JP2009532187A - Method and apparatus for providing a pseudo band experience through online communication - Google Patents

Abstract

  A method for facilitating real-time intercommunication between a first player and a second player in a music-based video game over a network with unpredictable transmission latency, wherein the first player is a second player The target music data related to the music is displayed on the first player, and the music performance input data is received from the first player through the controller that imitates the shape of the first musical instrument. A method of displaying target music data related to the music piece on a second player located at a location away from the player and receiving music performance input data from the second player.

Description

  The present invention relates to a video game, and more particularly to a video game in which a player emulates a music performance using a musical instrument simulator, communicates with the music, cooperates in real time with each other, or competes.

  Music is a composition of sound at the correct tempo and is a temporary sound medium. Therefore, the timing in playing music is very sensitive. When a musician presses a piano key, the musician expects the result to be immediately audible. Any delay in the audible sound, even a delay of a few milliseconds, creates noticeable slowness and impedes the ability of the musician to play the instrument.

  Music performance is often a collaborative effort among many musicians, who influence each other in performance. One form of musical interaction that is popular among non-musicians is provided by a video game genre known as "rhythm action", which is pre-recorded by players using video game input devices. Asks to play a phrase from the composition of the music. An example of this genre is the Beatmania series of games released by Konami in Japan. In this game series, symbols in music phrases are displayed graphically to the player as a series of visual markers arranged at intervals along one or more timelines. In the block diagram environment shown in FIG. 1, the visual marker 104 moves from the top of the display to the bottom of the display. As each marker on the scrolling time line 110, 120, 130, 140 passes the graphical cursor 108 displayed in the middle of this time line, the player plays the sound of the corresponding note at the exact point in time. In order to play, the buttons on the input device (not shown) must be pressed at the same time in line with the exact time line. If the player successfully plays a sufficient percentage of the notes, he gets a good score and wins the game. If the player does not play a good percentage of the notes well, he loses the game at a low score. As shown in FIG. 1, two or more players can typically compete with each other by each person attempting to play different, parallel music phrases from the same song at the same time. The player who plays the note correctly with the highest percentage wins with the highest score.

  Multiplayer games have gradually incorporated various network technologies that have allowed players to play with each other from physically separated locations via the network. And networked multiplayer games have become extremely popular. Unfortunately, however, the latency inherent in networked communications places a significant technical and design burden on video game developers. Data signals are often subject to large and unexpected communication delays. These communication delays do not have a significant effect on a game (for example, chess or the like) that is alternately played by the player or other game genres whose timing is not important in game play. However, in action games and other “real-time” games, game play is extremely sensitive to the timing of various events, and communication delays are a continuous game state for various players in networked games. Cause inconsistencies. As a result, timing-sensitive network-connected game developers have tried various ways to skillfully perform “mismatch resolution” in order to resolve game state mismatches at each point.

  Rhythm action genres have unique characteristics; however, due to their characteristics, conventional conflict resolution methods cannot be applied. In particular, an activity that is the center of a multi-participant rhythm action includes simultaneously performing a sensitive music performance by two or more players that are extremely timely. When these two players are separated by a network, data representing a musical note played by one player is subject to a communication delay when transmitted to other players. If the note data is simply transmitted to the receiver, it causes a “synchronized” sound to the receiving player, resulting in dissonance. One solution to this problem is to mute the sound from the remote player at the local player's device. However, this significantly reduces the value of the game as amusement by impairing music communication between players.

  Therefore, there is a need for a system and method that allows rhythm action game players to compete and collaborate over a network, such as the Internet, which has unforeseen or high latency.

  It is an object of the present invention to provide an apparatus and method that can be used in a rhythm action game in real time by individual groups connected to a network to compete or cooperate with each other. The player may use a game controller that simulates a musical instrument in order to enjoy the game more. A player can form one or more bands with other players and can participate in a contest that attempts to play music better than a competitor's band. The other members of the player's band may be on the player's side, or the members may communicate with each other via a network such as the Internet. As a result, the player experiences as a band member.

  In one form, the present invention provides a connection between the first and second players of a music-based video game via a network having unpredictable communication latency when the first player and the second player are located apart. It relates to a method for facilitating real-time intercommunication. The target music data related to the music is displayed to the first player. Music performance input data is received from the first player through a controller similar to the first instrument. The target music data related to the music is displayed on a second player located away from the first player. Music performance input data is received from the second player.

  In another form, when the first player and the second player are located apart from each other, real-time mutual between the first and second players of the music-based video game via a network having unpredictable communication latency. The present invention relates to a system for facilitating communication. The system includes means for displaying target music data related to a song on a first player, means for receiving music performance input data from the first player through a controller similar to the first instrument, Means for displaying target music data relating to the music on a second player located away from the player, and means for receiving data of music performance input from the second player.

  The invention is set out in the appended claims, along with their features. The above-described advantages of the present invention as well as further advantages of the present invention will be better understood by reference to the following description taken in conjunction with the accompanying drawings.

  Referring now to FIG. 2, there is shown one embodiment of a video game screen where three players compete for music performance. Each player is displayed on the screen as an avatar 210, 230, 250. FIG. 2 shows an embodiment in which three players participate, but any number of players can participate at the same time. For example, the fourth player may participate in the game as a keyboard player. In this case, the screen is further divided to create a place for displaying the fourth avatar. In some embodiments, avatars 210, 230, 250 may be computer generated images. In other embodiments, the avatar may be a digital image, for example, a video capture of a human image. The avatar may be a model of a famous image, or in some embodiments, a model of the avatar's game player. As shown in FIG. 2, each avatar 210, 230, 250 for a player is associated with a “lane” 220, 240, 260 that appears three-dimensionally, which is the game player and avatar. Seems to lie in a plane between one of the

  Although depicted as lanes in FIG. 2, in some embodiments (not shown), a three-dimensional with several lanes instead of a lane extending from the player's avatar 210, 230, 250. A typical “tunnel” extends from the player's avatar. The tunnel may have any number of lanes and therefore the tunnel may be triangular, quadrangular, pentagonal, hexagonal, heptagonal, octagonal, octagonal, or other closed shape . In yet other embodiments, the lane is not closed. The surface may form a way, groove, or other complex shape that does not have a connected end. For ease of reference throughout the remainder of this specification, a game element extending from avatars 210, 230, 250 will be referred to as a “lane” in whatever form it is.

  In some embodiments, the lanes present in space do not extend vertically from the display screen, but instead extend diagonally from the display screen. In further embodiments, the lane may be curved or a combination of curved and straight portions. In a further embodiment, the lanes may form a closed loop that the viewer goes through, such as a circle or ellipse.

  As shown in FIG. 2, each lane may be divided into a plurality of segments 222, 242, 262. Each segment may correspond to several sets of musical times, such as beats, multiple beats, majors, or multiple majors, for example. The embodiment shown in FIG. 2 represents segments of the same size, but each segment may have a different length depending on the particular music data being displayed. As shown in FIG. 2, in addition to music data, each segment may be colored or textured to improve display interactivity. In embodiments where the lane has a tunnel or other shape (described above), a cursor is provided that indicates which surface is “active”, ie which surface of the lane the player is currently communicating with. Is done. In these examples, the viewer can use the input device to move the cursor from one surface to the other.

  The display of a 3D “virtual” space is a 3D “virtual space” that uses a “virtual camera” just like a real camera optically renders a 2D picture of a real 3D object. Is an illusion obtained by mathematically “rendering” a two-dimensional image from the object within. Similar to motion picture films that display multiple still pictures per second, animations may be created by displaying a series of two-dimensional images in quick succession.

  To generate a three-dimensional space, each object in the three-dimensional space is typically modeled with one or more polygons, each of which, for example, texture, transparency, light / dark, shading, anti-aliasing, z-buffering And correlate visual characteristics such as other graphical characteristics. All polygon combinations with associated visual characteristics are used to model a three-dimensional scene. The virtual camera may be located anywhere in the scene and may face in any direction. In many cases, the camera is under viewer control so that the viewer can see the object. As a result of the movement of the camera in the three-dimensional space, an animation showing the state of movement by the user in the three-dimensional environment is created.

  A software graphic engine that supports creation and manipulation of a three-dimensional scene may be provided. A graphics engine typically includes one or more software models that perform the mathematical operations necessary to render a three-dimensional environment. That means that the graphics engine applies textures, transparency, and other properties to the polygons that make up the scene. Graphics engines that may be used in connection with the present invention are manufactured by Gamebrio manufactured by Emergent Game Technologies of California Calabasas and Criterion Software of Texas Austin. Rendered software and Unreal Engine manufactured by Epic Games. In other embodiments, a dedicated graphics engine may be used. In many embodiments, a graphics hardware accelerator may be utilized to improve performance. In general, a graphics accelerator includes a video memory that is used to store environmental data and image data while being manipulated by the accelerator.

  In other embodiments, a three-dimensional engine may not be used. Alternatively, a two-dimensional interface may be used. In such an embodiment, the video footage of the band is used within the video game background. In these other embodiments, conventional computer-generated two-dimensional band descriptions may be used in games. In further embodiments, the background may or may not be related to the band only slightly. For example, the background may be a still image or an abstract color pattern. In these embodiments, the lanes 220, 240, 260 may be represented as linear elements of display, such as horizontal, vertical, or diagonal elements, for example.

  Referring back to FIG. 2, lanes 220, 240, 260 are one or more games “cue”, “element” or “gem” 224 corresponding to music events moving along lanes 220, 240, 260, 244, 264. During game play, the cue appears to flow from the avatar 210, 230, 250 to the game player. Queues 224, 244, 264 move on lanes 220, 240, 260 in a manner that has a relationship with game levels and associated music content. For example, the cue contains note information (gems in close proximity to each other represent short notes, long distances represent long notes), pitch (gems in the left lane represent low pitch, A gem represents a high pitch), volume (a bright tone indicates a large tone), duration (a “stretched” gem indicates that a note or tone lasts), articulation, timbre, or Other time-dependent characteristics of music content can be shown. Although shown as a circular element in FIG. 2, the game elements 224, 244, 264 may take any geometric shape, and other visual features such as changes in transparency, color, brightness, etc. You may have.

  The game elements 224, 244, 264 move along their respective sublanes 220, 240, 260, and the music data represented by the game elements 224, 244, 264 is audibly heard as music and substantially together with them. You can play at the same time. In some embodiments, if the player successfully “manages music content” by correctly executing or catching game elements 224, 244, 264, the ear represented by game elements 224, 244, 264 is audible The music is played just (or played completely or as originally). In some embodiments, playing music content successfully triggers or controls the animation of the avatars 210, 230, 250. In other embodiments, the audible music represented by the game elements 224, 244, 264 is modified, distorted, or the proficiency of the player performing the game elements on the lanes 220, 240, 260 It is operated according to. For example, various digital filters can affect music that is audible before being played by a game player. The various parameters of the filter are modified dynamically and automatically depending on the player capturing the game elements in lanes 220, 240, 260, reducing the quality of the audible music if the player is not good at playing. In addition, it is possible to improve the quality of music that can be heard when the player plays well. For example, if a player fails to play a game event, the audible music represented by the failed event may be muted and played with a sound less than full volume, or filtered to change the sound. good. In some embodiments, the “bad note” sound may be substituted for the music represented by the failed event. Conversely, if the player successfully performs the game event, the audible music may be played back normally. In some embodiments, if a player successfully performs several consecutive game events, the audible music that accompanies those events may be added to the audible music, for example, echo or “reverb”. May be emphasized. The filter can be implemented in hardware, software, or a combination thereof as an analog or digital filter. Furthermore, the application of the filter to the output of audible music can be done dynamically, i.e. during play, and in many embodiments the music output is represented by game elements 224, 244, 264. Corresponding to music events. Alternatively, the music content may be processed before game play begins. In these embodiments, one or more files representing the modified audible output may be created, and for the music event to be output, an appropriate file may be selected in response to the player's performance.

  In addition to modifying the audio characteristics of game events based on the player's performance, the appearance of those events may be modified based on the player's game proficiency. For example, when the game event is not successfully played, the game interface element may be displayed dimly. Instead, when the game event is successfully played, the game interface element may be displayed brighter. Similarly, when a player fails to play a game event, the player's avatar 210, 230, 250 may appear shy or depressed, while playing a game event successfully. The player's avatars 210, 230, and 250 may be displayed happily and confidently. In another embodiment, when a game element on a lane 220, 240, 260 is successfully executed, the avatar 210, 230, 250 associated with that lane 220, 240, 260 displays to play the instrument, eg The avatar 230, a drummer, is displayed to strike the correct drum to play audible music. When successfully playing several consecutive game elements or notes, the corresponding avatar 210, 230, 250, for example, stepping on, swinging a fist, performing a “windmill” with a guitar, You may “gesture”, rotate, wink to the “audience”, or throw a drumstick.

The interaction of the game elements 224, 244, 264 and the player may be required in a number of different ways. In general, when a game element 224, 244, 264 passes over or under a respective one of a set of target markers 228, 248, 268 located on lanes 220, 240, 260, the player inputs As required. For example, a player corresponding to an avatar 210 (lead guitar) or an avatar 250 (bass guitar) may play a Guitar Hero manufactured by, for example, RedOctane of Sunnyvale, California, to interact with the game. A dedicated controller such as SG Controller may be used. In this embodiment, when the game element 224, 264 passes under the target marker 228, 268, the player executes the game element by turning on the “strum bar” while pressing the correct fret button on the controller. In other embodiments, the player may execute the game element by playing “hammer on” or “pull off”, which requires a quick press and release of the fret button without turning on the strum bar. The In other embodiments, a player may be required to play a game element that uses a “wammy bar” attached to a guitar controller. For example, a player may be required to vent the pitch of a note represented by a game element that uses a whammy bar. In some embodiments, the guitar controller may use one or more “effect pedals”, such as reverb or fuzz, to change the sound played by the game platform.
The player corresponding to the middle avatar 230 (drummer), for example, a drum mania drum controller manufactured by Topway Electrical Appliance Co., Ltd in Shenzhen, China, to interact with a game that simulates a drum set. A specialized controller may be used. In some embodiments, the drum controller includes four drum pads and a kick drum. In other embodiments, the drum controller surrounds the player, as does a “real” drum set. In yet another embodiment, the drum controller is a look and feel design like an analog drum set. In these embodiments, the game element may be associated with a particular drum. To successfully execute game element 244, when game element 244 passes under target marker 248, the player taps the indicated drum. In other embodiments, the player may use a standard game controller, such as a dual shock game controller manufactured by Sony Corporation, to play.

  In some embodiments, the player is associated with a “turntable” or “scratch” track. In these embodiments, the player may input using a simulated turntable such as, for example, a turntable controller marketed by Konami Corporation.

  Referring now to FIG. 3, a screenshot depicting one embodiment of a screen display for a video game in which a player performs a musical performance by inputting vocals is shown. A player corresponding to the avatar 270 inputs a vocal that matches the duration and pitch of notes included in the music content related to the game. As shown in FIG. 3, the notes on the vocal track are represented by a “note tube” 324. In the embodiment shown in FIG. 3, the note tube 324 appears on the player's avatar 270 and flows horizontally from right to left according to the music performance. In this embodiment, the vertical position of the note tube 324 represents the pitch sung by the player, and the length of the note tube indicates the holding time that the player should hold the pit. Arrow 328 shows the player visual feedback regarding the pitch of the currently sung note. If the arrow is on 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 increase the pitch of the note being sung. In these embodiments, a player corresponding to avatar 270 may input vocals using a USB microphone of the type manufactured by Logitech International, Switzerland. As shown in FIG. 3, the lyrics 350 may be shown to the player to help the player's performance.

  In other embodiments, players may interact with the game and cooperate or compete with other players by performing specific dance moves in time with the music. As shown in FIG. 4A, a specific dance movement may be shown to the player as an instruction arrow 402 on the game screen. Each instruction arrow represents a “step” of dance, for example, a step before, a step on the left, a step on the right, and a step on the back. In other embodiments, the pointing arrow appears on the lane corresponding to the avatar on the screen. In these embodiments, when the pointing arrow 402 passes under the target marker 408, the player is instructed to perform a specific dance step. In this method, the player “dances” with the music content. FIG. 4B shows another embodiment of the screen display in which the player is instructed to perform a specific dance and moves according to the music content. In the embodiment shown in FIG. 4B, the pointing arrow 402 moves on the lane 450 toward the player. When the pointing arrow 402 passes below or above the target marker 408, the player must perform the indicated dance step. As shown in FIG. 4B, the player's avatar 470 may be animated to perform a dance movement with the upper body of the avatar. The upper body movement may be controlled by how well the player has made the indicated dance movement, or the upper body movement may be predetermined to occur at a particular point in the music content. In embodiments where the game platform includes a camera, the camera may be used to capture the player's movements. In other embodiments, the player's steps are captured by a floor pad connected to the gaming platform, such as, for example, RedOctane Ignition Pad 3.0 manufactured by RedOctane of Sunnyvale, California.

  Although described above in the context of a single player making a single type of input, a single player may make more than one type of input simultaneously. For example, a single player may input dance and vocals at the same time. Another example is that a single player may simultaneously input instrument-based input (eg, lead guitar track, bass guitar track, rhythm guitar track, keyboard track, drum track, or other percussion track) and vocal input. Do. As another example, a single player may simultaneously perform instrument-based input (eg, lead guitar track, bass guitar track, rhythm guitar track, keyboard track, drum track, or other percussion track) and dance input. Also good.

  Referring back to FIGS. 2 and 3, each player uses the game platform to participate in the game. In one embodiment, the game platform is, for example, PlayStation 2, PlayStation 3, or PlayStation Personal manufactured by Sony Corporation; Dreamcast manufactured by Sega Corporation, GameCube manufactured by Nintendo Corporation. , Game Boy, Game Boy Advance, or Revolution; or XBOX or XBOX 360 manufactured by Microsoft Corporation. In another embodiment, the game platform comprises a personal computer, a personal digital assistant, or a mobile phone. In some embodiments, players corresponding to avatars 210, 230, 250, 270 may be physically close to each other. For example, each player corresponding to the avatar 210, 230, 250, 270 may connect each game controller to the same game platform ("local play").

  Local play may be competition or cooperation. A cooperative play is a case where two or more players play each other in an attempt to obtain a combined score. A case where a player competes with another player to obtain a high score is a competitive play. In other embodiments, competitive play includes teams where players collaborate, competing with other teams of competitive players in an attempt to obtain a higher team score than other teams. The competitive local play may be a direct confrontation using the same instrument, a direct confrontation using separate instruments, a simultaneous confrontation using the same instrument, or a simultaneous confrontation using separate instruments.

  In one embodiment, local play competition occurs when two or more players use the same type of instrument controller, eg, a guitar controller, to play the game. One example of such a competition is depicted in FIG. 5A. In some embodiments, each player forms a band to begin play. In another embodiment, each player can simply play “solo” without forming a band. In these embodiments, the sounds of other instruments required for playing the music are played by the game platform. Each player has a corresponding lane 510, 520, and each player needs to play a predetermined portion of the music alternately. Each player scores according to whether each part of the music has been accurately reproduced below. In some embodiments, the scores may be standardized to achieve similar scores, and competition may be advanced between different difficulty levels. For example, a guitarist with difficulty level “medium” may need to play half of the notes of a guitarist with difficulty level “hard”, thus gaining 100 points per note instead of 50 points. It may be necessary to add more points by difficulty to make you feel “just”.

  This embodiment of direct confrontation play may be extended to allow players to use different types of game controllers and thus play different parts of the music. For example, a player may be chosen to play using a guitar-type controller, while a second player may play using a drum-type controller. Alternatively, each player may use a guitar-type controller, where one player is chosen to play a “lead guitar”, while another player is a “rhythm guitar” or some embodiment. May be chosen to play "bass guitar". In these embodiments, when the first player's play turn occupies the lane corresponding to the first player with a gem representing the guitar portion of the song, the game platform will play the sound of an instrument other than the guitar. Reproduce. When it is time for the second player to participate, the game platform, for example, plays an instrument other than a drum, and the second player's lane is occupied by a gem representing the drum portion of the song. In some of these embodiments, a scalar factor may be applied to one player's score to compensate for differences in the play portion of the song.

  In yet another embodiment, players may participate simultaneously. That is, each player may play music simultaneously with the other player. In some embodiments, both players may use the same type of controller. In these embodiments, each player's lane has the same pattern of game elements, and each player attempts to play the music performance specified by those elements more accurately than other players. . In other embodiments, the player uses different types of controllers. In these embodiments, one player attempts to play a portion of a song, while another player tries to play a different portion of the same song.

  In any of these forms of competition, the performance associated with the player may affect the avatar corresponding to the player. For example, if a player's avatar is better than a competitor, it may look laughing, confident, sparkling, intimidating, “hopping” and others. Conversely, a losing player's avatar may be depressed, shy, or otherwise.

  Instead of competing, players may cooperate to obtain a combined score. In these examples, each player's score contributes to the team's score. That is, a single score is assigned to a team based on the performance of all players. As described above, a scalar factor may be applied to the score of one of the players in order to compensate for differences in music parts.

  In some embodiments, one or more players may participate from a remote location. FIG. 5B is a block diagram of a system that facilitates network play of a rhythm action game. As shown in FIG. 5, the first game platform 510 and the second game platform 510 ′ are, for example, a local area network (LAN), a metropolitan network (MAN), the Internet, or the World Wide Web (WWW). Communicate through a network 550 such as a wide area network (WAN). The gaming platform can be a standard phone line, LAN or WAN link (eg, T1, T3, 56 kb, X25), broadband connection (eg, ISDN, frame relay, ATM), and wireless connection (eg, 802.11a). , 802.11g, Wi-Max) through various connections. The first game platform 510 and the second game platform 510 'may be any type of game platform identified above. In some embodiments, the first game platform 510 and the second game platform 510 'are of different types.

  When a networked multiplayer game session begins with the direction of one of the players, that player's game platform 510 (referred to as the “host”) will receive all the other games participating in the networked game. Send a “Start” instruction to the game platform and the game will start on all platforms. The timer starts counting on each game platform, the game queue of each player is displayed, and the game queue of each player starts trying to play music.

  Game play on game platform 510 is independent of game play on game platform 510 ', except that each player's game platform has a local copy of the music event data for all other players. is doing. Timers on various gaming platforms communicate with each other over network 550 for approximate synchronization using any number of conventional means known in the art.

  The game platforms 510, 510 ′ may also continuously send game score data to each other so that each system (and player) always knows the game scores of all other systems (and players). good. Similarly, this can be accomplished by any means known in the art. Note that this data is not particularly sensitive to timing. This is because any momentary discrepancy between any two game platforms with respect to game scores (or parameters related to similar games) can be ignored for game play results.

  When each player plays a game at the respective location, the analyzer modules 580 and 580 ′ of the game platform 510 and 510 ′ of the player receive data related to the performance of the local player (hereinafter “emulation data”) Pull out). The emulation data may include any number of parameters indicating how well the player has played. Some examples of these parameters are whether the most recent event type was played correctly or incorrectly played; a moving average of the distribution of event types (eg, correct and incorrect notes) Or a moving average of incorrect note timing errors. Each analyzer module 590, 590 'constantly transmits emulation data, and the analyzer module uses the transceivers 590, 590' to retrieve the emulation data from the network 550. Each event monitor 585, 585 'continuously receives emulation data of other game platforms being transmitted via the network 550.

  The emulation data includes statistical data of the performance of the latest player. Event monitors 585, 585 'use the received emulation data to create a statistical approximation of the remote player's performance.

  In certain embodiments, the emulation parameter received from the remote player indicates that the most recent remote event has been correctly played. When the local event monitor 585, 585 'reaches the next note contained in the local copy of the remote player's note data, the local event monitor will sound the proper sound by "forging" the successfully played note. And respond accordingly. That is, even if the event is not necessarily actually executed by the other player's event monitor 585, 585 ', the local event monitor 585, 585' Perform a music event. Otherwise, if the emulation parameters indicate that the last remote event was missed, no sound is emitted.

  In another particular embodiment, the emulation parameters entered from the remote player indicate that during the last 8 beats, 75% of the events were played correctly and 25% were not played correctly. When the local event monitor 585 reaches the next note contained in the local copy of the remote player's note data, the local event monitor will randomly play 75% of the event correctly and 25% correctly, accordingly. Respond so that it does not play.

  In another particular embodiment, the emulation parameters entered from the remote player indicate that during the last 4 beats, two events were executed incorrectly and the average timing error was 50 “ticks”. . The local event monitor 585, 585 'responds accordingly by generating randomly inaccurate events at a rate of 0.5 misses per beat, timed from the last note due to the specified average timing error. Replace them on the street.

  The above three cases are just examples of the many types of emulation parameters that may be used. In essence, the performance of the remote player is only emulated (rather than played correctly) on each local machine.

  One peculiar side effect of this technique is that each local player does not hear the exact playback of the remote player's performance, but merely a statistical approximation. However, these statistical approximations have two positive properties that offset side effects. Since these statistical approximations are synchronized with the local player timer and the local copy of the remote player's note data, they are also synchronized with the performance of the local player. While it does not play correctly, it is "not much different" to effectively communicate to the local player the essence of how well the remote player played the music.

  In this model, the delay of emulation data communication via the network 550 has unbearable side effects that cause annoying asynchrony between the flow of note data that triggers each player's sound on the local system. Absent.

  The analyzer modules 590, 590 'may extract music parameters from the input and send them over the network 550 to the remote gaming platform. For example, the analyzer module 590, 590 'may simply send the input data stream over the network 550, or an abstract format such as "faster", "lower", for example. You may get information at. Although described in the context of a two player game, this technique can be used by any number of players.

  FIG. 5C depicts a block diagram of another embodiment of a system that facilitates network play of a rhythm action game. As shown in FIG. 5C, the central server 560 may be used to facilitate communication between the gaming platforms 510, 510 '. The emulation parameters are extracted on each game platform as described above. The emulation parameters are sent to the server 560, which distributes the emulation parameters to all other platforms currently participating in the game. In other embodiments, server 560 may store received emulation parameters for later use. For example, a band can choose to use stored emulation parameters for performance of band members who cannot play in a particular game.

  Referring now to FIG. 6, one embodiment of a screen display for remote single player play is shown. As shown in FIG. 6, the local player's avatar 630 is highlighted in FIG. 6 by a box 635 that shines and is tilted relative to other elements on the screen. The remote player avatars 610 and 650 are displayed normally. As shown in FIG. 6, the lanes 620 and 660 related to the remote player are displayed smaller than the lane 640 of the local player. The embodiment of the screen display shown in FIG. 6 may be used for direct competition, simultaneous competition, and cooperative play.

  In some embodiments, multiple players participate in an online confrontation between two bands. A “band” is two or more players that play in a cooperative mode. In some embodiments, the two bands need to have the same type of instrument with the same difficulty level selection. That is, the guitarist who plays “Hard” and the bass instrument player who plays “Medium” play with the guitarist who plays “Hard” and the bass instrument player who plays “Medium”, respectively. In other embodiments, the two bands also need to have the same type of instrument, but the difficulty selection can be different. Players who participate at a low difficulty level simply have a few gems that contribute to the overall score. The song to be played may be selected after the team is paired. Instead, the band can publish a challenge to play with a particular song and the team can take the challenge.

  Referring back to FIG. 3, one example of a competitive online play is represented. In this embodiment, the local group of players forms a band called “The Flex”. As shown in FIG. 3, each of the four players of “The Flex” is local to each other. They are remote teams of remote players who compete with a band called “The Champs”. As shown in FIG. 3, each “the flex” is represented by one of avatars 210, 230, 250, 270. As shown in FIG. 3, their score 380 is displayed in the same manner as competitor band 385 “The Champs”. In some embodiments, the band exchanges alternate parts of the music to be played. That is, the performance of the song is performed alternately between the bands. In these embodiments, when “The Champs” plays, the music performance output from “The Champs” is played locally on the game platform used by “The Flex”. Similarly, when “The Flex” is played, the “The Flex” music performance is played remotely on the “The Champs” game platform (using the emulation parameter technique described above). In other embodiments, the bands play simultaneously. In these examples, the score displayed may be simply feedback received by “The Flex” regarding how well “The Champs” played.

  In some specific embodiments, cooperating band members may be local to each other (in the same location) or remote from each other (in a remote location). Similarly, competing band members may be local to each other or remote from each other. In an extreme embodiment, each player is remote from all other players.

  In some embodiments, the player can form a permanent band. In these examples, the bands may compete only when at least a majority of the bands are available online. In some embodiments, if the permanent band member is not online and the other band member wants to compete, the gaming platform will take the place of the missing band member. Instead, a player who is not a band member may substitute for a non-band member. In yet another embodiment, the saved emulation parameter data flow of a play previously performed by a non-band member may be substituted for that play.

In other embodiments, an online venue may allow and provide an improvised band. An instant band may disband immediately or become a permanent band.
The present invention (including but not limited to timer 340 and event monitor 320) may be provided as one or more computer-readable programs embodied on or in one or more manufactured items. good. The manufactured product may be a floppy disk, hard disk, CD-ROM, flash memory card, PROM, RAM, ROM, or magnetic tape. In general, the computer-readable program may use any program language, LISP, PERL, C, C ++, PROLOG, or a bytecode language such as JAVA (registered trademark). The software program may be stored on or in one or more manufactured products as object code.

  Having described specific embodiments of the invention, it has become apparent to those skilled in the art that other embodiments incorporating the concepts of the invention may be used. Although the described embodiments relate to the field of rhythm action games, the principles of the present invention can be extended to other fields and include music concerts or competitions by two or more users connected to a network. Therefore, the invention should not be limited to the specific embodiments, but rather should be limited only by the scope and spirit of the following claims.

It is a block diagram showing an example of a rhythm action game environment. It is the screen shot showing one Example of the screen of the video game in which four players compete for music performance. 6 is a screen shot showing an example of a video game screen in which a player competes for music performance by providing vocal input data. It is the screen shot showing one Example of the screen of the video game which a player plays by providing the input data of a dance. It is a screen shot showing other examples of a screen of a video game played by a player providing dance input data. FIG. 6 is a screen shot illustrating an example of playing in competition. 1 is a block diagram illustrating one embodiment of a system that facilitates remote play in a rhythm action video game. FIG. It is the screen shot showing one Example of the screen of the remote direct confrontation in a video game.

Explanation of symbols

104 marker 108 cursor 110 time line 210 avatar 220 lane 222 segment 224 game element 228 target marker 230 avatar 244 game element 248 target marker 250 avatar 270 avatar 320 event monitor 324 note tube 328 arrow 340 timer 350 lyrics 380 score 385 band 402 pointing arrow 408 Target marker 450 Lane 470 Avatar 510 Lane 510 Game platform 550 Network 560 Server 580 Analyzer module 585 Event monitor 590 Analyzer module 610 Avatar 620 Lane 630 Avatar 635 Box 640 Lane

Claims (66)

A method for facilitating real-time mutual communication between the first player and the second player in a music-based video game via a network in which the first player and the second player are located apart from each other. ,
(A) displaying target music data relating to music on the first player;
(B) receiving, from the first player, music performance input data relating to a first musical instrument included in the music;
(C) displaying target music data related to the music on the second player located away from the first player;
(D) receiving, from the second player, music performance input data relating to the second musical instrument included in the music;
A method for facilitating real-time intercommunication. Step (a) comprises displaying target music data relating to music on the first player, wherein the target music data is arranged on a music time axis that is not on a screen associated with the first player. Is,
The method of facilitating real-time intercommunication according to claim 1. Step (a) comprises displaying target music data on the guitar track of the song to the first player;
The method of facilitating real-time intercommunication according to claim 1. Step (a) comprises displaying target music data on a percussion track of the music to the first player;
The method of facilitating real-time intercommunication according to claim 1. Step (a) comprises displaying target music data relating to the base track of the song to the first player;
The method of facilitating real-time intercommunication according to claim 1. Step (a) comprises displaying target music data relating to the keyboard track of the song to the first player;
The method of facilitating real-time intercommunication according to claim 1. Step (a) comprises displaying target music data on the turntable track of the song to the first player;
The method of facilitating real-time intercommunication according to claim 1. Step (a) comprises displaying target music data on the vocal track of the song to the first player;
The method of facilitating real-time intercommunication according to claim 1. Step (b) comprises receiving music performance input data from the first player through a controller imitating the shape of the first instrument.
The method of facilitating real-time intercommunication according to claim 1. Step (b) comprises receiving music performance input data from the first player through a controller imitating the shape of a guitar;
The method of facilitating real-time intercommunication according to claim 1. Step (b) comprises receiving music performance input data from the first player through a controller that mimics the shape of an analog drum set.
The method of facilitating real-time intercommunication according to claim 1. Step (b) comprises receiving music performance input data from the first player through a controller imitating the shape of a keyboard;
The method of facilitating real-time intercommunication according to claim 1. Step (b) comprises receiving music performance input data from the first player through a controller imitating the shape of a turntable.
The method of facilitating real-time intercommunication according to claim 1. Step (b) comprises receiving music performance input data from the first player through a microphone;
The method of facilitating real-time intercommunication according to claim 1. Step (d) comprises receiving music performance input data from the second player through the game controller;
The method of facilitating real-time intercommunication according to claim 1. Step (d) comprises receiving music performance input data from the second player through a dance pad;
The method of facilitating real-time intercommunication according to claim 1. Step (d) receives music performance input data related to the second musical instrument included in the music from the second player, and the first player and the second player cooperate to perform the music performance. Providing input data,
The method of facilitating real-time intercommunication according to claim 1. Allocating a common score to the first player and the second player in response to the music performance input data received from the first player and the second player;
The method of facilitating real-time intercommunication according to claim 17. Step (d) receives music performance input data relating to the second musical instrument included in the music from the second player, so that the first player and the second player obtain a high score. Ready to compete,
The method of facilitating real-time intercommunication according to claim 1. In response to music performance input data received from the first player, a first score is assigned to the first player, and in response to music performance input data received from the second player, the second player Further comprising assigning a second score to
20. A method for facilitating real-time intercommunication according to claim 19. Further comprising applying a scalar factor to the first score.
21. A method for facilitating real-time intercommunication according to claim 20. (A) displaying target music data related to music on a third player adjacent to the first player;
(B) receiving music performance input data relating to a third musical instrument included in the music from the third player;
The method of facilitating real-time intercommunication according to claim 1, further comprising: Receiving emulation data representing an input of music performance from the second player;
The method of facilitating real-time intercommunication according to claim 1. Generating a local approximation of the music performance input of the second player using the emulation data, the local approximation being synchronized with a local music performance;
The method of facilitating real-time intercommunication according to claim 23. A system for facilitating real-time mutual communication between the first player and the second player in a music-based video game via a network in which the first player and the second player are located apart from each other. ,
(A) means for displaying target music data relating to music on the first player;
(B) means for receiving, from the first player, music performance input data relating to a first musical instrument included in the music;
(C) means for displaying target music data related to the music on the second player located away from the first player;
(D) means for receiving music performance input data from the second player;
A system that facilitates real-time intercommunication. Means for displaying the target music data relating to the music on the first player, and the target music data is arranged on a music time axis that is not on a screen related to the first player;
The system for facilitating real-time intercommunication according to claim 25. Means for receiving music performance input data comprises a controller that mimics the shape of the first instrument;
The system for facilitating real-time intercommunication according to claim 25. The means for receiving music performance input data comprises a controller that mimics the shape of a guitar.
The system for facilitating real-time intercommunication according to claim 25. Means for receiving music performance input data comprises a controller that mimics the shape of an analog drum set;
The system for facilitating real-time intercommunication according to claim 25. The means for receiving music performance input data comprises a controller that mimics the shape of a keyboard,
The system for facilitating real-time intercommunication according to claim 25. The means for receiving music performance input data comprises a controller that mimics the shape of a turntable,
The system for facilitating real-time intercommunication according to claim 25. Means for receiving music performance input data comprises a controller that mimics the shape of a microphone;
The system for facilitating real-time intercommunication according to claim 25. The means for receiving music performance input data comprises a game controller,
The system for facilitating real-time intercommunication according to claim 25. Means for allocating a common score to the first player and the second player in response to the music performance input data cooperated by the first player and the second player;
The system for facilitating real-time intercommunication according to claim 25. In response to music performance input data received from the first player, a first score is assigned to the first player and in response to music performance input data received from the competing second player. And means for assigning a second score to the second player.
The system for facilitating real-time intercommunication according to claim 25. 36. The system for facilitating real-time intercommunication according to claim 35, further comprising means for applying a scalar factor to the first score. (A) means for displaying target music data relating to music on a third player adjacent to the first player;
(B) means for receiving music performance input data relating to a third musical instrument included in the music from the third player;
26. The system for facilitating real-time intercommunication according to claim 25, further comprising: Means for receiving emulation data representing an input of music performance from the second player;
The system for facilitating real-time intercommunication according to claim 25. Means for generating a local approximation of the music performance input of the second player using the emulation data, the local approximation being synchronized with a local music performance;
40. A system that facilitates real-time intercommunication according to claim 38. A method for facilitating real-time mutual communication between the first player and the second player in a music-based video game via a network,
(A) displaying target music data relating to the downloaded music on the first player;
(B) receiving, from the first player, music performance input data relating to a first musical instrument included in the music;
(C) displaying target music data related to the music downloaded to the second player located away from the first player;
(D) receiving, from the second player, music performance input data relating to a second musical instrument included in the music;
A method for facilitating real-time intercommunication. Step (a) comprises displaying target music data relating to the downloaded music on the first player, the target music data being arranged on a music time axis that is not on a screen associated with the first player. Is,
41. A method for facilitating real-time intercommunication according to claim 40. Step (b) comprises receiving music performance input data from the first player through a controller imitating the shape of the first instrument.
41. A method for facilitating real-time intercommunication according to claim 40. Step (d) receives music performance input data related to the second musical instrument included in the music from the second player, and the first player and the second player cooperate to perform the music performance. Providing input data,
41. A method for facilitating real-time intercommunication according to claim 40. (A) displaying target music data related to music on a third player adjacent to the first player;
(B) receiving music performance input data relating to a third musical instrument included in the music from the third player;
41. The method of facilitating real-time intercommunication according to claim 40, further comprising: Receiving emulation data representing an input of music performance from the second player;
41. A method for facilitating real-time intercommunication according to claim 40. Generating a local approximation of the music performance input of the second player using the emulation data, the local approximation being synchronized with a local music performance;
The method of facilitating real-time intercommunication according to claim 45. Downloading content usable for the game;
41. A method for facilitating real-time intercommunication according to claim 40. A step of downloading an avatar to be displayed on the first player;
48. A method for facilitating real-time intercommunication according to claim 47. Downloading the playing field for the game;
48. A method for facilitating real-time intercommunication according to claim 47. Further comprising downloading an appliance for display with the avatar;
48. A method for facilitating real-time intercommunication according to claim 47. Further comprising downloading equipment for the avatar,
48. A method for facilitating real-time intercommunication according to claim 47. Further comprising downloading an accessory for the avatar,
48. A method for facilitating real-time intercommunication according to claim 47. Further comprising downloading avatar movement data to move the avatar;
48. A method for facilitating real-time intercommunication according to claim 47. Further comprising downloading a new type of instrument for display with the avatar;
48. A method for facilitating real-time intercommunication according to claim 47. Further comprising downloading a new type of instrument for display with the avatar;
48. A method for facilitating real-time intercommunication according to claim 47. Downloading a banner for display related to the plurality of avatars;
48. A method for facilitating real-time intercommunication according to claim 47. Further comprising the step of downloading stage equipment related to a plurality of avatars;
48. A method for facilitating real-time intercommunication according to claim 47. Further comprising the step of downloading a stage firework device related to a plurality of avatars;
48. A method for facilitating real-time intercommunication according to claim 47. A system for facilitating real-time mutual communication between the first player and the second player in a music-based video game via a network,
(A) means for displaying, on the first player, target music data relating to music downloaded from an online game venue;
(B) means for receiving, from the first player, music performance input data relating to a first musical instrument included in the music;
(C) means for displaying target music data relating to the downloaded music on the second player located away from the first player;
(D) means for receiving music performance input data from the second player;
A system that facilitates real-time intercommunication. The information processing apparatus further includes means for displaying target music data related to music downloaded from an online game venue on the first player, and the target music data is arranged on a music time axis that is not on a screen related to the first player. Is,
60. A system for facilitating real-time intercommunication according to claim 59. Means for receiving music performance input data comprises a controller that mimics the shape of the first instrument;
60. A system for facilitating real-time intercommunication according to claim 59. Means for allocating a common score to the first player and the second player in response to the music performance input data cooperated by the first player and the second player;
60. A system for facilitating real-time intercommunication according to claim 59. (A) means for displaying target music data relating to music downloaded from an online game venue on a third player adjacent to the first player;
(B) means for receiving music performance input data relating to a third musical instrument included in the music from the third player;
60. The system for facilitating real-time intercommunication according to claim 59, further comprising: Means for receiving emulation data representing an input of music performance from the second player;
60. A system for facilitating real-time intercommunication according to claim 59. Means for generating a local approximation of the music performance input of the second player using the emulation data, the local approximation being synchronized with a local music performance;
The system for facilitating real-time intercommunication according to claim 64. Further comprising means for downloading game-related content;
60. A system for facilitating real-time intercommunication according to claim 59.

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