Sound Input - Revision history

ValterAlves at 18:52, 26 August 2012

2012-08-26T18:52:32Z

ValterAlves at 16:12, 19 July 2012

2012-07-19T16:12:32Z

ValterAlves at 14:44, 19 July 2012

2012-07-19T14:44:20Z

ValterAlves at 22:59, 24 May 2012

2012-05-24T22:59:21Z

ValterAlves at 20:21, 24 May 2012

2012-05-24T20:21:21Z

ValterAlves at 20:11, 24 May 2012

2012-05-24T20:11:00Z

ValterAlves at 00:56, 23 May 2012

2012-05-23T00:56:58Z

ValterAlves at 21:07, 20 May 2012

2012-05-20T21:07:36Z

ValterAlves at 23:55, 9 January 2012

2012-01-09T23:55:39Z

ValterAlves at 21:23, 3 January 2012

2012-01-03T21:23:29Z

@@ Line 43: / Line 43: @@
 | ex1=<mt p="SoundInput" g="SingStar" altg="SingStar Vol.3" w="{{R16by9W}}" h="{{R16by9H}}"></mt>
 | ex2=<mt p="SoundInput" g="Aquaria" h="200"></mt>
-| ex3=<mt p="SoundInput" g="Patapon" w="{{R16by9W}}" h="{{R16by9H}}"></mt>
+| ex3=<mt p="SoundInput" 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>
 | ex4=<mt p="SoundInput" g="EndWar" altg="Tom Clancy's EndWar" w="{{R16by9W}}" h="{{R16by9H}}"></mt>
 }}

@@ Line 44: / Line 44: @@
 | ex2=<mt p="SoundInput" g="Aquaria" h="200"></mt>
 | ex3=<mt p="SoundInput" g="Patapon" w="{{R16by9W}}" h="{{R16by9H}}"></mt>
-| ex4=<mt p="SoundInput" g="EndWar" altg="Tom Clancy's End War" w="{{R16by9W}}" h="{{R16by9H}}"></mt>
+| ex4=<mt p="SoundInput" g="EndWar" altg="Tom Clancy's EndWar" w="{{R16by9W}}" h="{{R16by9H}}"></mt>
 }}

@@ Line 41: / Line 41: @@
 {{NoVideoTable | {{NoVideo | '''Gnilley:'''}}  | {{NoVideo | '''Zekkyo Senshi Sakebrain:'''}} | }}
-| ex1=<mt p="SoundInput" g="SingStar" w="{{R16by9W}}" h="{{R16by9H}}"></mt>
+| ex1=<mt p="SoundInput" g="SingStar" altg="SingStar Vol.3" w="{{R16by9W}}" h="{{R16by9H}}"></mt>
 | ex2=<mt p="SoundInput" g="Aquaria" h="200"></mt>
 | ex3=<mt p="SoundInput" g="Patapon" w="{{R16by9W}}" h="{{R16by9H}}"></mt>

@@ Line 33: / Line 33: @@
 Direct sound input allows the player to emit stimuli through a sound input device (microphone). There are several variations of direct sound input regarding the nature of the expected stimuli. Voice commands are a possibility that implies the software to be able to perform some level of speech recognition. Often the set of possible (voice) commands is reduced and carefully predetermined, in order to ease such recognition ([pending: ref to interview about Tom Clancy's EndWar).
-Another approach is to allow disparate stimuli, provided that they carry particular acoustic properties that the game extracts through specific parameters (e.g. loudness, duration, frequency) ([pending: ref]). In practice that means the player is not forced to a particular sound – though the context may induce or inform about expected sounds. The fact that the player is able to experiment with different stimuli is a potential ludic aspect in itself.
+Another approach is to allow disparate stimuli, provided that they carry particular acoustic properties that the game extracts through specific parameters (e.g., loudness, duration, frequency) ([pending: ref]). In practice that means the player is not forced to a particular sound – though the context may induce or inform about expected sounds. The fact that the player is able to experiment with different stimuli is a potential ludic aspect in itself.
 Another variation of direct input, where stimuli are not even strictly sonic, is to blow into the microphone in order to play in-game instruments ([pending: ref to [http://www.smule.com/products Smule]]). In this case it is the loudness of the (undisclosed) noise produced by blowing into the microphone that is used to model the interaction.

@@ Line 34: / Line 34: @@
 Another approach is to allow disparate stimuli, provided that they carry particular acoustic properties that the game extracts through specific parameters (e.g. loudness, duration, frequency) ([pending: ref]). In practice that means the player is not forced to a particular sound – though the context may induce or inform about expected sounds. The fact that the player is able to experiment with different stimuli is a potential ludic aspect in itself.
-Another variation of direct input where the stimuli is not even strictly sonic is blowing into the microphone in order to play in-game instruments ([pending: ref to [http://www.smule.com/products Smule]]). In this case it is the loudness of the (undisclosed) noise produced by blowing into the microphone that is used to model the interaction.
+Another variation of direct input, where stimuli are not even strictly sonic, is to blow into the microphone in order to play in-game instruments ([pending: ref to [http://www.smule.com/products Smule]]). In this case it is the loudness of the (undisclosed) noise produced by blowing into the microphone that is used to model the interaction.
 It is important to notice that although the designed solution for [[Sound Input]] is important, there is much more to explore regarding the possible contributions of sound to games beyond the activation model. Clearly being able to perform direct input enlarges the space of possibilities, but that alone does not bring great novelty to games, namely in terms of gameplay, narrative, and overall experience.

@@ Line 27: / Line 27: @@
 | revisions =Introduced in version 1.0
 | description =
-Two approaches have been used to input sound: mapped (or indirect) and true (or direct) input.
+Two approaches have been used to input sound: mapped (or indirect) and true (or direct).
 Mapped input is by far the most frequent method and also the easiest to implement. Auditory stimuli are activated by non-auditory components of the interface or by diegetic actions. In practice, the player activates auditory events by pressing control buttons. Semantically, the game is the instrument.
-Direct sound input allows the player to emit stimuli through a sound input device (microphone). There are several variations to direct sound input regarding the nature of the expected stimuli. Voice commands are a possibility that implies the software to be able to perform some level of speech recognition. Often the set of possible (voice) commands is reduced and carefully predetermined, in order to ease such recognition ([pending: ref to interview about Tom Clancy's EndWar).
+Direct sound input allows the player to emit stimuli through a sound input device (microphone). There are several variations of direct sound input regarding the nature of the expected stimuli. Voice commands are a possibility that implies the software to be able to perform some level of speech recognition. Often the set of possible (voice) commands is reduced and carefully predetermined, in order to ease such recognition ([pending: ref to interview about Tom Clancy's EndWar).
 Another approach is to allow disparate stimuli, provided that they carry particular acoustic properties that the game extracts through specific parameters (e.g. loudness, duration, frequency) ([pending: ref]). In practice that means the player is not forced to a particular sound – though the context may induce or inform about expected sounds. The fact that the player is able to experiment with different stimuli is a potential ludic aspect in itself.

@@ Line 3: / Line 3: @@
 | deckversion =1.0
 | v10synopsis =The way sound enters the gameworld
-| v20synopsis =The way sound enters the gameworld
+| v20synopsis =The way sound enters the game world
 | patternpresentation =
 | cardpresentation=

@@ Line 35: / Line 35: @@
 Another variation of direct input where the stimuli is not even strictly sonic is blowing into the microphone in order to play in-game instruments ([pending ref to [http://www.smule.com/products Smule]]). In this case it is the loudness of the (undisclosed) noise produced by blowing into the microphone that is used to model the interaction.
-It is important to notice that although the designed solution for sound input is important, there is much more to explore regarding the possible contributions of sound to games beyond the activation model. Clearly being able to perform direct input enlarges the space of possibilities, but that alone does not bring great novelty to games, namely in terms of gameplay, narrative, and overall experience.
+It is important to notice that although the designed solution for [[Sound Input]] is important, there is much more to explore regarding the possible contributions of sound to games beyond the activation model. Clearly being able to perform direct input enlarges the space of possibilities, but that alone does not bring great novelty to games, namely in terms of gameplay, narrative, and overall experience.
 | examples=