Difference between revisions of "Sound Decoys"
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| rel3=[[Foley]], [[Sound Effects]]<br> | | rel3=[[Foley]], [[Sound Effects]]<br> | ||
| revisions =Introduced in version 1.0 | | revisions =Introduced in version 1.0 | ||
| + | | description = | ||
| + | A customary component of the gameplay is to deal with enemies along the game space. In some situations it is convenient to divert enemies’ attention and possibly to influence them to change their positions, either to be able to deal with one at time or to avoid confrontation at all. | ||
| + | Diverse forms of decoy can be included in the gameplay. Sound is particularly suitable for integrating meaningful decoy actions since it allows launching the decoy whilst avoiding visual contact. It also brings advantages both for the plausibility of the decoy and for its usefulness in spaces with reduced visibility. | ||
| + | |||
| examples= | | examples= | ||
| ex1=<mt p="SoundDecoys" g="MGS4" altg="Metal Gear Solid 4" h="140"></mt> | | ex1=<mt p="SoundDecoys" g="MGS4" altg="Metal Gear Solid 4" h="140"></mt> | ||
| ex2=<mt p="SoundDecoys" g="Chaos Theory" h="200"></mt> | | ex2=<mt p="SoundDecoys" g="Chaos Theory" h="200"></mt> | ||
| ex3=<mt p="SoundDecoys" g="Spore Origins" h="140"></mt> | | ex3=<mt p="SoundDecoys" g="Spore Origins" h="140"></mt> | ||
| − | | ex4=<mt p="SoundDecoys" g="Papa Sangre" h="140"></mt> | + | | ex4=<mt p="SoundDecoys" g="Papa Sangre" h="140">. Additionally throughout the game the PC's own (as the Helper Voice) suggests </mt> |
| + | | external= | ||
| + | Presentation of the pattern in (Alves & Roque, 2010) | ||
}} | }} | ||
Revision as of 17:59, 17 August 2011
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| The card's front face | The card's back face |
Synopsis
| Using sound to fool NPCs. |
Relationships
Context:
Stealth 
, Consequent Sound 
, Make Sound not War 
, Emotional Script 
.
Relates to:
Unaware NPC 
, Seeking for PC 
, Sonic Weapon 
.
Often uses:
Foley 
, Sound Effects 
.
Description
A customary component of the gameplay is to deal with enemies along the game space. In some situations it is convenient to divert enemies’ attention and possibly to influence them to change their positions, either to be able to deal with one at time or to avoid confrontation at all. Diverse forms of decoy can be included in the gameplay. Sound is particularly suitable for integrating meaningful decoy actions since it allows launching the decoy whilst avoiding visual contact. It also brings advantages both for the plausibility of the decoy and for its usefulness in spaces with reduced visibility.
Examples
    |
 |
 |
 |
External Resources
Presentation of the pattern in (Alves & Roque, 2010)
