Difference between revisions of "Sing to Act"

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Some games feature the ability to [[Sing to Act]], as part of the [[Gameplay]]. This kind of exploration unfolds new opportunities in terms of the interaction with the environment. Some of them include the design of alternatives to the "classic" belligerent approaches ([[Make Sound not War]]), which in turn may have interesting effects in terms of the [[Emotional Script]].
 
Some games feature the ability to [[Sing to Act]], as part of the [[Gameplay]]. This kind of exploration unfolds new opportunities in terms of the interaction with the environment. Some of them include the design of alternatives to the "classic" belligerent approaches ([[Make Sound not War]]), which in turn may have interesting effects in terms of the [[Emotional Script]].
  
A particular case which we are addressing as a different design pattern is [[Pitch Gameplay]]. Whilst in the case of [[Pitch Gameplay]] it is the performance of singing itself that is in focus (namely the evaluation of how accurate the performance is), in the case of [[Sing to Act]] the act of singing is semantic, and it works as the [[means]] to achieve an end that is collateral to the act of singing. That is why, although it may be interesting that [[Sing to Act]] is performed through actual [[Sound Input]], that is not a fundamental.
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A particular case which we are addressing separately as a different design pattern is [[Pitch Gameplay]]. Whilst in the case of [[Pitch Gameplay]] it is the performance of singing itself that is in focus (namely the evaluation accuracy of such performance), in the case of [[Sing to Act]] the act of singing is semantic instead, and it works as the ''means'' to achieve an end that is collateral to the act of singing. That is why, although it may be interesting that [[Sing to Act]] is performed through actual [[Sound Input]], that is not a fundamental.
  
 
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Revision as of 14:26, 18 October 2011

Front face Back face
The card's front face The card's back face

Synopsis

Performing songs to achieve a purpose.

Relationships

Context:
Consequent Sound , Make Sound not War .
May relate to:
Genre File:M385px-Genre-front-v20.png.
May imply:
Sound Input .

Description

Some games feature the ability to Sing to Act, as part of the Gameplay. This kind of exploration unfolds new opportunities in terms of the interaction with the environment. Some of them include the design of alternatives to the "classic" belligerent approaches (Make Sound not War), which in turn may have interesting effects in terms of the Emotional Script.

A particular case which we are addressing separately as a different design pattern is Pitch Gameplay. Whilst in the case of Pitch Gameplay it is the performance of singing itself that is in focus (namely the evaluation accuracy of such performance), in the case of Sing to Act the act of singing is semantic instead, and it works as the means to achieve an end that is collateral to the act of singing. That is why, although it may be interesting that Sing to Act is performed through actual Sound Input, that is not a fundamental.

Examples

Journey [not yet released]:
Aquaria:
Spore:
Patapon:
Loco Roco:
[show less examples...]



SingToAct-front-v10.pngSingToAct-back-v10.png