![]() Linked to adequate metaphors, this grammar can build a veritable repository for rhythm based, melodically interactive games and digital electronic instruments. The result is a grammar of the language of music video games. All these aspects of music video games are discussed in this paper with the aim of describing how they affect the interactivity of the games. By analysing several games qualitatively, we extracted certain typical features of games of this genre: active scores, rhythm action, quantisation, synaesthesia, play as performance, free-form play, and sound agents. The purpose of this article is to shed light on what these design principles are, and how the player is immersed. Until today, there are only a few different approaches to their design. Some recent music video games were hugely successful. The earliest direct ancestors emerged in the 1970ies. Music video games are an old but small genre of games. This paper gives an introduction into the principles of interactivity in music video games.
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