Acoustic Ecology - Revision history

ValterAlves at 21:37, 25 August 2012

2012-08-25T21:37:24Z

ValterAlves at 17:57, 24 August 2012

2012-08-24T17:57:51Z

ValterAlves at 01:28, 23 July 2012

2012-07-23T01:28:41Z

ValterAlves at 14:35, 19 July 2012

2012-07-19T14:35:54Z

ValterAlves at 22:59, 17 July 2012

2012-07-17T22:59:37Z

ValterAlves at 18:06, 16 July 2012

2012-07-16T18:06:26Z

ValterAlves at 01:35, 25 May 2012

2012-05-25T01:35:14Z

ValterAlves at 00:53, 25 May 2012

2012-05-25T00:53:51Z

ValterAlves at 22:15, 24 May 2012

2012-05-24T22:15:46Z

ValterAlves at 22:13, 24 May 2012

2012-05-24T22:13:54Z

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 | description =
 This card carries the most influential concept inherent to the conception of the whole set of cards in the deck. It may not be very specific in suggesting explorations during sound design but it states a crucial mindset that ought to be present when considering other cards.
-The [[Acoustic Ecology]] can be though of as the whole set of sounds that are heard during the game. The reason why it is so important to design all sounds as an “ecology” is that sounds have relationships that need to be managed appropriately, in a holistic way. Simply superimposing the sounds from the several [[Sound Layers]] is not adequate. To start with, sounds related to entities and events that in turn are related among themselves. But not less importantly, the reverse also applies – the sources of those sounds should also shape their relations as a consequence of the characteristics of their own acoustic expressions, as it happens in a natural ecology [pending:[REF]]. More, in addition to timings, turns, tones and relative strengths, there is also the dimension of coherence.
+The [[Acoustic Ecology]] can be thought of as the whole set of sounds that are heard during the game. The reason why it is so important to design all sounds as an “ecology” is that sounds have relationships that need to be managed appropriately, in a holistic way. Simply superimposing the sounds from the several [[Sound Layers]] is not adequate. To start with, sounds related to entities and events that in turn are related among themselves. But not less importantly, the reverse also applies – the sources of those sounds should also shape their relations as a consequence of the characteristics of their own acoustic expressions, as it happens in a natural ecology [pending:[REF]]. More, in addition to timings, turns, tones and relative strengths, there is also the dimension of coherence.
 Some games extend the [[Acoustic Ecology]] to components other than the gameplay (and [[Cutscenes]] when they exist). Namely, [[Title Screens]] and [[Menus]] may be coherent and integrated – in acoustic terms – with the [[Acoustic Ecology]] experienced during gameplay.

@@ Line 18: / Line 18: @@
 | description =
 This card carries the most influential concept inherent to the conception of the whole set of cards in the deck. It may not be very specific in suggesting explorations during sound design but it states a crucial mindset that ought to be present when considering other cards.
-The [[Acoustic Ecology]] can be though of as the all set of sounds that are heard during the game. The reason why it is so important to design all sounds as an “ecology” is that sounds have relationships that need to be managed appropriately, in a holistic way. Simply superimposing the sounds from the several [[Sound Layers]] is not adequate. To start with, sounds related to entities and events that in turn are related among themselves. But not less importantly, the reverse also applies – the sources of those sounds should also shape their relations as a consequence of the characteristics of their own acoustic expressions, as it happens in a natural ecology [pending:[REF]]. More, in addition to timings, turns, tones and relative strengths, there is also the dimension of coherence.
+The [[Acoustic Ecology]] can be though of as the whole set of sounds that are heard during the game. The reason why it is so important to design all sounds as an “ecology” is that sounds have relationships that need to be managed appropriately, in a holistic way. Simply superimposing the sounds from the several [[Sound Layers]] is not adequate. To start with, sounds related to entities and events that in turn are related among themselves. But not less importantly, the reverse also applies – the sources of those sounds should also shape their relations as a consequence of the characteristics of their own acoustic expressions, as it happens in a natural ecology [pending:[REF]]. More, in addition to timings, turns, tones and relative strengths, there is also the dimension of coherence.
 Some games extend the [[Acoustic Ecology]] to components other than the gameplay (and [[Cutscenes]] when they exist). Namely, [[Title Screens]] and [[Menus]] may be coherent and integrated – in acoustic terms – with the [[Acoustic Ecology]] experienced during gameplay.

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 | v10rel1=[[Sound Design in Games]], [[Sound Places]], [[Sound Layers and Semantics]], [[Narrative]], [[Identification]], [[Character Soundprint]], [[Ambiance]], [[Foley]], [[Sound Effects]], [[Chitchat]], [[Dialogue]], [[Foley Music]], [[Diegetic Music]], [[Music]]<br>
 | v20rel-tag1=Contexts:<br>
-| v20rel1=[[Ambiance]], [[Foley]], [[Sound Effects]], [[Music]], [[ Dialogue]], [[Foley Music]], [[Diegetic Music]], [[Chitchat]], [[Character Soundprint]], [[Identification]]<br>
+| v20rel1=[[Aesthetics]], [[Ambiance]], [[Foley]], [[Sound Effects]], [[Music]], [[ Dialogue]], [[Foley Music]], [[Diegetic Music]], [[Chitchat]], [[Character Soundprint]], [[Identification]]<br>
-| v20rel-tag2=May use:<br>
-| v20rel2=[[Aesthetics]]
 | revisions =Introduced in version 1.0<br />Version 2.0: updated synopsis
 | description =

@@ Line 40: / Line 40: @@
 | ex2=<mt p="AcousticEcology" g="Infamous" altg="InFamous" w="{{R16by9W}}" h="{{R16by9H}}"></mt>
 | ex3=<mt p="AcousticEcology" g="Crysis" w="{{R4by3W}}" h="{{R4by3H}}"></mt>
-| ex4=<mt p="AcousticEcology" g="GTA4" altg="Grand Theft Auto 4" w="{{R16by9W}}" h="{{R16by9H}}"></mt>
+| ex4=<mt p="AcousticEcology" g="GTA4" altg="Grand Theft Auto IV" w="{{R16by9W}}" h="{{R16by9H}}"></mt>
 | ex5=<mt p="AcousticEcology" g="Red Dead Redemption" w="{{R16by9W}}" h="{{R16by9H}}"></mt>
 | ex6=<mt p="AcousticEcology" g="Patapon" w="{{R16by9W}}" h="{{R16by9H}}"></mt>

@@ Line 20: / Line 20: @@
 | description =
 This card carries the most influential concept inherent to the conception of the whole set of cards in the deck. It may not be very specific in suggesting explorations during sound design but it states a crucial mindset that ought to be present when considering other cards.
+The [[Acoustic Ecology]] can be though of as the all set of sounds that are heard during the game. The reason why it is so important to design all sounds as an “ecology” is that sounds have relationships that need to be managed appropriately, in a holistic way. Simply superimposing the sounds from the several [[Sound Layers]] is not adequate. To start with, sounds related to entities and events that in turn are related among themselves. But not less importantly, the reverse also applies – the sources of those sounds should also shape their relations as a consequence of the characteristics of their own acoustic expressions, as it happens in a natural ecology [pending:[REF]]. More, in addition to timings, turns, tones and relative strengths, there is also the dimension of coherence.
-The acoustic ecology can be though of as the all set of sounds that are heard during the game. The reason why it is so important to design all sounds as an "ecology" is that sounds have relationships that need to be managed appropriately, in a holistic way.
-Simply superimposing the sounds from the several [[Sound Layers]] is not adequate. To start with, sounds related to entities and events that in turn are related among themselves. But not less importantly, the reverse also applies – the sources of those sounds should also shape their relations as a consequence of the characteristics of their own acoustic expressions, as it happens in a natural ecology {{Pending|[REF]}}. More, in addition to timings, turns, tones and relative strengths, there is also the dimension of ''coherence''.
-−
 Some games extend the [[Acoustic Ecology]] to components other than the gameplay (and [[Cutscenes]] when they exist). Namely, [[Title Screens]] and [[Menus]] may be coherent and integrated – in acoustic terms – with the [[Acoustic Ecology]] experienced during gameplay.

@@ Line 45: / Line 45: @@
 | ex6=<mt p="AcousticEcology" g="Patapon" w="{{R16by9W}}" h="{{R16by9H}}"></mt>
 | ex7=<mt p="AcousticEcology" g="Assassins Creed" altg="Assassin's Creed" w="{{R16by9W}}" h="{{R16by9H}}"></mt>
-| ex8=<mt p="AcousticEcology" g="Katamari" w="{{R16by9W}}" h="{{R16by9H}}"></mt>
+| ex8=<mt p="AcousticEcology" g="Katamari" altg="Katamari Forever" w="{{R16by9W}}" h="{{R16by9H}}"></mt>
 | ex9=<mt p="AcousticEcology" g="Papa Sangre" w="{{ViPhoneH}}" h="{{ViPhoneW}}"></mt>
 | showrefs=1
 }}

@@ Line 27: / Line 27: @@
 ==== Coherence in the Acoustic Ecology in the subsequent phases of development ====
 Coherence in the [[Acoustic Ecology]] is a concern that needs to be thoughtfully transmitted and carried to the implementation phases of sound in the game.
-We are not dealing with implementation aspects in the scope of these design patterns but we consider that, in this particular case, a remark is opportune. One bottleneck to the integration of sounds in games is the availability of sound files and the scarce ability to produce them from scratch. Off-the-shelf sound libraries are often too expensive or otherwise limited, considering the budget of small projects. Consequently developers are often challenged with the need to combine sounds from sparse origins which are highly incompatibly in aesthetics and acoustic terms (disparate levels of background noise, reverberation, etc.). In turn this may lead to a final result that fails in terms of overall coherency, regardless of the merit of the sound design that may have preceded this phase.
+We are not dealing with implementation aspects in the scope of these design patterns but we consider that, in this particular case, a remark is opportune. One bottleneck to the integration of sounds in games is the availability of sound files and the scarce ability to produce them from scratch. Off-the-shelf sound libraries are often too expensive or otherwise limited, considering the budget of small projects. Consequently developers are often challenged with the need to combine sounds from sparse origins that are highly incompatibly in aesthetics and acoustic terms (disparate levels of background noise, reverberation, etc.). In turn this may lead to a final result that fails in terms of overall coherency, regardless of the merit of the sound design that may have preceded this phase.
 ==== On the concept of Acoustic Ecology ====
 [pending]