Consequent Sound - Revision history

ValterAlves at 06:29, 20 August 2012

2012-08-20T06:29:15Z

ValterAlves at 06:27, 20 August 2012

2012-08-20T06:27:10Z

ValterAlves at 06:23, 20 August 2012

2012-08-20T06:23:01Z

ValterAlves at 16:21, 19 July 2012

2012-07-19T16:21:34Z

ValterAlves at 14:32, 19 July 2012

2012-07-19T14:32:07Z

ValterAlves at 00:42, 25 May 2012

2012-05-25T00:42:44Z

ValterAlves at 22:51, 24 May 2012

2012-05-24T22:51:08Z

ValterAlves at 22:31, 24 May 2012

2012-05-24T22:31:52Z

ValterAlves at 21:04, 20 May 2012

2012-05-20T21:04:14Z

ValterAlves at 11:46, 2 January 2012

2012-01-02T11:46:01Z

@@ Line 36: / Line 36: @@
 | ex3=<mt p="ConsequentSound" g="Ocarina Of Time" altg="The Legend of Zelda: Ocarina of Time" w="{{R4by3W}}" h="{{R4by3H}}"></mt>
 | ex4=<mt p="ConsequentSound" g="Papa Sangre" w="{{ViPhoneH}}" h="{{ViPhoneW}}"></mt>
-| ex5=<mt p="ConsequentSound" g="GTA4" altg="Grand Theft Auto IV" w="{{R16by9W}}" h="{{R16by9H}}">Using the car horn next to pedestrians makes them get stressed or scared and react accordingly, including through [[Dialogue]]. In specific circunstancies, the horn can be used to [[Address Others]] who may be receptive to that kind of call.</mt>
+| ex5=<mt p="ConsequentSound" g="GTA4" altg="Grand Theft Auto IV" w="{{R16by9W}}" h="{{R16by9H}}">Using the car horn next to pedestrians makes them get stressed or scared and react accordingly, including through [[Dialogue]]. In specific circumstances, the horn can be used to [[Address Others]] who may be receptive to that kind of call.</mt>
 | ex6=<mt p="ConsequentSound" g="Commandos BCD" h="200"></mt>
 | ex7=<mt p="ConsequentSound" g="Chaos Theory" altg="Tom Clancy's Splinter Cell Chaos Theory" w="{{R5by4W}}" h="{{R5by4H}}"></mt>
 }}

@@ Line 36: / Line 36: @@
 | ex3=<mt p="ConsequentSound" g="Ocarina Of Time" altg="The Legend of Zelda: Ocarina of Time" w="{{R4by3W}}" h="{{R4by3H}}"></mt>
 | ex4=<mt p="ConsequentSound" g="Papa Sangre" w="{{ViPhoneH}}" h="{{ViPhoneW}}"></mt>
-| ex5=<mt p="ConsequentSound" g="GTA4" altg="Grand Theft Auto IV" w="{{R16by9W}}" h="{{R16by9H}}">Using the car horn next to pedestrians makes them get stressed or scared and react accordingly, including through [[Dialogue]]. In specific circumstances the horn can be used to [[Address Others]] who may be receptive to that kind of call.</mt>
+| ex5=<mt p="ConsequentSound" g="GTA4" altg="Grand Theft Auto IV" w="{{R16by9W}}" h="{{R16by9H}}">Using the car horn next to pedestrians makes them get stressed or scared and react accordingly, including through [[Dialogue]]. In specific circunstancies, the horn can be used to [[Address Others]] who may be receptive to that kind of call.</mt>
 | ex6=<mt p="ConsequentSound" g="Commandos BCD" h="200"></mt>
 | ex7=<mt p="ConsequentSound" g="Chaos Theory" altg="Tom Clancy's Splinter Cell Chaos Theory" w="{{R5by4W}}" h="{{R5by4H}}"></mt>
 }}

@@ Line 30: / Line 30: @@
 In turn, designing the PC's ability to interpret consequent sound emitted  by other characters, allows extending the gameplay to include behaviour where that interpretation is actively pursued, such as [[Eavesdropping]] and performing [[Echolocation]].
 | examples=
 <!--{{NoVideoTable | {{NoVideo|'''Penumbra: Overture'''}} | | }}-->{{NoVideo|'''Penumbra: Overture'''}}
@@ Line 38: / Line 36: @@
 | ex3=<mt p="ConsequentSound" g="Ocarina Of Time" altg="The Legend of Zelda: Ocarina of Time" w="{{R4by3W}}" h="{{R4by3H}}"></mt>
 | ex4=<mt p="ConsequentSound" g="Papa Sangre" w="{{ViPhoneH}}" h="{{ViPhoneW}}"></mt>
-| ex5=<mt p="ConsequentSound" g="GTA4" altg="Grand Theft Auto IV" w="{{R16by9W}}" h="{{R16by9H}}"></mt>
+| ex5=<mt p="ConsequentSound" g="GTA4" altg="Grand Theft Auto IV" w="{{R16by9W}}" h="{{R16by9H}}">Using the car horn next to pedestrians makes them get stressed or scared and react accordingly, including through [[Dialogue]]. In specific circumstances the horn can be used to [[Address Others]] who may be receptive to that kind of call.</mt>
 | ex6=<mt p="ConsequentSound" g="Commandos BCD" h="200"></mt>
 | ex7=<mt p="ConsequentSound" g="Chaos Theory" altg="Tom Clancy's Splinter Cell Chaos Theory" w="{{R5by4W}}" h="{{R5by4H}}"></mt>
 }}

@@ Line 40: / Line 40: @@
 | ex5=<mt p="ConsequentSound" g="GTA4" altg="Grand Theft Auto IV" w="{{R16by9W}}" h="{{R16by9H}}"></mt>
 | ex6=<mt p="ConsequentSound" g="Commandos BCD" h="200"></mt>
-| ex7=<mt p="ConsequentSound" g="Chaos Theory" altg="Tom Clancy's Splinter Cell: Chaos Theory" w="{{R5by4W}}" h="{{R5by4H}}"></mt>
+| ex7=<mt p="ConsequentSound" g="Chaos Theory" altg="Tom Clancy's Splinter Cell Chaos Theory" w="{{R5by4W}}" h="{{R5by4H}}"></mt>
 }}

@@ Line 31: / Line 31: @@
 | examples =
-In Grand Theft Auto 4, if the protagonist uses the car horn next to pedestrians they get stressed or scared and react accordingly, including through [[Dialogue]]. In specific circumstances the horn can be used to [[Address Others]] that are receptive to that kind of call.
+In Grand Theft Auto IV, if the protagonist uses the car horn next to pedestrians they get stressed or scared and react accordingly, including through [[Dialogue]]. In specific circumstances the horn can be used to [[Address Others]] that are receptive to that kind of call.
 | examples=
 <!--{{NoVideoTable | {{NoVideo|'''Penumbra: Overture'''}} | | }}-->{{NoVideo|'''Penumbra: Overture'''}}
@@ Line 38: / Line 38: @@
 | ex3=<mt p="ConsequentSound" g="Ocarina Of Time" altg="The Legend of Zelda: Ocarina of Time" w="{{R4by3W}}" h="{{R4by3H}}"></mt>
 | ex4=<mt p="ConsequentSound" g="Papa Sangre" w="{{ViPhoneH}}" h="{{ViPhoneW}}"></mt>
-| ex5=<mt p="ConsequentSound" g="GTA4" altg="Grand Theft Auto 4" w="{{R16by9W}}" h="{{R16by9H}}"></mt>
+| ex5=<mt p="ConsequentSound" g="GTA4" altg="Grand Theft Auto IV" w="{{R16by9W}}" h="{{R16by9H}}"></mt>
 | ex6=<mt p="ConsequentSound" g="Commandos BCD" h="200"></mt>
 | ex7=<mt p="ConsequentSound" g="Chaos Theory" altg="Tom Clancy's Splinter Cell: Chaos Theory" w="{{R5by4W}}" h="{{R5by4H}}"></mt>
 }}

@@ Line 26: / Line 26: @@
 The attention that entities in the game world have towards the presence of the PC is extensible to its acoustic expression. That is, in the same way that the visual identification of the PC matters for the game world, the relevance of its acoustic expressions is also meaningful. Conversely, the ability for the character to hear can also be explored beyond the strict [[Awareness]] of what happens in the vicinity.
-Designing an acoustic presence for the PC and consequences for such expressions enlarges considerably the designers' creative space and allows to take proper advantage of interactivity. Particular explorations include performing [[Stealth]] actions, using mechanisms of [[Sound Suppressing]], luring or diverting others' attention through [[Sound Decoys]], explicitly performing sound to achieve a certain result (e.g., as in [[Sing to Act]] and [[Rhythm Gameplay]]), communicating with other characters ([[Address Others]]), using [[Sonic Weapon]], or other behaviours that value non-destructive intervention [[Make Sound not War]]. Sounds emitted by the character/player may consist of actual player's [[Sound Input]] or may be virtually produced, either as part of the [[Character Soundprint|Characters' Soundprint]] or through actions that they may perform.
+Designing an acoustic presence for the PC and consequences for such expressions enlarges considerably the designers' creative space and allows taking proper advantage of interactivity. Particular explorations include performing [[Stealth]] actions, using mechanisms of [[Sound Suppressing]], luring or diverting others' attention through [[Sound Decoys]], explicitly performing sound to achieve a certain result (e.g., as in [[Sing to Act]] and [[Rhythm Gameplay]]), communicating with other characters ([[Address Others]]), using [[Sonic Weapon]], or other behaviours that value non-destructive intervention [[Make Sound not War]]. Sounds emitted by the character/player may consist of actual player's [[Sound Input]] or may be virtually produced, either as part of the [[Character Soundprint|Characters' Soundprint]] or through actions that they may perform.
-In turn, designing the PC's ability to interpret consequent sound emitted  by other characters, allows to extend the gameplay to include behaviour where that interpretation is actively pursued, such as [[Eavesdropping]] and performing [[Echolocation]].
+In turn, designing the PC's ability to interpret consequent sound emitted  by other characters, allows extending the gameplay to include behaviour where that interpretation is actively pursued, such as [[Eavesdropping]] and performing [[Echolocation]].
 | examples =

@@ Line 24: / Line 24: @@
 | description =
-The attention that entities in the game world have towards the presence of the PC are extensible to its acoustic expression. That is, in the same way that the visual identification of the PC matters for the game world, the relevance of its acoustic expressions is also meaningful. Conversely, the ability for the character to hear can also be explored beyond the strict [[Awareness]] of what happens in the vicinity.
+The attention that entities in the game world have towards the presence of the PC is extensible to its acoustic expression. That is, in the same way that the visual identification of the PC matters for the game world, the relevance of its acoustic expressions is also meaningful. Conversely, the ability for the character to hear can also be explored beyond the strict [[Awareness]] of what happens in the vicinity.
-Designing an acoustic presence for the PC and consequences for such expressions enlarges considerably the designers creative space and allows to take proper advantage of interactivity. Particular explorations include performing [[Stealth]] actions, using mechanisms of [[Sound Suppressing]], luring or diverting others' attention through [[Sound Decoys]], explicitly performing sound to achieve a certain result (e.g. as in [[Sing to Act]] and [[Rhythm Gameplay]]), communicating with other characters ([[Address Others]]), using [[Sonic Weapon]], or other behaviors that value non-destructive intervention [[Make Sound not War]]. Sounds emitted by the character/player may consist of actual player's [[Sound Input]] or may be virtually produced, either as part of the [[Character Soundprint|Characters' Soundprint]] or through actions that they may perform.
+Designing an acoustic presence for the PC and consequences for such expressions enlarges considerably the designers' creative space and allows to take proper advantage of interactivity. Particular explorations include performing [[Stealth]] actions, using mechanisms of [[Sound Suppressing]], luring or diverting others' attention through [[Sound Decoys]], explicitly performing sound to achieve a certain result (e.g. as in [[Sing to Act]] and [[Rhythm Gameplay]]), communicating with other characters ([[Address Others]]), using [[Sonic Weapon]], or other behaviours that value non-destructive intervention [[Make Sound not War]]. Sounds emitted by the character/player may consist of actual player's [[Sound Input]] or may be virtually produced, either as part of the [[Character Soundprint|Characters' Soundprint]] or through actions that they may perform.
-In turn, designing the PC's ability to interpret consequent sound emitted  by other characters, allows to extend the gameplay to include behavior where that interpretation is actively pursued, such as [[Eavesdropping]] and performing [[Echolocation]].
+In turn, designing the PC's ability to interpret consequent sound emitted  by other characters, allows to extend the gameplay to include behaviour where that interpretation is actively pursued, such as [[Eavesdropping]] and performing [[Echolocation]].
 | examples =

@@ Line 3: / Line 3: @@
 | deckversion =1.0
 | v10synopsis =Sound that matters to the gameworld
-| v20synopsis =Designing the gameworld so that is sensitive to sound
+| v20synopsis =Designing the game world so that is sensitive to sound
 | patternpresentation =
 | cardpresentation=