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This study compares the portrayal of the April 3rd incident in the <Unfolded> game series with its representation in Korean literature. Literary works typically highlight the "purity" of victims to underscore state violence, link the incident to the present, employ coming-of-age novel tropes, and use vernacular elements to create distance. These narratives often omit the history of popular protests and anti-imperialism related to April 3rd. In contrast, <Unfolded: The Camellia Story> offers an immersive experience of the tragedy. While featuring a character reminiscent of Yun Tongchu, a symbol of the "pure victim," and adhering to coming-of-age motifs, the game's use of vernacular elements is minimal. This approach facilitates a more straightforward conveyance of historical facts. The game also depicts April 3rd more comprehensively by including characters with anti-imperialist views and aspects of the preceding popular protests. However, it stops short of fully exploring the "pure victim" concept or the incident's complexity. The final, catastrophic series conclusion may account for why the series remains unfinished. This paper analyzes the game series "Unfolded," which deals in depth with the events of April 3rd. By comparing it with existing Korean literature on April 3rd, the paper highlights its significance and limitations.

There are only a handful of examples of Korean SF that talk about 'Gwangju in 1980'. However, 'Gwangju SF in 1980' is crucial in the sense that it has been identified at every major stage of political and social change since 1980. There are three main questions that this study addresses. How does the imagination that links '5･18' to 'SF' relate to and manifest in the changing social structure? To this end, we trace the emergence of '5･18 imagination' as a potential creative capacity. Why are narratives that imagine a 'Gwangju with 5･18 erased' either shunned or unable to escape political contamination even when they try? How does the sf that narrates 'Gwangju in 1980' differ from the so called non SF literature of Lim Chul woo, Yoon Jung mo, Hong Hee dam and others? The novels studied are Chae Young joo's Rogue in Time (1993), Kim Serang's ARMOR'S STORY (1993), Kang Yoo han's Return 1979 (2009-2011) and Kim Hee sun's Book of Muhan (2017). The trend line shows the changes in the terminology surrounding '5･18' from 12 December 1979 to 18 May 1980, the response of the academic publishing industry after the appeasement phase in 1984, the June Uprising and the revision of the linear system, the changes in policy towards 5･18 and reunification by regime, the birth of the Moon Min government in 1993 and the fall of the Hana Party, the policy of correcting history, and various controversies surrounding 5･18 from the turn of the century to the millennium. The methodology of this study is extrapolation, which recognises various controversies surrounding 5･18 as trend lines, and backwards calculates the trend of history leading to the occurrence of 'Gwangju SF in 1980'. To outline the process by period, in the 1980s in Korea, the idea of combining "5･18" with "SF" was not possible. The turning point came in 1993. In March 1993, Chae Young joo's Rogue in Time and Kim Serang's Armor's Story were published in the March and April 1993 issues of ‘ Chwimiga 취미가’. During the period of the People's Government and participatory government, the convergence of 'Gwangju in the 80s' and 'SF' was less pronounced. Paradoxically, it was revived during the Lee Myung bak and Park Geun hye administrations. Kang Yoo han's alternate history novel Return 1979, which renews the '5･18 imagination' from a right wing perspective, was serialised during this period (2007-2011). In 2017, the first year of the Moon Jae in administration following the impeachment of President Park Geun hye in a candlelight protest, Kim Hee sun's The Book of Muhan is published. I would like to approach '5･18 Imagination' as a discovery of SF that considers the 'slit' that is possible when it does not fall within the realm of the state or institutionalised academia, the 'slit' that does not allow it to get lost in a list of facts, interpretations and emotions that must be included.

This study examines narrative strategies in YouTube content utilizing virtual entities through a combination of digital participant observation and text analysis. In an environment where digital storytelling content using virtual entities is continuously created, this research focuses on Minecraft-based creator content that has gained influence through participatory culture, recognizing that technological novelty alone does not guarantee popular impact. Analysis reveals that creators employ a 'community-centered storytelling' strategy based on interaction, utilizing multiple metaverse and streaming platforms. They leverage the virtual environments and avatars provided by Minecraft to achieve diversity in narrative background expression, while varying the creator's persona to avoid monotony and create unpredictable developments. The creator's persona, which drives the story, is complexly formed through a combination of internal and external metaverse platform elements, including the appearance and actions of 3D avatars, social roles assigned by the game world, and events arising from character relationships. In conclusion, cross-platform interaction between metaverse platforms and streaming platforms, rather than the use of a single platform, functions as a key element in content creation. As multi-layered interaction patterns are observed—including interactions between the metaverse world and multiple streamers/players, as well as with viewers—this study emphasizes the importance of academic discussions on cross-platform utilization beyond individual platform usage patterns.