Difference between revisions of "Awareness"
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| patternpresentation = | | patternpresentation = | ||
| cardpresentation= | | cardpresentation= | ||
| − | |||
| − | |||
| v10frontface =Awareness-front-v10.png | | v10frontface =Awareness-front-v10.png | ||
| v10backface =Awareness-back-v10.png | | v10backface =Awareness-back-v10.png | ||
| + | | v20frontface =Awareness-front-v20.png | ||
| + | | v20backface =Awareness-back-v20.png | ||
| screenshots= | | screenshots= | ||
| v10rel-tag1=Context:<br> | | v10rel-tag1=Context:<br> | ||
| Line 16: | Line 16: | ||
| v10rel2=[[Emotional Script]], [[Narrative]]<br> | | v10rel2=[[Emotional Script]], [[Narrative]]<br> | ||
| v10rel-tag3=May use many, including:<br> | | v10rel-tag3=May use many, including:<br> | ||
| − | | v10rel3=[[Character Soundprint]], [[Failure]], [[Achievement]], [[No Can Do]], [[Hurry Up!]], [[Window of Opportunity]], [[Beacon Locator]], [[Identification]], [[Ouch!]], [[Imminent Death]], [[Seeking for PC]], [[Unaware NPC]], ...<br> | + | | v10rel3=[[Character Soundprint]], [[Failure]], [[Achievement]], [[No Can Do]], [[Hurry Up!]], [[Window of Opportunity]], [[Beacon Locator]], [[Identification]], [[Ouch!]], [[Imminent Death]], [[Seeking for PC]], [[Unaware NPC]], [[...]]<br> |
| v20rel-tag1=Relates to:<br> | | v20rel-tag1=Relates to:<br> | ||
| v20rel1=[[Emotional Script]], [[Narrative]]<br> | | v20rel1=[[Emotional Script]], [[Narrative]]<br> | ||
| v20rel-tag2=May use many, including:<br> | | v20rel-tag2=May use many, including:<br> | ||
| v20rel2=[[Character Soundprint]], [[Failure]], [[Achievement]], [[No Can Do]], [[Window of Opportunity]], [[Hurry Up!]], [[Beacon Locator]], [[Identification]], [[Ouch!]], [[Imminent Death]], [[Seeking for PC]], [[Suspicious NPC]], [[Unaware NPC]], [[...]]<br> | | v20rel2=[[Character Soundprint]], [[Failure]], [[Achievement]], [[No Can Do]], [[Window of Opportunity]], [[Hurry Up!]], [[Beacon Locator]], [[Identification]], [[Ouch!]], [[Imminent Death]], [[Seeking for PC]], [[Suspicious NPC]], [[Unaware NPC]], [[...]]<br> | ||
| − | | revisions =Introduced in version 1.0<br />Version 2.0: updated | + | | revisions =Introduced in version 1.0<br />Version 2.0: updated synopsis |
| description= | | description= | ||
| − | Sounds of [[Awareness]] expose aspects of a circumstance that demand some degree of attention, relevant to | + | Sounds of [[Awareness]] expose aspects of a circumstance that demand some degree of attention, relevant to gameplay. These stimuli may either evidence a problem, inform about a state, emphasize an opportunity, or reinforce the outcome of happening. |
Many of the sound explorations in a game could be classified as [[Awareness]]. Still, some of the explorations approach very specific problems for which also specific solutions have been found. Those include [[Failure]], [[Achievement]], [[No Can Do]], [[Hurry Up!]], [[Window of Opportunity]], [[Beacon Locator]], [[Ouch!]], [[Imminent Death]], [[Seeking for PC]], and [[Unaware NPC]]. Even PC's and NPC's [[Character Soundprint]] serves the purpose of informing about the character's closeness, [[Identification]], health state, etc. | Many of the sound explorations in a game could be classified as [[Awareness]]. Still, some of the explorations approach very specific problems for which also specific solutions have been found. Those include [[Failure]], [[Achievement]], [[No Can Do]], [[Hurry Up!]], [[Window of Opportunity]], [[Beacon Locator]], [[Ouch!]], [[Imminent Death]], [[Seeking for PC]], and [[Unaware NPC]]. Even PC's and NPC's [[Character Soundprint]] serves the purpose of informing about the character's closeness, [[Identification]], health state, etc. | ||
| − | To a certain extent, sounds of [[Awareness]] are mostly unidirectional | + | To a certain extent, sounds of [[Awareness]] are mostly unidirectional, i.e., they ''output'' something. Yet, if these sounds are designed in a way that they effectively produce changes in the player, namely at the emotional level, they may be instrumental to indirectly shape the players input. |
| additional = | | additional = | ||
| − | The advantages of sound over (or in combination) with visuals to implement mechanisms of awareness is one of the aspects claimed by pioneer authors who carried a collective initiative to | + | The advantages of sound over (or in combination) with visuals to implement mechanisms of awareness is one of the aspects claimed by pioneer authors who carried a collective initiative to leverage the recognition of sound as a field of research <ref name="Kramer" />. |
| examples= | | examples= | ||
| ex1=<mt p="Awareness" g="Assassins Creed" altg="Assassin's Creed" w="{{R16by9W}}" h="{{R16by9H}}">A pulsing [[Sound Effects|Sound Effect]] tells that there are attentive guards nearby. Blending with the crowd, as when sitting in a bench, diverts their attention (and consequently the sound mutes).</mt> | | ex1=<mt p="Awareness" g="Assassins Creed" altg="Assassin's Creed" w="{{R16by9W}}" h="{{R16by9H}}">A pulsing [[Sound Effects|Sound Effect]] tells that there are attentive guards nearby. Blending with the crowd, as when sitting in a bench, diverts their attention (and consequently the sound mutes).</mt> | ||
| − | | ex2=<mt p="Awareness" g="Tomb Raider Underworld" i=2 w="{{R16by9W}}" h="{{R16by9H}}">Checkpoints are (exclusively) | + | | ex2=<mt p="Awareness" g="Tomb Raider Underworld" i=2 w="{{R16by9W}}" h="{{R16by9H}}">Checkpoints are (exclusively) signalled through sound (a [[Sound Effects|Sound Effect]]).</mt> |
| − | | ex3=<mt p="Awareness" g="MGS4" altg="Metal Gear Solid 4" w="{{R16by9W}}" h="{{R16by9H}}">A beep informs that the Solid Eye is running out of battery (notice selection at the bottom-left corner).</mt> | + | | ex3=<mt p="Awareness" g="MGS4" altg="Metal Gear Solid 4: Guns of the Patriots" w="{{R16by9W}}" h="{{R16by9H}}">A beep informs that the Solid Eye is running out of battery (notice selection at the bottom-left corner).</mt> |
| ex4=<mt p="Awareness" g="Crysis" w="{{R4by3W}}" h="{{R4by3H}}">The voiced warning ([[Dialogue]]) makes the player learn that the suit's invisibility is about to be compromised.</mt> | | ex4=<mt p="Awareness" g="Crysis" w="{{R4by3W}}" h="{{R4by3H}}">The voiced warning ([[Dialogue]]) makes the player learn that the suit's invisibility is about to be compromised.</mt> | ||
| ex5=<mt p="Awareness" g="Half Life 2" altg="Half-Life 2" w="{{R8by5W}}" h="{{R8by5H}}"></mt> | | ex5=<mt p="Awareness" g="Half Life 2" altg="Half-Life 2" w="{{R8by5W}}" h="{{R8by5H}}"></mt> | ||
| ex6=<mt p="Awareness" g="Papa Sangre" w="{{ViPhoneH}}" h="{{ViPhoneW}}"></mt> | | ex6=<mt p="Awareness" g="Papa Sangre" w="{{ViPhoneH}}" h="{{ViPhoneW}}"></mt> | ||
| − | | ex7=<mt p="Awareness" g="LocoRoco" altg="LocoRoco" w="{{R16by9W}}" h="{{R16by9H}}">When a Moja is nearby, the playing LocoRoco vocalizes a scared warning, which besides being informative is highly emotional.The LocoRoco can see the Moja before the player does, so this acoustic message gives another additional advantage over graphics.</mt> | + | | ex7=<mt p="Awareness" g="LocoRoco" altg="LocoRoco" w="{{R16by9W}}" h="{{R16by9H}}">When a Moja is nearby, the playing LocoRoco vocalizes a scared warning, which besides being informative is highly emotional. The LocoRoco can see the Moja before the player does, so this acoustic message gives another additional advantage over graphics.</mt> |
| ex8=<mt p="Awareness" g="Ico" w="{{RPS2W}}" h="{{RIcoH}}"></mt> | | ex8=<mt p="Awareness" g="Ico" w="{{RPS2W}}" h="{{RIcoH}}"></mt> | ||
| ex9=<mt g="Shadow of the Colossus" p="Hurry Up!" w="{{R4by3W}}" h="{{R4by3H}}">A sound warns when Wander ought to find a resting stance, otherwise he will lose grip and fall, most likely to death.</mt> | | ex9=<mt g="Shadow of the Colossus" p="Hurry Up!" w="{{R4by3W}}" h="{{R4by3H}}">A sound warns when Wander ought to find a resting stance, otherwise he will lose grip and fall, most likely to death.</mt> | ||
| + | | ex10=<mt p="Awareness" g="Halo" altg="Halo: Reach" w="{{R16by9W}}" h="{{R16by9H}}"></mt> | ||
| external= | | external= | ||
| − | + | It may also be relevant – at least insightful – to consider the state of the art on the design of alarm sounds, <sup>e.g.</sup> <ref name="Hatch2011" /> | |
| showrefs =1 | | showrefs =1 | ||
}} | }} | ||
Latest revision as of 22:12, 25 August 2012
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| |
| The card's front face | The card's back face |
Synopsis
| Sound signalling some relevant aspect of gameplay. |
Relationships
Relates to:
Emotional Script 
, Narrative 
.
May use many, including:
Character Soundprint 
, Failure 
, Achievement 
, No Can Do 
, Window of Opportunity 
, Hurry Up! 
, Beacon Locator 
, Identification 
, Ouch! 
, Imminent Death 
, Seeking for PC 
, Suspicious NPC 
, Unaware NPC 
, ....
Description
Sounds of Awareness expose aspects of a circumstance that demand some degree of attention, relevant to gameplay. These stimuli may either evidence a problem, inform about a state, emphasize an opportunity, or reinforce the outcome of happening.
Many of the sound explorations in a game could be classified as Awareness. Still, some of the explorations approach very specific problems for which also specific solutions have been found. Those include Failure, Achievement, No Can Do, Hurry Up!, Window of Opportunity, Beacon Locator, Ouch!, Imminent Death, Seeking for PC, and Unaware NPC. Even PC's and NPC's Character Soundprint serves the purpose of informing about the character's closeness, Identification, health state, etc.
To a certain extent, sounds of Awareness are mostly unidirectional, i.e., they output something. Yet, if these sounds are designed in a way that they effectively produce changes in the player, namely at the emotional level, they may be instrumental to indirectly shape the players input.
Examples
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Additional Comments
The advantages of sound over (or in combination) with visuals to implement mechanisms of awareness is one of the aspects claimed by pioneer authors who carried a collective initiative to leverage the recognition of sound as a field of research [1].
External Resources
It may also be relevant – at least insightful – to consider the state of the art on the design of alarm sounds, e.g.[2]
References
- ↑ Kramer, G., Walker, B., Bonebright, T., Cook, P., Flowers, J., Miner, N., et al. 1997. Sonification report: Status of the field and research agenda. http://sonify.psych.gatech.edu/publications/pdfs/1999-NSF-Report.pdf
- ↑ Hatch, W., & Pirhonen, A. (2011). Designing alarm sounds for the control of a hydraulic platform. Proceedings of the 6th Audio Mostly Conference: A Conference on Interaction with Sound, AM ’11 (pp. 116–121). New York, NY, USA: ACM. doi:10.1145/2095667.2095684
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