Stealth - Revision history

ValterAlves at 16:49, 26 August 2012

2012-08-26T16:49:57Z

2012-08-26T16:05:49Z

2012-08-24T15:27:07Z

2012-08-24T15:26:43Z

2012-07-19T16:29:09Z

2012-07-19T15:06:19Z

2012-01-10T00:24:21Z

2012-01-02T07:30:49Z

2011-12-21T21:20:09Z

2011-11-28T23:01:59Z

@@ Line 42: / Line 42: @@
 | ex1=<mt p="Stealth" g="Dead To Rights" altg="Dead to Rights: Retribution" w="{{R16by9W}}" h="{{R16by9H}}"></mt>
 | ex2=<mt p="Breath" g="Deadly Premonition" w="{{R16by9W}}" h="{{R16by9H}}"></mt>
-| ex3=<mt p="Stealth" g="MGS4" altg="Metal Gear Solid 4" w="{{R16by9W}}" h="{{R16by9H}}"></mt>
+| ex3=<mt p="Stealth" g="MGS4" altg="Metal Gear Solid 4: Guns of the Patriots" w="{{R16by9W}}" h="{{R16by9H}}"></mt>
 | ex4=<mt p="Stealth" g="Chaos Theory" altg="Tom Clancy's Splinter Cell Chaos Theory" w="{{R5by4W}}" h="{{R5by4H}}"></mt>
 | ex5=<mt p="Stealth" g="Thief III" altg="Thief III: Deadly Shadows" w="{{R4by3W}}" h="{{R4by3H}}"></mt>

@@ Line 27: / Line 27: @@
 | revisions =Introduced in version 1.0
 | description =
-Sound plays a special role in [[Stealth]] actions: the sound associated to the PC's actions is relevant for the gameplay (that means [[Consequent Sound]]), namely in terms of the reaction of the NPC. Games of the [[Stealth|Stealth ]] genre (or sub-genre) make an extensive of such explorations.
+Sound plays a special role in [[Stealth]] actions: the sound associated to the PC's actions is relevant for the gameplay (that means [[Consequent Sound]]), namely in terms of the reaction of the NPC. Games of the [[Stealth|Stealth ]] genre (or sub-genre) make an extensive use of such explorations.
 Being able to perform [[Stealth]] actions implies that it is possible to adopt a low profile behaviour in order to avoid unwanted attention. That calls for a proper design of the [[Character Soundprint|Character's Soundprint]], which, for instance, depends on the magnitude of the movements. [[Footsteps]], in particular, are usually explored with that purpose.

@@ Line 48: / Line 48: @@
 | ex7=<mt p="Stealth" g="Halo" altg="Halo: Reach" w="{{R16by9W}}" h="{{R16by9H}}"></mt>
-| external=
+| additional=
 Stevens, R., & Raybould, D. (2011, p. 122). The game audio tutorial a practical guide to creating and
 implementing sound and music for interactive games. Burlington, MA: Focal Press/Elesevier.
 }}

← Older revision		Revision as of 15:26, 24 August 2012
Line 48:		Line 48:
	\| ex7=<mt p="Stealth" g="Halo" altg="Halo: Reach" w="{{R16by9W}}" h="{{R16by9H}}"></mt>		\| ex7=<mt p="Stealth" g="Halo" altg="Halo: Reach" w="{{R16by9W}}" h="{{R16by9H}}"></mt>

		+	\| external=
		+	Stevens, R., & Raybould, D. (2011, p. 122). The game audio tutorial a practical guide to creating and
		+	implementing sound and music for interactive games. Burlington, MA: Focal Press/Elesevier.
	}}		}}

@@ Line 43: / Line 43: @@
 | ex2=<mt p="Breath" g="Deadly Premonition" w="{{R16by9W}}" h="{{R16by9H}}"></mt>
 | ex3=<mt p="Stealth" g="MGS4" altg="Metal Gear Solid 4" w="{{R16by9W}}" h="{{R16by9H}}"></mt>
-| ex4=<mt p="Stealth" g="Chaos Theory" altg="Tom Clancy's Splinter Cell: Chaos Theory" w="{{R5by4W}}" h="{{R5by4H}}"></mt>
+| ex4=<mt p="Stealth" g="Chaos Theory" altg="Tom Clancy's Splinter Cell Chaos Theory" w="{{R5by4W}}" h="{{R5by4H}}"></mt>
 | ex5=<mt p="Stealth" g="Thief III" altg="Thief III: Deadly Shadows" w="{{R4by3W}}" h="{{R4by3H}}"></mt>
 | ex6=<mt p="Stealth" g="Papa Sangre" w="{{ViPhoneH}}" h="{{ViPhoneW}}"></mt>

@@ Line 2: / Line 2: @@
 | name =Stealth
 | deckversion =1.0
-| synopsis =Low profile behaviours that include adopting a small soundprint
+| v10synopsis =Low profile behaviours that include adopting a small soundprint
 | patternpresentation =
 | cardpresentation=

@@ Line 41: / Line 41: @@
 {{NoVideo|'''Deadly Premonition:'''}}
 | ex1=<mt p="Stealth" g="Dead To Rights" altg="Dead to Rights: Retribution" w="{{R16by9W}}" h="{{R16by9H}}"></mt>
-| ex2=<mt p="Stealth" g="MGS4" altg="Metal Gear Solid 4" w="{{R16by9W}}" h="{{R16by9H}}"></mt>
+| ex2=<mt p="Breath" g="Deadly Premonition" w="{{R16by9W}}" h="{{R16by9H}}"></mt>
-| ex3=<mt p="Stealth" g="Chaos Theory" altg="Tom Clancy's Splinter Cell: Chaos Theory" w="{{R5by4W}}" h="{{R5by4H}}"></mt>
+| ex3=<mt p="Stealth" g="MGS4" altg="Metal Gear Solid 4" w="{{R16by9W}}" h="{{R16by9H}}"></mt>
-| ex4=<mt p="Stealth" g="Thief III" altg="Thief III: Deadly Shadows" w="{{R4by3W}}" h="{{R4by3H}}"></mt>
+| ex4=<mt p="Stealth" g="Chaos Theory" altg="Tom Clancy's Splinter Cell: Chaos Theory" w="{{R5by4W}}" h="{{R5by4H}}"></mt>
-| ex5=<mt p="Stealth" g="Papa Sangre" w="{{ViPhoneH}}" h="{{ViPhoneW}}"></mt>
+| ex5=<mt p="Stealth" g="Thief III" altg="Thief III: Deadly Shadows" w="{{R4by3W}}" h="{{R4by3H}}"></mt>
-| ex6=<mt p="Stealth" g="Halo" w="{{R16by9W}}" h="{{R16by9H}}"></mt>
+| ex6=<mt p="Stealth" g="Papa Sangre" w="{{ViPhoneH}}" h="{{ViPhoneW}}"></mt>
 }}

@@ Line 26: / Line 26: @@
 | revisions =Introduced in version 1.0
 | description =
-Sound plays a special role in [[Stealth]] actions: the sound associated to the PC's actions is relevant for the [[Gameplay]] (that means [[Consequent Sound]]), namely in terms of the reaction of the NPC. Games of the [[Stealth|Stealth ]] genre (or sub-genre) make an extensive of such explorations.
+Sound plays a special role in [[Stealth]] actions: the sound associated to the PC's actions is relevant for the gameplay (that means [[Consequent Sound]]), namely in terms of the reaction of the NPC. Games of the [[Stealth|Stealth ]] genre (or sub-genre) make an extensive of such explorations.
 Being able to perform [[Stealth]] actions implies that it is possible to adopt a low profile behaviour in order to avoid unwanted attention. That calls for a proper design of the [[Character Soundprint|Character's Soundprint]], which, for instance, depends on the magnitude of the movements. [[Footsteps]], in particular, are usually explored with that purpose.
-Using modifiers to conceal the sound of the PC's actions ([[Sound Suppressing]]) may also be integrated as part of the [[Gameplay]].
+Using modifiers to conceal the sound of the PC's actions ([[Sound Suppressing]]) may also be integrated as part of the gameplay.
 Conversely, sound can also be used as tool to overcome opponents. Two examples are the use of [[Sound Decoys]] and [[Eavesdropping]].