Difference between revisions of "Engagement"

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Episodes of [[Engagement]] are typical during the [[Gameplay]] and they constitute moments of high arousal in the [[Emotional Script]]. They usually involve a dense sound composition, with participation of [[Foley]], [[Sound Effects]] and [[Dialogue]] (from the conflict), [[Music]] (with accelerated beat), and others such as  [[Grunts]], [[Shout and Yell]] and [[Seeking for PC]].
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Episodes of [[Engagement]] are typical during the gameplay and they constitute moments of high arousal in the [[Emotional Script]]. They usually involve a dense sound composition, with participation of [[Foley]], [[Sound Effects]] and [[Dialogue]] (from the conflict), [[Music]] (with accelerated beat), and others such as  [[Grunts]], [[Shout and Yell]] and [[Seeking for PC]].
  
 
The participation of [[Music]] has deserved diverse approaches. For instance, in some games [[Music]] is present only in part of the cases of [[Engagement]], possibly to avoid an acoustic overload and the competition with diegetic sounds, namely when conflicts last long.
 
The participation of [[Music]] has deserved diverse approaches. For instance, in some games [[Music]] is present only in part of the cases of [[Engagement]], possibly to avoid an acoustic overload and the competition with diegetic sounds, namely when conflicts last long.

Revision as of 22:39, 28 November 2011

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Synopsis

A phase of gameplay of explicit conflict.

Relationships

Contexts:
Emotional Script , R-A-E-D Iterations .
Peers:
Relaxation , Anticipation , Decay .
May use many, including:
Foley , Sound Effects , Music , Dialogue , Entrainment , Seeking for PC , Shout and Yell , Sonic Weapon .

Description

Episodes of Engagement are typical during the gameplay and they constitute moments of high arousal in the Emotional Script. They usually involve a dense sound composition, with participation of Foley, Sound Effects and Dialogue (from the conflict), Music (with accelerated beat), and others such as Grunts, Shout and Yell and Seeking for PC.

The participation of Music has deserved diverse approaches. For instance, in some games Music is present only in part of the cases of Engagement, possibly to avoid an acoustic overload and the competition with diegetic sounds, namely when conflicts last long.

An Engagement may be immediately followed by a short phase of Decay, which in turn would be followed by a phase of Relaxation. Depending on the gameplay the Engagement may be preceded by a phase of Anticipation. The iteration of these sequence of phases is often explored (R-A-E-D Iterations).

Examples

Tomb Raider Underworld:
Oblivion: Sounds of Engagement (mainly Music and eventually the NPC's expression (Seeking for PC)) replace Relaxation (mainly Music) as soon as the NPC becomes aware of the PC. Once the conflict is solved, Relaxation takes over, again.
Killzone 2: Extensive Engagements are arguably characteristic in this game. It is interesting to notice that some chapters use Music and others do not.
[show less examples...]
Far Cry 2:
Patapon:
Ico: It is worth noticing that this one of the few examples where sounds from Ambiance are still present (or perceptible) during Engagement.
Need for Speed Undercover:
Heavy Rain:



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