Difference between revisions of "Synopses"
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| − | + | {{NameAndSynopsis |Achievement|Signalling something positive}} | |
| − | {NameAndSynopsis |Achievement|Signalling something positive} | + | {{NameAndSynopsis |Acoustic Ecology|Designing sound in a holistic way, as influenced by Acoustic Ecology}} |
| − | {NameAndSynopsis |Acoustic Ecology|Designing sound in a holistic way, as influenced by Acoustic Ecology} | + | {{NameAndSynopsis |Address Others|Enabling the PC to use sound to address NPCs}} |
| − | {NameAndSynopsis |Address Others|Enabling the PC to use sound to address NPCs} | + | {{NameAndSynopsis |Ambiance|Sounds of the environment}} |
| − | {NameAndSynopsis |Ambiance|Sounds of the environment} | + | {{NameAndSynopsis |Anticipation|A phase of gameplay anticipating an engagement}} |
| − | {NameAndSynopsis |Anticipation|A phase of gameplay anticipating an engagement} | + | {{NameAndSynopsis |Audio Logs|Dialogue recordings, frequently scattered through the gameworld}} |
| − | {NameAndSynopsis |Audio Logs|Dialogue recordings, frequently scattered through the gameworld} | + | {{NameAndSynopsis |Awareness|Sound promoting awareness for some gameplay aspect}} |
| − | {NameAndSynopsis |Awareness|Sound promoting awareness for some gameplay aspect} | + | {{NameAndSynopsis |Beacon Locator|Items that emit sound to ease their location}} |
| − | {NameAndSynopsis |Beacon Locator|Items that emit sound to ease their location} | + | {{NameAndSynopsis |Breath|Perceptible sound of breathing}} |
| − | {NameAndSynopsis |Breath|Perceptible sound of breathing} | + | {{NameAndSynopsis |Character Soundprint|The set of sounds of a PC or NPC}} |
| − | {NameAndSynopsis |Character Soundprint|The set of sounds of a PC or NPC} | + | {{NameAndSynopsis |Chitchat|NPC’s Dialogue that is not central to the course of action}} |
| − | {NameAndSynopsis |Chitchat|NPC’s Dialogue that is not central to the course of action} | + | {{NameAndSynopsis |Consequent Sound|Sound that matters to the gameworld}} |
| − | {NameAndSynopsis |Consequent Sound|Sound that matters to the gameworld} | + | {{NameAndSynopsis |Contextual Music|Music specific to particular contexts or levels}} |
| − | {NameAndSynopsis |Contextual Music|Music specific to particular contexts or levels} | + | {{NameAndSynopsis |Cut-scenes|Sound of the cut-scenes}} |
| − | {NameAndSynopsis |Cut-scenes|Sound of the cut-scenes} | + | {{NameAndSynopsis |Death|Portraying death}} |
| − | {NameAndSynopsis |Death|Portraying death} | + | {{NameAndSynopsis |Decay|A phase of gameplay of reestablishment after an engagement}} |
| − | {NameAndSynopsis |Decay|A phase of gameplay of reestablishment after an engagement} | + | {{NameAndSynopsis |Dialogue|All kinds of conversation}} |
| − | {NameAndSynopsis |Dialogue|All kinds of conversation} | + | {{NameAndSynopsis |Diegetic Music|Music happening in the game world}} |
| − | {NameAndSynopsis |Diegetic Music|Music happening in the game world} | + | {{NameAndSynopsis |Dubbing|Replacing original voices, to adapt to other language}} |
| − | {NameAndSynopsis |Dubbing|Replacing original voices, to adapt to other language} | + | {{NameAndSynopsis |Eavesdropping|Adopting behaviours with intention of gaining knowledge by listening to others' conversations}} |
| − | {NameAndSynopsis |Eavesdropping|Adopting behaviours with intention of gaining knowledge by listening to others' conversations} | + | {{NameAndSynopsis |Echolocation|Using sound to perceive the environment}} |
| − | {NameAndSynopsis |Echolocation|Using sound to perceive the environment} | + | {{NameAndSynopsis |Emotional Script|Sound designed to contribute to the game’s emotional script}} |
| − | {NameAndSynopsis |Emotional Script|Sound designed to contribute to the game’s emotional script} | + | {{NameAndSynopsis |Engagement|A phase of gameplay of explicit conflict}} |
| − | {NameAndSynopsis |Engagement|A phase of gameplay of explicit conflict} | + | {{NameAndSynopsis |Entrainment|Changing the player’s internal rhythms through acoustic stimulation, eventually inducing emotions and behaviour}} |
| − | {NameAndSynopsis |Entrainment|Changing the player’s internal rhythms through acoustic stimulation, eventually inducing emotions and behaviour} | + | {{NameAndSynopsis |Failure|Signalling something negative}} |
| − | {NameAndSynopsis |Failure|Signalling something negative} | + | {{NameAndSynopsis |Foley|Sounds of ongoing actions}} |
| − | {NameAndSynopsis |Foley|Sounds of ongoing actions} | + | {{NameAndSynopsis |Foley Music|Music made out of foley sounds}} |
| − | {NameAndSynopsis |Foley Music|Music made out of foley sounds} | + | {{NameAndSynopsis |Footsteps|The sound of footsteps (extensible to any kind of being)}} |
| − | {NameAndSynopsis |Footsteps|The sound of footsteps (extensible to any kind of being)} | + | {{NameAndSynopsis |Gameplay|All kinds of sound happening and being performed during gameplay}} |
| − | {NameAndSynopsis |Gameplay|All kinds of sound happening and being performed during gameplay} | + | {{NameAndSynopsis |Genre|Characteristics of gameplay}} |
| − | {NameAndSynopsis |Genre|Characteristics of gameplay} | + | {{NameAndSynopsis |Grunts|Utterances associated to physical actions or conditions}} |
| − | {NameAndSynopsis |Grunts|Utterances associated to physical actions or conditions} | + | {{NameAndSynopsis |Heartbeat|Perceptible sound of heartbeating}} |
| − | {NameAndSynopsis |Heartbeat|Perceptible sound of heartbeating} | + | {{NameAndSynopsis |Hurry Up!|Contributing for the sense of urge in completing something}} |
| − | {NameAndSynopsis |Hurry Up!|Contributing for the sense of urge in completing something} | + | {{NameAndSynopsis |Identification|Promoting the recognition of entities through their distinctive soundprints}} |
| − | {NameAndSynopsis |Identification|Promoting the recognition of entities through their distinctive soundprints} | + | {{NameAndSynopsis |Imminent Death|Urging a change of behaviour to avoid death}} |
| − | {NameAndSynopsis |Imminent Death|Urging a change of behaviour to avoid death} | + | {{NameAndSynopsis |In-game Feedback|In-game feedback on sound input performance}} |
| − | {NameAndSynopsis |In-game Feedback|In-game feedback on sound input performance} | + | {{NameAndSynopsis |Levelled Performance|The progressive sophistication of gameplay performative actions}} |
| − | {NameAndSynopsis |Levelled Performance|The progressive sophistication of gameplay performative actions} | + | {{NameAndSynopsis |Make Sound not War|Sound supporting creative alternatives to conflict}} |
| − | {NameAndSynopsis |Make Sound not War|Sound supporting creative alternatives to conflict} | + | {{NameAndSynopsis |Menus|Sounds in game menus}} |
| − | {NameAndSynopsis |Menus|Sounds in game menus} | + | {{NameAndSynopsis |Music|All kinds of music heard during the game}} |
| − | {NameAndSynopsis |Music|All kinds of music heard during the game} | + | {{NameAndSynopsis |Musical Outcome|Music generated as a by-product of in-game actions}} |
| − | {NameAndSynopsis |Musical Outcome|Music generated as a by-product of in-game actions} | + | {{NameAndSynopsis |Narrative|The contributions of sound to the narrative}} |
| − | {NameAndSynopsis |Narrative|The contributions of sound to the narrative} | + | {{NameAndSynopsis |No Can Do|Signalling something impossible}} |
| − | {NameAndSynopsis |No Can Do|Signalling something impossible} | + | {{NameAndSynopsis |Ouch!|Signalling a painful or damaging interaction}} |
| − | {NameAndSynopsis |Ouch!|Signalling a painful or damaging interaction} | + | {{NameAndSynopsis |Play the Beat|Acting in sync with a rhythm}} |
| − | {NameAndSynopsis |Play the Beat|Acting in sync with a rhythm} | + | {{NameAndSynopsis |R-A-E-D Iterations|Iterations of the sequence: Relaxation → Anticipation → Engagement → Decay}} |
| − | {NameAndSynopsis |R-A-E-D Iterations|Iterations of the sequence: Relaxation → Anticipation → Engagement → Decay} | + | {{NameAndSynopsis |Relaxation|A phase of gameplay promoting relaxation}} |
| − | {NameAndSynopsis |Relaxation|A phase of gameplay promoting relaxation} | + | {{NameAndSynopsis |Requisite Variety|Triggering alternate sounds not to compromise the experience}} |
| − | {NameAndSynopsis |Requisite Variety|Triggering alternate sounds not to compromise the experience} | + | {{NameAndSynopsis |Say that Again|Allowing the PC/player to request to hear again}} |
| − | {NameAndSynopsis |Say that Again|Allowing the PC/player to request to hear again} | + | {{NameAndSynopsis |Seeking for PC|NPC’s manifestations of active chasing of the PC}} |
| − | {NameAndSynopsis |Seeking for PC|NPC’s manifestations of active chasing of the PC} | + | {{NameAndSynopsis |Shout and Yell|NPC’s loud utterances during engagement}} |
| − | {NameAndSynopsis |Shout and Yell|NPC’s loud utterances during engagement} | + | {{NameAndSynopsis |Signature|Memorable association between sound and source}} |
| − | {NameAndSynopsis |Signature|Memorable association between sound and source} | + | {{NameAndSynopsis |Sing to Act|Performing songs to achieve a purpose}} |
| − | {NameAndSynopsis |Sing to Act|Performing songs to achieve a purpose} | + | {{NameAndSynopsis |Sonic Weapon|Using sound as a weapon}} |
| − | {NameAndSynopsis |Sonic Weapon|Using sound as a weapon} | + | {{NameAndSynopsis |Sound Decoys|Using sound to fool the NPC}} |
| − | {NameAndSynopsis |Sound Decoys|Using sound to fool the NPC} | + | {{NameAndSynopsis |Sound Design in Games|A deck-based approach to a Pattern Language for Sound Design in Games, strongly influenced by Acoustic Ecology and subject to the principle that Sound Design in Games benefits from being embedded in the overall Game Design.}} |
| − | {NameAndSynopsis |Sound Design in Games|A deck-based approach to a Pattern Language for Sound Design in Games, strongly influenced by Acoustic Ecology and subject to the principle that Sound Design in Games benefits from being embedded in the overall Game Design.} | + | {{NameAndSynopsis |Sound Effects|Sounds that make abstract or imaginary objects concrete}} |
| − | {NameAndSynopsis |Sound Effects|Sounds that make abstract or imaginary objects concrete} | + | {{NameAndSynopsis |Sound Input|The way sound enters the gameworld}} |
| − | {NameAndSynopsis |Sound Input|The way sound enters the gameworld} | + | {{NameAndSynopsis |Sound Layers and Semantics|Grouping design decisions according to their semantics}} |
| − | {NameAndSynopsis |Sound Layers and Semantics|Grouping design decisions according to their semantics} | + | {{NameAndSynopsis |Sound Places|Components of a product where sound may appear}} |
| − | {NameAndSynopsis |Sound Places|Components of a product where sound may appear} | + | {{NameAndSynopsis |Sound Suppressing|Enabling the reduction of PC generated sounds}} |
| − | {NameAndSynopsis |Sound Suppressing|Enabling the reduction of PC generated sounds} | + | {{NameAndSynopsis |Sound Visualization|Graphical perception of the occurrence of sound}} |
| − | {NameAndSynopsis |Sound Visualization|Graphical perception of the occurrence of sound} | + | {{NameAndSynopsis |Stealth|Low profile behaviours that include adopting a small soundprint}} |
| − | {NameAndSynopsis |Stealth|Low profile behaviours that include adopting a small soundprint} | + | {{NameAndSynopsis |Subtitles and Captions|Text that represents occurring sound}} |
| − | {NameAndSynopsis |Subtitles and Captions|Text that represents occurring sound} | + | {{NameAndSynopsis |Title Screens|Sound during the presentation of a game product}} |
| − | {NameAndSynopsis |Title Screens|Sound during the presentation of a game product} | + | {{NameAndSynopsis |Trance|Sound contributing for trance during the experience}} |
| − | {NameAndSynopsis |Trance|Sound contributing for trance during the experience} | + | {{NameAndSynopsis |Unaware NPC|NPC’s behaviours evidencing unawareness of PC’s presence}} |
| − | {NameAndSynopsis |Unaware NPC|NPC’s behaviours evidencing unawareness of PC’s presence} | + | |
Revision as of 20:59, 6 October 2011
Achievement: Signalling something positive.
Acoustic Ecology: Designing sound in a holistic way, as influenced by Acoustic Ecology.
Address Others: Enabling the PC to use sound to address NPCs.
Ambiance: Sounds of the environment.
Anticipation: A phase of gameplay anticipating an engagement.
Audio Logs: Dialogue recordings, frequently scattered through the gameworld.
Awareness: Sound promoting awareness for some gameplay aspect.
Beacon Locator: Items that emit sound to ease their location.
Breath: Perceptible sound of breathing.
Character Soundprint: The set of sounds of a PC or NPC.
Chitchat: NPC’s Dialogue that is not central to the course of action.
Consequent Sound: Sound that matters to the gameworld.
Contextual Music: Music specific to particular contexts or levels.
Cut-scenes: Sound of the cut-scenes.
Death: Portraying death.
Decay: A phase of gameplay of reestablishment after an engagement.
Dialogue: All kinds of conversation.
Diegetic Music: Music happening in the game world.
Dubbing: Replacing original voices, to adapt to other language.
Eavesdropping: Adopting behaviours with intention of gaining knowledge by listening to others' conversations.
Echolocation: Using sound to perceive the environment.
Emotional Script: Sound designed to contribute to the game’s emotional script.
Engagement: A phase of gameplay of explicit conflict.
Entrainment: Changing the player’s internal rhythms through acoustic stimulation, eventually inducing emotions and behaviour.
Failure: Signalling something negative.
Foley: Sounds of ongoing actions.
Foley Music: Music made out of foley sounds.
Footsteps: The sound of footsteps (extensible to any kind of being).
Gameplay: All kinds of sound happening and being performed during gameplay.
Genre: Characteristics of gameplay.
Grunts: Utterances associated to physical actions or conditions.
Heartbeat: Perceptible sound of heartbeating.
Hurry Up!: Contributing for the sense of urge in completing something.
Identification: Promoting the recognition of entities through their distinctive soundprints.
Imminent Death: Urging a change of behaviour to avoid death.
In-game Feedback: In-game feedback on sound input performance.
Levelled Performance: The progressive sophistication of gameplay performative actions.
Make Sound not War: Sound supporting creative alternatives to conflict.
Menus: Sounds in game menus.
Music: All kinds of music heard during the game.
Musical Outcome: Music generated as a by-product of in-game actions.
Narrative: The contributions of sound to the narrative.
No Can Do: Signalling something impossible.
Ouch!: Signalling a painful or damaging interaction.
Play the Beat: Acting in sync with a rhythm.
R-A-E-D Iterations: Iterations of the sequence: Relaxation → Anticipation → Engagement → Decay.
Relaxation: A phase of gameplay promoting relaxation.
Requisite Variety: Triggering alternate sounds not to compromise the experience.
Say that Again: Allowing the PC/player to request to hear again.
Seeking for PC: NPC’s manifestations of active chasing of the PC.
Shout and Yell: NPC’s loud utterances during engagement.
Signature: Memorable association between sound and source.
Sing to Act: Performing songs to achieve a purpose.
Sonic Weapon: Using sound as a weapon.
Sound Decoys: Using sound to fool the NPC.
Sound Design in Games: A deck-based approach to a Pattern Language for Sound Design in Games, strongly influenced by Acoustic Ecology and subject to the principle that Sound Design in Games benefits from being embedded in the overall Game Design..
Sound Effects: Sounds that make abstract or imaginary objects concrete.
Sound Input: The way sound enters the gameworld.
Sound Layers and Semantics: Grouping design decisions according to their semantics.
Sound Places: Components of a product where sound may appear.
Sound Suppressing: Enabling the reduction of PC generated sounds.
Sound Visualization: Graphical perception of the occurrence of sound.
Stealth: Low profile behaviours that include adopting a small soundprint.
Subtitles and Captions: Text that represents occurring sound.
Title Screens: Sound during the presentation of a game product.
Trance: Sound contributing for trance during the experience.
Unaware NPC: NPC’s behaviours evidencing unawareness of PC’s presence.
