Anticipation - Revision history

ValterAlves at 19:34, 24 August 2012

2012-08-24T19:34:36Z

ValterAlves at 16:48, 19 July 2012

2012-07-19T16:48:24Z

ValterAlves at 00:56, 25 May 2012

2012-05-25T00:56:32Z

ValterAlves at 22:21, 24 May 2012

2012-05-24T22:21:27Z

ValterAlves at 11:44, 2 January 2012

2012-01-02T11:44:11Z

ValterAlves at 18:59, 12 December 2011

2011-12-12T18:59:49Z

ValterAlves at 18:57, 12 December 2011

2011-12-12T18:57:59Z

ValterAlves at 22:21, 28 November 2011

2011-11-28T22:21:52Z

ValterAlves at 22:01, 28 November 2011

2011-11-28T22:01:09Z

ValterAlves at 14:19, 21 November 2011

2011-11-21T14:19:56Z

@@ Line 36: / Line 36: @@
 | examples=
-| ex1=<mt p="Anticipation" g="Oblivion" w="{{R16by9W}}" h="{{R16by9H}}"></mt>
+| ex1=<mt p="Anticipation" g="Oblivion" altg="The Elder Scrolls IV: Oblivion" w="{{R16by9W}}" h="{{R16by9H}}"></mt>
 | ex2=<mt p="Anticipation" g="Far Cry 2" w="{{R16by9W}}" h="{{R16by9H}}"></mt>
 | ex3=<mt p="Anticipation" g="Papa Sangre" w="{{ViPhoneH}}" h="{{ViPhoneW}}">Papa Sangre takes profit of the fact that players are not in full control of their abilities to force risk behaviour and to deal with the uncertainty of the respective consequence.</mt>

@@ Line 40: / Line 40: @@
 | ex3=<mt p="Anticipation" g="Papa Sangre" w="{{ViPhoneH}}" h="{{ViPhoneW}}">Papa Sangre takes profit of the fact that players are not in full control of their abilities to force risk behaviour and to deal with the uncertainty of the respective consequence.</mt>
 | ex4=<mt p="Anticipation" g="Silent Hill" w="{{R16by9W}}" h="{{RSHH}}"></mt>
-| ex5=<mt p="Anticipation" g="Uncharted" w="{{R16by9W}}" h="{{R16by9H}}"></mt>
+| ex5=<mt p="Anticipation" g="Uncharted" altg="Uncharted: Drake's Fortune" w="{{R16by9W}}" h="{{R16by9H}}"></mt>
 | ex6=<mt p="Anticipation" g="Crysis" w="{{R4by3W}}" h="{{R4by3H}}"></mt>
 }}

@@ Line 30: / Line 30: @@
 [[Anticipation]] is one typical phase of the [[Emotional Script]] during gameplay. It is used both alone and integrated in an iterated sequence ([[R-A-E-D Iterations]]) that can also involve some or all of the phases [[Relaxation]], [[Engagement]], and [[Decay]].
-Sound designers in the movie industry explore [[Anticipation]] in very effective ways. Yet, this is one of the aspects where techniques used in film practice are hardly 'importable' to game design. In games, contrary to what happens in movies, it is inherently difficult to predict what the player will do next, or even to assess the motivations behind the player's current behaviour. Unless for instance interactivity is compromised by linearizing the gameplay in particular moments (to the possible extreme of inserting a [[Cutscenes | Cutscene]]), some artificial intelligence may be necessary to infer a proper moment for [[Anticipation]].
+Sound designers in the movie industry explore [[Anticipation]] in very effective ways. Yet, this is one of the aspects where techniques used in film practice are hardly "importable" to game design. In games, contrary to what happens in movies, it is inherently difficult to predict what the player will do next, or even to assess the motivations behind the player's current behaviour. Unless for instance interactivity is compromised by linearizing the gameplay in particular moments (to the possible extreme of inserting a [[Cutscenes | Cutscene]]), some artificial intelligence may be necessary to infer a proper moment for [[Anticipation]].
 Some game genres including survival horror make an extensive use of [[Anticipation]] for which it contributes the [[Ambiance]] and, for instance, the contrast between apparent [[Silence]] and aspects of the [[Character Soundprint]] which may trigger critical [[Engagement|Engagements]] (that is, [[Consequent Sound]]).

@@ Line 30: / Line 30: @@
 [[Anticipation]] is one typical phase of the [[Emotional Script]] during gameplay. It is used both alone and integrated in an iterated sequence ([[R-A-E-D Iterations]]) that can also involve some or all of the phases [[Relaxation]], [[Engagement]], and [[Decay]].
-Sound designers in the movie industry explore [[Anticipation]] in very effective ways. Yet, this is one of the aspects where techniques used in film practice are hardly 'importable' to game design. In games, contrary to what happens in movies, it is inherently difficult to predict what the player will do next, or even to assess the motivations behind the player's current behavior. Unless for instance interactivity is compromised by linearizing the gameplay in particular moments (to the possible extreme of inserting a [[Cutscenes | Cutscene]]), some artificial intelligence may be necessary to infer a proper moment for [[Anticipation]].
+Sound designers in the movie industry explore [[Anticipation]] in very effective ways. Yet, this is one of the aspects where techniques used in film practice are hardly 'importable' to game design. In games, contrary to what happens in movies, it is inherently difficult to predict what the player will do next, or even to assess the motivations behind the player's current behaviour. Unless for instance interactivity is compromised by linearizing the gameplay in particular moments (to the possible extreme of inserting a [[Cutscenes | Cutscene]]), some artificial intelligence may be necessary to infer a proper moment for [[Anticipation]].
 Some game genres including survival horror make an extensive use of [[Anticipation]] for which it contributes the [[Ambiance]] and, for instance, the contrast between apparent [[Silence]] and aspects of the [[Character Soundprint]] which may trigger critical [[Engagement|Engagements]] (that is, [[Consequent Sound]]).
@@ Line 38: / Line 38: @@
 | ex1=<mt p="Anticipation" g="Oblivion" w="{{R16by9W}}" h="{{R16by9H}}"></mt>
 | ex2=<mt p="Anticipation" g="Far Cry 2" w="{{R16by9W}}" h="{{R16by9H}}"></mt>
-| ex3=<mt p="Anticipation" g="Papa Sangre" w="{{ViPhoneH}}" h="{{ViPhoneW}}">Papa Sangre takes profit of the fact that players are not in full control of their abilities to force risk behavior and to deal with the uncertainty of the respective consequence.</mt>
+| ex3=<mt p="Anticipation" g="Papa Sangre" w="{{ViPhoneH}}" h="{{ViPhoneW}}">Papa Sangre takes profit of the fact that players are not in full control of their abilities to force risk behaviour and to deal with the uncertainty of the respective consequence.</mt>
 | ex4=<mt p="Anticipation" g="Silent Hill" w="{{R16by9W}}" h="{{RSHH}}"></mt>
 | ex5=<mt p="Anticipation" g="Uncharted" w="{{R16by9W}}" h="{{R16by9H}}"></mt>
 | ex6=<mt p="Anticipation" g="Crysis" w="{{R4by3W}}" h="{{R4by3H}}"></mt>
 }}

@@ Line 32: / Line 32: @@
 Sound designers in the movie industry explore [[Anticipation]] in very effective ways. Yet, this is one of the aspects where techniques used in film practice are hardly 'importable' to game design. In games, contrary to what happens in movies, it is inherently difficult to predict what the player will do next, or even to assess the motivations behind the player's current behavior. Unless for instance interactivity is compromised by linearizing the gameplay in particular moments (to the possible extreme of inserting a [[Cutscenes | Cutscene]]), some artificial intelligence may be necessary to infer a proper moment for [[Anticipation]].
-Some game genre including survival horror make an extensive use of [[Anticipation]] for which it contributes the [[Ambiance]] and, for instance, the contrast between apparent [[Silence]] and aspects of the [[Character Soundprint]] which may trigger critical [[Engagement|Engagements]] (that is, [[Consequent Sound]]).
+Some game genres including survival horror make an extensive use of [[Anticipation]] for which it contributes the [[Ambiance]] and, for instance, the contrast between apparent [[Silence]] and aspects of the [[Character Soundprint]] which may trigger critical [[Engagement|Engagements]] (that is, [[Consequent Sound]]).
 The proper nature of the genre, where [[Engagement]] is always imminent but seldom announced, makes it meaningful that sounds of [[Anticipation]] may be consistently presented even if it is not know if there will be actual [[Engagement]] in the next moment.

@@ Line 28: / Line 28: @@
 | revisions =Introduced in version 1.0
 | description =
-[[Anticipation]] is one typical phase of the [[Emotional Script]] during [[Gameplay]]. It is used both alone and integrated in an iterated sequence ([[R-A-E-D Iterations]]) that can also involve some or all of the phases [[Relaxation]], [[Engagement]], and [[Decay]].
+[[Anticipation]] is one typical phase of the [[Emotional Script]] during gameplay. It is used both alone and integrated in an iterated sequence ([[R-A-E-D Iterations]]) that can also involve some or all of the phases [[Relaxation]], [[Engagement]], and [[Decay]].
-Sound designers in the movie industry explore [[Anticipation]] in very effective ways. Yet, this is one of the aspects where techniques used in film practice are hardly 'importable' to game design. In games, contrary to what happens in movies, it is inherently difficult to predict what the player will do next, or even to assess the motivations behind the player's current behavior. Unless for instance interactivity is compromised by linearizing the gameplay in particular moments (to the possible extreme of inserting a [[Cut-Scenes | Cut-Scene]]), some artificial intelligence may be necessary to infer a proper moment for [[Anticipation]].
+Sound designers in the movie industry explore [[Anticipation]] in very effective ways. Yet, this is one of the aspects where techniques used in film practice are hardly 'importable' to game design. In games, contrary to what happens in movies, it is inherently difficult to predict what the player will do next, or even to assess the motivations behind the player's current behavior. Unless for instance interactivity is compromised by linearizing the gameplay in particular moments (to the possible extreme of inserting a [[Cutscenes | Cutscene]]), some artificial intelligence may be necessary to infer a proper moment for [[Anticipation]].
-Some genre including survival horror make an extensive use of [[Anticipation]] for which it contributes the [[Ambiance]] and, for instance, the contrast between apparent [[Silence]] and aspects of the [[Character Soundprint]] which may trigger critical [[Engagement|Engagements]] (that is, [[Consequent Sound]]).
+Some game genre including survival horror make an extensive use of [[Anticipation]] for which it contributes the [[Ambiance]] and, for instance, the contrast between apparent [[Silence]] and aspects of the [[Character Soundprint]] which may trigger critical [[Engagement|Engagements]] (that is, [[Consequent Sound]]).
 The proper nature of the genre, where [[Engagement]] is always imminent but seldom announced, makes it meaningful that sounds of [[Anticipation]] may be consistently presented even if it is not know if there will be actual [[Engagement]] in the next moment.

@@ Line 5: / Line 5: @@
 | patternpresentation =
 | cardpresentation=
-| frontface =Anticipation-front-v10.png
+| v10frontface =Anticipation-front-v10.png
-| backface =Anticipation-back-v10.png
+| v10backface =Anticipation-back-v10.png
 | screenshots=
 | v10rel-tag1=Context:<br>