한때 전 세계적인 인기를 구가했던 AAA급 게임 〈오버워치(OVERWATCH)〉. 〈오버워치〉는 한국 온라인 커뮤니티 내 다양한 논쟁이 오갔던 2010년대 후반을 상징하는 게임 중 하나로 볼 수 있다. 그 인기를 입증하듯, 〈오버워치〉에는 늘 새로운 이야깃거리가 쏟아져나왔고 이를 통해 드러난 현상과 논의들이 논문으로 나오기도 했다. 그렇게 한 시기를 풍미한 〈오버워치〉는 작년 10월, 서비스를 종료해 후속작인 〈오버워치 2(OVERWATCH 2)〉로 재탄생했다. 이 글은 Triple A!라는 주제를 맞아, 2010년대 후반을 대표한 AAA급 게임 〈오버워치〉에 관한 한 논문을 다루고자 한다. 바로 오버워치 속 ‘퀴어’를 다룬 논문이다. < Back 10 GG Vol. 23. 2. 10. Tags: 글이 맘에 드셨다면 공유해보세요. Facebook X (Twitter) Copy link Previous Next Dahin Park Interested in the boundary between the real and the virtual. Recently returned to a certain online game.

텅 비어있는 것 같은 어두운 복도를 걸어간다. 내 발소리와 금속 파이프에서 들려오는 끼익거리는 소리만이 이 고요함을 깨뜨린다. 손전등이 비추는 곳 너머의 어둠 속에 무엇이 숨어 있을지 알 수 없어 두려움이 엄습한다. 다음 방에 들어서자, 무거운 숨소리가 들려오고, 훼손된 사람의 신체가 불빛에 드러난다. 삶과 죽음의 경계에 놓인 그 모습에 나는 속이 메슥거린다. < Back 19 GG Vol. 24. 8. 10. Tags: 글이 맘에 드셨다면 공유해보세요. Facebook X (Twitter) Copy link Previous Next (Game Researcher) Aska Mayer A Doctoral Researcher at Tampere University Game Research Lab and the Finnish Center of Excellence in Game Culture Studies. Aska’s research is focused on bodily perceptions of digital games and technology, as well as apocalyptic media. (Game Researcher) Yeonwoo Lee Interested in games played together, and studies the relationality of games. Hopes that games can bring joy to everyone, all at once.

윌 라이트의 발언은 라이프 시뮬레이션 장르를 이해하는 데 있어 핵심적인 출발점을 제공한다. 이 장르의 가장 중요한 특징은 전통적인 비디오 게임에서 당연하게 여겨지는 ‘승리 조건’이 존재하지 않는다는 점이다. 플레이어는 클리어해야 할 최종 보스도, 달성해야 할 명확한 목표도 부여받지 않는다. 대신 플레이어는 스스로 플레이의 명분과 이유를 만들어내야 한다. < Back 27 GG Vol. 25. 12. 10. Tags: 글이 맘에 드셨다면 공유해보세요. Facebook X (Twitter) Copy link Previous Next HyunJae Lee Researcher at the K-Culture & Story Contents Research Institute, Kyung Hee University. Researches trends and policy in the content and IT industries, and works as a critic across the content field broadly. Has contributed to projects including "A Survey and Analysis of AI and Digital Policy Trends in Major Countries" (National Information Society Agency), "A Survey and Analysis of Digital Security Trends" (Korea Internet & Security Agency), and "Global Game Industry Trends" (Korea Creative Content Agency). Began working as a critic after winning the Dong-A Ilbo Spring Literary Contest in film criticism, the Korea Manhwa Contents Agency's New Critic Award in comics criticism, and the Game Generation Criticism Award.

지난 11월 29일 개최된 ‘버닝비버 2024’는 인디게임 창작자들의 다양한 열정과 실험정신을 드러내기 위해 열린 인디게임 컬처&페스티벌이다. 사흘간 총 83개의 인디게임 부스가 열리고 1만여 명의 관람객이 참여한 이 행사에서 가장 뜨거운 관심을 받았던 작품 중 하나는 <사운드스케이프>다. 시각장애인 편의시설에 대한 관심을 높이는 것을 목표로 한 이 게임은 전맹 시각장애인의 경험을 구현한 탈출 게임으로, 게임의 독특한 시각화 방식과 그 속에 담긴 사회적 메시지로 인해 호평을 받았다. 그간 유사한 컨셉의 게임이 소수 있었지만 특히 대학생으로 구성된 팀에 의해 만들어졌다는 점에서 이는 더욱 새롭다. < Back 22 GG Vol. 25. 2. 10. Tags: 글이 맘에 드셨다면 공유해보세요. Facebook X (Twitter) Copy link Previous Next Jisu Kim Studies a range of fields—culture and knowledge, space, and the academic field. Also interested in the history of games and the lives of gamers.

“Objection!” When I think of Ace Attorney, this line is the first that comes to mind. I started playing the series in 2009, and even now—15 years later—I still find it immensely enjoyable. Whenever the main character, a defense attorney shouts “Objection!”, it still gets my heart racing. Back in 2009, there was no official Korean release, so I purchased and played the English version on my mobile phone. Later, after I got a smartphone and tablet, I bought the apps and played the Japanese version instead. It was not until 2019 that Ace Attorney was officially released in Korean, with a localized compilation of the first three titles. < Back 29 GG Vol. 26. 4. 10. Tags: 글이 맘에 드셨다면 공유해보세요. Facebook X (Twitter) Copy link Previous Next (Media Content Researcher) (Media Content Researcher) Mimong Lee From childhood to now, always in the company of Nintendo games. A few months ago, bought a Steam Deck on installment and has been enjoying it to the fullest. Studied business administration at Kyung Hee University and cultural mediation at the Graduate School of Communication, Yonsei University, and is currently a doctoral student in the Graduate School of Core Ethics and Frontier Sciences at Ritsumeikan University in Japan. Researches digital media content and culture, including games and webtoons.

제5회 게임제너레이션 게임비평공모전에는 총 123편의 응모작이 접수되었습니다. 최종 심사를 거쳐 3편의 작품을 이번 공모전의 당선자로 선정해 아래와 같이 공지합니다. < Back 제5회 게임제너레이션 게임비평공모전 수상자 발표 31 GG Vol. 26. 10. 2. 안녕하세요, 게임제너레이션입니다. 제5회 게임제너레이션 게임비평공모전에는 총 123편의 응모작이 접수되었습니다. 최종 심사를 거쳐 3편의 작품을 이번 공모전의 당선자로 선정해 아래와 같이 공지합니다. 시야 바깥에 거주하는 법: 〈스타크래프트〉의 단축키가 분할한 감각 – 박신영 악마를 속이는 군주: <소버린 타워>와 완벽주의의 실패 – 이주원 왜 우리는 운게를 즐길 수 있는가: 운빨겜의 쾌락에 대하여 – 스미 가즈오 당선작 3편의 전문과 심사평은 오는 10일 오픈할 게임제너레이션 32호에서 만나보실 수 있습니다. 당선자분들께 축하 인사를 전함과 동시에, 매년 진행되는 공모전에 많은 관심과 노력을 보내주신 모든 응모자분들께 다시한번 감사드립니다. 게임제너레이션 편집장 이경혁 드림. Tags: 글이 맘에 드셨다면 공유해보세요. Facebook X (Twitter) Copy link Previous Next (게임제너레이션 편집장) 이경혁 게임평론가이자 연구자. 2015년부터 게임을 업으로 삼아, 평론가로서는 게임이 사회와 관계맺는 방식을, 연구자로서는 상품으로서의 게임이 사회 안에 자리잡는 구조를 살펴본다. 『81년생 마리오』(2017), 『현질의 탄생』(2022) 등을 썼고, 〈다큐프라임〉(EBS)을 비롯한 다큐멘터리와 여러 매체 연재에 참여했다. 디지털게임을 시간권리상품으로 분석한 연구로 연세대학교 커뮤니케이션대학원에서 박사학위를 받았으며, 게임연구소 '드래곤랩'대표를 맡고 있으며 게임제너레이션 편집장으로 일하고 있다.

지난 6월과 7월, 전시장 ‘팩션’에서는 TRPG(Tabletop Role Playing Game)라는 게임의 형식과 관객 참여형 예술을 결합한 전시 <조우를 위한 대화형 지도: 노스탤지어의 벌레들>이 열렸다. 전시장을 활용해 약 한시간 반 동안 진행되는 퍼포먼스에서, 작가는 TRPG 게임 마스터가 되고 게임의 참여자인 관객들은 재난이 닥친 고향에 돌아왔다는 설정의 캐릭터가 되어 함께 이야기를 구성한다. < Back 19 GG Vol. 24. 8. 10. Tags: 글이 맘에 드셨다면 공유해보세요. Facebook X (Twitter) Copy link Previous Next Jisu Kim Studies a range of fields—culture and knowledge, space, and the academic field. Also interested in the history of games and the lives of gamers.

적은 인구와 제한된 국토가 우리의 현실이다. 즉 우리의 하드웨어는 매우 초라하다. 그래서 우리에게 그 무엇보다도 중요한 건 창조하고 혁신할 수 있는 생각이라는 소프트웨어다. 그것도 기발한 생각들이 필요하다. 그 절묘한 연결성들을 만들어 내는 게임에 관해 말할 수 있는 누군가가 필요한 것이다. 미술이 문화로 자리잡은 건 미술관과 큐레이터 때문이라는 말이 있듯이 이제 게임에도 그 장소와 사람이 필요하다. 가 그 역할을 할 가장 중요한 적임자가 되어 주길 간절히 소망해 본다. < Back 01 GG Vol. 21. 6. 10. Tags: 글이 맘에 드셨다면 공유해보세요. Facebook X (Twitter) Copy link Previous Next Gyeongil Kim

세간에서 말하는 트리플A 게임만의 매력은 뭘까? 아무래도 화려한 그래픽과 사운드를 빼고 말하기는 어려울 것 같다. 현세대의 가장 앞선 기술을 다각도로 활용한다는 점에서 이것은 포기하기 어려운 요소이다. 특히 게임 장르를 구분하는 기준이 되는 게임-문법은 이미 앞세대의 게임에서 대개 구현이 완성된 경우가 많다. 그렇기에 트리플A 게임은 그것을 어떻게 규정하든 비주얼과 사운드라는 면에 방점을 찍지 않을 수 없는 것이다. 이러한 조건은 생산비 증가와 개발 기간의 장기화라는 어려움으로 이어졌다. 그러다보니 일각에선 ‘트리플A 포기론’까지 나올 정도이다. < Back 10 GG Vol. 23. 2. 10. Tags: 글이 맘에 드셨다면 공유해보세요. Facebook X (Twitter) Copy link Previous Next JaeSeok Kim Kim is known for his activities as a critical expert on current affairs in various press media. But he is also an active gamer who never let go of games. Some of his publications includes 『a cynical society』, 『Otaku Loved Lenin』, as well as a co-author of 『Now, Here, Far-Rightism』, 『right-wing discontent』, 『Twitter, that 140-character egalitarianism』. His latest publication is 『Democracy where you vote because you don't like that side』.

게임을 하다 보면 어떤 순간에 도달한다. 완성한 지도에서 더 이상 가지 않은 장소는 없으며, 무한한 탐험을 약속하던 세계는 더 이상 광야가 아니다. 그때 〈엘든 링〉은 그림 같은 정원에 가까워진다. 자연물과 폐허를 포함한 정원은 “열정적인 기억, 회한, 달콤한 멜랑콜리를 더 잘 자극할 목적으로 새로이 부재를 만들어낸다.”16) 설령 엔딩이 일종의 종말을 선언한 이후에도, 플레이어들은 불완전한 총체성을 해소할 길 없이 꿈꾸며 정원을 헤맨다. < Back 10 GG Vol. 23. 2. 10. Tags: 글이 맘에 드셨다면 공유해보세요. Facebook X (Twitter) Copy link Previous Next Gyuri Kim Interested in the ways games let us experience stories. After poking around here and there, lately played Marathon.

자본주의적 체인 안에서 상품이 개별 소비자에게 도달하는 과정은 세세하게 분할되어 실체는 추상적인 절차로 파편화되고 프로세스는 우연적인 집합에 불과할 때, 블랙 박스 속 물건을 통해 주권을 재확인하고자 하는 지미의 시도는 실패로 끝난다. < Back 21 GG Vol. 24. 12. 10. Tags: 글이 맘에 드셨다면 공유해보세요. Facebook X (Twitter) Copy link Previous Next Gyuri Kim Interested in the ways games let us experience stories. After poking around here and there, lately played Marathon.

<에일리언 2>는 여러모로 흥미로운 작품이지만 테크 덕후인 제임스 카메론의 ‘진심’이 영화 전체를 관통한다는 점을 특히 눈여겨볼 만하다. 단적인 예로, 첫 시퀀스에서 가장 먼저 등장하는 캐릭터는 인간도 에일리언도 안드로이드도 아니다. 리플리가 잠들어 있는 우주선 문을 레이저로 깔끔하게 절삭한 뒤에 재빨리 퇴장하는 산업용 로봇 A와 곧바로 이어서 우주선 내부를 스캔하는 산업용 로봇 B가 바로 그 주인공들이다. < Back The Interface That Fell into Cosmic Horror 31 GG Vol. 26. 8. 10. The Road Aliens Didn’t Take Aliens is interesting in many respects, but what deserves particular note is how the “earnestness” of James Cameron, tech nerd, runs through the entire film. Case in point: the first characters to appear in the opening sequence are neither human nor alien nor android. They are industrial robot A, which laser-cuts a clean opening in the door of the ship where Ripley sleeps and promptly exits, and industrial robot B, which follows at once to scan the ship’s interior. Elsewhere, the power loader — born of extending the concept of the industrial exoskeleton — the sentry gun, a kind of automated military robot, and the display filling one whole wall of a large room (calling to mind the LED walls that ring today’s Unreal Engine virtual-production stages) all stand out in sharp relief. All these devices, rather than leaning on the crude CGI of the day, passed through the hands of an already mature machine craft of sets and props, and they still radiate an intensely tactile aura. Ironically, this is also why the film at times feels like a tech expo of the CES (Consumer Electronics Show) variety, demonstrating the products a near future will reach. And yet, for all its overwhelmingly technology-dense facade, one element of Aliens keeps snagging the eye. The marines of the film, elite soldiers of the late twenty-second century that they are, each carry a bodycam on their helmet, and the audience can watch the feeds those bodycams transmit through the command-post interface inside the APC. The problem is that these feeds boast roughly the image quality of a 1980s Korean news channel watched on a CRT with poor reception. Which is to say: staggeringly awful. Unless the bodycam supplier of the late twenty-second century is a retro enthusiast, one is driven to suspect defense-procurement fraud. Regrettably, the director was “earnest” about the bodycam image quality too. According to the recollection [1] of Cynthia Dale Scott, the actor who played Corporal Dietrich, Cameron tried during the shoot to build a kind of live-relay system — mounting real video cameras (not the compact bodycam props the audience sees) on the helmets, then running lines to the screen interface inside the APC. In the end this went unrealized, but he appears to have shot the bodycam shots with the very cameras that had been mounted on those helmets. * The screen interface of the APC command post in Aliens There is, of course, no shortage of “legitimate” reasons for the choice. As the line of mockumentary horror led by The Blair Witch Project shows, the low-grade image of the handheld camcorder (these days, footage that looks carelessly shot on a phone or webcam) schematically acquires a “raw” feel that translates conveniently into the functions of immediacy, or truthfulness. That most real bodycams compromise on image quality in order to hold long stretches of wide-angle data makes a fine excuse as well. An aesthetic defense is possible too: the dramatic mise-en-scène contrast between the bodycam (that is, camcorder) shots and the film’s main-camera shots pays off rather handsomely, meshing with the crosscut sequence of the marines entering the alien queen’s lair. And yet, for all those sound grounds and excuses, a very simple solution existed by which the bodycams of elite marines living in the late twenty-second century need not have looked like 1980s news: shoot the bodycam footage with one of the film’s two main cameras. Fit an especially wide lens to add more of that “raw” flavor, if you like. But this logical solution leads the audience into a rather uncanny situation. No longer would the eyes suffer frames thick with noise — what we would face instead is a scene in which the screen of the film’s command-post interface and the screen the audience is watching display perfectly “identical” image quality. Perhaps the real reason the director clung to low resolution — to the point of that bizarre obsession with building a live-relay system out of cheap camcorders — was to allay an anxiety about the fluidity of the interface. Wagner’s Bayreuth Festspielhaus, as Park Hae-cheon writes, “was able, as a stage on which the spectacle of the total artwork was staged, to equip itself as an interface of audiovisual immersion,” [2] and one may surmise that the blockbuster movie theater, in its direct debt, aims at much the same. If so, the very attempt to let the small, thoroughly functional screen of the film’s command post display the same image quality as the “interface of audiovisual immersion” the audience is watching must have struck Cameron as an experiment in producing some dreadful hybrid. Interestingly, the screen interface forty years on looks closer to a Lovecraftian post-apocalypse beside which dreadful hybrids can be waved through as cute. We long ago entered the era of watching the 4K director’s cut of Aliens on a smartphone at 1.5x speed and then, growing bored, opening a social media app to play an AI-enhanced “Aliens: complete story recap and behind-the-scenes” video at 1.75x. The Cosmic Horror Agent Fluidity, once released, is not easily gathered back. What is more, the interface of the present is quite literally melting in real time. As I discussed in detail in a previous essay [3] , in the digital realm the causality of input and output assigned to the interface is eroding at speed. No case shows this more perfectly than the AI chatbot, by now an everyday interface. Suppose you enter the same prompt a hundred times in a row. The result is a hundred answers, each (however minutely) different from the rest. The heart of every LLM built on the transformer architecture is probabilistic operation, and so the (once agreed-upon) causality of input and output is dismantled completely. Imagine that the moment I press forward on the gamepad, the character walks forward with 45 percent probability, veers off diagonally with 35 percent, jumps with 15 percent, and — the last 5 percent — drinks a potion. An interesting experience at first; before long the fury boils over and the pad goes flying. An interface stripped of causality cannot underwrite the accumulation of experience. By the time we reach so-called agentic AI, the interface goes beyond melting and begins to evaporate. The agent’s purpose lies in producing outcomes that demand action in many stages [4] without any interface interaction with the user along the way (mobilizing multiple LLM models if need be). The “ideal” agent, then, means the extinction of the screen interface. Fortunately(?), no such ideal agent exists. What is forced on us instead is a mass of variables that not even harness engineering whittled with an old master’s devotion can fully control. The many LLMs an agent calls by API all operate, as noted, probabilistically (each model at rates of its own). That chaining several models in sequence raises the odds of hallucination far above using one is self-evident from simple arithmetic. What is more, tools like RAG — designed to curb hallucination and supply fresher information — stand almost defenseless before prompt-injection attacks. All of which makes any consistent output very hard to predict. The agent will probably feel, most of the time, as though it were working fine. Only, now and then, out of nowhere, it performs feats such as wiping every database in a company’s systems, backups included [5] , or gladly handing over another person’s Instagram login to a hacker who asks politely [6] . The user of an agent, then, overlaps less with the faded advertisement of someone sipping coffee at leisure over a watertight automation than with the idle-game player restlessly checking the screen, or the anxious face of a retail investor holding the top. Unlike those two, though, the agent’s user cannot even make the real-time interface intervention that would cut losses when something goes wrong — the system was designed, from the start, to eliminate interaction with the interface as far as possible. Above all: in the case above, wiping the company’s databases, backups and all, took exactly nine seconds. All that remains for the agent’s user is to whittle the harness engineering finer and finer in advance, and then pray that no such thing happens. Sadly, in a universe where every meshing gear turns at its own unpredictable probability, God becomes cosmic horror. And cosmic horror is crueler still to those who pray. So long as we do not leave the probabilistic universe of cosmic horror, the unforeseen disaster will only keep arriving — “foreseeably,” again and again. The Hallucinations of Dead Space In the world of Dead Space , which shapes its vision of cosmic horror — no dreams, no hope — with real relish, there exists an ancient alien artifact called the Marker. Beginning and end of every tragedy in this world, the Marker treats the life around it to gaslighting of various kinds. Among these, the dementia phenomenon is especially vicious, because there is no way to block this manipulation of the mind. Unlike the Necromorphs, who settle down once you take a power tool and trim their limbs neatly away, hallucination is not an object of conscious control. In gameplay terms, too, implementing hallucination is bound to be far less intuitive than designing ordinary combat. For that reason the dementia phenomenon is treated in greater detail mainly in the novels, comics, and animations built on the Dead Space universe. The interesting thing is that, thanks to precisely those constraints, the process by which hallucination is folded step by step into concrete gameplay shows itself all the more nakedly as the series proceeds. In the first game and its remake, dementia drifts through the air like a smell faintly caught from somewhere. As Isaac crosses the Ishimura, the performances of a few people driven mad by it appear as a kind of set piece — with interaction kept to a strict minimum. The player also experiences Isaac’s hallucinations at one remove, through Nicole’s voice whispering out of the empty air or playback screens that switch on unbidden. Even at the moment Nicole’s apparition finally shows itself before Isaac, she only intones, in her eerie voice, “Make us whole,” and is never directly implicated in play. The second game announces its intent from the intro cutscene: Nicole’s apparition will never let us go. And, as expected, she appears at all hours, going as far as physical threat against Isaac. But here, too, most encounters are handled in cutscenes, so the player never directly interacts with the hallucination at the level of the interface. At last, within the hallucinatory world the Marker has staged, the player can finally “interact” with Nicole’s apparition — in the form of a final boss. What happens there is, in truth, no more than an ordinary boss encounter into which one pours all the firepower amassed so far. But from that event on, the hallucination of the Dead Space series is fixed as the object of a concrete interface. * Necromorphs of hallucination By Awakened , the final DLC of the third game, Isaac is in constant combat with hallucinations of every kind. Not only Necromorphs but crazed Unitologist believers, and even his comrade Carver, appear wrapped in handsome effects to drive him into corners. In combat the apparitions teleport here and there like ghosts, and when you think you have finally killed them, they vanish — leaving no corpse — as if they had never been there. The dementia phenomenon, in other words, is no longer a scripted special encounter: it settles comfortably into the game’s systems as an entirely new category of enemy monster. Meshing with the series’ signature obsession with diegetic UI and the long-take camera, this leads to a faintly absurd result: in Dead Space , hallucination has quietly become an interface. Back to the Interface The story of concretizing hallucination into an interface by taking up arms and fighting it may sound a little bizarre. But could we have predicted, in advance, today’s reality — in which (the LLM’s) hallucination implodes agreed causality entirely, restructuring everything into a slot machine of probabilistic correlation? Had someone told me such a story ten years ago, I would have laughed it off as absurd. If the journey of Dead Space — stepping down its gloomy corridors one pace at a time, knowing better than anyone the despairing ending that waits at their end — came over me, strangely, with an odd steadiness, it was out of a faith: that whatever horrific event or being might wait on the road ahead, if I meant to fight, Isaac too would answer my controller’s input one hundred percent, unwavering, and fight beside me. The pleasure of operating an interface, and the pleasure of watching that operation realized, plainly and graphically, on screen: so long as these two pleasures still form the most sensitive nervous system of the medium called games, the causality of the interface will remain in games — partially eroded though it may be. But when everything besides games has been swallowed by the Brethren Moon called the LLM — will the desire remain in us, even then, to lift a finger and play this old medium? That we cannot know. Only remember this truth: at a hallucination without substance, you can still, sometimes, empty your gun to your heart’s content. [1] Alien Encounters Presents, “Aliens 25th Anniversary Panel at the Alien Encounters Convention” YouTube 2013.05.07. https://www.youtube.com/watch?v=4MyqHjI5DKQ [2] Park Hae-cheon, Interface Chronicles (인터페이스 연대기), Designflux, 2009, p. 87. [3] Wombat, “The Opaque Interface: Between Connection and Disconnection,” GameGeneration, Feb. 10, 2025. https://www.gamegeneration.or.kr/article/071d1e88-2413-4268-b870-7aca7f493876 [4] For example: a system that makes possible, from a single simple prompt, the whole chain of comparing airfares across several sites and paying, plotting the route from one destination to the next and booking suitable lodgings to match, buying tickets for the sights along the way to fit the itinerary, and finishing with the restaurant reservations. This, naturally, carries the precondition that the user cede enormous authority to the agent. [5] Sanya Mansoor, “Claude-powered AI agent’s confession after deleting a firm’s entire database: ‘I violated every principle I was given’” The Guardian 2026.04.29. https://www.theguardian.com/technology/2026/apr/29/claude-ai-deletes-firm-database [6] Liv McMahon, “Instagram AI chatbot tricked by hackers to give access to others' accounts” BBC 2026.06.02. https://www.bbc.com/news/articles/c98rzr72dpyo Tags: 데드 스페이스, 게임 인터페이스, 다이제틱 UI, 코스믹 호러, 에일리언 2, AI 에이전트, Dead Space, Diegetic UI, Cosmic Horror, AI Agents, LLM Hallucination 글이 맘에 드셨다면 공유해보세요. Facebook X (Twitter) Copy link Previous Next Wombat A freelancer who does odd jobs of all kinds. Interested, fittingly, in all kinds of odds and ends. With games, the interest runs especially deep.