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| style="padding: 8px 8px; margin:0px;border: thin solid #DDD; background-color: #F9F9F9; color: black;"|An approach to Sound Design in Games based in [[Design Patterns | Design Patterns]] and assisted by a [[Deck | Deck of Cards]], strongly influenced by [[Acoustic Ecology | Acoustic Ecology]] and subject to the principle that Sound Design in Games benefits from being embedded in the overall Game Design. | | style="padding: 8px 8px; margin:0px;border: thin solid #DDD; background-color: #F9F9F9; color: black;"|An approach to Sound Design in Games based in [[Design Patterns | Design Patterns]] and assisted by a [[Deck | Deck of Cards]], strongly influenced by [[Acoustic Ecology | Acoustic Ecology]] and subject to the principle that Sound Design in Games benefits from being embedded in the overall Game Design. | ||
|} | |} | ||
| − | Version 2.0 of the deck consists of 77 cards, each representing an homonymous design pattern from the collection. | + | Version 2.0 of the deck consists of 77 cards, each representing an homonymous design pattern from the collection.<br /> |
| − | + | ||
'''List''' ''(Views: [[List_of_Cards_(version_2.0)|in another page]])'' <br> | '''List''' ''(Views: [[List_of_Cards_(version_2.0)|in another page]])'' <br> | ||
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Expertise in sound design for games is mainly a privilege of senior designers. The broad community of independent game developers remains mostly challenged by small budgets and scarce know how, while trying to integrate sound in their games. The empowerment of a broader community of developers could unleash a massive creative potential, with results in the form of innovative sound design ideas and further development of the body of knowledge <ref name="AlvesAM11" /><ref name="AlvesACE11" />. | Expertise in sound design for games is mainly a privilege of senior designers. The broad community of independent game developers remains mostly challenged by small budgets and scarce know how, while trying to integrate sound in their games. The empowerment of a broader community of developers could unleash a massive creative potential, with results in the form of innovative sound design ideas and further development of the body of knowledge <ref name="AlvesAM11" /><ref name="AlvesACE11" />. | ||
| − | A pattern language <ref name="Alexander79" /> has the potential to contribute to such an emancipatory movement <ref name="AlvesAM10" /> as it has proven to be a format addressable by experts and non-experts alike. Patterns are collectively authored through the inventory, translation and re-synthesis of current practice and know-how. This methodology has been successfully adopted in other domains where similar concerns were observed <sup>e.g.</sup><ref name="Borchers" /><ref name="Erl" /><ref name="Gamma" /><ref name="Tidwell" />, including in game design <ref name="Bjork" /> and auditory displays <ref name="Frauenberger" />. | + | A pattern language <ref name="Alexander79" /> has the potential to contribute to such an emancipatory movement <ref name="AlvesAM10" /> as it has proven to be a format addressable by experts and non-experts alike. Patterns are collectively authored through the inventory, translation and re-synthesis of current practice and know-how. This methodology has been successfully adopted in other domains where similar concerns were observed <sup>e.g.,</sup><ref name="Borchers" /><ref name="Erl" /><ref name="Gamma" /><ref name="Tidwell" />, including in game design <ref name="Bjork" /> and auditory displays <ref name="Frauenberger" />. |
== Patterns and Cards == | == Patterns and Cards == | ||
Latest revision as of 23:22, 24 May 2012
Sound Design in Games
An approach based in Design Patterns and assisted by a Deck of Cards
| An approach to Sound Design in Games based in Design Patterns and assisted by a Deck of Cards, strongly influenced by Acoustic Ecology and subject to the principle that Sound Design in Games benefits from being embedded in the overall Game Design. |
Version 2.0 of the deck consists of 77 cards, each representing an homonymous design pattern from the collection.
List (Views: in another page)
Achievement 
, Acoustic Ecology 
, Address Others 
, Aesthetics 
, Affected Hearing 
, Ambiance 
, Anticipation 
, Awareness 
, Beacon Locator 
, Breath 
, Character Soundprint 
, Chitchat 
, Consequent Sound 
, Contextual Music 
, Cutscenes 
, Death 
, Decay 
, Dialogue 
, Diegetic Music 
, Directionality 
, Dubbing 
, Eavesdropping 
, Echolocation 
, Emotional Script 
, Engagement 
, Entrainment 
, Failure 
, Foley 
, Foley Music 
, Footsteps 
, Grunts 
, Heartbeat 
, Helper Voice 
, Hurry Up! 
, Identification 
, Imminent Death 
, In-game Feedback 
, Levelled Performance 
, Make Sound not War 
, Menus 
, Music 
, Musical Outcome 
, Narrative 
, Narrator 
, No Can Do 
, Noise 
, Ouch! 
, Pitch Gameplay 
, R-A-E-D Iterations 
, Radio 
, Recordings 
, Relaxation 
, Revelation 
, Rhythm Gameplay 
, Say that Again 
, Seeking for PC 
, Shout and Yell 
, Signature 
, Silence 
, Sing to Act 
, Sonic Weapon 
, Sound Decoys 
, Sound Design in Games 
, Sound Effects 
, Sound Input 
, Sound Suppressing 
, Sound Visualization 
, Stealth 
, Subtitles and Captions 
, Suspicious NPC 
, Thoughts 
, Time Twist 
, Title Screens 
, Trance 
, Unaware NPC 
, Variety 
, Voice Acting 
, Window of Opportunity 
.
...
Expertise in sound design for games is mainly a privilege of senior designers. The broad community of independent game developers remains mostly challenged by small budgets and scarce know how, while trying to integrate sound in their games. The empowerment of a broader community of developers could unleash a massive creative potential, with results in the form of innovative sound design ideas and further development of the body of knowledge [1][2].
A pattern language [3] has the potential to contribute to such an emancipatory movement [4] as it has proven to be a format addressable by experts and non-experts alike. Patterns are collectively authored through the inventory, translation and re-synthesis of current practice and know-how. This methodology has been successfully adopted in other domains where similar concerns were observed e.g.,[5][6][7][8], including in game design [9] and auditory displays [10].
Patterns and Cards
We are proposing a debuting collection of patterns for sound design in games. The patterns were harvested and synthesized under the influence of a set of guidelines [11], which in turn build upon an interdisciplinary interpretation for sound design. This is also in harmony with an holistic perspective on game design which implies, for instance, that sound design in games is in fact integral to game design. Game design sensitive to sound design opportunities has several benefits: the space of possibilities is enlarged, sound becomes fitted rather then superimposed, and the game product may provide a richer experience with this integration.
While we have been working on refining and growing the pattern collection, we found the interest in conceiving instruments that could be effective in expediting and sustaining the interfacing between the practitioners and the pattern language, beyond the customary referential support in text forms. This deck of physical cards aims at such purposes. Practitioners may appreciate a presentation of potential sound explorations in a format that is literally handy, with no need to be familiar with the formalism of design patterns.
Related Research and Publications
References
- ↑ Alves, V. and Roque, L. 2011. An Inspection on a Deck for Sound Design in Games. In Proceedings of Audio Mostly 2011.
- ↑ Alves, V. and Roque, L. 2011. A Deck for Sound Design in Games - Enhancements based on a Design Exercise. In Proceedings of ACE 2011.
- ↑ Alexander, C. 1979. The timeless way of building. Oxford University Press, NY.
- ↑ Alves, V. and Roque, L. 2010. A Pattern Language for Sound Design in Games. In Proceedings of Audio Mostly 2010, 88-95.
- ↑ Borchers, J. 2001. A pattern approach to interaction design. John Wiley Sons, NY.
- ↑ Erl, T. 2009. SOA Design Patterns. Prentice Hall PTR, Upper Saddle River/US.
- ↑ Gamma, E., Helm, R., Johnson, R., and Vlissides, J. 1995. Design patterns: Elements of reusable object-oriented software. Addison Wesley, Reading, MA.
- ↑ Tidwell, J. 2005. Designing Interfaces: Patterns for Effective Interaction Design, O'Reilly Media.
- ↑ Bjork, S. and Holopainen, J. 2004. Patterns in Game Design. Charles River Media, Inc., Rockland, MA, USA.
- ↑ Frauenberger, C. 2007. Ears ))): A methodological framework for auditory display design. In CHI '07 extended abstracts on Human factors in computing systems (pp 1641-1644. San Jose, CA: ACM Press.
- ↑ Alves, V. and Roque, L. 2011. Guidelines for sound design in computer games. In Game sound technology and player interaction: Concepts and developments, M. Grimshaw, Ed. IGI Global.
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