Difference between revisions of "Genre"
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| deckversion =1.0 | | deckversion =1.0 | ||
| deprecatedcard = {{ToBeDiscontinuedAfterV-1-0}} | | deprecatedcard = {{ToBeDiscontinuedAfterV-1-0}} | ||
| − | | | + | | v10synopsis =Characteristics of gameplay |
| + | | v20synopsis =Characteristics of gameplay | ||
| patternpresentation = | | patternpresentation = | ||
| cardpresentation= | | cardpresentation= | ||
| Line 9: | Line 10: | ||
| backface =Genre-back-v10.png | | backface =Genre-back-v10.png | ||
| screenshots= | | screenshots= | ||
| − | | | + | | v10rel-tag1=Context:<br> |
| − | | | + | | v10rel1=[[Sound Design in Games]]<br> |
| − | | | + | | v10rel-tag2=Relates to:<br> |
| − | | | + | | v10rel2=[[Sound Input]], [[Gameplay#v10]], [[Musical Outcome]], [[Narrative]]<br> |
| − | | | + | | v10rel-tag3=May relate to:<br> |
| − | | | + | | v10rel3=[[Play the Beat#v10]], [[Sing to Act]], [[Stealth]]<br> |
| + | | v20rel-tag1=Context:<br> | ||
| + | | v20rel1=[[Sound Design in Games]]<br> | ||
| + | | v20rel-tag2=Relates to:<br> | ||
| + | | v20rel2=[[Sound Input]], [[Gameplay#v10]], [[Musical Outcome]], [[Narrative]]<br> | ||
| + | | v20rel-tag3=May relate to:<br> | ||
| + | | v20rel3=[[Rhythm Gameplay]], [[Sing to Act]], [[Stealth]]<br> | ||
| + | |||
| revisions =Introduced in version 1.0 | | revisions =Introduced in version 1.0 | ||
| description= | | description= | ||
| − | Game [[Genre]] influences the kind of explorations in sound design, particularly regarding [[Gameplay]]. | + | Game [[Genre]] influences the kind of explorations in sound design, particularly regarding [[Gameplay]]. |
| − | Some of the explorations we identified are more prone to be found in particular genres than others. For instance, [[Rhythm Gameplay]] and [[Pitch Gameplay]] are characteristic of rhythm and pitch games where, in turn, it would not be expected to find explorations of [[Eavesdropping]] or [[Sound Decoys]]. Yet, since there may be no reason for a designer to strictly adhere to a particular genre, defying | + | Some of the explorations we identified are more prone to be found in particular genres than others. For instance, [[Rhythm Gameplay]] and [[Pitch Gameplay]] are characteristic of rhythm and pitch games where, in turn, it would not be expected to find explorations of [[Eavesdropping]] or [[Sound Decoys]]. Yet, since there may be no reason for a designer to strictly adhere to a particular genre, defying these boundaries can be a nice creativity principle. |
| − | Some other explorations, on the contrary, prove to be very cross-genre. Examples include [[Music]], [[Achievement]], [[Failure]], | + | Some other explorations, on the contrary, prove to be very cross-genre. Examples include [[Music]], [[Achievement]], [[Failure]], [[Sound Effects]], etc. |
| examples = | | examples = | ||
| ex1=<mt p="Engagement" g="Patapon" w="{{R16by9W}}" h="{{R16by9H}}">[[Patapon]] is an extraordinary example of a game that crosses genres, and combines [[Patapon|explorations]] which are traditionally apart.</mt> | | ex1=<mt p="Engagement" g="Patapon" w="{{R16by9W}}" h="{{R16by9H}}">[[Patapon]] is an extraordinary example of a game that crosses genres, and combines [[Patapon|explorations]] which are traditionally apart.</mt> | ||
| − | | ex2=<mt p="SoundDecoys" g="MGS4" altg="Metal Gear Solid 4" i="1" w="{{R16by9W}}" h="{{R16by9H}}">A third-person shooter that includes diverse [[Stealth]] explorations.</mt> | + | | ex2=<mt p="SoundDecoys" g="MGS4" altg="Metal Gear Solid 4: Guns of the Patriots" i="1" w="{{R16by9W}}" h="{{R16by9H}}">A third-person shooter that includes diverse [[Stealth]] explorations.</mt> |
| − | | ex3=<mt p="CharacterSoundprint" g="Papa Sangre" i="2" w="{{ViPhoneH}}" h="{{ViPhoneW}}">An audio game with [[Papa Sangre |many | + | | ex3=<mt p="CharacterSoundprint" g="Papa Sangre" i="2" w="{{ViPhoneH}}" h="{{ViPhoneW}}">An audio game with [[Papa Sangre |many distinct explorations]] of sound.</mt> |
| − | | ex4=<mt p=" | + | | ex4=<mt p="RhythmGameplay" g="Tap Tap Revenge" altg="Tap Tap Revenge 3" w="{{ViPhoneW}}" h="{{ViPhoneH}}">One example of [[Rhythm Gameplay]].</mt> |
| − | | ex5=<mt p="SoundInput" g="SingStar" i="1" w="{{R16by9W}}" h="{{R16by9H}}">An emblematic example of | + | | ex5=<mt p="SoundInput" g="SingStar" altg="SingStar Vol.3" i="1" w="{{R16by9W}}" h="{{R16by9H}}">An emblematic example of [[Pitch Gameplay]].</mt> |
| + | | RevisionsInNameOrDeprecation= | ||
| + | Classified as aggregator since version 2.0 and, as such, no longer represented as a card (i.e., no longer part of the deck). | ||
}} | }} | ||
Latest revision as of 23:10, 24 August 2012
| The card's front face | The card's back face |
This design pattern has been classified as
an Aggregator Pattern after version 1.0
Consequently, it is no longer represented as a card
(i.e. ceased being part of the deck) since version 2.0
Synopsis
| Characteristics of gameplay. |
Relationships
Context:
Sound Design in Games 
.
Relates to:
Sound Input 
, Gameplay 
, Musical Outcome 
, Narrative 
.
May relate to:
Rhythm Gameplay 
, Sing to Act 
, Stealth 
.
Description
Game Genre influences the kind of explorations in sound design, particularly regarding Gameplay.
Some of the explorations we identified are more prone to be found in particular genres than others. For instance, Rhythm Gameplay and Pitch Gameplay are characteristic of rhythm and pitch games where, in turn, it would not be expected to find explorations of Eavesdropping or Sound Decoys. Yet, since there may be no reason for a designer to strictly adhere to a particular genre, defying these boundaries can be a nice creativity principle.
Some other explorations, on the contrary, prove to be very cross-genre. Examples include Music, Achievement, Failure, Sound Effects, etc.
Examples
    |
 |
 |
 |
 |
Revisions
Classified as aggregator since version 2.0 and, as such, no longer represented as a card (i.e., no longer part of the deck).
