• Journal of Korea Game Society
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• v.12 no.6
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• pp.47-58
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• 2012

Video game industry has undergone the drastic changes for forty-year history. The purpose of this study was to gain an understanding of the historical evolution of the U.S. video game industry. To achieve this goal, this study has chosen the industrial organization model as the theoretical framework. This study found that the market structure as well as the market conduct in the U.S. video game industry changed drastically. This study concludes that the change of the market structure of the U.S. video game industry relates to the change of market conduct. This study could serve as the basis for future research on the economic analysis of video game industry.

• Asia Marketing Journal
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• v.11 no.2
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• pp.173-192
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• 2009

As video games gain popularity and become a normal part of home entertainment, concern about youth access to inappropriate games continues to grow. Some people have claimed that violent video games influence children's aggressive behavior and that violent video games have some responsibility for violence in the school. In response to people's concerns, the video game industry created a video game rating system in 1995 to help parents decide which video games are appropriate for their children. This study investigated whether parents were aware of the video game rating system and how often they have used it when selecting video games for their children. This study attempted to find relationships among parents' attitudes toward video games, their guidance styles for their children's video game play, and their use of the video game rating system. This study found that most parents have used the video game ratings very frequently when they select video games for their children. But many parents still don't understand the video game rating system. This study showed that parents who had more negative attitudes or less positive attitudes toward video games were more likely to impose restrictions on their children's video game play and to use the video game rating system as a means to restrict their children's access to violent video games.

• The Journal of the Korea Contents Association
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• v.17 no.6
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• pp.203-224
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• 2017

With the development of the IT industry and the growth of the cultural industry, the game industry is becoming an important industry. In this regard, the study seeks to differentiate the generation of video games based on technological characteristics from the perspective of technological innovation. SEGA, Nintendo, MicroSoft, SONY, and ATARI were chosen as research subjects. The survy was conducted from ATARI to 2017. The results of the study are expected to help develop the technology strategy of the future video game industry.

• Journal of Korea Multimedia Society
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• v.7 no.6
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• pp.814-823
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• 2004

Current video games and game room games are played as a single player mode on the basis of various emulators. With the evolution of data communications and game technology, a new trend in the game industry has made the primary interests of game developers and companies in the game industry be moved toward a multiplayer mode from the traditional single player mode. In this paper, we represent how to implement a network game platform by allowing network modules to be run in conjunction with the current video emulator games. It also suggests a synchronization scheme for real-time game playout and practical mechanism that can support network games to be played with the Peer-to-Peer process using a lobby system.

• Journal of Korea Game Society
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• v.17 no.4
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• pp.129-136
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• 2017

In recent years, the Korean video industry has developed rapidly and the growth rate and trend are becoming strongest industry. The growth of the Korean video industry promotes politics and economy. As China is geographically close to Korea, I think it will be able to learn many valuable experiences by watching the rapid growth of Korea's video industry. This paper examines the causes of rapid growth in Korea's video industry, examines China's video industry, and studies suggestions and suggestions for the development of China's video industry.

• Cartoon and Animation Studies
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• s.13
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• pp.223-236
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• 2008

The video game industry is obsessed by the perception of "Next Generation Game". Appearance of the next generation game console has required the video game industry to renovate new technologies for their entire production. This tendency increases a huge mount of production cost. Game companies have to hire more designers to create a solid concept, artists to generate more detailed content, and programmers to optimize for more complex hardware. All those high cost efforts provide great locking games, but the potential of next generation game consoles does not end there. They also bring possibilities of the new types of gameplay. Next generation game contains a much larger pool of memories for every video game elements. The entire video game used to use roughly 800 animation files, but next generation game is pushing scripted event well over 4000 animation flies. That allows a lot of very unique custom animation for pretty much every action in the game. It gives game players much more vivid and realistic appreciation of the virtual world. Players are not being able to see any recycling of the same animation over and over when they are playing next generation game. The main purpose of this thesis is that defines the concept of next generation game and analyzes new animation-pipeline to be used in the shooter games.

• Journal of the Korean Society of Costume
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• v.63 no.7
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• pp.121-133
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• 2013

The globalization of the world, fueled by the Internet, made possible for individuals to access the cultures around the world, other than their own, easier than ever before. But among those rapidly sought out sub-cultures, the video gaming industry, once a niche market mostly for nerds and geeks, now has become one of the biggest entertainment businesses in the world. In a video game, one of the critical elements that could determine its success or failure is the characters featured in the game. And as the countless number of animated characters from many different video games from the past few years have become incredibly popular among the audiences around the world, the expectations from the fans also grow higher every time a new game comes out. Ultimately this has forced the video game developers to come up with more unique and interesting characters for their video games. And at this point, where a video game character is more than just fictional fantasy but a brand to be recognized, it is worth paying proper attention to the video game characters that represent Korea. Hence in this study, we will take a look at Han Ju-Ri, a Korean character featured in Super Street Fighter IV, a competitive fighting game developed by Capcom, one of the world's most recognized video game companies that started its life as an arcade video game, developer but eventually ventured its business into the online world. The study will propose a complete overhaul of the character by incorporating Korea's own traditional looks.

• Asia pacific journal of information systems
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• v.32 no.3
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• pp.684-705
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• 2022

A new trend has been emerging in recent years, with video game live streaming becoming a meeting ground for gamers, as well as a marketing strategy for game developers. In line with this trend, the emergence of the "Let's Play" culture has significantly changed the manner in which people enjoyed video games. In order to academically explore this new experience, this study seeks to answer the following research questions: (1) Does engaging in video game streaming offer the same feeling as playing the game? (2) If so, what are the factors that affect the feeling of telepresence from viewers' perspective? and (3) How does the feeling of telepresence affect viewers' learning experience of the streamed game? We generated and empirically tested a comprehensive research model based on the telepresence and consumer learning theories. The research findings revealed that the authenticity and pleasantness of the streamer and the interaction of viewers positively affect telepresence, which in turn is positively associated with the gained knowledge and a positive attitude toward the streamed game. Based on the research findings, various practical implications are discussed for game developers as well as platform providers.

• The Magazine of Kiice
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• v.17 no.1
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• pp.57-63
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• 2016

What will the gaming industry look like in the future? Where is it heading? Most producers, developers, and gamers have been pondering such questions since the very beginning of video games. This paper asserts that the current trend in video games to emphasize rationalization will, in time, bring about an extreme polarization within the game industry. Each year the barriers to entry are becoming lower and the size of the game market is growing, which will bring about an emphasis on who has the power to be recognized in the industry. This paper argues that such trends will, in turn, lead to a power play in which the winner will always be the player with the most monetary power. In time, this prolonged power play is expected to bring about what this discussion refers to as a dystopian model within the game industry.

• Journal of the Economic Geographical Society of Korea
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• v.11 no.3
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• pp.375-388
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• 2008

The early studies on the cultural industries had mainly emphasized the viewpoint of "efficiency" based on the "flexible specialization" theory, but they have gradually shed light on the viewpoint of "creativity": creative human resources and various networks generating creative energies. Despite the importance of these studies, it is impossible to explain every cultural industrial agglomeration phenomena from specific and few viewpoints due to the diversity of each cultural industry. This study describes the dissimilarity of agglomeration factors between the Japanese animation and home video game industries which form salient agglomeration in the same region. Both industries share similar characteristics with industrial agglomeration of SMEs in Tokyo and close inter-firm relationships. However, they differ in their historical development paths and each firm's behavior and strategy because of their own distribution systems and production processes. In particular, the difference in distribution systems clearly affects whether a company values "efficiency" factors of agglomeration advantage or "creativity" factors of that in case of locational choice. The distribution sector of the cultural industry, compared with the production sector, has a tendency to value profitability rather than creation itself. Therefore, a cultural industry with the strong distribution sector tends to form the industrial system emphasizing profitability. The Japanese animation firm is apt to choose its location from the perspective of efficiency, which easily contributes to profitability, because television broadcasting stations are strong distribution sector. Conversely, the Japanese game firm chooses its location from the perspective of creativity due to the absence of strong distribution sector.