Difference between revisions of "Achievement"
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[[Achievement]] is arguably the most widely explored use of sound in games, in all times. It is used to signal virtually all positive happening during [[Gameplay]], such as elemental accomplishments (gathering collectibles, picking power-ups, defeating regular opponents, ...), intermediate success (reaching a checkpoint, unlocking some feature, conquering a bonus, defeating a boss, ...), completing the game, etc. | [[Achievement]] is arguably the most widely explored use of sound in games, in all times. It is used to signal virtually all positive happening during [[Gameplay]], such as elemental accomplishments (gathering collectibles, picking power-ups, defeating regular opponents, ...), intermediate success (reaching a checkpoint, unlocking some feature, conquering a bonus, defeating a boss, ...), completing the game, etc. | ||
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| + | Sounds of [[Achievement]] are, to start with, a matter of [[Awareness]], in the sense that they signal an happening, clarifying its interest. Additionally, they have impact in the overall [[Emotional Script]], in the sense that they reward and highlight the player's behaviour. | ||
Considering the potential recurrence of such actions during the game experience, sounds of [[Achievement]] ought to be carefully designed. They are usually short, though the duration may be adapted to the magnitude of the accomplishment. | Considering the potential recurrence of such actions during the game experience, sounds of [[Achievement]] ought to be carefully designed. They are usually short, though the duration may be adapted to the magnitude of the accomplishment. | ||
Since the nature of the [[Achievement]] is often abstract, [[Sound Effects]] or [[Music]] snippets are a common option. In the case of events involving items whose manipulation has an audible [[Foley]] (e.g. picking a sack of coins), a sound derived from it may convey a more direct messaging. Other approaches, including diegetic and non-diegetic [[Dialogue]], have explored as well. | Since the nature of the [[Achievement]] is often abstract, [[Sound Effects]] or [[Music]] snippets are a common option. In the case of events involving items whose manipulation has an audible [[Foley]] (e.g. picking a sack of coins), a sound derived from it may convey a more direct messaging. Other approaches, including diegetic and non-diegetic [[Dialogue]], have explored as well. | ||
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| + | Perhaps the hardest challenge for a sound designer is to ensure (with a certain level of confidence) that a particular sound stimulus will indeed be perceived as "positive". {{Pending|Insert some references to studies that can be performed}}. | ||
| examples= | | examples= | ||
Revision as of 08:50, 17 October 2011
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| The card's front face | The card's back face |
Contents
Synopsis
| Signalling something positive. |
Relationships
Context:
Awareness 
, Emotional Script 
.
Contrasts with:
Failure 
.
Description
Achievement is arguably the most widely explored use of sound in games, in all times. It is used to signal virtually all positive happening during Gameplay, such as elemental accomplishments (gathering collectibles, picking power-ups, defeating regular opponents, ...), intermediate success (reaching a checkpoint, unlocking some feature, conquering a bonus, defeating a boss, ...), completing the game, etc.
Sounds of Achievement are, to start with, a matter of Awareness, in the sense that they signal an happening, clarifying its interest. Additionally, they have impact in the overall Emotional Script, in the sense that they reward and highlight the player's behaviour.
Considering the potential recurrence of such actions during the game experience, sounds of Achievement ought to be carefully designed. They are usually short, though the duration may be adapted to the magnitude of the accomplishment.
Since the nature of the Achievement is often abstract, Sound Effects or Music snippets are a common option. In the case of events involving items whose manipulation has an audible Foley (e.g. picking a sack of coins), a sound derived from it may convey a more direct messaging. Other approaches, including diegetic and non-diegetic Dialogue, have explored as well.
Perhaps the hardest challenge for a sound designer is to ensure (with a certain level of confidence) that a particular sound stimulus will indeed be perceived as "positive". [pending:Insert some references to studies that can be performed].
Examples
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