Character play - The use of game characters in multi - player role - playing games across platformsTychsen , A . 1 , 3 ; Hitchens , M . 1 ; Brolund , T . 2 ; Computers in Entertainment . ( Computers in Entertainment , 1 July 2008 , 6 ( 2 ) ) 제공 DB : SCOPUS , ACM Portal Avatars are a commonly used mechanism for representing the player within the world of a game . The avatarforms the main point of interaction between the player and the game , and thus the avatar is an important gamedesign feature . Character - based games combine the concept of an avatar with that of a character , enhancing theavatar with specific features that commonly are changeable , and which can be defined within or outside theframework of the game rules . Within digital games , the rules - based features have received comparatively moreattention than , for example , the personalities and background histories of game characters . This article presentsresults from a comprehensive empirical study of the way complex game characters are utilized by players inmultiplayer role - playing games across two different media platforms . The results indicate that adult players arecapable of comprehending and utilizing game characters with well - defined personalities and backgrounds , aswell as rules - based components . Furthermore , that the game format plays a significant role in the pattern ofusage of the character elements . This pattern appears directly linked with variations in the way that the differentgame formats handle player characters and activate or promote the activation of , different forms of characterelements . The degree to which different character elements are activated also has implications for the degree ofplayer engagement in the character . >> 아바타 는 게임 세계 에 플레이어 를 제현 하 는 메커니즘 이 다 . 아바타 는 플레이어 와 게임 사이 의 상호 작용 의 핵심 점 . 요샌 체인 져 블 하 다는 . . 커 스터 마 이 징 ? 캐릭터 의 성격 과 배경 까지 . .. 잘 이해 하 고 활용 하 여 캐릭터 에 ~~ 게임 포맷 은 중요 한 역할 을 한다 . 캐릭터 요소 를 사용 하 는 패턴 에 있 어서 . 다양 한 게임 포 멧 은 플레이어 캐릭터 ( 요소 ) 등 을 활성 화 시킴 >> 게임 자체 의 맥락 에서 아바타 를 보 는 논문 인듯 ? 근데 30 장 가까이 된다 우왕 ^ 0 ^ The term avatar was originally defined in relation to digital culture as the representationof the user , originally as a text - based construct in early MUDs and other digital games , and eventually as a two - dimensional icon on internet forums or similar onlinecommunities . In the context of computer games , avatars form one of the primary ways offorging ( 구축 , 단조 ) the link between the player of a game and the game itself , that provide interactionto games . Avatars are a form of player representation in the game world , and the majority ofdigital games , from the earliest instances like Space War and Akalabeth through morecontemporary productions such as Fallout and the Doom series , utilize avatars as themain vessel for the players ’ projection of intent and will into , as well as interaction withand manipulation of , the game world . Avatars as the vessel for the players ’ interactionwith the game are however not a consistent feature of computer games . For example , most real - time strategy games ( e . g . , Starcraft , Total Annihilation ) , turn - based games ( e . g . , Civilization , Diplomacy ) and “ god - simulations ” ( e . g . , Black & White and Sim City ) do not utilize individual game avatars as representations for the player , but puts the intentand will of the player in a more abstract representation from which the game world canbe influenced ( e . g . , directly , via constructing and controlling military units in StarCraft ormore subtly , via raising or lowering taxes in Sim City for example ) . >> 대다수 의 전략 시뮬레이션 게임 ( 스타크래프트 , 턴 - 베이스 드 게임 , 갓 - 시뮬레이션 은 개인 에게 게임 아바타 를 그 자신 의 재현 체로 이용 하 지 못하 게 함 ! 의도 와 의지 를 이입 할 수 있 게 는 하 지만 ( ?)<< 우와 ~ 긴 논문 이 어서 그런지 아바타 에 대한 통시 적 인 연구 를 앞 에서 정리 해 주 고 있 다는 ㅇㅅㅇ ;;;;; The avatar can also be viewed as a form of filter to the events of the game world . >> 아바타 는 필터 라 능 and events will generally bepresented for the avatar or from the perspective of the avatar , notably during active gameplay . << 3 D , facial ｅxpressions . .. 더 좋 아 진다는 ? Player - controlled avatars have also been developed intoplayer - controlled characters by naming them , providing background histories , abilities , personalities , and other features associated with characters in theatre and film [ Tychsen etal . 2007 b ] . Player - character are more than simply avatars , and can be viewed as a form ofactors – designed to have distinct ｅxpression , behaviours , movements and personalities , which make them stand out to the player . >> 오오 . .. 아바타 와 캐릭터 의 차이 ! !! 이름 붙여 주 고 , 백그라운드 히스토리 , 능력 , 성격 , 그런 것 들 이 포함 되 면 이제 그걸 ' 캐릭터 ' 로 . .. 그럼 ' 캐릭터 ' 라고 이름 지어야 겠 네 . 서론 에서 NPC 와 는 다른 . . Furthermore , it isincreasingly common for games to offer players the opportunity to customize a basiccharacter model or template , as well as provide character development as a main featureof a game : >> 이제 는 점점 더 커 스터 마이 징 의 세계 로 . ... ㅋ While the spaceship - avatar in Space War remains constant throughout thegame , avatars in Morrowind or World of Warcraft can change in appearance and / orabilities throughout the course of the game , a feature that harks back to the beginning oftabletop role - playing inspired digital games , and forms a key defining feature of the roleplayinggame genre [ King and Borland 2003 ] . >> 와우 의 Morrowind . .. 이거 뭐 지 ? ;; 모로 윈드 ? ?;; In role - playing games and similarcharacter - driven games , the design of player - characters is crucial to the gamingexperience because it forms a major component in the interface between the player andthe game world . >> 앞 에 도 나온 말 이 지만 . .. 아바타 캐릭터 가 중요 한 이유 . 게임 세계 와 플레이어 를 매개 하 기 때문 Despite the advantages of the graphical representation of digital game avatars , development in contemporary character - based computer games is ( generalizing roughly ) focused on the rules - based components ( statistics and abilities ) and external , visual andauditory , elements of avatars : physical properties like appearance ( including static itemssuch as clothing and weaponry ) , as well as properties relating to interactions with thegame world ( e . g . , voice , stance , affordances , and physical behavior ) . The internalelements of game avatars ( e . g . , integration of the character in the game world , itspersonality , motivations , and other similar elements ) have , compared to the external , received less attention from game developers . Game characters are generally much moretwo - dimensional than comparable figures from media such as films and books ( see , e . g . , Sheldon [ 2004 ] ) . >> 헐 뭐 야 나 랑 제기 하 는 문제 가 비슷 한 느낌 인데 ;;;;; 아바타 의 외 적 요소 : 비주얼 , 청각 적 인 . 육체 적 인 . 외모 같 은 요소 들 . 여기 에 는 옷 이나 무기 도 포함 . 게임 세계 와 인터렉션 하 는 요소 들 . .. 목소리 , 육체 적 행동 들 . . 내 적 요소 : 게임 세계 와 의 통합 . 성격 , 동기 같 은 . .. 이런 건 게임 개발자 들 에게 적 은 관심 을 바당 왔음 . 게임 캐릭터 는 2 차원 적 으로 만 다뤄졌 음 . 영화 나 책 의 인물 들 에 비해서 . .. Sheldon [ 2004 ] 이것 도 읽 어 봐야 할 듯 SHELDON , L . 2004 . Character Development and Storytelling for Games . Course Technology PTR . 이거 지롱 The dichotomy between the development resources devoted to external and internalelements has a number of causes , with possibly the most important being the need for theplayers to be able to project themselves into and maintain control of the character [ Guard 2000 ; Rollings and Morris 2004 ] . >> Guard 2000 ; Rollings and Morris 2004 ] . 이것 도 봐야 할 듯 . . GUARD , T . 2000 . Building character . In Game Developer ( May ) . http : / / www . gamasutra . com / features / 20000720 / gard _ 01 . htm . ROLLINGS , A . AND MORRIS , D . 2004 . Game Architecture and Design : A New Edition . New Riders , Berkeley , CA . For example , Mellon and Webb [ 2005 ] , on the basis of interviews with players followingthe playing of adventure and RPG - style computer games , noted that the playersappreciated the inclusion ( 포함 ) of “ psychological ” traits , such as trust and suspicion ( 의심 ) , as thebasis for behavior , relationships , and feedback between the player character and NPCs . Mellon & Webb [ 2005 ] found that the use of characterization to positively impact theengagement of the players was as important as the manner in which the characterizationwas implemented ( 시행 될 때 ) : Non - interactive techniques caused more frustration than interactivetechniques , where characterization was integrated into and utilized by the game design ( the games studied were single - player ) . In essence , players wanted to make moral and attitude choices , and to see the choices make an impact on the game . >> 아바타 설정 은 게임 디자인 에 통합 되 어야 Furthermore , in an empirical study of the relationship between players and theircharacters in multiplayer role - playing games ( RPGs ) , Tychsen et al . [ 2007 b ] examinedthe reactions of players to avatars ( or game characters ) that were developed in depth interms of personality , background , integration in the fictional world , and behavior , as wellas the typical features of appearance and stats / rules - based components , on the player avatarrelationship . The results indicated that differences in the personalitiesof the player and the game character did not impact on the ability of the player to engagewith the character or how interesting the engagement was found to be . However , thecharacter design was found important to the gaming experience : for example , the degreeto which the players found their characters interesting and easy to engage with seemed tocorrelate with the quality of the gaming experience . Significantly , the relationshipbetween the players and their characters explained to a higher degree the observedvariation in the gaming experience in the digital RPG than in the PnP context , wheregroup dynamics was found to be the most important of the variables examined . Whilelimited to multiplayer RPGs , these results emphasize the general importance of a well designedcharacter in story - based digital games [ Sheldon 2004 ; Crawford 2004 ] . Furthermore , the results suggest that players are more tolerant of characters with personalities more complex , than those typical of player - controlled characters incontemporary computer games – even if the personality of the complex player - charactersvary from the personality of the players . Player - controlled game characters ( or avatars ) with well - developed internal andexternal elements are common to multiplayer games like Neverwinter Nights , to textbasedMUDs , and even MMORPGs . However , in these games the character personalitiesare generally created by the players , without direct aid from the game itself . There are , however , a small range of single - player games that feature characters with varyingdegrees of personality and / or background histories ( e . g . , Chronicles of Riddick , MaxPayne , the Final Fantasy series , and Baldur ’ s Gate ) . While anecdotal evidence from PnPs points towards immersion in the game characterbeing an important driver in the gaming experience [ Fine 2002 ] , >> 게임 경험 을 이끌 어 내 는데 있 어서 , 몰입 에 있 어서 게임 캐릭터 는 중요 Characters can in general either be completely predefined , or intentionally form “ shells ” which the player can project themselves into . >> 캐릭터 는 플레이어 들 이 자신 을 거기 에 투사 할 수 있 는 " 껍데기 " 이 다 . Aplayer - character which tends towards the later form would allow the player more freedomwith the interpretation of the character , encouraging the design of the game story to beopen to a variety of character personalities , as is evident in e . g . Neverwinter Nights II andFable ;>> 플레이어 - 캐릭터 의 후기 적 later 형태 는 캐릭터 의 해석 에 대한 자유 를 허락 한다 . 여러 가지 다양 하 게 선택 할 수 있 게 하 는 거 져 뭐 The character model was defined by Tychsen et al . [ 2006 a ] , and the process of creating the characters is described in Tychsen et al . [ 2007 b ] ; we willbriefly outline the process with a focus on the features important to the present study . >> 이건 진짜 꼭 읽 어 봐야 할 듯 In essence , the design of the player - characters is divided into four components : ( 1 ) character personality , ( 2 ) integration , ( 3 ) appearance , and ( 4 ) rules components , >> 캐릭터 성격 , 통합 , 외향 , 룰 ( 1 ) Rules ( Stats ) : traits , abilities , skills , and class : Definition of the rules - based featuresof the character . These components were in all three experiment setups , provided asprinted character sheets detailing the rules - based components . In the CRPG and GMmediated CRPG sessions , the character sheet was also accessible in - game . The rulessystem from Neverwinter Nights was used in all three setups . ( 2 ) Integration : The following character components were considered : . Location : Where is the character and why ? . Background : What is the background history of the character and the events leading up to the game ’ s starting point ? . Contacts : What contacts and ties does the character have to nonplayer - controlled characters ( NPCs ) . for example , family and friends ? . Connections : What is the relationship between the character and the other player characters ? All characters were created using the same model for integration features , with the text divided into a similar set of sections . The character description contained an introduction / background history styled to the specific theme of the character , written in a style and language that the character would use , outlining the personality , morals and ethics of the character . For example , a personal account of a series of tragic events : “ I will never forget Beldagar Keep . The sound of the human prisoners being torturednight and day , the laughter of demons , the moans of the wounded on the battlefield … all because of yet another human archmage who believed he could summon anddominate the forces of Hell . ” ( excerpt ) The personal introduction was followed by a more direct description of the characterin the classic style of PnPs ( for example , “ [ … ] is an elven ranger from the High Forest , the last bastion of the elven race on the main continent of Faerun . ” ( Excerpt ; the name ofthe fantasy world of Faerun is trademarked ⓒ Wizards of the Coast , and is the name ofone of the continents in the Forgotten Realms game world ) . Each character was also provided with a list of optional goals , which gives the playersa handle on the character . The goals were optional , and many players chose to use themas a rough guide to their character ’ s motivations rather than specifically aiming atreaching the goals . Example : “ Play the others against each other , so that they do not plot against you ! ” ( excerpt ) . Finally , each character description contained a brief introduction to the other fourplayers in the group and the nature of their relationships , as perceived by a specificcharacter : “ [ … ] Probably the most faint - hearted and self - sacrificing idiot you have ever met . This guy cannot live if he does not continually please someone . How anyone eversurvives with this kind of attitude is beyond you . ” ( Excerpt ) . >> 야 Integration 이거 재밌 네 . .. 배경 스토리 . NPC 와 의 관계 . 다른 플레이어 들 과 의 관계 . .. 올 ㅋ 이것 도 캐릭터 의 구성 요소 뭔 예시 ? 설명 들 인 듯 . 넘기 자 ( 3 ) Appearance : Digital characters , which are generally represented by avatars in virtual game worlds , as outlined above , require a definition of their appearance . In the current case , most were identical because all players utilized the same game engine . However , in designing digital characters , the following features are of importance : Representation : How does the avatar look ? In the current experiments the avatars were designed using the AURORA engine so as to accurately reflect the characters , down to clothing and weaponry . Physical behavior : How does the avatar behave and move ? The way an avatar moves , stands , and otherwise interacts with the game world can be used to promote thecharacter ’ s personality or behavior . In the current study , all avatars had the samephysical behaviors , being limited by the same game engine ( see , e . g . , Ibister [ 2005 ] ) . Interaction : How does the avatar interact with the game environment , and how doesthe player interact with the character / avatar ? In the current case , all avatars wererestricted by the limits of the AURORA engine , which features the standard ways ofinteracting ( e . g . , combat , picking up objects , manipulating objects , using aninventory , and notably , interacting with NPCs via prescripted conversation trees andsimilar features ) . ( 4 ) Personality : This component was important to the design process , as it is one of thekey concerns in complex character design for digital games . This because the personalityof player - characters can conflict with those of the players . Furthermore , characters developed in detail provide less interpretative freedom for the players ( e . g . , Guard [ 2000 ] ) . The personality component includes descriptions of the character ’ s psyche ( emotions , behavior ) and goals ; with some personality traits being very emphatically defined ( others more subtly or in a manner that left room for personal interpretation ) , e . g . , “ You areinherently the epitome of the self - centered , narcissistic ego - maniacal , cold and cynicalbastard . You do not have emotions apart from a healthy portion of rage with a side orderof envy and an extra - large jealousy . ” ( excerpt ) . In order to categorize the large spectrum of personality profiles , the EPAQ ( Extended Personality Assessment Questionnaire ) scale was employed [ Helgeson and Fritz 1999 ] . This scale , developed for use in behavioral psychology , allows for the measurement ofcharacter and player personality profiles in the framework of a specified set of variables ( the EPAQ model components ) , and the comparison of character and player profiles – that is , differences in personality . The EPAQ model is based on four orthogonal groups of personality traits , collectedinto four categories : agency ( A ) , communion ( C ) , and the more extreme versions of thetwo : unmitigated Agency ( UA ) and unmitigated communion ( UC ) [ Helgeson and Fritz 1999 ; Fritz and Helgeson 1998 ] . Each of the four categories is rated according to a pointsystem , which depends on four series of eight questions ( nine in the case of UC ) , eachquestion of which is focused on a specific adjective / personality trait , e . g . aggressiveness , focus on self , focus on others , etc . >>>>> 우와 ^ 0 ^ 여기 서 다 했 다 . .. 난 할 거 없 다 . ... 아님 이걸 방법 론 으로 써야 하나 오 호 호호호호 홓호호홓 >>>>> 이 방법 론 이름 이 four EPAQ subscales 이거 인가 봐 << 수식 등등 은 넘겨 버린다 ㅏㅣㅣ utterances << 텍스트 분석 같 은 . . 느낌 이 난다 position to claim the above - mentioned quest object for his own nefarious purposes . Thisconflict between character stats / game tactics and character personality / goals presentssomething of a conflict to a game player : on one hand , the character would provide thebest tactical support by being in front during combat , which would also grant the playerfirst access to loot . on the other hand , holding back from combat situations where therewas a chance the character might get hurt ( very much against the personality of thecharacter ) , in an attempt to expose other party members to the threat in order to eliminateor weaken them , would be in accordance with the character ‘ s personality and ambitions . The results shows that the game format has a significant influence onthe use of player - characters . >> 게임 포맷 은 플레이어 - 캐릭터 의 사용 에 중요 한 영향 을 끼친다 Deciding how to play the character : At the onset of a multiplayer RPG , theplayers are one way or another introduced to the game character they will enact . This is abasic feature of all RPGs , irrespective of format , although some PnP RPGs haveexperimented with , for example , switching characters during play or even cloningcharacters that die as a result of events in the game story ( e . g . , Paranoia ) . When it comes to the least preferred elements of the game characters , a higherproportion of the CRPG players emphasized a personality / background element ascompared to what they liked best . 4 . DISCUSSION AND CONCLUSIONSSmith [ 2007 ] noted that customizing the personality of a game character is an essentialpart of encouraging the player to identify with the character ( e . g . , via dialogue choices ) . This study indicates that players are tolerant of well - developed , pre - generated characters , but that they need to be prompted to activate the various elements of these characters inorder to engage with those same elements . This does not mean that control of thecharacter or the ongoing development and growth of the character should be taken awayfrom the player . But it does point to opportunities for integrating personality into gamecharacters and storylines , and more concretely into the game mechanics ( e . g . , via rewardsystems triggered by character ( player ) actions related to their personality profile ) . >> 캐릭터 를 컨트롤 하 는 것 보다 게임 캐릭터 에 퍼스널 리티 를 통합 하 는 것 이 더 중요 >> 스미스 이거 꼭 봐야 할 듯 ? Additionally , digital characters appear to play an important role in the development ofnext - generation computer games , e . g . within the MMORPG - domain , as well as otherforms of interactive digital entertainment that will increasingly experience a growingfocus on interactive storytelling [ Miller 2004 ; Crawford 2004 ; Sheldon 2004 ; Glassner 2004 ] and on believable and embodied agents [ Trappl and Peta 1997 ; Nass and Ibister 2000 ] , whether AI - or character - driven [ Combs 2004 ] . Tychsen et al . [ 2007 b ] observed that player - characters , with complex personalities , did not negate ( 무효 화 하 다 ) the ability of players to engage with their characters across three differentmultiplayer RPG formats , irrespective of differences in the personalities of the charactersand players . The authors also noted that the relationship with the game charactercorrelates with the quality of the gaming experience , notably in the digital format wherethere is generally less interaction with the other players as compared to a tabletopsituation . This emphasizes the importance of character design in terms of creatingcharacters that are easy to engage with , interesting to play , and conducive to theformation of emotional bonds between the player and the character [ Sheldon 2004 ] . >> 이 연구 도 보 자 . . 볼 것 많 다 에휴 . ..>> 얜 심지어 다른 논문 에서 도 나왔었 네 꼭 봐야지 The logical next step in this line of investigation is to consider whether players areaware of the personality of their characters , or if they simply overpower it with their own , and whether and how the various character elements are utilized during RPG play andhow the game format affects this use . As indicated in the questionnaire data , the playersparticipating in this study displayed an awareness of the personalities of their characters , and expressed this awareness during game - play in a variety of ways ( e . g . , bycommunicating in - character ( IC ) or via the physical actions of their avatars within thegame world ) . >> 게임 캐릭터 들 에 대한 자각 , 의식 이 있 다 However , from the verbal and text - based communication between the gameparticipants ( players and GM ) , it also became apparent that for players to utilize thedifferent elements of their characters , they had to be prompted or assisted to do so . Inessence , aspects of the game character that are not prompted or activated by the gamedesign or other game participants , gets relocated to the back seat : While themechanics / stats components of the game characters were activated as a feature of coregame - play in the Neverwinter Nights module in the CRPG sessions ( e . g . , when MOBsattacked the party of avatars / player - characters ) , the personality / background elementswere rarely activated by either the game module or other players . >> 헐 . .. 성격 / 배경 요소 는 게임 모듈 에 의하 여 잘 활성 화 가 안 된다고 ? !?! This in turn had the effect of focusing the attention of the players on the mechanics / stats aspects of theircharacters , a point often noted and discussed by the players during the postgame groupdiscussions . Irrespective ( 무시 하 고 ) of the focus on mechanics and rules , the players appeared awareof the personality aspects and expressed this awareness when the game or the otherplayers encouraged them to do so . This is notably observed in the GM - mediated CRPGsessions when the GM activated personality / background elements , and in the PnPsessions when the players and the GM continually activated different character elementsof each others characters . This pattern of behavior is not unique to the personality or behavior elements of thegame characters , but also observed in the way that players utilized their stats and skills . For example , one group did not care much for being cautious in their exploration of anunderground temple , meaning that the ability of one of the game characters to locate anddisarm traps went unused – even when the use of this skill would have given them adirect advantage . PnPs stand out strongly in this and associated studies [ Tychsen et al . 2007 a ; 2007 b ] , not only in terms of how much fun the players reported they had , but also in terms of howengaged they were with their characters and their level of interest in them , as well as theease with which the players felt the emotions of their characters . By virtue of their flexible and player - reactive game process and narrative structure , PnPs lend themselves to continued activation of both the rules - based and nonrules - basedcharacter components , while CRPGs ( generalizing ) do not . Instead they focus on therules - based components which can be expressed in numbers , with character - gameinteraction focused on the use of combat and noncombat skills and NPC interactions ( generally featuring prescripted conversation trees ) . As indicated in the GM - mediatedCRPG experiments , when features that actively engage and activate characters areutilized ( i . e . , the GM ) , players will utilize background / personality character elements . Activating a broad spectrum of character elements leads to an increase inengagement : When players were asked how easily they engaged with their characters ineach of the three game formats ( multiple - choice questionnaire , Likert - scale valuesranging from 1 to 5 ) , the averaged results ( n = 50 for PnP , CRPG ; n = 35 for GM - mediatedCRPG ) were substantially higher for the GM - mediated RPG sessions ( 3 . 82 ( PnP ) ) and 3 . 68 ( GM CRPG ) , compared to the CRPG sessions ( 3 . 02 ) . The relatively higher level ofengagement is also observed in the use of character names rather than players ’ names inthe GM - mediated CRPG experiments . Importantly , this does not mean that CRPGs wereless fun to play than GM - mediated CRPGs [ Tychsen et al . [ 2007 a ] . Different gamedesigns have different purposes , and enjoyment of a character - based game depends onother features besides character design . Note also that while the requirement for activating characters to facilitate and promotetheir use was observed across the tabletop and digital RPG formats , both formats faceunique challenges in facilitating such activation . On a final note , previous gaming experience did not appear to have a major influenceon the different ways that player characters were used across the three formats . However , the inexperienced ( 경험 이 부족 한 ) players often commented that they had limited time to focus on interplayercommunication in the digital RPG sessions , as most of their attention was taken upwith mastering the Neverwinter Nights interface . This effect was kept in mind whenevaluating the session transcripts . Lack of experience with a game interface and rules wasnot a problem in the PnP experiments , where the emphasis on the use of rules could beadjusted by the players to suit their ambitions and experience . The adjustment processwas usually negotiated during the beginning of the PnP sessions ( referred to as thepremise - building phase in Edwards [ 2001 ] ) . This study is a first step in the investigation of the use of game characters inmultiplayer RPGs , with an emphasis on those elements of game characters that are notdirectly integrated into the game rules framework , but possibly in the game story andenvironment . Further study of the empirical data available will add further depth to theconclusions presented here . >> 플랫폼 에 따라 ( 테이블 에다 하 냐 뭐 에다 하 냐 에 따라 ) ? 달라지 는 게 주제 긴 한데 게임 캐릭터 에 대한 혜안 도 많이 제공 저작 자표 시비 영리 동일 조건