Sing to Act - Revision history

ValterAlves at 18:52, 26 August 2012

2012-08-26T18:52:34Z

ValterAlves at 15:48, 26 August 2012

2012-08-26T15:48:38Z

ValterAlves at 15:42, 26 August 2012

2012-08-26T15:42:45Z

ValterAlves at 15:40, 26 August 2012

2012-08-26T15:40:33Z

ValterAlves at 04:25, 25 May 2012

2012-05-25T04:25:31Z

ValterAlves at 19:30, 24 May 2012

2012-05-24T19:30:28Z

ValterAlves at 19:27, 24 May 2012

2012-05-24T19:27:35Z

ValterAlves at 23:38, 9 January 2012

2012-01-09T23:38:57Z

ValterAlves at 23:09, 28 November 2011

2011-11-28T23:09:59Z

ValterAlves at 14:58, 21 November 2011

2011-11-21T14:58:57Z

@@ Line 32: / Line 32: @@
 {{NoVideoTable | {{NoVideo|'''Journey:'''}} |  | }}
 | ex1=<mt p="SingToAct" g="Spore" w="{{R4by3W}}" h="{{R4by3H}}">Singing to conquer the friendship of another species.</mt>
-| ex2=<mt p="SingToAct" g="Patapon" w="{{R16by9W}}" h="{{R16by9H}}">The whole visual representation pulses with the sound – from the most objective, as the rectangle in the border and the drums’ onomatopoeias (mapping the [[Sound Input]]), to the more subtle, as the moves and details of the characters (which map and the [[Sound Input]] and the sound they echo themselves).</mt>
+| ex2=<mt p="SingToAct" g="Patapon" w="{{R16by9W}}" h="{{R16by9H}}">The patapons can invoke miracles by performing the corresponding song. These songs are progressively learned ([[Levelled Performance]]) and consist of playing a score using the drums.</mt>
 | ex3=<mt p="SingToAct" g="LocoRoco" altg="LocoRoco" w="{{R16by9W}}" h="{{R16by9H}}">The LocoRoco singing in order to wake up and enchant an entity who will reward them with an item or who will unblock their passage. For the singing to work the LocoRoco need to be more than a certain number (in the example that would be ten).</mt>
 | ex4=<mt p="SingToAct" g="Aquaria" w="{{R4by3W}}" h="{{R4by3H}}">Naija can sing the particular note that resonates with a certain entity, in order to
 trigger some behaviour (like releasing an item). Additionally, she can sing songs that are unlocked along the game ([[Levelled Performance]]) and that give her special abilities.</mt>
 }}

@@ Line 32: / Line 32: @@
 {{NoVideoTable | {{NoVideo|'''Journey:'''}} |  | }}
 | ex1=<mt p="SingToAct" g="Spore" w="{{R4by3W}}" h="{{R4by3H}}">Singing to conquer the friendship of another species.</mt>
-| ex2=<mt p="SingToAct" g="Patapon" w="{{R16by9W}}" h="{{R16by9H}}">The patapons can invoke miracles by performing the corresponding song. These songs are progressively learned ([[Levelled Performance]]) and consist of playing a score using the drums.</mt>
+| ex2=<mt p="SingToAct" g="Patapon" w="{{R16by9W}}" h="{{R16by9H}}">The whole visual representation pulses with the sound – from the most objective, as the rectangle in the border and the drums’ onomatopoeias (mapping the [[Sound Input]]), to the more subtle, as the moves and details of the characters (which map and the [[Sound Input]] and the sound they echo themselves).</mt>
 | ex3=<mt p="SingToAct" g="LocoRoco" altg="LocoRoco" w="{{R16by9W}}" h="{{R16by9H}}">The LocoRoco singing in order to wake up and enchant an entity who will reward them with an item or who will unblock their passage. For the singing to work the LocoRoco need to be more than a certain number (in the example that would be ten).</mt>
 | ex4=<mt p="SingToAct" g="Aquaria" w="{{R4by3W}}" h="{{R4by3H}}">Naija can sing the particular note that resonates with a certain entity, in order to
 trigger some behaviour (like releasing an item). Additionally, she can sing songs that are unlocked along the game ([[Levelled Performance]]) and that give her special abilities.</mt>
 }}

@@ Line 30: / Line 30: @@
 | examples=
-{{NoVideoTable | {{NoVideo|'''Journey [not yet released]:'''}} |  | }}
+{{NoVideoTable | {{NoVideo|'''Journey:'''}} |  | }}
 | ex1=<mt p="SingToAct" g="Spore" w="{{R4by3W}}" h="{{R4by3H}}">Singing to conquer the friendship of another species.</mt>
 | ex2=<mt p="SingToAct" g="Patapon" w="{{R16by9W}}" h="{{R16by9H}}">The patapons can invoke miracles by performing the corresponding song. These songs are progressively learned ([[Levelled Performance]]) and consist of playing a score using the drums.</mt>

@@ Line 25: / Line 25: @@
 Some games feature the ability to [[Sing to Act]], as part of the gameplay. This kind of exploration unfolds new opportunities in terms of the interaction with the environment. Some of them include the design of alternatives to the "classic" belligerent approaches ([[Make Sound not War]]), which in turn may have interesting effects in terms of the [[Emotional Script]].
-Being able to influence the game world and/or its inhabitants through the a PC's acoustic behaviour ([[Consequent Sound]]) contributes to augment the multimodal coherence, and to characterise the game world in a way that all entities don't behave as if they were sound insensitive.
+Being able to influence the game world and/or its inhabitants through the a PC's acoustic behaviour ([[Consequent Sound]]) contributes to augment the multimodal coherence, and to characterize the game world in a way that all entities don't behave as if they were sound insensitive.
 A particular case, which we are addressing separately as a different design pattern, is [[Pitch Gameplay]]. Whilst in the case of [[Pitch Gameplay]] it is the performance of singing itself that is in focus (namely the evaluation of the accuracy of such performance), in the case of [[Sing to Act]] the act of singing is semantic instead, and it works as the means to achieve an end that is collateral to the act of singing. As such, it is not fundamental that [[Sing to Act]] is performed through actual [[Sound Input]]. In practice, that means that it may make sense that is (only) the PC to sing an not the player.

@@ Line 27: / Line 27: @@
 Being able to influence the game world and/or its inhabitants through the a PC's acoustic behaviour ([[Consequent Sound]]) contributes to augment the multimodal coherence, and to characterise the game world in a way that all entities don't behave as if they were sound insensitive.
-A particular case, which we are addressing separately as a different design pattern, is [[Pitch Gameplay]]. Whilst in the case of [[Pitch Gameplay]] it is the performance of singing itself that is in focus (namely the evaluation of the accuracy of such performance), in the case of [[Sing to Act]] the act of singing is semantic instead, and it works as the ''means'' to achieve an end that is collateral to the act of singing. That is why, although it may be interesting that [[Sing to Act]] is performed through actual [[Sound Input]], that is not fundamental. In practice, that means that it may make sense that is (only) the PC to sing an not the player.
+A particular case, which we are addressing separately as a different design pattern, is [[Pitch Gameplay]]. Whilst in the case of [[Pitch Gameplay]] it is the performance of singing itself that is in focus (namely the evaluation of the accuracy of such performance), in the case of [[Sing to Act]] the act of singing is semantic instead, and it works as the means to achieve an end that is collateral to the act of singing. As such, it is not fundamental that [[Sing to Act]] is performed through actual [[Sound Input]]. In practice, that means that it may make sense that is (only) the PC to sing an not the player.
 | examples=

@@ Line 2: / Line 2: @@
 | name =Sing to Act
 | deckversion =1.0
-| synopsis =Performing songs to achieve a purpose
+| v10synopsis =Performing songs to achieve a purpose
 | patternpresentation =
 | cardpresentation=

@@ Line 22: / Line 22: @@
 | revisions =Introduced in version 1.0
 | description =
-Some games feature the ability to [[Sing to Act]], as part of the [[Gameplay]]. This kind of exploration unfolds new opportunities in terms of the interaction with the environment. Some of them include the design of alternatives to the "classic" belligerent approaches ([[Make Sound not War]]), which in turn may have interesting effects in terms of the [[Emotional Script]].
+Some games feature the ability to [[Sing to Act]], as part of the gameplay. This kind of exploration unfolds new opportunities in terms of the interaction with the environment. Some of them include the design of alternatives to the "classic" belligerent approaches ([[Make Sound not War]]), which in turn may have interesting effects in terms of the [[Emotional Script]].
 Being able to influence the game world and/or its inhabitants through the a PC's acoustic behaviour ([[Consequent Sound]]) contributes to augment the multimodal coherence, and to characterise the game world in a way that all entities don't behave as if they were sound insensitive.

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