University of Southern California Dissertations and Theses

Feel the force

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FEEL THE FORCE

by

Hyung Gyu Oh

A Thesis Presented to the
FACULTY OF THE USC SCHOOL OF CINEMATIC ARTS
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
MASTER OF FINE ARTS
(INTERACTIVE MEDIA)

May 2012

Copyright 2012 Hyung Gyu Oh

ii

Table of Contents
List of Figures iii
Abstract iv
Keywords iv
Introduction 1
Prior Art 2
Project Description and Objective 8
Implementation 13
User Experience and Design Iteration 19
Evaluation Scenario 24
Conclusion 25
Bibliography 29

iii

List of Figures
Figure 1: Mogi 3
Figure 2: Battle Cannon Live 4
Figure 3: Pac-Manhattan 5
Figure 4: Can You See Me Now? 6
Figure 5: Live Cycle 6
Figure 6: Shadow Cities 7
Figure 7: Situationist 8
Figure 8: Example of Forces in the Real World 10
Figure 9: Feeling The Force Concept 11
Figure 10: Sporadic Online Mobile Game 13
Figure 11: System Configuration 14
Figure 12: PVP Mode Interaction 15
Figure 13: PVE Mode Interaction 16
Figure 14: Sampling SRTM Data 17
Figure 15: Game Screen 18
Figure 16: Login Screen 20
Figure 17: Moment of Feeling Forces 20
Figure 18: Warping to Virtual Space 21
Figure 19: Prototype UIs 23
Figure 20: Current UI 23

iv

Abstract
Feel The Force is a unique 3D online action game for iOS devices with two primary
goals. One is to create strong, realistic interactions between players and the second is to
turn real space into a compelling battleground. This paper first defines ‘Force,’ which is a
fundamental concept of this game. The paper then addresses in detail unique interactions
based on a player’s GPS location and scenarios when they are triggered. Technical
elements of the whole system, including the server, databases and clients are introduced,
and software algorithms for generating 3D game space are described. Feedback through
playtests is emphasized and future works are listed.

Keywords
Mobile Game, Online Game, Force, Interaction, GPS, LBS, Location Aware, GIS, DEM,
Geospatial Database, Push Notification

1

Introduction
Since the release of the iPhone and its enormous success, the term “smartphone"
has almost become defined as an iPhone-like mobile device. One of reasons for the
iPhone’s initial popularity was that it utilized intuitive and responsive user interfaces
including a multi-touch screen. However, it later became clear that what realized the
iPhone’s full potential was the wide range of third-party applications distributed through
Apple’s App Store and the iOS SDK, which were launched subsequent to the release of
the first iPhone. App Store and SDK have changed the whole ecosystem of creating,
distributing, selling and buying digital content. The barrier-to-entry of mobile app
development and its proven profitability attracted various digital content from both large
corporations and small, independent developers.
One large segment of the mobile application industry is mobile gaming, with
countless mobile games available to consumers and there are many large companies
dedicated to mobile games. Some of them are ported versions of existing, non-mobile
games with modified input methods, but most of them are original games specifically
designed for relatively small screens and multi-touch input. However, many of iPhone or
Android games are more likely to be traditional, small volume digital games for handheld
devices, such as portable gaming consoles, rather than games that fully utilize the
distinctive potential of mobile devices. Two unique features of mobile devices that
mobile games have largely overlooked are that mobile devices are almost always
powered on and the other is that mobile devices are always connected.

2

“Always on” means that a mobile device is powered on and the system is ready to
respond to user commands. The “always on” feature of a mobile device, combined with
the ease of user access to the phone, means that users can start playing games instantly,
regardless of time and place. “Always connected” means that a modern mobile device
always has Internet or data network connectivity. Mobile games can take advantage of
the functionality of mobile devices to provide a constantly available gaming platform.
Much greater mobile gaming potential exists because of these two features, as well as the
multi-touch input interface of mobile devices and the relatively greater computing power
of mobile devices compared to dedicated handheld gaming devices.
What if a game could have players detect and interact with other players on the
planet? What if they could interact with each other in real space, regardless of the
physical distance? What if a game could dynamically build 3D game spaces on demand?
Recognizing the unprecedented gaming experiences that mobile devices could provide,
Feel The Force attempts to be a true mobile device game developed for the iPhone that
utilizes the power of both key features of mobile devices.

Prior Art
1. Mogi (2003, KDDI)
Mogi was the first commercialized location-based game published in 2003. It was an item
collection game
6
where players, on both mobile clients and personal computers,

3

cooperate. Virtual items were instantiated at arbitrary GPS points, players gather
information about where the items were, and mobile device users go to actual physical
location to acquire the items. Because PC players had greater access to information about
the items, and mobile players could actually acquire the items, both types of players were
encouraged to cooperate to acquire items more quickly than other teams.

Figure 1: Mogi
Mogi is meaningful because it was an early game, published in 2003, by a
telecommunication service operator. Mogi must have struggled with an ecosystem with
poor wireless resources, expensive service costs, and many regulations related to wireless
connectivity. A study about the behavior of Mogi users found that some users were
disturbed by the persistent on-screen proximity of other players, which could have been
interpreted as a form of stalking.
1
One of the important lessons learned from Mogi was
that balancing how players’ private information is revealed and hidden is a key factor to
consider when designing location-aware games.

4

2. Battle Cannon Live (2004, SK Telecom)
Battle Cannon Live is a mobile game with player versus player combat (PvP) released in
2004. Each player’s location was captured by cellular tower triangulation but that
information was only used to download corresponding map images from the server.
4
The
battle itself didn’t involve players’ actual positions even though the graphic interfaces
made it appear as if game play functionality was related to the geographic location of the
players.

Figure 2: Battle Cannon Live

3. Pac-Manhattan (2004, New York University)
Pac-Manhattan is a real life version of Pac-Man. It was designed by graduate students at
New York University in 2004.
10
Players, including both Pac-Mans and ghosts, traveled
around Manhattan to catch or evade each other. GPS devices were used to track players.

5

Figure 3: Pac-Manhattan

4. Can You See Me Now? (2001, Blast Theory and University of Nottingham)
Can You See Me Now? is a chasing game which is played in the hybrid space,
simultaneously online and offline.
2
Players in the real world chase online players who can
move their avatars in virtual space, which is a 3D model of the game area in real space.
Chasers in real world are equipped with GPS and handheld devices to figure out where
online players’ avatars are and to communicate with other real world players. Can You
See Me Now? was one of the experiments or performances that attempted to create a
cultural space on mobile devices.

6

Figure 4: Can You See Me Now?

5. Live Cycle (2010, Coca-Cola)
Live Cycle is a location based iPhone game released by Coca-Cola in 2010.
3
To control a
player’s avatar in the game, the user had to walk around in real space because that is the
only way to control avatars. The game space is simply an empty world and does not
reflect anything in the real world.

Figure 5: Live Cycle

7

6. Shadow Cities (2010, Grey Area)
Shadow Cities is a location based 2D MMORPG developed by Grey Area in 2010. A
player takes the role of a modern mage, learns magic and uses spells to hunt Shadow
Spirits.
5
The goal of the game is to take control of the city while cooperating with other
players. The game effectively uses geo location data (which is similar to the concept in
Feel the Force) and Google map data to create a battleground.

Figure 6: Shadow Cities

7. Situationist (2011, Turned On Digital)

8

Situationist is an iPhone application which made its users’ everyday lives more thrilling
and unpredictable.
9
It alerts members to each other's proximity and facilitates interaction
between them in random situations. These situations vary from the friendly “Hug me for
5 seconds exactly” to “Compliment me on my haircut” for example. Members simply
upload their photos and select the situations they are interested in participating in from a
short list, with the knowledge that they might then occur anywhere, and at any time.

Figure 7: Situationist

Project Description and Objective
Feel The Force is an online 3D action game specifically designed for mobile
devices with the sole purpose of bringing players a novel game experience that is only
possible on mobile devices. To achieve this goal, the game requires a system

9

incorporating the game server, mobile clients and public data sets about the Earth that
merges real and virtual spaces. This game will implement two unique functions.
The first unique game feature is the connection of all players with strong
interactions based on each player’s physical location and strength in the game. The
system enables players to sense the presence of their rivals or friends when a certain
condition is met. The other is generating 3D in-game space on demand. The server
contains the landscape database of the United States and creates 3D game terrain based
on that data when a battle is initiated. As the target area that the server generates the
battleground from will vary according to each participant’s geographic location, the battle
space will be a unique experience each time users play the game.
Although the screen of the mobile device, which is also the primary user
interface, is relatively small, much of the game system will operate behind the scenes.
One of the game’s design goals is to operate as smoothly and seamlessly as possible, so
that ideally the user forgets that there are other parts of the system that are not visible.

1. Feeling Forces
In the game, all players will control avatars who are fighters blessed with a supernatural
psychic force that spherically surrounds the player. Each player’s force radius will
consistent of an actual physical distance and is proportional to the player’s score or
experience in the game. Once a user creates an account in the game, his force becomes

10

detectable by other players. It coexists in both real and virtual space but players can’t
sense another player’s force without a mobile device on which the game is installed.

Figure 8: Example of Forces in the Real World

For each event loop, the game server will check if any two or more forces collide,
which means the force radii are intersecting each other. If so, the server will send
notification messages to those players’ mobile devices. The mobile device will then alert
users of the force field collision through a vibration or sound. This is the time when
players will “feel the force.” After receiving the mobile device alerts, players can see the
other players they are sensing at that moment and how strong of a force field those
players are projecting.
First of all, I expect that this player-to-player interaction will be fun. Secondly, it
helps users become aware of the existence of rivals or allies in the real world and realize

11

that they are dynamically interacting with each other in physical space. Finally, it can
increase players’ curiosity about their opponents and increase the battle acceptance rate.

Figure 9: Feeling The Force Concept

(DragonBall, 1984, Shueisha)

2. Creating Compelling 3D Battlegrounds
A battle is triggered when all users with colliding forces choose to fight each
other in virtual space. The terrain is the most important game element and is created by
applying two principles. The first is to generate a battle space that reflects the real
landscape of the geography near the players and the second is to modify that space to
become an engaging battleground that works well for a 3D action game while
maintaining the first objective.

12

There is now an abundance of public data about the Earth’s topography and
geography that we can download with just a few clicks. Feel The Force makes use of an
Earth elevation data set, an Earth land-water mask, highway information and a landmark
building database to generate the game terrain. As the target area’s location and size
varies by each player’s GPS location, players encounter different game terrain in every
battle unless all players’ positions are identical to those in a previous fight. Making the
terrain a fun and exciting place for an action game is more challenging and dependant on
each user’s personal preferences and artificial modifications of raw data are required. The
precise method of modifying or normalizing the landscape to create an intense gaming
experience while preserving a recognizable real world location will be determined
through playtests.
Feel The Force is a sporadic MMO (Massively Multiplayer Online) mobile game.
By logging in, a player begins participating in the game but it does not mean that he/she
has to commit persistent and consecutive hours to the game. A player can live his normal,
daily life in the real world until he feels the force. When force fields collide and he wants
to play, he can warp to virtual space and play the game for a few minutes. After the
battle, he returns to his normal life with his force field updated and continues what he
was doing before the battle. Thus, Feel The Force is a sporadic game. However, the
number of possible interactions is unlimited and as a large number of battles of between 2
to 4 players are triggered simultaneously. Thus, even though all players are not engaged
in the same battles, Feel the Force is a MMO game as well. Of course, a critical mass of
the player population is required to generate frequently game events and to call this game

13

an MMO. However, it does not seem easy to estimate it without live data from
operational services because interactions are influenced by not only the number of users
but also their positions and forces. One of the ideas for keeping this system vibrant,
especially at the beginning of the service, is to recruit a certain number of seed players
and let them play the game for free as the reward for their contributions.

Figure 10: Sporadic Online Mobile Game

Implementation
In this section, overall system configurations, interaction scenarios, the 3D map
generation algorithm and the method of battles occurring in virtual space are explained.

1. System Configuration
Feel The Force is composed of the server, databases about the Earth, a user database and
the mobile clients. The server is responsible for detecting collisions, generating the 3D
game world, initiating games and managing the user database. Mobile clients are

14

responsible for capturing GPS locations and uploading them in the background, handling
collision signals from the server and hosting the battles.

Figure 11: System Configuration

2. Interactions
All players start playing the game with forces of the same radius. While a player’s
location is updated and uploaded to the server in the background, user input is not
required until he feels an approaching force. The server checks force field collisions

15

among all active players at the end of every pre-defined time interval but the detection
rule varies with two different game modes.
2.1. PVP Mode
PVP mode is a “free for all” game mode where each player battles all other players. In
this mode, a force field collision occurs when the distance between two GPS points is
shorter than the sum of those players’ force radiuses. After calculating all possible pairs
of the force fields, the game server makes a list of collisions, generates game spaces, and
sends notification messages to target devices. After receiving the signal, the mobile
device’s vibration or alarm sound causes the user to feel the force of an opponent.

Figure 12: PVP Mode Interaction

16

2.2 PVE Mode
PVE mode is a game mode where a team of cooperating players fights against a strong
monster that only exists in virtual space. All parameters of the monster such as its
strength, force radius and spawning location and time are determined by the server. After
the monster is spawned, the server applies the same logic that was used in PVP mode to
calculate all players with force radii colliding with the monster’s force radius. A team
building interface is launched on clients after the notification message is received in PVE
mode. As the enemy in the PVE mode usually has a much larger force field than players,
many of players will detect the monster so that multiple teams can fight against that
monster.

Figure 13: PVE Mode Interaction

17

3. 3D Game Spaces
After the matching of players is complete, the server builds height maps for each
pair. First, a rectangular target area that contains all players’ locations in a given battle is
created. Secondly, the server calculates a sampling rate of the SRTM1
7
data set, which is
a high resolution digital topographic database of Earth obtained through the Shuttle Radar
Topography Mission, because the size of the 3D game map is fixed regardless of the
actual size of the target areas. Therefore, the varying sampling rate implies that the
smaller the target area is, the finer the details of the real terrain are preserved and vice
versa. Finally, the server samples SRTM1 data set and mosaics sampled points to build a
2D array of the height map.

Figure 14: Sampling SRTM Data

18

4. The Battle
The battle itself is a first person view, run-and-shoot style action game with a simple
goal, “defeat rivals as many times as possible and expand your force.” Once in the battle,
players can take advantage of hills and slopes on the battleground as well as making use
of their items in order to deal as much damage as possible to their opponents. A player’s
score is the sum of the all damage dealt to his opponents during the battle, and the player
with the highest score wins the battle. When the battle ends, the winner’s force field is
expanded. This means that the more times a player wins, the bigger his force field
becomes. As the result, that player can impact more users and interact with a greater
number of opponents in both the real world and the virtual world.

Figure 15: Game Screen

19

Feel The Force doesn’t have its own, fictional storyline because a user’s real life
and the interactions the user experiences throughout their participation in the game is the
story. Player interaction in Feel The Force generates narratives and as Scott Rogers
mentioned in his book
8
, the series of narratives helps the player enjoy the game.
Continuous game play and interactions through Feel The Force which occur seamlessly
in both real and virtual spaces will enrich players’ life stories.

User Experience and Design Iteration
The previous section explained the overall system of game play and the game
server is responsible for generating and delivering battles to players. In this section,
interactions within the mobile device, design iterations for game mechanics and user
interfaces are described.

1. Interaction Screen
When a user logs in the game, the screen will shows the user’s current location
and the server starts to track the user’s initial force field.

20

Figure 16: Login Screen

When a collision message is received, a notification window pops up and prompts the
user to check out this collision. By touching “Check” button, the device reveals all force
fields colliding with the player’s force field on the map and the player is asked to choose
to challenge it or to ignore it.

Figure 17: Moment of Feeling Forces

21

The battle begins when all players choose to fight. The 2D plane which was displaying
Google map on the screen transforms into the 3D battleground. This transition is
designed to visually illustrate that a player is being teleported to the virtual space.

Figure 18: Warping to Virtual Space

2. Game Mechanics and User Interface
I tried to make the controls as simple and intuitive as possible and this principle
has affected game mechanics as well. The very first prototype was a third person view
action game with attack, super attack, jump and defense actions and as a result, there
were many UI buttons on the screen. However, playtests revealed that many possible

22

actions do not always result in richer game play. The excessive number of buttons were
more likely to be distracting, and the UI felt like it was seeking to implement an Xbox
controller on a small touch screen. It was neither intuitive nor convenient. The automatic
targeting mechanic was not as effective as expected either. It was true that it made the 3D
terrain far less important because no matter where players were, running forward was
sufficient to find the opponent on the battleground because players were always facing
each other.
In the next iterations, all actions were removed except “attack” and it made the
battle much more engaging. It made players pay more attention to the terrain and added
complexity by making players consider the best time to engage in an attack. Automatic
targeting was also replaced with manual targeting, which consisted of touching an
opponent’s character on the screen to lock-on, but that change revealed another problem.
In this kind of fast-paced action game, touching small, moving objects was not easy and
was sometimes annoying. Further, touching objects on the screen blocked a player’s
vision for a moment, which could negatively affect a player’s performance and the
comfortable play.
The next prototype was primarily to test semi-automatic targeting. As its name
implies, semi-automatic targeting automatically locks-on to opponents only when the
targets are visible and they are within the player’s HUD (Heads-Up Display) area. The
mechanic was satisfactory because it solved many problems discovered in previous
iterations. It also encouraged players to keep moving and find their enemies before they

23

find the player to take advantage of the homing attack. Moreover, the first person camera
adopted to implement the HUD interface was much more immersive than the previous
third person view.
As the result of these iterations and prototypes, the joy pad is the only visual input
button in the current version and other controls such as targeting, firing, rotating and
tilting camera can be implemented with the minimal touch gestures at any point on the
screen.
Figure 19: Prototype UIs

Figure 20: Current UI

24

Evaluation Scenario
Feel The Force has had four play tests in class and two more tests are planned by
May. The most significant feedback was that users had no idea what they should do after
a battle began. The next major comment was that players didn’t know how to turn around
and look up or down. Because of the joypad icon on the screen, most players had no
problem with moving the character itself. However, the confusion about the camera
control was due to a lack of visual cues or instructions about it. Rather than revising the
current game mechanics and user interfaces, I expect an interactive tutorial stage or
guiding messages in the game or a tutorial video on the web could resolve the
ambiguities.
Playtests planned in April and May will focus on the PVE mode to observe two
key elements, the team building interface and the raid battle. The interface needs to be as
easy to use and intuitive as possible for players to easily find allies without spending
much time. The playtests will also seek to analyze how well players can understand the
monster’s behavior patterns and how players coordinate in using their own tactics.
As the game server has been improving, the closed beta test for PVP mode is
scheduled for early April. Because of problems with distribution and deployment with
iOS games that are under development, I’m going to invite IMD students to the beta test
first. A simple log file function has been implemented on the server to track collisions,
game creation, the battle acceptance rate and battle results. Testers will receive emails
asking for feedback on a regular basis.

25

Conclusion
Feel The Force is an online game that fully utilizes the unique features of modern
mobile devices. The way it captures user attention and engages them in the game, the
amount of real world data it utilizes as well as the computing power it requires and its fun
and exciting game play will differentiate it from other games on mobile devices.
The concept is easy to understand and the current prototype has been successfully
delivered it to audiences. However, there are a few technical problems that need to be
improved. First of all, Apple push notification is not as reliable as expected. The delivery
is not prompt by its nature and Apple does not guarantee successful delivery. As the
population of iOS applications with push notification services grows, it is certain that the
service condition will deteriorate unless Apple invests more in their push system
functionality. To overcome this, Feel The Force needs some type of push notification
checking system to ensure prompt and reliable delivery of push notifications for battle
generation and prompting.
In terms of generating compelling game spaces, Feel the Force has had mixed
success. Generating 3D spaces that are new in every battle has been technically achieved.
The combination of SRTM1, land-water mask, highway shape information and landmark
buildings provides an abundance of resources to ensure a variety of game spaces.
However, generating the game map so that users can easily recognize that the
battleground area corresponds to their actual physical surroundings has not been very
successful. Through playtests, I realized that most people don’t have knowledge about

26

Earth elevation data, which is not something people would know about in their normal
lives. Some exceptions would be cases where players are in close proximity to certain
famous geographical features such as the Grand Canyon or a large mountain range. In
those cases, the well-known landmarks with distinctive geographical features are
incorporated in the game space and users can recognize those features. Moreover, the
server normalizes the sampled height map to ensure the minimum complexity and
diversity of the battleground, which results in a slightly modified landscape from the
actual physical landscape. Building intriguing virtual spaces and making them
recognizable might be mutually exclusive but my decision, for now, is that creating
enjoyable and interesting virtual spaces is a higher priority than precisely imitating real
landscapes in a recognizable way.
One concern that many advisors have brought up is that two of the game’s key
functions, detecting other players’ presences and playing the game with them, are not
powerful enough to engage players. Moreover, it is not yet clear that a new player with a
small force field will have a high enough encounter frequency to establish an engaging
experience for new users. I came up with two approaches, which conflict with each other,
to improve this: one is to design additional interaction mechanics other than the concept
of the force fields and their collisions and the other is to reinforce existing mechanics. I
ultimately decided to strengthen the current functions rather than making new ones.
It is obvious that all players must be able to experience a certain number of
interactions per a day in order not to lose interest in the game. I anticipate that this can be

27

resolved if there were a way for players to expand their force fields by to some amount
each day, whether or not they encounter actual players, and implementing a single game
play mode might also help in solidifying the Feel The Force system. As its name implies,
the single mode is to generate a computer-controlled character on a random spot and have
a player feel its presence. After receiving a notification message from the server,
everything flows the same as the normal 1:1 PVP mode. A player can enlarge his force
by defeating the computer-controlled character but the total number of battles a player
encounters per a day would be limited. This mode is actually built in the system now but
more work needs to be put into the AI of the computer-controlled character before it can
be launched.
The PVE mode can also help new players. Players with small forces are much
more likely to join PVE battles than PVP battles because raid monsters will have much a
much larger force than human players, allowing many different human players to work
together to battle the monster.
Another idea to maintain player interest is the active triggering interface on
mobile clients. Compared to the current interaction scenarios, which are passive, a user
can see logged-in players and their forces near him on the mobile device in real time and
directly challenge one of them if their forces are intersecting. The fundamental rule that
everything happens only when there is a collision will be kept intact. In contrast to the
passive mode in which the collisions are checked by polling with a relatively long time
interval, rather than in real time, a player can initiate checks for collisions any time he

28

wants with this interface. This means that collisions that otherwise might have been
missed can be detected, which will result in more frequent interactions and more
opportunities for new players to engage in battle. Moreover, a player might actually move
himself in the real world to contact an opponent’s force if it is within walking distance
and the player eagerly wants to challenge that force.

29

Bibliography
1. Adriana de Souza e Silva and Daniel M. Sutko, Digital cityscapes: Merging digital
and urban playspaces (New York: Peter Lang, 2009), 100-128.
2. Blast Theory, “CAN YOU SEE ME NOW?,” accessed March 27, 2012,
http://www.blasttheory.co.uk/bt/work_cysmn.html.
3. Contagious, “COKE ZERO / TRON LIVECYCLE,” accessed March 27, 2012,
http://www.contagiousmagazine.com/2010/11/coke_zero.php.
4. Game Chosun, “배틀캐논라이브 SKT로 서비스,” last modified January 26, 2004,
http://60frame.gamechosun.co.kr/article/view.php?no=22122.
5. Grey Area, “SHADOW CITIES,” accessed March 27, 2012,
http://www.shadowcities.com.
6. Justin Hall, “Mogi: Second Generation Location-Based Gaming,” accessed March 31,
2012, http://thefeaturearchives.com/100501.html.
7. NASA JPL, “Shuttle Radar Topography Mission,” accessed February 25, 2012,
http://www2.jpl.nasa.gov/srtm.
8. Scott Rogers, Level Up: The Guide To Great Video Game Design (Wiley, 2010), 41-
42.
9. Turned On Digital, “SITUATIONIST,” accessed March 27, 2012,
http://situationistapp.com.
10. “PACMANHATTAN,” accessed March 27, 2012,
http://pacmanhattan.com/about.php.

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Asset Metadata

Creator Oh, Hyung Gyu (author)

Core Title Feel the force

School School of Cinematic Arts

Degree Master of Fine Arts

Degree Program Interactive Media

Publication Date 10/20/2012

Defense Date 03/23/2012

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag DEM,force,geospatial database,GIS,GPS,interaction,LBS,location aware,mobile game,OAI-PMH Harvest,online game,push notification

Language English

Contributor Electronically uploaded by the author (provenance)

Advisor Fisher, Scott S. (committee chair), Brinson, Peter (committee member), Choi, Weon S. (committee member)

Creator Email dspmania@gmail.com

Permanent Link (DOI) https://doi.org/10.25549/usctheses-c3-8593

Unique identifier UC11289840

Identifier usctheses-c3-8593 (legacy record id)

Legacy Identifier etd-OhHyungGyu-624-0.pdf

Dmrecord 8593

Document Type Thesis

Rights Oh, Hyung Gyu

Type texts

Source University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

Access Conditions The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the a...

Repository Name University of Southern California Digital Library

Repository Location USC Digital Library, University of Southern California, University Park Campus MC 2810, 3434 South Grand Avenue, 2nd Floor, Los Angeles, California 90089-2810, USA