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[[File:Deck-A.png|thumb|250px|The deck of cards in version v1.0]]  
 
[[File:Deck-A.png|thumb|250px|The deck of cards in version v1.0]]  
 
[[File:Card-anatomy-v10.png| 250px|thumb | The anatomy of card (here illustrated over the card named [[Achievement]]), (as of v1.0)]]
 
[[File:Card-anatomy-v10.png| 250px|thumb | The anatomy of card (here illustrated over the card named [[Achievement]]), (as of v1.0)]]
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This deck of cards is an instrument, which is part of [[Main Page| a wider initiative]] to develop a pattern language aiming to support the empowerment of non-expert practitioners to perform sound design in games.
 
  
 
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" />.
 
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" />.
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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 (e.g., <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 (e.g., <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" />.
  
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== Sound Design in Games ==
 
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 <ref name="AlvesCh11" />, 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.
 
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 <ref name="AlvesCh11" />, 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.
  
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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.
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===An approach based in Design Patterns and assisted by a Deck of Cards===
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== Sound Design in Games ==
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'''An approach based in Design Patterns and assisted by a Deck of Cards'''
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== Patterns and Cards ==
 
== Patterns and Cards ==
 +
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.
 
== References ==
 
== References ==
 
<references>{{CompleteReferenceList}}</references>
 
<references>{{CompleteReferenceList}}</references>

Revision as of 14:35, 28 August 2011

The deck of cards in version v1.0
The anatomy of card (here illustrated over the card named Achievement), (as of v1.0)

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].

A pattern language [2] has the potential to contribute to such an emancipatory movement [3] 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., [4][5][6][7]), including in game design [8] and auditory displays [9].

Sound Design in Games

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 [10], 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.

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.

Patterns and Cards

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.

References

  1. ↑ Alves, V. and Roque, L. 2011. An Inspection on a Deck for Sound Design in Games. In Proceedings of Audio Mostly 2011.
  2. ↑ Alexander, C. 1979. The timeless way of building. Oxford University Press, NY.
  3. ↑ Alves, V. and Roque, L. 2010. A Pattern Language for Sound Design in Games. In Proceedings of Audio Mostly 2010, 88-95.
  4. ↑ Borchers, J. 2001. A pattern approach to interaction design. John Wiley Sons, NY.
  5. ↑ Erl, T. 2009. SOA Design Patterns. Prentice Hall PTR, Upper Saddle River/US.
  6. ↑ Gamma, E., Helm, R., Johnson, R., and Vlissides, J. 1995. Design patterns: Elements of reusable object-oriented software. Addison Wesley, Reading, MA.
  7. ↑ Tidwell, J. 2005. Designing Interfaces: Patterns for Effective Interaction Design, O'Reilly Media.
  8. ↑ Bjork, S. and Holopainen, J. 2004. Patterns in Game Design. Charles River Media, Inc., Rockland, MA, USA.
  9. ↑ 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.
  10. ↑ 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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