Earticle

본 연구는 어린이 교육용 모바일 앱의 인터랙티브 내러티브 디자인이 학습몰입도 증진과 지속사용의도에 미치는 영향을 살 펴봄으로써, 인터랙티브 내러티브 디자인의 교육적 효과성을 검증하여 어린이 교육용 앱에 기초한 인터랙티브 내러티브 디자인 방 안을 제시하는 것을 목적으로 한다. 연구방법으로는 문헌연구방법 및 설문조사를 활용하여 진행하였다. 구체적으로 문헌연구방법을 통해 인터랙티브 디자인의 개념, 이해, 디자인 구성요소, 학습몰입도, 지속사용의도에 대한 개념과 선행연구를 살펴보았다. 다음으 로 한국과 중국의 초등학생 각 100명씩 총 200명을 대상으로 설문조사를 실시하였으며, 응답이 불성실한 설문지 한국 3부, 중국 5 부를 제외하고 최종적으로 한국 97명, 중국 95명의 학습자를 대상으로 인터랙티브 내러티브 디자인, 학습몰입도, 지속사용의도를 파악하고 변수 간의 영향 관계를 분석하였다. 본 연구의 연구결과로는 어린이 교육용 앱 사용자인 초등학생을 대상으로 인터랙티브 내러티브 디자인 요소가 학습몰입도와 지속사용의도에 미치는 영향을 살펴본 결과 인터랙티브 내러티브 디자인이 학습몰입도 향상 및 지속사용의도에 긍정적인 영향을 미치는 것으로 나타났다. 이는 수학/과학 교육 시 이론적 개념이나 해석 등을 쉽게 이해하도록 구성하고 있으며, 단계별로 이야기와 이미지가 이어지기 때문에 지루함을 느끼지 않고 학습할 수 있도록 돕기 때문인 것으로 볼 수 있다. 결론적으로 본 연구에서는 인터랙티브 내러티브 디자인은 학습자가 학습에 몰입하고, 지속해서 이를 이용하도록 만든다는 긍 정적인 효과를 가지고 있음을 확인할 수 있었다.

The purpose of this study is to verify the educational effectiveness of interaction design in mobile APP by observing the impact of interaction design for elementary school education on enhancing learning immersion and continuous use intention, and propose an interaction design scheme based on elementary school education APP. The research methods are literature research and questionnaire survey. Specifically, through the literature research method, the concepts and prior studies on the concept, reviews the continuous use intention and previous research of interaction design. Then, conducts a questionnaire survey on elementary school students in South Korea and China to understand the interaction design, learning immersion, and continuous use intention, and analyzes the relationship between variables.The research result of this study is to observe the influence of interaction design elements within interaction on learning immersion and continuous use intention with elementary school students who are users of elementary school education application as the objects. The results show that interaction design within interaction has a positive impact on improving learning immersion and continuous use intention. It can be thought that this is because in mathematics/science education, it is easy to understand theoretical concepts or explanations, and stories and images will be continued at each stage to help students learn without being bored.In conclusion, this study can confirm that interactive inline design has a positive effect of enabling learners to engage in learning and continue to use.

Storytelling in games is different from storytelling in other media in that it must interact with the user. The existing storytelling engine is not appropriate for interactive storytelling in games, so interactive storytelling engine is developed to supplement this shortcoming. However, the interactive storytelling engine uses methods that manages game events. Thus it is not appropriate for games with stories that are composed mainly of characters. This research examines the defects to propose improvement suggestions to apply the existing storytelling engine to games. This would be useful in developing stories that interact with the player in games.

본 연구는 인터랙티브 콘텐츠 <청춘향전>(2021)의 내러티브 구현 양상을 살펴보는 것이 목적이다. 2020년대 이후 『춘향전』의 내러티브는 인터랙티브 콘텐츠로 재생산되면서 여전히 사람들과 정서적 공감대를 형성하고 있다. <청춘향전>은 시청자-플레이어의 선택으로 스토리가 전개되는 만큼, 선형적 방법으로 스토리를 전달하는 것과 달리 디지털 내러티브의 방식을 채택하고 있다. 이로써 시청자-플레이어는 매체 생산물의 단순한 수용자가 아닌 생산자의 지위를 경험하게 된다. 필자는 『춘향전』을 새롭게 경험할 수 있는 인터랙티브 콘텐츠의 내러티브 구현 양상에 주목하여 그 특징을 살피고자 했다. <청춘향전>의 전개 방식은 상호작용을 기반한 대화형 구조로 영화나 드라마와 같이 종결된 선형의 단일 플롯이 아닌 복수의 플롯에 기댄다. 따라서 매 순간 성춘향에게 부여된 상황의 선택지 결정에 따라서 다양한 엔딩이 펼쳐져 시청자-플레이어로 하여금 재미를 느끼게 한다. 인터랙티브 콘텐츠 <청춘향전>의 내러티브 구현 양상은 크게 세 가지 특징으로 살펴볼 수 있다. 첫째, 일상 에피소드의 추가와 공감이다. 󰡔춘향전󰡕의 주인공과 주변 인물을 현대판 청춘으로 변용한 만큼 일상적 소재나 에피소드를 추가하여 공감을 이끌었다. 일상 에피소드는 크게 연애, 진로, 학교, 신변의 네 가지 주제어로 구분되었다. 짝사랑, 사랑 고백, 이별, 동성애, 취업 준비, 자격지심, 집단 괴롭힘, 갑작스러운 사고 등 누구나 한 번쯤 경험해봤을 일들을 상황으로 설정한 덕분에 시청자-플레이어로 하여금 공감은 물론 몰입할 수 있게 하였다. 둘째, 내러티브의 비선형적 구조이다. 성춘향이 마주하게 되는 상황에 따른 선택지를 결정함으로써 내러티브가 변화하게 되는 구조이다. 성춘향이 선택할 수 있는 시간은 약 10초이다. 시청자-플레이어가 제한된 시간 동안 선택지를 결정하지 못하면 다시 전 단계로 돌아가게 된다. 또한 다른 결말을 보기 위해 전전 단계로 돌아가는 것은 불가능하게 되어있다. 다양한 결말을 한 번에 볼 수 없게 한 장치이다. 다중적인 상황 연출로 많은 이야기의 접점을 연결함으로써 어떠한 결말을 맞게 될지 알 수 없게 한 것이 특징이다. 셋째, 상황 선택지에 따른 9가지 멀티엔딩 구조이다. <청춘향전>의 비선형적 구조의 내러티브에 따라 결말은 총 9가지 형태로 구성된다. 선택지에 따라 그 결말이 다채롭다는 것이 특징이다. 1) 교통사고 당하는 성춘향, 2) 기억상실에 걸린 성춘향, 3) 속세를 떠나 부처님을 섬기는 성춘향, 4) 남원을 떠나는 이몽룡과 변학도, 5) 술주정 후 비트코인 최고가를 맞은 성춘향, 6) 지금까지 이몽룡과의 데이트 모두가 백일몽, 7) 이몽룡과 사랑을 이룬 성춘향, 8) 이몽룡과 이루어질 수 없게 된 성춘향, 9) 성춘향을 끝까지 기다린 성춘향이다. <청춘향전>의 내러티브 구현은 기존의 영화, 드라마, 코미디 ‘춘향전 콘텐츠’와 달리 고전 서사의 매체 전환의 발전 가능성을 보여주는 콘텐츠로 평가할 수 있다. 인터랙티브 방식을 통해 시청자-플레이어에게 다채로운 경험은 물론 새로운 ‘춘향전 콘텐츠’로서 견인 역할을 했기 때문이다. 오늘날 가상의 객체와 현실환경의 상호작용이 보편화되는 만큼 본 연구를 통하여 고전 서사와의 실시간 상호작용이 증대될 것으로 기대하는 바이다.

This study aims to investigate the narrative implementation of the interactive content of <Cheongchunhyangjeon> (2021). Since the 2020s, the narratives of Chunhyangjeon have been reproduced as interactive content and continue to form emotional empathy in people. Delivering the story in a non-linear manner, <Cheongchunhyangjeon> uses a digital narrative method, as the story unfolds according to the choices of viewers and players. This allows viewers-players to experience producer status rather than simple media production inmates. I would like to focus on the narration aspect of the interactive content that allows me to experience ≪Chunhyangjeon≫ and explore its characteristics. The development method of <Cheongchunhyangjeon> is an interactive structure based on interaction and relies on multiple plots rather than a single plot with a linear ending like a movie or drama. Therefore, at every moment, various endings take place depending on the choice of situation given to Sung Chun-hyang, entertaining viewers and players. The narration of the interactive contents of <Cheongchunhyangjeon> has three main characteristics. The first is the addition and empathy in everyday episodes. As the main and surrounding characters of Chunhyangjeon were transformed into modern youths, they added daily materials or episodes that lead to empathy. The daily episodes were divided into four main categories: love, career, school, and personal life. By setting things that anyone has experienced at least once, such as unrequited love, love confession, separation, homosexuality, job preparation, qualifications, bullying, and sudden accidents, viewers-players can empathize and immerse themselves. Second, the narrative has a nonlinear structure. In this structure, narratives change by determining options according to the situation that Sung Chun-hyang faces. Sung Chun-hyang has approximately 10 seconds to choose from the options. If the viewer-player fails to decide on a choice within a limited time, the player returns to the previous stage. It is also impossible to return to the pre-war stage to see a different ending. It is a device that prevents the user from seeing various endings simultaneously. It is characterized by not knowing the ending by connecting the contacts of many stories with multiple situational productions. Third, nine multi-ending structures depend on the situation choice. According to the narrative of the nonlinear structure of <Cheongchunhyangjeon>, the ending consists of a total of nine forms. It is characterized by a variety of endings depending on the choice. 1) Sung Chun-hyang in a Traffic Accident, 2) Sung Chun-hyang Suffering from Amnesia, 3) Sung Chun-hyang Left the World and Served the Buddha, 4) Lee Mong-ryong and Byun Hak-do Leaving Namwon, 5) Sung Chun-hyang Hit Bitcoin's Highest Price After Drinking, 6) Until Now, All the Dates with Lee Mongꠓryong were Daydreams, 7) Sung Chun-hyang Achieved Love with Lee Mong-ryong, 8) Sung Chun-hyang Can't Be Done with Lee Mong-ryong, 9) Sung Chun-hyang Waited Until the End for Sung Chun-Hyang. Unlike conventional movies, dramas, and comedy “Chunhyangjeon Contents,” the narrative implementation of <Cheongchunhyangjeon> can be evaluated as a kind of content that shows the possibility of media conversion by classical calligraphers. This is because it served as a driving force not only for viewers and players but also for new “Chunhyangjeon content” through interactive methods. As interaction between virtual objects and the real environment becomes more common, we expect this study to increase real-time interaction with classical narratives.

본 연구는 미디어아트 작품 좀의 여행의 고정된 공간 구조와 폐쇄적 서사 구조를 분석하고, 이를 확장하기 위한 생성형 AI 기반 콘텐츠 생성 워크플로우를 제안한다. 기존 작품은 작가의 개인적 경험을 기반으로 한 영상 구조로 구성되어 있으며, 관객은 사전에 구성된 시각 흐름을 따라 작품을 감상하는 수동적 관찰자의 위치에 놓인다. 이에 본 연구는 관객 입력을 기반으로 서사 생성 모듈과 공간 생성 모듈이 동시에 작동하는 생성형 콘텐츠 구조를 설계하였다. 제안된 시스템은 사용자 입력을 바탕으로 새로운 텍스트와 시각 장면을 생성하고 이를 실시간 미디어 경험으로 통합함으로써, 작품 환경이 지속적으로 확장되는 인터랙티브 콘텐츠 구조를 형성한다. 이러한 접근은 기존 영상 기반 미디어 작품을 데이터 기반 생성 시스템으로 확장할 수 있는 가능성을 제시하며, 생성형 AI 기술을 활용한 인터랙티브 미디어아트 제작 방식의 새로운 방향을 탐색한다.

This study analyzes the fixed spatial and narrative structure of the media art work Jom’s Trip and proposes a generative AI–based workflow to extend the work. The original piece is a video-based artwork derived from the artist’s personal travel experience, where the audience observes a predetermined visual sequence. To address this limitation, this research designs a generative content structure in which narrative and spatial generation modules operate based on audience input. The system generates new text and visual scenes from user queries and integrates them into an interactive media experience. This approach demonstrates the potential to transform fixed video-based media artworks into data-driven generative systems and suggests new production methods for interactive media art using generative AI.

본 연구는 인지적 지도 개념을 활용하여 가상현실 기반 인터랙티브 내러티브 경험을 구성한 연구이다. 최근 급성장하고 있는 가상현실 기술은 몰입형 공간에서 사용자들은 기존의 미디어 경험과는 다른 방식 으로 내러티브를 경험하게끔 한다. 변화하는 내러티브 경험에 집중하여, 본 연구는 새로운 내러티브 경 험에 적합한 방식이 무엇인지 질문을 던지며 시작하였다. 이론적 틀로써 인지심리학에서 발전한 인지적 지도(Cognitive Map) 개념을 활용하였는데, 이는 내러티브를 경험하는 이용자의 직관적 경험을 기록한 뒤 이를 내러티브로 구성할 때 참고하기에 좋은 방법이기 때문이다. 인지적 지도 개념을 활용할 사례로 옴니버스 연작으로 구성된 영화 <도쿄!> 중 봉준호 감독의 <쉐이킹 도쿄(Shaking Tokyo)>를 선택하여 참여자들에게 인지적 지도의 형태로 구성하도록 하였다. 이후 참여자들이 기록 및 정리한 내러티브 속 중요한 분기점과 그 상징들을 가상현실에서 제작하여 탐색적이면서 상호작용적인 내러티브 경험을 구현 하고자 하였다. 해당 작업을 제작함으로써 영화를 보는 경험과 유사하게 만들어지는 여러 가상현실 작업 과는 다르게, 이용자의 적극적인 물리적 참여와 동시에 인지적 참여를 통해 경험하는 가상현실 기반 인 터랙티브 내러티브 경험의 한 형태를 탐색해보고자 하였다. 본 연구는 향후 가상현실과 같은 몰입적이고 상호작용적인 공간에서의 내러티브에 대한 확장된 이용자 경험을 마련하는 데에 보탬이 되고자 한다.

This study is about an interactive narrative experience based on virtual reality (VR) that applies the concept of a cognitive map. Recently emerging technologies such as VR offer an immersive space for users to experience different ways of understanding narratives compared to conventional approaches. Focusing on such a change of the narrative experience, this study begins by asking about appropriate methods by which to conduct a new narrative experience. As a theoretical framework, this study applied the concept of a cognitive map, which allows users to record their intuitive experiences as a narrative for use when conducting narratives. As a case study, this study chose Shaking Tokyo, directed by Bong Joon-Ho, one of the three films in the series ‘Tokyo!’, while also allowing participants to create their own cognitive maps. The researcher analyzed participants’ records about important turning points and their symbols in an effort to apply them as investigative and interactive narrative experiences in VR. Creating this work in VR represents an attempt to investigate an interactive narrative experience in VR for active physical and cognitive participation by users as differentiated from the numerous VR narrative works currently, which are very similar to conventional narrative forms. Based on the cognitive map concept, this study explores and constructs a narrative experience in VR. Throughout the process, this study aims to help to provide an expanded user experience in immersive and interactive digital spaces such as VR.

“Jin Seong-unjeon (진성운전)” is a Korean traditional novel that embodies hero ‘Jin Seong-un (진 성운)’ and other 3 heroes as his friends of same mind, i.e. Nam Sun-gyeong, Yun Ho-won and Yi Hak-rok. On the other hand, this novel embodies only one antagonist - Yu Gyeong, a villainous retainer - against these heroes. And as the heroes get over hardships and terminate a showdown against Yu Gyeong, this novel highlights a hidden hero named ‘Gundam’ who rescues his emperor from the risk of death. Such a narrative structure of Jinseong-unjeon is closely associated with existing novels. Like Jin Seong-unjeon, the embodiment of multiple heroes can be also similarly found in “Namjeong Palnangi (남정팔난기)” and “Gwakbunyangjeon (곽분양전).” Single antagonist is a type of character embodiment found in early fiction works such as “Choi Hyunjeon (최현전)” and “Hwang Unjeon (황운전).” Stories about rescue of emperor belong to a category of typical war story, which can be found in heroic novels such as “Sodaeseongjeon (소대성전)”, “Hyeonsu- munjeon (현수문전)” and “Jo-ungjeon (조웅전)”, and in feature-length stories including “Ongnumong (옥루 몽).” In addition to these aspects, Jinseong-unjeon reveals interactions with other novels, including heroine's affiliation in male attire (Changseon Gameuirok) and war story's extension (based on Jeokbyeok Daejeon). As a result, this feature of interactions with other stories demon- strates late tendencies of heroic stories focusing on fictional interests of a work. Hence, it is concluded that Jinseong- unjeon has an implication in the history of Korean traditional novels in that it shows a transition of late heroic novels toward new and creative stories by organically weaving with characteristic aspects of previous heroic novels.

대부분의 영화나 TV드라마에는 스토리를 전달하기위해계획된 작가의 의도가 숨어있다. 한 인물을 보고 사실적으로 또는 추상적으로 그려내는 화가들의 표현방법이 다르듯이 영화적 표현방법 또한 매우 다양하다. 여러 쟝르 중 애니메이션 영화는 영화의 재료인 배우, 세트, 대사 등에 의해 상상속의 이미지를 형식과 내용을 갖추어 그것을 실체화시키는 창조적 개념을 포함하고 있다. 즉 실체의 재구성적 표현이 아닌 무에서 유를 만들어내는 창조적 개념을 말한다. 그러므로 애니메이션 제작감독은 내용과 결합된 영상 이미지와 사운드와의 관계를 설정하고 유기적으로 결합시켜 애니메이션 적인 스토리를 완성한다. 그 영상 이미지와 사운드는 관객에게 인지적 반응과 정서적 반응을 일으키며 내용을 전달하고, 그사이에서 감독과 관객과의 커뮤니케이션이 형성된다. 본 논문에서는 이러한 커뮤니케이션 과정에서 사용되는 이미지와 사운드의 상관관계를 Diegetic(재현적, 내재적) 과Non-diegetic(비재현적, 외재적) 사운드 측면에서 기능적으로 분석해보고 애니메이션 영화 속 커뮤니케이션의 방향을새롭게 재조명하는데 의의가 있다.

Most movies and TV dramas have a director's intention todeliver a story. The ways of an expression for the Movies arevarious as painters who have many different drawing stylessuch as abstract and realistic styles. The animation film ofgenre is included a creative concept to express an idea from animagination of artist by using characters, stages, and actingvoice. In other words, it is not the reconstruction of existing,but a pure creation from nothing. Therefore the director in ananimation film must accomplish the mission that is to combinean imagery and a sound for a successful story in film. Thegreat combination of them influences an emotion and arecognition of an audience to appreciate contents, and thecommunication is occurred between the director and theaudience. In the paper, the relationship between Diegetic andNon-diegetic sound will be analyzed to deal an imagery and asound perfectly to search the best way of a communication,and will present new direction in animation film.

This study begins with a focus on the reliability of interactive narrative in story-driven video games, given that the extent of game engagement, the degree of narrative engagement, and the state of player agency all influence the reliability of interactive game narrative, which leads to positive or negative player attitudes toward the game itself. The purpose of this study is to develop a narrative reliability scale (NRS) to measure the reliability of interactive game narrative that integrates immersion theory from ludology and player agency theory based on a narratological mental model. The experiment distinguishes seven factors in a player's preserved game experience: Flow, Immersion, Narrative understanding, Narrative coherence, Presence, Malleability of character images, and Emotional involvement. The NRS was developed and validated through exploratory factor analysis and underwent two experiments with professional players and ordinary people to verify the scale's effectiveness. The NRS provides a psychometrically valid measure of the reliability of interactive game narrative when playing story-driven video games, and therefore provides a theoretical basis and reference for the design of future game interactive narrative.

The article explores the means that activate the reader and encourage him/her to become a co-author of the fictional narrative. Starting from the premise that from the 19th to the early 21st century different strategies engage the figural reader ? created as a character in the novel ? or the implied reader ? inscribed into it ? to creatively respond to the narrative’s representations the focus is on the addressivity of a text. Especially where the narrator or writer figure creates a dialogic situation with the reader or a narratee, reader stimulation becomes crucial. The article re-considers theoretical approaches of reader orientation and reader-response criticism. For epistolary novels of the 18th century perspectivisation has been defined as an effective instrument of reader mobilisation, and the gaps in narrative representations were generally found to be the most usual device. Other means to inspire interaction, however, are asking for investigation. The major examples chosen for this exploration are therefore works in which the role of the reader is very carefully and clearly designed: Jane Austen’s Northanger Abbey with its discussion of the anti-novel discourse of the late 18th century, William Thackeray’s Vanity Fair as a realistic novel, where the narrator’s playful interaction with the reader repeatedly emerges, E.M. Forster’s The Longest Journey as an Edwardian text in which socio-political and sociocultural issues, often satirically presented by an impersonal narrator, are able to excite the contemporaries. The recent novel by Irish writer John Banville, The Blue Guitar, exposes the significance of the metanarrative for postmodernist fictions.

The advent of the big data era has transformed cinema, shifting its focus from traditional textual narrative modes and mirror aesthetics to embracing new possibilities fueled by digital technology, the Internet, and cross-media innovations. These developments have introduced innovative approaches to storytelling. Traditional linear narratives no longer satisfy modern audiences’ growing demand for interactivity and participation. Consequently, database narrative has emerged as a groundbreaking model with profound implications. Characterized by its nonlinear, modular, and multi-path structure, database narrative relies on users’ or players’ choices and interactions to dynamically generate and reorganise narratives, empowering audiences to actively participate in storytelling. This study examines BURIED STARS, an interactive narrative game, as a case study to explore how database narrative aesthetics are employed in interactive storytelling and their significant impact on player experiences. The study investigates how key elements?such as nonlinear dialogue systems, multiple character perspectives, and keyword selection?enhance interactivity, create immersive virtual worlds, and reflect contemporary social issues. By analyzing BURIED STARS, this study envisions the potential of database narratives in future interactive works and new media applications. It highlights opportunities for using these narratives in personalized education, targeted news dissemination, and the development of world systems within animation culture. Ultimately, the study argues that database narrative will become a crucial tool in digital cultural creation, providing expansive opportunities for the development of diverse and personalized storytelling experiences.

VR 콘텐츠는 정보의 밀도가 매우 높은 동적 이미지 시뮬레이션 기술을 기반으로 공간감과 현실감 확보를 통해 체험자에게 깊은 몰입감을 가져다준다. 하지만 높은 정보 밀도의 내부 정보들은 한편 객관적이지 않은 착각을 형성하기도 한다. 때문에 사용자에게 높은 밀도의 동적 이미지 정보를 해석할 수 있는 적절한 안내가 필요하다. 게임에서 네비게이션 인터페이스와 상호작용 기능을 설정하는 것처럼, 가상현실에서의 상호작용은 가상 콘텐츠를 해석, 향유하는 기본적 토대이다. 본 연구는 VR 콘텐츠 제작의 중요한 부분인 상호작용적인 스토리텔링 설계에 대한 사례 분석을 기반으로 한다. 가상현실 콘텐츠에서 더 우수한 상호작용적인 스토리텔링 모델을 탐색하기 위해 기본적인 주요개념들을 고찰하고 VR 애니메이션 <Wolves in the Walls>의 상호작용적인 스토리텔링 특징을 분석한다. 분석의 결과로 정리된 결론은 첫째, VR 환경이 사용자에게 자유롭게 이동할 수 있는 장점을 충분히 활용해야 하며, 상호작용 모듈 설계시 사용자의 현장감을 충분히 고려해야 한다는 점이다. 이를 통해 관객의 상호작용을 유도하여 참여도를 높힘으로서 VR이라는 핫미디어를 쿨미디어적 참여를 유도할 수 있다. 둘째, 사용자가 자유도가 매우 높은 가상 환경에 처음 들어갔을 때 모호한 세계 상황에 대해 당황하지 않도록, 작품의 초기 단계에서는 개발자 주도의 서술을 제공해야 한다. 셋째, 일부 게임에서 텍스트를 통해 사용자에게 안내하는 것과 달리, 사용자와 스토리 캐릭터(NPC)와의 자연스러운 대화를 추가하는 더 자연스러운 상호작용 방식을 통해 안내할 수 있다. 본 연구는 VR 애니메이션 <Wolves in the Walls> 의 상호작용적인 스토리텔링 특징을 분석하고 정리함으로써 다양한 형태로 진화되고 있는 VR 콘텐츠의 설계의 한 가이드라인을 제공한다.

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.

Benjamin Hobson introduced systematic Western medical knowledge to China, with his writings serving as conduits for knowledge and cultural exchange between China and the West. His work, especially Quanti Xinlun, went beyond merely introducing medical knowledge; it reshaped perceptions of the human body and acted as a catalyst for a modern world view to be adopted in China. His careful use of detailed anatomical illustrations, collaborative translations with Chinese scholars, and selective editing of medical information drew the attention of many Chinese, leading to the emergence of reprinted editions. Above all, the illustrations in Quanti Xinlun went beyond mere embellishment, symbolically interacting with the narrative text. Recognizing the Chinese public appreciation of illustrations in storytelling, Hobson visualized the precision and scientific validity of Western medicine, enhancing the work’s persuasive impact. He crafted a more refined version of Quanti Xinlun through a careful editing process, synthesizing various perspectives and responses, even those that were at times contradictory. The influence of Quanti Xinlun began with authorities in Guangzhou and quickly spread across all social classes, broadening the acceptance of Western medical superiority, at least in the realm of medicine, and paving the way for a possible shift in attitudes toward foreigners. Quanti Xinlun, along with Hobson’s subsequent works on modern knowledge, ultimately became a cornerstone in China’s modern medical education.

본 연구는정보화시대의발전에따라박물관이단일전시 형식에서 다원적 전시로진화하게된변화의배경에서 시작되었다. 박물관의공간체험 디자인방식은 관람객의 다양한 요구를 충족시키기 위해 다양한 디지털기술을 활용하여 다차원적 경험을 촉발한다. 최근 인터랙티브 스토리텔링 이론은 디자인 분야에서 많은 관심을 받고 있으며 박물관과 인터랙티브 스토리텔링의 융합은 공간 경험에서 관객의 참여를 실현하고 박물관의 개발 및 최적화를 위한 새로운 디자인 방향을 제공할 수 있다. 이에 인터랙티브 스토리텔링 이론을 바탕으로 박물관 디지털전시의 공간 체험적 특성을 제시하는 것을연구목적으로설정하고, 정성적관점으로도출된특성을 분석틀로활용하여중국의대표적박물관을대상으로실제로어떻게발현되는지분석을진행하였다. 본 연구의결과및내용은다음과같다. 첫째, 서사학과 인터랙티브 스토리텔링 이론을 고찰하고 선행연구를분석하여 인터랙티브 스토리텔링 특성을 학문 간의 연결성, 관중의 참여성, 창작 사유의 비선형성, 내용의 편집성, 과정의 유동성으로 정리하였다. 둘째, 공간체험 요소 및박물관디지털전시의공간형식을분석하여공간특성을 안전성, 다양성, 적합성, 지향성, 입체성, 다층성, 사회성, 개방성으로 도출하였다. 이를 앞서 도출한 인터랙티브 스토리텔링의 특성과 결합하여 박물관 디지털전시의 공간체험 특성을 행동체험의 유연성과 포용성, 정서체험의 비물질성과 창조성, 감각체험의유희성과몰입성, 인지체험의 지역성과 비일상성, 이 8가지 특성으로 제시하였다. 셋째, 상하이박물관, 중국국가박물관, 중국양주대운하박물관, 난징박물관을 사례로 제시한 공간체험특성이실제공간에서표현방법을분석하였다. 본 연구를 통해서 박물관 디지털전시의 공간체험 특성은 공간-사람-전시물 간의 커뮤니케이션을 극대화하며, 정서적인 상호관계를 형성함을발견하였다. 공간 분석을 진행한결과중국의대표박물관은인터렉티브스토리텔링에 기반한 체험요소를 제공하여 관람객의 행동, 정보, 감각, 인지적 체험감을 높일 수 있도록 보완하고 있다. 본 연구의 결과는 향후 박물관의 전시 형식의다각화를위한디자인방법론으로활용되기바란다.

This study began with the background of a change in which museums evolved from a single exhibition format to a pluralistic exhibition according to the development of the information age. The museum's space experience design method triggers a multidimensional experience by utilizing various digital technologies to meet the various needs of visitors. Recently, the theory of interactive narrative has received a lot of attention in the design field, and the convergence of museums and interactive narrative can realize audience participation in spatial experience and provide new design directions for museum development and optimization. Therefore, the purpose of the study was to present the spatial experiential characteristics of the museum's digital exhibition based on the theory of interactive narrative, and the characteristics derived through qualitative summary were used as an analysis framework to analyze how they were actually expressed in representative museums in China. The results and contents of this study are as follows. First, by examining theories of narratology and interactive narrative and analyzing prior research, we organized the characteristics of interactive narrative into the interconnectedness between disciplines, audience participation, non-linearity of creative thinking, editability of content, and fluidity of process. Second, by analyzing the spatial experience elements and the spatial format of the museum digital exhibition, the spatial characteristics were derived as safety, diversity, suitability, orientation, three-dimensionality, multi-layeredness, sociality, and openness. Combining these with the characteristics of interactive narrative derived above, the spatial experience characteristics of the museum digital exhibition were presented as eight characteristics: flexibility and inclusiveness of behavioral experience, immateriality and creativity of emotional experience, playfulness and immersion of sensory experience, and regionality and unusualness of cognitive experience. Third, the spatial experience characteristics were presented as cases of the Shanghai Museum, the National Museum of China, the China Yangzhou Grand Canal Museum, and the Nanjing Museum, and the methods of expression in actual spaces were analyzed. Through this study, it was found that the spatial experience characteristics exhibitions maximize of museum digital communication space-people-exhibitions and form between emotional interrelationships. As a result of spatial analysis, Chinese museums provide experience elements based on interactive narrative to enhance the behavior, information, sense, and cognitive experience of the audience. The results of this study are expected to be used as a design methodology for diversifying the museum's exhibition format in the future.

“Jin Seong-unjeon (진성운전)” is a Korean traditional novel that embodies hero ‘Jin Seong-un (진성운)’ and other 3 heroes as his friends of same mind, i.e. Nam Sun-gyeong, Yun Ho-won and Yi Hak-rok. On the other hand, this novel embodies only one antagonist - Yu Gyeong, a villainous retainer - against these heroes. And as the heroes get over hardships and terminate a showdown against Yu Gyeong, this novel highlights a hidden hero named ‘Gundam’ who rescues his emperor from the risk of death. Such a narrative structure of Jinseong-unjeon is closely associated with existing novels. Like Jin Seong-unjeon, the embodiment of multiple heroes can be also similarly found in “Namjeong Palnangi (남정팔난기)” and “Gwakbunyangjeon (곽분양전).” Single antagonist is a type of character embodiment found in early fiction works such as “Choi Hyunjeon (최현전)” and “Hwang Unjeon (황운전).” Stories about rescue of emperor belong to a category of typical war story, which can be found in heroic novels such as “Sodaeseongjeon (소대성전)”, “Hyeonsu- munjeon (현수문전)” and “Jo-ungjeon (조웅전)”, and in feature-length stories including “Ongnumong (옥루몽).” In addition to these aspects, Jinseong-unjeon reveals interactions with other novels, including heroine's affiliation in male attire (Changseon Gameuirok) and war story's extension (based on Jeokbyeok Daejeon). As a result, this feature of interactions with other stories demon- strates late tendencies of heroic stories focusing on fictional interests of a work. Hence, it is concluded that Jinseong-unjeon has an implication in the history of Korean traditional novels in that it shows a transition of late heroic novels toward new and creative stories by organically weaving with characteristic aspects of previous heroic novels.

互动影像游戏作为融合影视叙事与电子游戏机制的跨媒介产物，正在成为一种兼具叙事创新与文化表达能力的新型媒介形式。本研究以交互叙事视角展开分析，以《飞越13号房》为研究对象。首先梳理互动影像游戏的定义，总结其在叙事性与交互性上的两大核心特征。随后从叙事层面讨论“主线+支线”层次化的叙事模式。在交互层面，从人机交互与情感交互两个方面分析玩家体验的形成机制。叙事与交互的关系并非简单叠加，而是相辅相成、动态建构。通过对互动影像游戏中叙事与交互二者的分析，旨在推动互动影像游戏在数字时代的叙事深度与社会议题传播价值的进一步扩展。

TInteractive movie games, as a cross-media product merging cinematic narrative with video game mechanics, are emerging as a novel media form possessing significant potential for both narrative innovation and cultural expression. This study taking Breakout 13as the primary research object conducts an analysis of the medium from the perspective of interactive narrative. The research first establishes a definition of Interactive movie games and summarizes two core characteristics: narrativity and interactivity. Subsequently, the analysis proceeds on two primary fronts: the narrative level, where the study discusses the layered "main quest + side quest" narrative model; and the interactive level, which dissects the formation mechanism of player experience through the dimensions of human-computer interaction and emotional interaction. The findings suggest that the relationship between narrative and interaction in Interactive movie games is not a simple superposition but a dynamic, mutually reinforcing construction. By exploring the interplay between these two elements, this research aims to promote the further expansion of the narrative depth and the value of Interactive movie games in disseminating social issues within the digital age.

"Interactivity refers to the possibility of an audience actively participating in the control of an artwork or representation." Andy Cameron, Dissimulations Interaction can be described as a way or function that improves the participation of audiences/viewers to being immersed into the medium itself. Until now, however, in terms of interactive cinema, interaction has not shown a sufficient participation for audiences. Specifically, audiences/viewers described that the structure of storytelling has failed to satisfy their requirements, in order to participate in the structure of storytelling. The aim of the research itself, therefore, began to ask and wonder why audiences/viewers criticised the participation which audiences/viewers are able to control storytelling, in interactive cinema, could not satisfied them in order to control and follow a storyline of interaction. In general idea, in interactive cinema, the function which allows audiences/viewers to be immersed into the storylines, must allow the immediacies of interaction. Audiences/viewers must therefore be able to satisfy the general idea of interactive cinema through controlling the directions of every choice offered. They must also be able to be immersed in the interactive storylines. Which of the prime causes can be improved or re-considered, to satisfy the participation requirements of audiences/viewers? The intention of this research also began to investigate a suitable method of storytelling within a narrative structure of interactive medium (interactive cinema). Through questioning the matter (it will be described in a later chapter), this research will be focused on the relationship between narrative structured interaction and audiences/viewers, which is of prime importance in relation to interaction. To further the research, Pilot study (experiment with the basic interactive narrative structure) was offered in order to understand and maintain a suitable method of storytelling within a narrative structure of interactive cinema and it also was explored to understand how the aim of the research would be maintained for further qualitative research.

<디펙터 인터랙티브>는 탈북 여성을 다룬 다큐멘터리 <더 디펙터:이스케이프 프롬 노스코리아>를 디지털 매체에서 인터랙티브 기술을 활용하여 변용한 인터랙티브 다큐멘터리이다. <더 디펙터:이스케이프 프롬 노스코리아>는 그 간의 매체적 재현과는 달리 탈북 여성을 탈북의 주체로 두었으며, <디펙터 인터랙티브>는 그 영상들을 재배치하여 관객이 주체가 되어 탈북 여성으로서의 체험을 해볼 수 있도록 하였다. 본 연구에서는 <디펙터 인터랙티브>가 어떻게 관객을 참여시켜 메시지를 전달하는지 살펴보았다. 다큐멘터리의 영상서사는 중국에서 탈북여성들을 만나 그들이 한국으로 올 때까지의 경험을 순차적으로 재현한다. 그러나 인터랙티브 다큐멘터리에서는 게임성을 차용, 북한에서 탈출하는 것부터 게임의 퀘스트처럼 참여하도록 한다. 스테이지나 맵 등 상호작용적 기능들은 관객이 어드벤처 게임의 플레이어처럼 인지하고 행동하게 한다. 그러나 관객은 실패를 하게 되어 있으며, 이는 <디펙터 인터랙티브>가 탈북 여성의 현실을 체험시키기 위해 시리어스 게임의 루프형 서사구조를 차용하고 있기 때문이다. <디펙터 인터랙티브>는 원래의 다큐멘터리가 전달하고자 했던 메시지를 관객들이 수동적으로 바라보는 것을 넘어 적극적으로, 또 감성적으로 체험할 수 있게 한다. 본 연구가 보다 효과적으로 관객에게 메시지를 체험시키기 위한 인터랙티브 다큐멘터리의 서사를 발전시키는 데 도움이 될 것으로 기대한다.

This study analyzed <The Defector Interactive> that was adapted from <The Defector: Escape from North Korea> documentary by using interactive technology in digital media. <The Defector: Escape from North Korea> shows independent women defectors, and it’s different representation on past media. And <The Defector Interactive> reassigns images of documentary to give experience for audience to be an women defector. This paper researched how the audience participates to <The Defector Interactive> and involve the message. The narrative of documentary represents two women defectors’s experience in serial order from China. However, the interactive documentary let the audience participate to defect from North Korea like the quest of game. By using stages and maps, the audience could be recognized himself as a player of an adventure game. But the audience is doomed to fail, because the narrative structure of <The Defector Interactive> is loop-type structure of serious game for giving experience the reality of women defectors. So it gives an active and sensitive experience for audience beyond watching passively. This study will be expected to develop the structure of interactive documentary for involving message to audience effectively.

배경 및 목적: 본 연구에서는 일반아동과 어휘발달지연아동 집단을 구분하여 성인과의 상호작용식 책읽기 전략에 따른 이야기 이해력을 알아봄으로써 일반아동과 어휘발달지연아동을 위한 효과적인 책읽기 전략방식을 제시하는데 목적이 있다. 방법: 대한민국에 거주하는 아동 53명(일반아동 39명, 어휘발달지연아동 14명)을 대상으로 상호작용식 책읽기 전략 3개의 집단에 무선배치 하였으며, 각 전략 집단에 따라 일대일 방식으로 책읽기 과제 및 이야기 이해력 평가를 실시하였다. 결과: 첫째, 일반아동과 어휘발달지연아동 모두 사실적 이해가 유의미하게 높게 나타났다. 일반아동의 경우 직접적 질문하기가 진술하기보다 사실적 이해를 더 잘하는 것으로 나타난 반면, 어휘발달지연아동의 경우에는 간접적 질문하기가 진술하기보다 사실적 이해에 더 효과적인 책읽기 전략으로 나타났다. 직접적 질문하기와 진술하기의 경우에는 아동집단 간 차이가 유의미하게 컸으나, 간접적 질문하기는 집단 간 차이가 유의하지 않았다. 둘째, 추론적 이해에서는 집단 간 차이는 유의하게 나타났으나, 책읽기 전략의 주효과와 상호작용 효과 모두 유의하지 않은 것으로 나타났다. 논의및 결론: 결론적으로 상호작용식 세 가지 책읽기 전략은 추론적 이해를 제외한 사실적 이해에 있어 효과적이라는 것을 확인하였다. 이는 일반아동의 경우 직접적 질문하기 방식으로, 어휘발달지연아동의 경우에는 간접적 질문하기 방식으로 책읽기를 중재하는 것이 사실적 이해를 높이는데 보다 효과적인 방법임을 시사한다.

Objectives: The purpose of this study was to investigate the effect of adult’s three reading strategies, eliciting questions, non-eliciting questions, and comments, on the narrative comprehension of typically developing children (TD) compared to vocabulary delayed children (VD) in order to find out the most effective reading strategy for children’s narrative comprehension. Methods: A total of 39 TD and 14 VD children aged 4-to 6-years old were randomly placed in groups using one of three reading strategies and then given two types of narrative comprehension tasks (literal comprehension, inferential comprehension) after a storybook reading session. Results: First, for literal comprehension, the main effects were found to be statistically significant in both the VD and TD children’s groups and reading strategies. And the interaction of reading strategies between child groups was found to be statistically significant. For the literal comprehension task, eliciting questions were found to be the most effective reading strategy for TD children, whereas non-eliciting was found to be the most effective for VD children. Secondly, for the inferential comprehension task, neither the main effect nor the interaction of the reading strategies between child groups was found to be statistically significant. Conclusion: The results suggest that the three reading strategies are effective in literal comprehension in both child groups. Among three strategies, eliciting questions will be the most helpful for TD children, while non-eliciting questions will be the most helpful for VD children. The study can further provide essential information for developing book reading intervention protocols that can enhance children’s narrative comprehension.

새로운 매체의 등장은 서사의 확장과 변용을 가져왔으며, 상호작용을 이용한 서사는 영화 감상법에도 새로운 가능성을 열어주었다. 인터랙티브 영화는 인터넷 게임의 영향을 받아 만들어졌으며, <밴더스내치>는 영화에 게이미피케이션을 적용한 사례 중 하나이다. 이러한 영화는 상호작용을 기반으로 서사의 진행에 변화를 줌으로써 다양한 이야기를 경험할 수 있게 해 준다는 특징을 갖는다. 이때의 서사는 기존의 선형적 서사와는 다른 비선형적 서사의 방식을 따르게 되며, 관객의 참여를 통해 각각 다른 결말을 향해 진행된다. 구조적 문제를 집중적으로 다룬 기존의 선행연구들과 달리 본고는 인터랙티브 영화 <밴더스내치>의 서사구조와 주제의식 간의 연계성을 밝히는 것을 목표로 하고 있다. 이를 위해 먼저 인터랙션 서사에 사용되는 주요 플랫폼의 장단점을 살펴봄으로써 장편 서사에 적합한 플랫폼이 무엇인지 알아볼 것이다. 그리고 <밴더스내치>를 구성하는 서사 구조의 특징을 살펴본 후, 플로우 차트를 통해 인터랙티브 영화 플롯이 배열되는 구조를 분석함으로써 인터랙티브 영화가 갖는 구조적 한계가 영화 '밴더스내치'의 주제와 어떻게 연결되고 있는지 밝히고자 한다. 이를 통해 인터랙티브 영화의 구조적 한계 자체가 주제를 더욱 명확히 해주는 역할을 하고 있음을 알 수 있을 것이다.

The advent of new media has brought us the expansion and variation of narratives, and the use of interaction has opened up new possibilities for how to viewing movies. Interactive movies were created under the influence of internet games. “Bandersnatch" is one of the example in the application of gamification. These interactive films are characterized by changing the progress of the narrative that is based on interaction. It allows you to experience of the various stories. The narratives in those films are made by non-linear narrative forms that is different from the linear narratives in the existing films. Audience's participation in it leads us to the various ending. Unlike previous studies that intensively dealt with structural problems, this thesis aims to search the relation between the narrative structure and the subject in the interactive film "Bandersnatch". First, I will look at the pros and cons of the major platforms where interaction-causing narratives are made, and then determine which platforms are suitable for interactive films with a long narrative. And by looking at the features of the narrative structure that make up "Bandersnatch" and analyisng the structure in which interactive movie plots are arranged through flow charts, I would like to reveal how the structural limitations of interactive films are linked to the theme of the movie "Bandersnatch". Through this, it can be seen that the structural limit itself plays a role in clarifying the meaning.

본고는 유튜브 인터랙티브 콘텐츠 <아오르비>를 대상으로 게임 내러티브의 핵심인 선택–결과 구조가 영상 매체 안에서 어떻게 영화적으로 재구성되는지를 분석하였다. 그간 선행연구가 주로 인터랙티브 콘텐츠의 이용자 경험이나 효과에 초점을 두어 왔다면, 이 연구는 짧은 러닝타임의 디지털 영상이 어떤 방식으로 분기–합류형 서사 구조를 구현하는지, 그리고 이러한 구조가 영화적 체험을 어떻게 선사하는지를 주목하였다. 이 연구는 첫째, <아오르비>의 선택 단계와 분기 경로를 다섯 개의 선택 지점과 그에 따른 조기 종료로 인한 배드엔딩과 지속적 진행으로 인한 해피엔딩 경로를 확인하였다. 이는 게임적 체크포인트 구조와 유사한 서사적 리듬 형성 구조를 드러낸다. 둘째, 내레이션, 장르의 변주, 미장센 구성, 배우 연기 방식 등 영상언어적 요소를 분석하여, 분기 구조가 단순 기술적 장치가 아니라 서사적 의미 생성에 적극적으로 기여함을 드러냈다. 특히 ‘선택의 자유’라는 영화 주제와 선택-결과라는 형식을 결합하며 메타-서사적 효과를 형성하였음을 파악하였다. <아오르비>는 유튜브 엔드스크린 기능을 서사 전환 장치로 창의적으로 활용하였으며, OTT 플랫폼에서 인터랙티브 영화 형식이 독자적 미학을 형성할 수 있다는 가능성을 보여줬다.

This study analyzes how AORB, a YouTube-based interactive film, reconfigures the game-narrative mechanism of choice and consequence within a cinematic framework. Moving beyond previous studies that emphasize user experience or media effects, it focuses on how a short-form digital video constructs a branching?converging narrative structure and reshapes cinematic engagement. The analysis identifies five choice points in AORB, leading to early-termination “bad endings” or a continuous progression toward a “good ending,” a structure that resembles checkpoint-based narrative rhythms in games. By examining elements of film language?such as narration, genre modulation, mise-en-scene, and performance style?the study demonstrates that the branching structure functions as an active generator of narrative meaning rather than a mere technical device. Through the integration of the theme of “freedom of choice” with a choice?consequence framework, AORB produces a meta-narrative effect and suggests the potential for interactive film forms to develop a distinctive aesthetic within OTT platforms.