative forks which lead to various endings. However, it also limits viewers' freedom of interactions in many ways, resulting in the pessimistic narrative world of series. In this contradictory situation, the conflict between the user's selectability and the narrator's authoriality emerges. And this collision gives rise to a complex form in which nonlinear interactive and linear narrative forms blend together. It can be understood as a form of self-reflection, such as forms of the metalepsis and breaking the fourth wall. In this paper, this particular form will be regarded as a sort of reflexive intermediality, i. e. the form for media reflexion.

• Cartoon and Animation Studies
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• s.49
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• pp.465-491
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• 2017

This paper analyzes the short animation film which faithfully follows the external dimension of cartoons, and studies the hidden subject and the way of narrative in the back of the figure. In this process, we analyze the theme of using the analysis method of mosaic image. The narrative of cartoons is usually the majority in discussing the differences in the aspectual part. However, this animation uses cartoons to reach the linear narrative of ordinary narrative movies. As Janet Murray explains, if a 'mosaic image' approaches a theme through a mosaic approach, we can limit the 'mosaic film' that are introduced in the film format among them. First of all, conceptually uses the characteristics of 'mosaic image', at the same time, it utilizes a work utilizing the narrative features of 'mosaic film'. By analyzing this animation film by bifurcation, the first half reveals the characteristics of open-minded mosaic video platform, and the second half introduces the linear narrative method of film narrative. This paper divides the narrative method of 'multi plot Film' into three types: mosaic narrative film, network narrative film, and multi-draft film. Thus, we can analyze the ending of as a narrative method of 'network narrative film' which is composed of parallel or juxtaposed stories. In other words, if the early part of the animation follows the 'mosaic narrative' as an 'extension of ensemble film', the latter part faithfully follows 'network narrative'. Even in the way of talking about the subject, this animated film uses the way of speaking the mosaic image. Considering the aspectual tendency of cartoons, it can be said that this film derives the meaning of 'humor' or 'satire' in an open way. If the first half refers to 'the ambiguous routine of modern man', the latter half draws a profound theme called 'the reality of human selfishness in modern society'. is a film for a wide range of social criticism designed for adults who can interpret meaning.

• Journal of Korea Society of Digital Industry and Information Management
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• v.13 no.4
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• pp.193-199
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• 2017

This study applied the scenario of the film "Warcraft: The Beginning, 2016" based on the world view and nonlinear story of online games to the basic requirements of a good story of five items. Based on this, it was found that the storyline of the film "Warcraft: The Beginning, 2016" was faithful to the game series with the same title, but weak for a film. This film did not satisfy any of the five requirements of a good scenario used for Hollywood production. Even before this film, many hit games were made into films, but box office hits are hard to find among them. As the game World of Warcraft was very famous worldwide, when it was made into a film, the film was expected to be a box office hit. However, it failed miserably at the box office. This is a result of failing to recognize that the characteristics of games that an individual leads the story are different from those of films that no interaction or choice can be made. It is necessary to understand that although games and films are the same in that they have narrative structures and visual stimulation graphics, they are totally different in the way they immerse people.

• Smart Media Journal
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• v.12 no.1
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• pp.77-91
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• 2023

Interaction methods and technologies for mutual exploration based on user behavior are evolving variously. Especially, in recent years, with the development of a wide range of sensors, they have developed from contact to non-contact methods. However, developers' senseless definitions of the interaction methods have made the exploration process quite complicated, which rather creates the hassle of users needing to learn the interaction guide defined by the developers before experiencing the exhibition contents. In this context, in order to make visitors smoothly communicate with exhibition contents, a preliminary study on easy interaction for users of various ages is needed, and in particular, research on improving the usability of user interaction is also essential when developing non-contact exhibition contents. So, in this study, a method to reduce the confusion between developers and users was sought by researching non-contact interaction that could be universally interacted with in the field of exhibition contents and proposing behavior designs. First, based on the narrative structure of cultural resources, existing studies were reviewed and the points of interactions as cultural contents were derived. Then the most efficient search process was selected among non-contact behaviors based on hand gestures that allow users to naturally guess and learn interaction methods. Furthermore, on the basis of the meaning of non-linear narrative-based interaction and the analysis results of spatial behavior elements, affordance behavior with high learning effect and efficiency was derived. Through this research process, an action that helps users to understand non-contact interaction naturally in the process of exploring exhibition-type cultural contents and to utilize non-contact interaction in the process of immersion in exhibition contents is proposed as a final model.

• The Journal of the Korea Contents Association
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• v.15 no.4
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• pp.479-489
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• 2015

The paradigm of communication is changing by the generalization of mobile computers and the extension of network service. In the mobile messenger communication, people are increasingly using character emoticons to substitute linear text. This means that the character emoticons are functioning as narrative characters so that they are becoming the nonlinear techno-code, which can substitute for the alphabet code. As Vil$\acute{e}$m Flusser said, the post-modern communication is arrived. In this kind of communication, storytelling with character emoticons are effective enough to tell various stories. In this point of view, this paper tries to prove the functions of character emoticons and suggests the classification of the character emoticon series. This paper also structures the post-modern communication model as a new paradigm of visual communication.