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Therefore the length and sequence of the modules has to be flexible so that the music of any one module is able to flow smoothly into that of any of the others as well as allowing two or more modules to be played harmoniously\u0026nbsp;...","page_url":"https://books.google.com.sg/books?id=JYfROhvXMPAC\u0026pg=PA8\u0026vq=actions"},{"page_id":"PA9","page_number":"9","snippet_text":"... \u003cb\u003eactions\u003c/b\u003e of the player, etc. fully immerse the player into the game, not only as co-author, but also as performer. 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The media philosopher , Janet Murray ( 1997 : 71 ) , also counts \u0026quot; participation ” and \u0026quot; spatiality \u0026quot; as further characteristics of\u0026nbsp;..."},{"page_id":"PA47","page_number":"47","snippet_text":"... \u003cb\u003eactions\u003c/b\u003e in the game and continues independently of what happens on the screen . b . Reactive music refers to music that is directly connected to the \u003cb\u003eactions\u003c/b\u003e of the players . This type of game - music is triggered by specific micro - \u003cb\u003eactions\u003c/b\u003e\u0026nbsp;..."},{"page_id":"PA48","page_number":"48","snippet_text":"... \u003cb\u003eactions\u003c/b\u003e of the players, as the songs are only played correctly if the players interact according to the rules of the game. At the same time, the \u003cb\u003eactions\u003c/b\u003e of the players refresh a given soundtrack. Games based on this mechanic have music\u0026nbsp;..."},{"page_id":"PA49","page_number":"49","snippet_text":"... \u003cb\u003eactions\u003c/b\u003e of all agents, be they human, system or machine, have to influence one another in order to establish a process of interaction. Adding to the four attributes of computer games described by Janet Murray (procedurality\u0026nbsp;..."},{"page_id":"PA50","page_number":"50","snippet_text":"... \u003cb\u003eactions\u003c/b\u003e . In The Secret of Monkey Island ( LucasArts 1990 ) , Guybrush Threepwood has to win a sword fight by means of better arguments · rather the \u0026quot; correct \u0026quot; insults to the pirate opponent . The game provides precisely five offences\u0026nbsp;..."},{"page_id":"PA51","page_number":"51","snippet_text":"... \u003cb\u003eaction\u003c/b\u003e score form play Synaes- Play as Number of thesia perform- ance X attributes5 Rez X X X X X 5 Otocky ? 2 . Sim Tunes X X X X Elektro- plankton X X X X X 4 4 X X X X 6 Vib Ribbon Rhythm X X Tengoku Elite Beat X Agents Guitar Hero\u0026nbsp;..."},{"page_id":"PA52","page_number":"52","snippet_text":"... \u003cb\u003eaction\u003c/b\u003e form a cluster of games that do not have as many other attributes as the games with other core mechanics. Going downwards from Vib- Ribbon in Table 1, all games having rhythm \u003cb\u003eaction\u003c/b\u003e as an attribute provide three, two, or only\u0026nbsp;..."},{"page_id":"PA53","page_number":"53","snippet_text":"... \u003cb\u003eactions\u003c/b\u003e on the part of the players , nothing happens in the game . The rules of the game define the range of possible \u003cb\u003eactions\u003c/b\u003e , but remain as a mere shell without input from outside . The system can generate complex game - worlds\u0026nbsp;..."},{"page_id":"PA54","page_number":"54","snippet_text":"... \u003cb\u003eactions\u003c/b\u003e players undertake with the avatar they control . Through acting on the avatar , the players hear directly what it is doing , i.e. what they are respectively doing . In these examples , it is moreover part of the gameplay that\u0026nbsp;..."},{"page_id":"PA55","page_number":"55","snippet_text":"... \u003cb\u003eactions\u003c/b\u003e involved . As a conclusion , I want to give a preview of a new method of categorizing interfaces . These attributes of the computer game allow for new and individual forms of experiences . The goal of the categories is to allow\u0026nbsp;..."},{"page_id":"PA56","page_number":"56","snippet_text":"... \u003cb\u003eactions\u003c/b\u003e on the screen . The “ X ” represents going into the state of having long legs , thus allowing the figure to traverse sparkly waves ; the relationship between the interface and the ingame \u003cb\u003eaction\u003c/b\u003e being symbolic . On the other hand\u0026nbsp;..."},{"page_id":"PA57","page_number":"57","snippet_text":"... \u003cb\u003eaction\u003c/b\u003e relationship. As in the WYSIWIG8 design principle, what you do is what you get (WYDIWYG): the movements of ... \u003cb\u003eactions\u003c/b\u003e look like. Branching happens at a logical break in the song. 2. Interactivity and Music in Computer Games 57."},{"page_id":"PA63","page_number":"63","snippet_text":"... \u003cb\u003eactions\u003c/b\u003e . I believe that the audio of a game is part of the interactive feedback loop between the player and the game system . So the notion of labelling it \u0026quot; interactive music \u0026quot; is meant to indicate that the music is part of an\u0026nbsp;..."},{"page_id":"PA64","page_number":"64","snippet_text":"... song can be played in synchronization and the game determines the crossfade level between the two (Chronicles of Riddick): “Basically all \u003cb\u003eaction\u003c/b\u003e tracks were composed in two versions, one 64 Leonard J. Paul 2 Branching and Layering."},{"page_id":"PA65","page_number":"65","snippet_text":"... \u003cb\u003eaction\u003c/b\u003e. For example, when entering a boss area, a branch to a new segment of music is chosen by the game to underscore the boss, but horizontal mixing is used to modulate the tracks in the new segment to closely follow the player\u0026#39;s\u0026nbsp;..."},{"page_id":"PA66","page_number":"66","snippet_text":"... \u003cb\u003eactions\u003c/b\u003e in the game by a short musical phrase in the music. In the Mono- lith game No One Lives Forever (2000), audio director and composer Guy Whitmore used short guitar hits and arpeggios in time with the music to signal when enemies\u0026nbsp;..."},{"page_id":"PA73","page_number":"73","snippet_text":"... \u003cb\u003eaction\u003c/b\u003e of the game and the tempo of the ragtime gives a push to the player during gameplay. With the expanded amount of channels, layering became more of a possibility in Super Mario World and you would actually hear an extra bongo\u0026nbsp;..."},{"page_id":"PA80","page_number":"80","snippet_text":"... \u003cb\u003eaction\u003c/b\u003e/braid/news/6197644/spot-on-the-music-of-braid [05/05/2012] Various (Thursday, July 19, 2007): 10 Questions for Shigeru Miyamoto, http://www. time.com /time/magazine/article/0,9171,1645158,00.html [05/05/2012] Guy Whitmore (July 2\u0026nbsp;..."},{"page_id":"PA82","page_number":"82","snippet_text":"... \u003cb\u003eactions\u003c/b\u003e of the player , thus creating the impression of a change in orchestration . The two principles became known as horizontal re - sequencing and vertical re - orchestration , and have since had a great impact on the design of\u0026nbsp;..."},{"page_id":"PA84","page_number":"84","snippet_text":"... \u003cb\u003eaction\u003c/b\u003e now takes place out on the ocean – the similarity to Captain Dread\u0026#39;s sailing theme being evident. The “outdoors” theme that can be heard in the woods, on the island itself (i.e. the map of the island), as well as by the big tree\u0026nbsp;..."},{"page_id":"PA85","page_number":"85","snippet_text":"... \u003cb\u003eaction\u003c/b\u003e closer to the music on a semantic level; (iv) the largely unforeseeable \u003cb\u003eactions\u003c/b\u003e of the player can be held together by a composi- tion, likening the game music to film music. But is film music not much less inter- active than\u0026nbsp;..."},{"page_id":"PA86","page_number":"86","snippet_text":"... \u003cb\u003eaction\u003c/b\u003e that is mostly restricted to one place at a time is accompanied by the static ambient soundtrack and, when some- thing happens, short cinematic sequences are underscored by more dynamic music (e.g. the first arrival at the alien\u0026nbsp;..."},{"page_id":"PA89","page_number":"89","snippet_text":"... \u003cb\u003eactions\u003c/b\u003e of the player . Two examples in Laverne\u0026#39;s part of the story ( set in the 22nd century ) show how the semantic aspects of the music also tie together different places within the game . When Laverne discovers the \u0026quot; time capsule\u0026nbsp;..."},{"page_id":"PA90","page_number":"90","snippet_text":"... \u003cb\u003eaction\u003c/b\u003e. Short musical quotes or the use of known musical clichés can carry an additional semantic dimension on the auditive level of the game. Timing is often very important for the ensuing jokes to work, which is where the iMuse engine\u0026nbsp;..."},{"page_id":"PA94","page_number":"94","snippet_text":"... \u003cb\u003eaction\u003c/b\u003e adventures and role - playing games opt for another form of realism . With the means provided by better graphic engines and higher processing power , their look has eventually become more naturalistic . But nevertheless , games\u0026nbsp;..."},{"page_id":"PA95","page_number":"95","snippet_text":"... \u003cb\u003eactions\u003c/b\u003e taken by the player.” (Collins 2008: 4) While interactive audio is directly influenced by the \u003cb\u003eactions\u003c/b\u003e of the player, adap- tive audio depends on changes in the simulated environment of the game world: for example , a musical\u0026nbsp;..."},{"page_id":"PA96","page_number":"96","snippet_text":"... \u003cb\u003eactions\u003c/b\u003e of a non - player character . In cinematic language , the most explicit synaes- thetic convergence between image and sound can be found in video clips and abstract avant - garde films . Its equivalent in video games would be the\u0026nbsp;..."},{"page_id":"PA97","page_number":"97","snippet_text":"... \u003cb\u003eaction\u003c/b\u003e - adventures , larger - than - life shooter - games or role - playing games follow other ideas of realism , the audible reality of cinematic genre conventions that are adapted to the ludic space . Karen Collins aptly explains\u0026nbsp;..."},{"page_id":"PA98","page_number":"98","snippet_text":"... \u003cb\u003eactions\u003c/b\u003e performed by the player . Similar strategies of scoring can also be found in many Nintendo games such as the Super Mario or the Donkey Kong Country series ( since 1994 ) . The exalted comic style of many jump\u0026#39;n\u0026#39;run games\u0026nbsp;..."},{"page_id":"PA99","page_number":"99","snippet_text":"... in reaction to whatever the player was doing. In movies, music is paced to match the on-screen \u003cb\u003eaction\u003c/b\u003e. The freedom of movement that a game affords, Scoring Play – Soundtracks and Video Game Genres 99 3 Dynamic Symphonies."},{"page_id":"PA100","page_number":"100","snippet_text":"... \u003cb\u003eactions\u003c/b\u003e.” (Smith 2008: 65) iMuse was also crucial to adapting the scoring techniques from the Indiana Jones and Star ... \u003cb\u003eaction\u003c/b\u003e sequences as well as to the discovery of hidden labyrinths and clues leading to the sunken continent of\u0026nbsp;..."},{"page_id":"PA102","page_number":"102","snippet_text":"... \u003cb\u003eactions\u003c/b\u003e . performed by the player . As in the films , the soundtrack transports the emotional journey of the main ... \u003cb\u003eaction\u003c/b\u003e - orientated RPGs like Diablo II ( 2000 ) in the cartoon epic Deathspank ( 2010 ) . In best Mickey\u0026nbsp;..."},{"page_id":"PA108","page_number":"108","snippet_text":"... \u003cb\u003eaction\u003c/b\u003e/fighting elements without any one of these being dominant. While Resident Evil was developed and released by the Japanese company Capcom, the Silent Hill series was initially launched as a reaction to the rival studio Konami\u0026nbsp;..."},{"page_id":"PA113","page_number":"113","snippet_text":"... \u003cb\u003eactions\u003c/b\u003e; semantic: describing the space, such as different footsteps in different rooms; navigational: helping to find the path; the sound of challenges; and the outside effects of the users \u003cb\u003eactions\u003c/b\u003e , such as saving ) . Furthermore ,. 11\u0026nbsp;..."},{"page_id":"PA114","page_number":"114","snippet_text":"... \u003cb\u003eactions\u003c/b\u003e ) as well as exodiegetic signals ( from outside \u003cb\u003eactions\u003c/b\u003e such as saving ) . These sounds are further- more embedded within an acoustic ecology in which the basic lines of causal listening , semantic listening and navigational\u0026nbsp;..."},{"page_id":"PA115","page_number":"115","snippet_text":"... \u003cb\u003eaction\u003c/b\u003e\u0026#39; button, the sound suddenly stops, the saw being now part of his equipment and can only be heard when used in a fight. These three sequences prove that sound is used primarily to lead or mislead the player (such as the saw that\u0026nbsp;..."},{"page_id":"PA128","page_number":"128","snippet_text":"... \u003cb\u003eaction\u003c/b\u003e and interaction between life forms and things: magically-driven airships and spaceships with time-warp energy are means of conveyance which transport their inmates from A to B. Shining portals and wildly-blinking transport\u0026nbsp;..."},{"page_id":"PA129","page_number":"129","snippet_text":"... \u003cb\u003eaction\u003c/b\u003e role-playing and life simulation). The overall goal is to conduct the evolution of an alien species from its very first emergence as a micro- organism (cell stage), through its shift to land (creature stage), the development of\u0026nbsp;..."},{"page_id":"PA131","page_number":"131","snippet_text":"... \u003cb\u003eactions\u003c/b\u003e and the corresponding ingame occurrences ? Composition of auditory scenes ( i.e. the sonority of specific places like jungles , wastelands , swamps and so on , also at different times of the day ) ? Are sounds treated\u0026nbsp;..."},{"page_id":"PA141","page_number":"141","snippet_text":"... \u003cb\u003eaction\u003c/b\u003e role-playing game Mass Effect (2007) are two similar establishments, a strip bar and a club, which come to life by means of the music. The first of the two is, among other things, the showplace for an inter- galactic lap dance\u0026nbsp;..."},{"page_id":"PA142","page_number":"142","snippet_text":"... \u003cb\u003eactions\u003c/b\u003e and sounds are not formed in a cultural void , but can be seen as the remodelling of a previously created style . The first filmed accentuation in the direction of a futuristic techno - aesthetic is assumed to be Blade ( 1998 )\u0026nbsp;..."},{"page_id":"PA148","page_number":"148","snippet_text":"... \u003cb\u003eactions\u003c/b\u003e , ( two ) are removed from ordinary life , but ( three ) have the power to absorb the player\u0026#39;s attention completely , without ( four ) having any material use for him / her , are characterized by ( five ) a defined space and\u0026nbsp;..."},{"page_id":"PA149","page_number":"149","snippet_text":"... \u003cb\u003eactions\u003c/b\u003e thus seem to be characterized atmospherically by his / her own choice of music , which , in turn , allows the player to identify with the former even more strongly than any pre - composed music could achieve . 2 Games and\u0026nbsp;..."},{"page_id":"PA151","page_number":"151","snippet_text":"... \u003cb\u003eactions\u003c/b\u003e. Moreover, its flow is determined by the way the player acts. This is why game composers must invent very flexible scores that may change their features according to the game flow. These changes, however, should be as smooth as\u0026nbsp;..."},{"page_id":"PA152","page_number":"152","snippet_text":"... \u003cb\u003eaction\u003c/b\u003e , vision and sound , could make the “ real world \u0026quot; retreat before the game\u0026#39;s actuality . Less interactive , but also involving cases of mood modulation , are games that come with a soundtrack comparable to track compilations on\u0026nbsp;..."},{"page_id":"PA159","page_number":"159","snippet_text":"... \u003cb\u003eactions\u003c/b\u003e driving the game\u0026#39;s plot forward, in contrast to movies, where the synchronicity of the pictorial and the aural layers are determined by that P. Moormann (ed.), Music and Game, DOI 10.1007/978-3-531-18913-0_9, © Springer\u0026nbsp;..."},{"page_id":"PA164","page_number":"164","snippet_text":"... \u003cb\u003eaction\u003c/b\u003e and the motion of their own body in a private situation at home or with friends, not the concentrated stillness of a public concert in the company of a Tetris, Metroid, Mega Man, they all had very catchy melody lines---even to\u0026nbsp;..."},{"page_id":"PA194","page_number":"194","snippet_text":"... \u003cb\u003eaction\u003c/b\u003e. For an introduction to non-linear aspects of game sound, see Collins 2007. 10 Today he is working as a freelancer (see www. http://www.huelsbeck.com/ [05/05/2012]). 11 Broadcast “neues” on 3sat, 08/17/2008. Interview conducted\u0026nbsp;..."},{"page_id":"PA201","page_number":"201","snippet_text":"... \u003cb\u003eaction\u003c/b\u003e since it is being played by a \u0026#39; diegetic\u0026#39;28 source in the game . A possible reason for the soundtrack\u0026#39;s flop might be a mismatch of music styles and target groups . Since the game plays in the 1980s , the music consists of pieces\u0026nbsp;..."}],"search_query_escaped":"actions"},{});</script></div></div></div><script>(function() {var href = window.location.href;if (href.indexOf('?') !== -1) {var parameters = href.split('?')[1].split('&');for (var i = 0; i < parameters.length; i++) {var param = parameters[i].split('=');if (param[0] == 'focus') {var elem = document.getElementById(param[1]);if (elem) {elem.focus();}}}}})();</script>