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A Study of Limitations of Using OSMUs Based on the Mediality of Webtoons ―Based on Webtoons and Movie <Yeojungsaeng A>

  • The Journal of Korean drama and theatre
  • 2018, (62), pp.13-59
  • DOI : 10.17938/tjkdat.2018..62.13
  • Publisher : The Learned Society Of Korean Drama And Theatre
  • Research Area : Arts and Kinesiology > Other Arts and Kinesiology
  • Received : November 15, 2018
  • Accepted : December 21, 2018

Kim Kang Won 1

1중앙대학교

Accredited

ABSTRACT

This paper is based on the failure of the OSMU. By analyzing the causes and contents of failure to multi-use the source, to be wary of too much optimism and analyze it critically. Even though it is based on one source, the multi-use of the platform from which it is reproducible is inherently different. Nevertheless, current valuation on it is often focused on commercial success. Therefore, to supplement this aspect, Critical analysis of the value of the text itself should be tried more differently. So, This paper is Critical analysis of elements of storytelling and how it is visualized based on the characteristics of the media. The subject of the study is Webtoon <Yeojungsaeng A>(Student A) and Movie <Yeojungsaeng A>. It has the value of text to enable a more sober awareness and perspective of OSMU platform sharing, which is currently being optimistic with an efficient cultural industry model of the same rock trillion. It is important to note that <Yeojungsaeng A> was the first direct film production by Naver, which used only a series of books and copyrights on Webtoons as its source. The fact that Naver, which has emerged as a mammoth platform with 22 million users and 24 million global users per month as of June 2018, will film its webtoon contents beyond the Korean movie market will have an impact on the entire cultural content sector. Therefore, as of 2018, attention to <Yeojungsaeng A>, the first attempt and the only outcome yet, could be meaningful. Especially <Yeojungsaeng A>, despite the similarities between webtoon and movie characters and storytelling, there is an interesting point for research in that it makes a big difference in terms of work and popularity. The picture of the webtoon <Yeojungsaeng A> is very simple, which is considered to be the biggest attraction of the piece. These techniques are called “Deformation(Déformation).” It is important that the Defomasion of Webtoons works directly on visual depictions as well as on the narrative structure. This is why webtoon's genre, aesthetic elements and popularity should be very important in its analysis. The problem is that Defromacy's technique is almost impossible to reproduce in a live film. The filmization of the webtoon <Yeojungsaeng A>, which uses Defromacy not just as a visual representation but as a core technique of the narrative, was therefore at risk of failure. In fact, the appeal of the webtoon's deportment techniques was largely lost as the platform was moved to live video. Although it shares webtoon storytelling as an element, the movie is the biggest reason for its failure. As such, Webtoons and movies differ greatly in their attributes as media. Although the character A and the basic narrative have relevance, the form of the platform that conveys the story is very different. The most basic unit of film images is the “frame.” In principle, only what is shown in the frame of the frame can be transmitted through the video. Frame is not only a video but also a stylistic feature of a publishing cartoon. The visual movement from one square to the next is similar to the film, which is achieved by the connection of a frozen screen, the frame. However, in Webtoons, these frames are often torn down. That's what a vertical scroll is. Not all Webtoons are serialized in a vertical scrolling fashion, but it is clear that it is a unique visual representation of a webtoon. The most effective part of the webtoon <Yeojungsaeng A>'s use of this vertical scrolling method is convergence with narration techniques. Webtoons show how to proceed with narration rather than speech. Because it is the main storytelling device of the work to empathize with the emotions of the future through narration of the main character, it focuses on psychology rather than on events. Vertical scrolling is a technique in which the reader actively adjusts the speed of the work. And the scalability of the image leads to scalability for storytelling acceptance. In other words, readers will have more room to accept and imagine. However, most commercial films are written in ‘The Case.’ That is why non-profit techniques such as narration are discouraged. This is where the movie's second major defeat occurs. In the case of webtoon, the non-permanent narration, the technique of scrolling gives the inmates the opportunity to actively enjoy poetry as if they were savoring it. Movies were unable to use this way of talking. Therefore, the aesthetics and values of the original story were not reproduced on screen. However, they did not find any new techniques to promote cinematic aesthetics. The main reason why the movie failed to make the webtoon <Yeojungsaeng A> is the lack of understanding about the media quality of the platform. The most fundamental factor is the selection of the OSMU's element by business value and calculation of the work that best embodies the charm based on the media characteristics of the webtoon. The OSMU model, which uses Korea's OSMU, especially webtoons as its elements, is expected to be developed more actively. However, as a business approach based on the popularity of webtoon, the OSMU is bound to fail despite the support of large companies and countries like <Yeojungsaeng A>. As the OSMU market is expanding in earnest, all we need is not a verification of the profit structure based on the success of the element, but an understanding of the Medialitys of the storytelling of the element.

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