EP2001569A2 - Procédé et dispositif permettant de simuler l'expérience d'un groupe de musique par interaction en ligne - Google Patents

Procédé et dispositif permettant de simuler l'expérience d'un groupe de musique par interaction en ligne

Info

Publication number
EP2001569A2
EP2001569A2 EP07760088A EP07760088A EP2001569A2 EP 2001569 A2 EP2001569 A2 EP 2001569A2 EP 07760088 A EP07760088 A EP 07760088A EP 07760088 A EP07760088 A EP 07760088A EP 2001569 A2 EP2001569 A2 EP 2001569A2
Authority
EP
European Patent Office
Prior art keywords
player
music performance
performance input
musical
musical composition
Prior art date
Legal status (The legal status is an assumption and is not a legal conclusion. Google has not performed a legal analysis and makes no representation as to the accuracy of the status listed.)
Withdrawn
Application number
EP07760088A
Other languages
German (de)
English (en)
Inventor
Eran Egozy
Alex Rigopulos
Current Assignee (The listed assignees may be inaccurate. Google has not performed a legal analysis and makes no representation or warranty as to the accuracy of the list.)
Harmonix Music Systems Inc
Original Assignee
Harmonix Music Systems Inc
Priority date (The priority date is an assumption and is not a legal conclusion. Google has not performed a legal analysis and makes no representation as to the accuracy of the date listed.)
Filing date
Publication date
Priority claimed from US11/278,593 external-priority patent/US20070245881A1/en
Priority claimed from US11/279,877 external-priority patent/US20070243915A1/en
Application filed by Harmonix Music Systems Inc filed Critical Harmonix Music Systems Inc
Publication of EP2001569A2 publication Critical patent/EP2001569A2/fr
Withdrawn legal-status Critical Current

Links

Classifications

    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS; INSTRUMENTS IN WHICH THE TONES ARE GENERATED BY ELECTROMECHANICAL MEANS OR ELECTRONIC GENERATORS, OR IN WHICH THE TONES ARE SYNTHESISED FROM A DATA STORE
    • G10H1/00—Details of electrophonic musical instruments
    • G10H1/36—Accompaniment arrangements
    • G10H1/361—Recording/reproducing of accompaniment for use with an external source, e.g. karaoke systems
    • G10H1/368—Recording/reproducing of accompaniment for use with an external source, e.g. karaoke systems displaying animated or moving pictures synchronized with the music or audio part
    • A—HUMAN NECESSITIES
    • A63—SPORTS; GAMES; AMUSEMENTS
    • A63F—CARD, BOARD, OR ROULETTE GAMES; INDOOR GAMES USING SMALL MOVING PLAYING BODIES; VIDEO GAMES; GAMES NOT OTHERWISE PROVIDED FOR
    • A63F13/00—Video games, i.e. games using an electronically generated display having two or more dimensions
    • A63F13/80—Special adaptations for executing a specific game genre or game mode
    • A63F13/814—Musical performances, e.g. by evaluating the player's ability to follow a notation
    • A—HUMAN NECESSITIES
    • A63—SPORTS; GAMES; AMUSEMENTS
    • A63F—CARD, BOARD, OR ROULETTE GAMES; INDOOR GAMES USING SMALL MOVING PLAYING BODIES; VIDEO GAMES; GAMES NOT OTHERWISE PROVIDED FOR
    • A63F2300/00—Features of games using an electronically generated display having two or more dimensions, e.g. on a television screen, showing representations related to the game
    • A63F2300/10—Features of games using an electronically generated display having two or more dimensions, e.g. on a television screen, showing representations related to the game characterized by input arrangements for converting player-generated signals into game device control signals
    • A63F2300/1062—Features of games using an electronically generated display having two or more dimensions, e.g. on a television screen, showing representations related to the game characterized by input arrangements for converting player-generated signals into game device control signals being specially adapted to a type of game, e.g. steering wheel
    • A—HUMAN NECESSITIES
    • A63—SPORTS; GAMES; AMUSEMENTS
    • A63F—CARD, BOARD, OR ROULETTE GAMES; INDOOR GAMES USING SMALL MOVING PLAYING BODIES; VIDEO GAMES; GAMES NOT OTHERWISE PROVIDED FOR
    • A63F2300/00—Features of games using an electronically generated display having two or more dimensions, e.g. on a television screen, showing representations related to the game
    • A63F2300/80—Features of games using an electronically generated display having two or more dimensions, e.g. on a television screen, showing representations related to the game specially adapted for executing a specific type of game
    • A63F2300/8047—Music games
    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS; INSTRUMENTS IN WHICH THE TONES ARE GENERATED BY ELECTROMECHANICAL MEANS OR ELECTRONIC GENERATORS, OR IN WHICH THE TONES ARE SYNTHESISED FROM A DATA STORE
    • G10H2220/00—Input/output interfacing specifically adapted for electrophonic musical tools or instruments
    • G10H2220/135—Musical aspects of games or videogames; Musical instrument-shaped game input interfaces
    • G10H2220/145—Multiplayer musical games, e.g. karaoke-like multiplayer videogames
    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS; INSTRUMENTS IN WHICH THE TONES ARE GENERATED BY ELECTROMECHANICAL MEANS OR ELECTRONIC GENERATORS, OR IN WHICH THE TONES ARE SYNTHESISED FROM A DATA STORE
    • G10H2240/00—Data organisation or data communication aspects, specifically adapted for electrophonic musical tools or instruments
    • G10H2240/171—Transmission of musical instrument data, control or status information; Transmission, remote access or control of music data for electrophonic musical instruments
    • G10H2240/175—Transmission of musical instrument data, control or status information; Transmission, remote access or control of music data for electrophonic musical instruments for jam sessions or musical collaboration through a network, e.g. for composition, ensemble playing or repeating; Compensation of network or internet delays therefor

Definitions

  • This invention relates to video games and, more particularly, to video games in which game players emulate a musical performance using musical instrument simulators and interact musically, either cooperatively or competitively, with one another in real-time.
  • rhythm-action a video game genre known as "rhythm-action," which requires a player to perform phrases from a pre-recorded musical composition using the video game's input device.
  • BEATMANIA the BEATMANIA series of games published by Konami Co., Ltd. of Japan.
  • notes in musical phrases are graphically displayed to the player as a series of visual markers spaced along one or more timelines; each marker corresponds to one note in the phrase.
  • visual markers 104 move from the top of the display to the bottom of the display.
  • 4192636vl perform this action successfully for a sufficient percentage of the notes, he scores poorly and loses the game.
  • two or more players may compete against each other, typically by each one attempting to play back different, parallel musical phrases from the same song simultaneously. The player who plays the highest percentage of notes correctly achieves the highest score and wins.
  • Multiplayer gaming increasingly incorporates various networking technologies that allow multiple players to compete against each other from remote physical locations via networks, and networked multiplayer gaming has become extremely popular.
  • data signals are often subject to large and unpredictable transmission delays. These transmission delays do not significantly impact turn-based games (such as chess) or other game genres in which timing sensitivity is not critical to gameplay.
  • turn-based games such as chess
  • timing sensitivity is not critical to gameplay.
  • action games and other "real-time” games gameplay is extremely sensitive to the timing of various events, and transmission delays inherently result in continual inconsistencies between the local game states of the various players of a networked game. Consequently, developers of timing-sensitive networked games have tried various methods for gracefully performing "conflict resolution" to resolve divergent local game states.
  • the rhythm-action genre has a unique attribute, however, that makes traditional conflict resolution methods inapplicable.
  • the core activity of multiplayer rhythm-action involves simultaneous music-making, which is highly timing sensitive, by two or more players. If these two players are separated by a network, the data representing musical notes played by one player will incur transmission delays when being sent to the other player. If note data were simply transmitted to a receiving machine it would trigger corresponding audio that would sound "out of sync" to the receiving player, resulting in cacophony.
  • One solution to this problem would be to mute the audio from remote players on the local player's machine. However, this would significantly degrade the entertainment value of the game experience by destroying musical communication between the players.
  • Players may use game controllers that simulate musical instruments to enhance their enjoyment of the game.
  • Players can form one or more bands with other players and participate in competitions in which their band attempts to perform musical compositions better than a competing band.
  • the other members of a player's band may be physically proximate to a player or they may interact over a network, such as the Internet. Accordingly, a player is provided with the experience of being a member of a band.
  • the present invention relates to a method for facilitating realtime interaction between a first and second player of a music-based video game via a network having unpredictable delivery latency, the first player located remotely from the second player.
  • Target musical data associated with a musical composition is displayed to a first player.
  • Music performance input is received from the first player via a controller resembling a first musical instrument.
  • Target musical data associated with the musical composition is displayed to the second player, who is located remotely from the first player.
  • Music performance input is received from the second player.
  • the present invention relates to a system for facilitating realtime interaction between a first and second player of a music-based video game via a network having unpredictable delivery latency, the first player located remotely from the second player.
  • the system includes means for displaying to a first player target musical data associated with a musical composition; means for receiving music performance input from the first player via a controller resembling a first musical instrument; means for displaying to a second player, the second player located remotely from the first player, target musical data associated with the musical
  • FIG. 1 is a block diagram depiction of one embodiment of a rhythm-action game environment
  • FIG. 2 is a screen shot depicting one embodiment of a screen display for a video game in which four players emulate a musical performance;
  • FIG. 3 is a screen shot depicting one embodiment of a screen display for a video game in which a player emulates a musical performance by providing vocal input;
  • FIG. 4 A is a screen shot depicting one embodiment of a screen display for a video game in which a player emulates a performance by providing dance input;
  • FIG. 4B is a screen shot depicting another embodiment of a screen display for a video game in which a player emulates a performance by providing dance input;
  • FIG. 5 A is a screen shot depicting one embodiment of competitive play
  • FIG. 5B is a block diagram depicting one embodiment of a system facilitating remote play for a rhythm-action video game.
  • FIG. 6 is a screen shot depicting one embodiment of a screen display for remote head-to-head competition in a video game
  • FIG. 2 an embodiment of a screen display for a video game in which three players emulate a musical performance is shown. Each player is
  • FIG. 2 depicts an embodiment in which three players participate, any number of players may participate simultaneously.
  • a fourth player may join the game as a keyboard player.
  • the screen would be further subdivided to make room to display a fourth avatar.
  • the avatar 210, 230, 250 may be a computer- generated image.
  • the avatar may be a digital image, such as a video capture of a person.
  • the avatar may be modeled on a famous figure or, in some embodiments, the avatar may be modeled on the game player associated with the avatar.
  • each avatar 210, 230, 250 associated with a player is associated with a "lane" 220, 240, 260 that appears to be three-dimensional, that is, it appears to lie in a plane between the player of the game and one of the avatars.
  • a three-dimensional "tunnel" comprising a number of lanes extends from the a player's avatar.
  • the tunnel may have any number of lanes and, therefore, may be triangular, square, pentagonal, sextagonal, septagonal, octagonal, nonanogal, or any other closed shape.
  • the lanes do not form a closed shape.
  • the sides may form a road, trough, or some other complex shape that does not have its ends connected.
  • the game element extending from an avatar 210, 230, 250, whatever its configuration will be referred to as a "lane.”
  • the spatial lane does not extend perpendicularly from the image plane of the display but instead extends obliquely from the image plane of the display.
  • the lane may be curved or may be some combination of curved portions and straight portions.
  • the lane may form a closed loop through which the viewer may travel, such as a circular or ellipsoid loop.
  • each lane may be subdivided into a plurality of segments 222, 242, 262.
  • Each segment may correspond to some unit of musical time, such as a beat, a plurality of beats, a measure, or a plurality of measures.
  • each segment may have a different length depending on the particular musical data to be displayed. As shown in FIG. 2, in addition to musical data, each segment may be textured or colored to enhance the interactivity of the display.
  • a cursor is provided to indicate which surface is "active," that is, with which lane surface a player is currently interacting. In these embodiments, the viewer can use an input device to move the cursor from one surface to another.
  • the display of three-dimensional "virtual” space is an illusion achieved by mathematically “rendering” two-dimensional images from objects in a three-dimensional "virtual space” using a “virtual camera,” just as a physical camera optically renders a two-dimensional view of real three-dimensional objects.
  • Animation may be achieved by displaying a series of two-dimensional views in rapid succession, similar to motion picture films that display multiple still photographs per second.
  • each object in the three-dimensional space is typically modeled as one or more polygons, each of which has associated visual features such as texture, transparency, lighting, shading, anti-aliasing, z- buffering, and many other graphical attributes.
  • the combination of all the polygons with their associated visual features can be used to model a three-dimensional scene.
  • a virtual camera may be positioned and oriented anywhere within the scene. In many cases, the camera is under the control of the viewer, allowing the viewer to scan objects. Movement of the camera through the three-dimensional space results in the creation of animations that give the appearance of navigation by the user through the three-dimensional environment.
  • a software graphics engine may be provided which supports three- dimensional scene creation and manipulation.
  • a graphics engine generally includes one or more software modules that perform the mathematical operations necessary to "render" the three-dimensional environment, which means that the graphics engine applies texture, transparency, and other attributes to the polygons that make up a
  • Graphic engines that may be used in connection with the present invention include Gamebryo, manufactured by Emergent Game Technologies of Calabasas, California, the Unreal Engine, manufactured by Epic Games, and Renderware, manufactured by Criterion Software of Austin, TX. In other embodiments, a proprietary graphic engine may be used. In many embodiments, a graphics hardware accelerator may be utilized to improve performance. Generally, a graphics accelerator includes video memory that is used to store image and environment data while it is being manipulated by the accelerator.
  • a three-dimensional engine may not be used. Instead, a two-dimensional interface may be used.
  • video footage of a band can be used in the background of the video game.
  • traditional two-dimensional computer-generated representations of a band may be used in the game.
  • the background may only slightly related, or unrelated, to the band.
  • the background may be a still photograph or an abstract pattern of colors.
  • the lane 220, 240, 260 may be represented as a linear element of the display, such as a horizontal, vertical or diagonal element.
  • a lane 220, 240, 260 has one or more game "cues", “elements” or “gems” 224, 244, 264 corresponding to musical events distributed along the lane 220, 240, 260.
  • the cues appear to flow away from an avatar 210, 230, 250 and toward a game player.
  • the cues 224, 244, 264 are distributed on the lane 220, 240, 260 in a manner having some relationship to musical content associated with the game level.
  • the cues may represent note information (gems spaced more closely together for shorter notes and further apart for longer notes, pitch (gems placed on the left side of the lane for notes having lower pitch and the right side of the lane for higher pitch), volume (gems may glow more brightly for louder tones), duration (gems may be "stretched" to represent that a note or tone is sustained), articulation, timbre or any other time-varying aspects of the musical content.
  • the game elements 224, 244, 264 may be any geometric shape, and may have other visual characteristics, such as transparency, color, or variable brightness.
  • musical data represented by the game elements 224, 244, 264 may be substantially simultaneously played as audible music.
  • audible music represented by a game element 224, 244, 264 is only played (or only played at full or original fidelity) if a player successfully "performs the musical content" by capturing or properly executing the game element 224, 244, 264.
  • successfully performing the musical content triggers or controls the animations of the avatars 210, 230, 250.
  • the audible music represented by a game element 224, 244, 264 is modified, distorted, or otherwise manipulated in response to the player's proficiency in executing game elements associated with a lane 220, 240, 260.
  • various digital filters can operate on the audible music prior to being played by the game player.
  • Various parameters of the filters can be dynamically and automatically modified in response the player capturing game elements associated with a lane 220, 240, 260, allowing the audible music to be degraded if the player performs poorly or enhancing the audible music if the player performs well.
  • the audible music represented by the failed event may be muted, played at less than full volume, or filtered to alter the its sound.
  • a "wrong note” sound may be substituted for the music represented by the failed event.
  • the audible music may be played normally.
  • the audible music associated with those events may be enhanced, for example, by adding an echo or "reverb" to the audible music.
  • the filters can be implemented as analog or digital filters in hardware, software, or any combination thereof.
  • application of the filter to the audible music output can be done dynamically, that is, during play.
  • the musical content may be processed before game play begins.
  • one or more files representing modified audible output may be created and musical events to output may be selected from an appropriate file responsive to the player's performance.
  • the visual appearance of those events may also be modified based on the player's proficiency with the game. For example, failure to execute a game event properly may cause game interface elements to appear more dimly. Alternatively, successfully executing game events may cause game interface elements to glow more brightly. Similarly, the player's failure to execute game events may cause their associated avatar 210, 230, 250 to appear embarrassed or dejected, while successful performance of game events may cause their associated avatar 210, 230, 250 to appear happy and confident.
  • successfully executing game elements associated with a lane 220, 240, 260 causes the avatar 210, 230, 250 associated with that lane 220, 240, 260 to appear to play an instrument, for example, the drummer avatar 230 will appear to strike the correct drum for producing the audible music.
  • Successful execution of a number of successive game elements, or notes may cause the corresponding avatar 210, 230, 250 to execute a "flourish,” such as kicking their leg, pumping their fist, performing a guitar “windmill,” spinning around, winking at the "crowd,” or throwing drum sticks.
  • Player interaction with the game element 224, 244, 264 may be required in a number of different ways.
  • the player is required to provide input when a game element 224, 244, 264 passes under or over a respective one of a set of target markers 228, 248, 268 disposed on the lane 220, 240, 260.
  • the player associated with avatars 210 (lead guitar) or avatar 250 (bass guitar) may use a specialized controller to interact with the game that simulates a guitar, such as a Guitar Hero SG Controller, manufactured by RedOctane of Sunnyvale, California.
  • the player executes the game element by activating the "strum bar” while pressing the correct fret button of the controller when the game element 224, 264 passes under the target markers 228, 268.
  • the player may execute a game element by performing a "hammer on” or “pull off,” which requires quick depression or release of a fret button without activation of the strum bar.
  • the player may be required to perform a game element using a "whammy bar” provided by the guitar controller. For example, the player may be required to bend the pitch of note represented by a game element using the whammy
  • the guitar controller may also use one or more "effects pedals," such as reverb or fuzz, to alter the sound reproduced by the gaming platform.
  • the player associated with the middle avatar 230 may also use a specialized controller to interact with the game that simulates a drum kit, such as the DrumMania drum controller, manufactured by Topway Electrical Appliance Co., Ltd. of Shenzhen, China
  • the drum controller provides four drum pads and a kick drum.
  • the drum controller surrounds the player, as a "real" drum kit would do.
  • the drum controller is designed to look and feel like an analog drum kit.
  • a game element may be associated with a particular drum. The player strikes the indicated drum when the game element 244 passes under the target marker 248, to successfully execute game element 244.
  • a player may use a standard game controller to play, such as a DualShock game controller, manufactured by Sony Corporation.
  • a player is associated with a "turntable” or “scratch” track.
  • the player may provide input using a simulated turntable such as the turntable controller sold by Konami Corporation.
  • FIG. 3 a screen shot depicting one embodiment of a screen display for a video game in which a player emulates a musical performance by providing vocal input is shown.
  • a player associated with avatar 270 provides vocal input matching the pitch and duration of notes included in musical content associated with the game.
  • the notes of a vocal track are represented by "note tubes” 324.
  • the note tubes 324 appear above the player's avatar 270 and flow horizontally, from right to left, as the musical content progresses.
  • vertical position of a note tube 324 represents the pitch to be sung by the player; the length of the note tube indicates the duration for which the player must hold that pitch.
  • the arrow 328 provides the player with visual feedback regarding the pitch of the note that is currently being sung. If the arrow is above the note tube 324, the player needs to lower the pitch of the note being sung. Similarly, if the arrow 328 is below the note tube 324, the player needs to
  • the player associated with avatar 270 may provide vocal input using a USB microphone of the sort manufactured by Logitech International of Switzerland. As shown in FIG. 3, lyrics 350 may be provided to the player to assist their performance.
  • a player may interact with the game and cooperate or compete with other players by executing specific dance moves in synchrony with music content.
  • specific dance moves may be indicated to the player as directional arrows 402 on the side of the game screen.
  • Each directional arrow represents a dance "step,” such as step forward, step left, step right or step back.
  • the directional arrows appear on a lane associated with an on-screen avatar.
  • a player is directed to execute the identified dance step when the directional arrow 402 passes under a target marker 408. In this manner, the player "dances" with the musical content.
  • FIG. 4A specific dance moves may be indicated to the player as directional arrows 402 on the side of the game screen.
  • Each directional arrow represents a dance "step,” such as step forward, step left, step right or step back.
  • the directional arrows appear on a lane associated with an on-screen avatar.
  • a player is directed to execute the identified dance step when the directional arrow 402 passes
  • FIG. 4B depicts another embodiment of a screen display in which a player instructed to execute specific dance moves in synchrony with music content.
  • directional arrows 402 travel toward a player on a lane 450.
  • the player must execute the indicated dance step when directional arrow 402 passes over or below target marker 408.
  • the player's avatar 470 may be animated to perform dance moves with the avatar's upper body. Upper body movements may be controlled by how well the player executes the indicated dance moves or they may be predetermined for certain points in the music content.
  • the gaming platform is provided with a camera, the camera may be used to capture movements of the player.
  • the player's steps are captured by a floor pad connected to the gaming platform, such as the RedOctane Ignition Pad 3.0, manufactured by RedOctane of Sunnyvale, California.
  • a single player may provide one or more types of input simultaneously.
  • a single player may provide dance and vocal input simultaneously.
  • instrument-based input such as for a lead guitar track, bass guitar track, rhythm guitar track, keyboard track, drum track, or other percussion track
  • vocal input such as for a lead guitar track, bass guitar track, rhythm guitar track, keyboard track, drum track, or other percussion track
  • 4192636vl player may provide instrument-based input (such as for a lead guitar track, bass guitar track, rhythm guitar track, keyboard track, drum track, or other percussion track) and dance input simultaneously.
  • instrument-based input such as for a lead guitar track, bass guitar track, rhythm guitar track, keyboard track, drum track, or other percussion track
  • dance input simultaneously.
  • each player uses a gaming platform in order to participate in the game.
  • the gaming platform is a dedicated game console, such as: PLAYSTATION2, PLAYSTATION3, or PLAYSTATION PERSONAL, manufactured by Sony Corporation; DREAMCAST, manufactured by Sega Corp.; GAMECUBE, GAMEBOY, GAMEBOY ADVANCE, or REVOLUTION, manufactured by Nintendo Corp.; or XBOX or XBOX360, manufactured by Microsoft Corp.
  • the gaming platform comprises a personal computer, personal digital assistant, or cellular telephone.
  • the players associated with avatars 210, 230, 250, 270 may be physically proximate to one another. For example, each of the players associated with the avatars 210, 230, 250, 270 may connect their respective game controllers into the same gaming platform ("local play").
  • Local play may be competitive or it may be cooperative. Cooperative play is when two or more players work together in an attempt to earn a combined score.
  • Competitive play is when a player competes against another player in an attempt to earn a higher score. In other embodiments, competitive play involves a team of cooperating players competing against another team of competing players in attempt to achieve a higher team score than the other team.
  • Competitive local play may be head-to-head competition using the same instrument, head-to-head competition using separate instruments, simultaneous competition using the same instrument, or simultaneous competition using separate instruments.
  • competition in local play occurs when two or more players use the same type of instrument controller to play the game, for example, guitar controllers.
  • One embodiment of such competition is depicted in FIG. 5 A.
  • each player associates themselves with a band in order to begin play.
  • each player can simply play "solo," without association with a band.
  • a musical composition are reproduced by the gaming platform.
  • Each of the players has an associated lane 510, 520 and each player is alternately required to perform a predetermined portion of the musical composition.
  • Each player scores depending on how faithfully he or she reproduces their portions of the musical composition.
  • scores may be normalized to produce similar scores and promote competition across different difficulty levels. For example, a guitarist on a "medium” difficulty level may be required to perform half of the notes as a guitarist on a "hard” difficulty level and, as such, should get 100 points per note instead of 50. An additional per-difficulty scalar may be required to make this feel "fair.”
  • head-to-head play may be extended to allow the players to use different types of game controllers and, therefore, to perform different portions of the musical composition.
  • one player may elect to play using a guitar- type controller while a second player may play using a drum-type controller.
  • each player may use a guitar-type controller, but one player elects to play "lead guitar” while the other player elects to play "rhythm guitar” or, in some embodiments, "bass guitar.”
  • the gaming platform reproduces the instruments other than the guitar when it is the first player's turn to play, and the lane associated with the first player is populated with gems representing the guitar portion of the composition.
  • the gaming platform reproduces the instruments other than, for example, the drum part, and the second player's lane is populated with gems representing the drum portion of the musical composition.
  • a scalar factor may be applied to the score of one of the player's to compensate for the differences in the parts of the musical composition.
  • the players may compete simultaneously, that is, each player may provide a musical performance at the same time as the other player.
  • both players may use the same type of controller.
  • each player's lane provides the same pattern of game elements and each player attempts to reproduce the musical performance identified by those elements more faithfully than the other player.
  • the players use different types of controllers. In these embodiments, one player attempts to reproduce
  • the relative performance of a player may affect their associated avatar.
  • the avatar of a player that is doing better than the competition may, for example, smile, look confident, glow, swagger, "pogo stick,” etc.
  • the losing player's avatar may look depressed, embarrassed, etc.
  • the players may cooperate in an attempt to achieve a combined score.
  • the score of each player contributes to the score of the team, that is, a single score is assigned to the team based on the performance of all players.
  • a scalar factor may be applied to the score of one of the player's to compensate for the differences in the parts of the musical composition.
  • FIG. 5B depicts a block diagram of a system facilitating network play of a rhythm action game.
  • a first gaming platform 510 and a second gaming platform 510' communicate over a network 550, such as a local area network (LAN), a metropolitan area network (MAN), or a wide area network (WAN) such as the Internet or the World Wide Web.
  • LAN local area network
  • MAN metropolitan area network
  • WAN wide area network
  • the gaming platforms connect to the network through one of a variety of connections including standard telephone lines, LAN or WAN links (e.g., Tl, T3, 56 kb, X.25), broadband connections (e.g., ISDN, Frame Relay, ATM), and wireless connections (e.g., 802.1 Ia, 802.1 Ig, Wi-Max).
  • the first gaming platform 510 and the second gaming platform 510' may be any of the types of gaming platforms identified above. In some embodiments, the first gaming platforms 510 and the second gaming platform 510' are of different types.
  • That player's gaming platform 510 (the "host") transmits a "start” instruction to all other gaming platforms participating in the networked game, and the game begins on all platforms.
  • a timer begins counting on each gaming platform
  • each player's game cues are displayed, and each player begins attempting to perform the musical composition.
  • Gameplay on gaming platform 510 is independent from game play on gaming platform 510', except that each player's gaming platform contains a local copy of the musical event data for all other players.
  • the timers on the various gaming platforms communicate with each other via the network 550 to maintain approximate synchrony using any number of the conventional means known in the art.
  • the gaming platforms 510, 510' also continually transmit game score data to each other, so that each system (and player) remains aware of the game score of all other systems (and players). Similarly, this is accomplished by any number of means known in the art. Note that this data is not particularly timing sensitive, because if there is momentary disagreement between any two gaming platforms regarding the score (or similar game-related parameters), the consequences to gameplay are negligible.
  • Emulation data may include any number of parameters that describe how well the player is performing. Some examples of these parameters include:
  • a moving average of the distribution of event types e.g., the recent ratio of correct to incorrect notes
  • Each analyzer module 590, 590' continually transmits the emulation data it extracts over the network 550 using transceiver 590, 590'; each event monitor 585,
  • 4192636vl 585' continually receives the other gaming platform's emulation data transmitted over the network 550.
  • the emulation data essentially contains a statistical description of a player's performance in the recent past.
  • the event monitor 585, 585' uses received emulation data to create a statistical approximation of the remote player's performance.
  • an incoming emulation parameter from a remote player indicates that the most recent remote event was correctly reproduced.
  • the local event monitor 585, 585' reaches the next note in the local copy of the remote player's note data, it will respond accordingly by "faking" a successfully played note, triggering the appropriate sound. That is, the local event monitor 585, 585' will perform the next musical event from the other players' musical event data, even though that event was not necessarily actually performed by the other player's event monitor 585, 585'. If instead the emulation parameter had indicated that the most recent remote event was a miss, no sound would be triggered.
  • an incoming emulation parameter from a remote player indicates that during the last 8 beats, 75% of events were correctly reproduced and 25% were not correctly reproduced.
  • the local event monitor 585 reaches the next note in the local copy of the remote player's note data, it will respond accordingly by randomly reproducing the event correctly 75% of the time and not reproducing it correctly 25% of the time.
  • an incoming emulation parameter from a remote player indicates that during the last 4 beats, 2 events were incorrectly performed, with an average timing error of 50 "ticks.”
  • the local event monitor 585, 585' will respond accordingly by randomly generating incorrect events at a rate of 0.5 misses-per-beat, displacing them in time from nearby notes by the specified average timing error.
  • delays in the transmission of the emulation data over the network 550 do not have the intolerable side effect of causing cacophonous asynchronicity between the note streams triggering sounds on each player's local system.
  • An analyzer module 590, 590' may extract musical parameters from the input and transmits them over a network 550 to a remote gaming platform. For example, the analyzer module 590, 590' may simply transmit the input stream over a network 550 or it may extract the information into a more abstract form, such as "faster” or "lower.” Although described in the context of a two-player game, the technique may be used with any number of players.
  • FIG. 5 C depicts a block diagram of another embodiment of a system facilitating network play of a rhythm action game.
  • a central server 560 may be used to facilitate communication between the gaming platforms 510, 510'. Extraction of emulation parameters is performed on each gaming platform, as described above. Emulation parameters are sent to the server 560, which distributes the emulation parameter to all other gaming platforms participating in the current game.
  • the server 560 may store received emulation parameters for use later. For example, a band may elect to use the stored emulation
  • FIG. 6 one embodiment of a screen display for remote single player play is shown.
  • the local player's avatar 630 is highlighted, in FIG. 6 by a bright, box 635 cocked at an angle to other elements on the screen.
  • the avatars 610, 650 for remote players appear normally.
  • the lanes 620, 660 associated with the remote players are shown smaller than the local player's lane 640.
  • the embodiment of the screen display shown in FIG. 6 may be used for head-to-head play, for simultaneous competition, and for cooperative play.
  • multiple players participate in an online face-off between two bands.
  • a "band” is two or more players that play in a cooperative mode.
  • the two bands need to have the same types of instruments at the same difficulty level selection, i.e., a guitarist playing on "hard” and a bassist playing on “medium” playing against a guitarist playing on “hard” and a bassist playing on “medium.”
  • the two bands still need to have the same types of instruments but the difficulty selections can be different: Players participating at a lower difficulty level simply have fewer gems to contribute to the overall score.
  • the song to be played may be selected after the teams have been paired up.
  • a band may publish a challenge to play a particular song and a team may accept the challenge.
  • each of the four players in the "The Freqs" is local to one another. They are competing against a team of players located remotely, who have formed a band called "The Champs.”
  • each of the "The Freqs” is represented by one of the avatars 210, 230, 250, 270.
  • their score 380 is displayed, as is the score of the competing band 385, "The Champs.”
  • the bands "trade” alternating portions of the musical composition to perform, that is, the performance of the song alternates between bands. In these embodiments, musical; performance output from "The
  • members of cooperating bands may be local to one another or remote from one another.
  • members of competing bands may be local to one another or remote from one another.
  • each player is remote from every other player.
  • players may form persistent bands.
  • those bands may only compete when at least a majority of the band in available online.
  • a gaming platform may substitute for the missing band member.
  • a player unaffiliated with the band may substitute for the missing band member.
  • a stream of emulation parameters stored during a previous performance by the missing band member may be substituted for the player.
  • an online venue may be provided allowing players to form impromptu bands.
  • Impromptu bands may dissolve quickly or they may become persistent bands.
  • the present invention may be provided as one or more computer-readable programs embodied on or in one or more articles of manufacture.
  • the article of manufacture may be a floppy disk, a hard disk, a CD-ROM, a flash memory card, a PROM, a RAM, a ROM, or a magnetic tape.
  • the computer-readable readable programs may be implemented in any programming language, LISP, PERL, C, C++,
  • the software programs may be stored on or in one or more articles of manufacture as object code.

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  • Engineering & Computer Science (AREA)
  • Multimedia (AREA)
  • Physics & Mathematics (AREA)
  • Acoustics & Sound (AREA)
  • Electrophonic Musical Instruments (AREA)
  • Reverberation, Karaoke And Other Acoustics (AREA)
  • Information Transfer Between Computers (AREA)

Abstract

L'invention concerne un procédé destiné à faciliter une interaction en temps réel entre un premier et un second joueur d'un jeu vidéo musical par l'intermédiaire d'un réseau présentant un temps d'attente de transfert imprévisible, le premier joueur étant situé à distance du second joueur. Le procédé consiste à afficher, pour un premier joueur, des données musicales cibles associées à une composition musicale, à recevoir une entrée d'interprétation musicale en provenance du premier joueur par l'intermédiaire d'un contrôleur ressemblant à un premier instrument de musique, à afficher, pour un second joueur situé à distance du premier joueur, des données musicales cibles associées à la composition musicale, et à recevoir une entrée d'interprétation musicale en provenance du second joueur.
EP07760088A 2006-04-04 2007-04-04 Procédé et dispositif permettant de simuler l'expérience d'un groupe de musique par interaction en ligne Withdrawn EP2001569A2 (fr)

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US11/278,593 US20070245881A1 (en) 2006-04-04 2006-04-04 Method and apparatus for providing a simulated band experience including online interaction
US11/279,877 US20070243915A1 (en) 2006-04-14 2006-04-14 A Method and Apparatus For Providing A Simulated Band Experience Including Online Interaction and Downloaded Content
PCT/US2007/065948 WO2007115299A2 (fr) 2006-04-04 2007-04-04 Procédé et dispositif permettant de simuler l'expérience d'un groupe de musique par interaction en ligne

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WO2007115299A2 (fr) 2007-10-11
JP2009532187A (ja) 2009-09-10

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