U.S. patent application number 12/474260 was filed with the patent office on 2010-12-02 for simulated guitar controller with split strum bar.
This patent application is currently assigned to Harmonix Music Systems, Inc.. Invention is credited to Anthony Calandra, Robert Picunko, Darren Richardson.
Application Number | 20100304865 12/474260 |
Document ID | / |
Family ID | 43220871 |
Filed Date | 2010-12-02 |
United States Patent
Application |
20100304865 |
Kind Code |
A1 |
Picunko; Robert ; et
al. |
December 2, 2010 |
Simulated Guitar Controller with Split Strum Bar
Abstract
A simulated guitar controller is disclosed that facilitates a
player using multiple fingers to strum notes which includes a body
portion, a plurality of strum bars disposed on a front face of the
body portion, a neck portion extending outwardly away from the body
portion, and a plurality of fret buttons disposed on the neck
portion.
Inventors: |
Picunko; Robert; (Scarsdale,
NY) ; Calandra; Anthony; (Flanders, NJ) ;
Richardson; Darren; (San Diego, CA) |
Correspondence
Address: |
PROSKAUER ROSE LLP
ONE INTERNATIONAL PLACE
BOSTON
MA
02110
US
|
Assignee: |
Harmonix Music Systems,
Inc.
Cambridge
MA
|
Family ID: |
43220871 |
Appl. No.: |
12/474260 |
Filed: |
May 28, 2009 |
Current U.S.
Class: |
463/37 |
Current CPC
Class: |
A63F 2300/8047 20130101;
A63F 13/814 20140902; A63F 13/245 20140902; A63F 13/5375 20140902;
A63F 2300/1062 20130101; A63F 13/44 20140902; A63F 2300/1043
20130101 |
Class at
Publication: |
463/37 |
International
Class: |
A63F 9/24 20060101
A63F009/24 |
Claims
1. A game controller simulating a guitar which facilitates a player
using multiple fingers to strum notes, the controller comprising: a
body portion; a plurality of strum bars disposed on a front face of
the body portion; a neck portion extending outwardly away from the
body portion; and a plurality of fret buttons disposed on the neck
portion.
2. The game controller of claim 1 further comprising a thumb rest
positioned on the front face of the body portion.
3. The game controller of claim 1 wherein the plurality of strum
bars pivot with respect to a single axis.
4. The game controller of claim 1 wherein the plurality of strum
bars pivot with respect to a plurality of axis.
5. The game controller of claim 4 wherein the plurality of strum
bars correspond to a plurality of pivot bars.
6. The game controller of claim 5 wherein the plurality of pivot
bars are arranged in parallel on the body portion.
7. The game controller of claim 1 wherein the plurality of strum
bars is connected electrically in common.
8. The game controller of claim 1 wherein each of the plurality of
strum bars shares a common pivot bar.
9. The game controller of claim 1 wherein activation of each of the
plurality of strum bars causes the controller to produce a unique
output.
10. The game controller of claim 1 wherein activation of each of
the plurality of strum bars causes the controller to produce an
identical output.
11. The game controller of claim 1 wherein the plurality of strum
bars comprises three strum bars.
12. The game controller of claim 1 wherein the plurality of strum
bars comprises four strum bars.
13. The game controller of claim 1 further comprising a whammy
knob.
14. A method for facilitating interaction of a video game player
with a game controller that simulates a guitar, the method
comprising: providing a game controller comprising a body portion,
a neck portion extending outwardly from the body portion, and a
plurality of strum bars positioned on a front face of the body
portion; displaying to the player a first target musical data
associate with a musical composition; and detecting an input
generated by the player strumming at least one of the plurality of
strum bars that corresponds to the first target musical data.
15. The method of claim 14 wherein the detecting step further
comprises detecting an input generated by the player strumming more
than one of the plurality of strum bars during a particular time
period as a single strum.
16. The method of claim 14 further comprising evaluating the input
generated by the player and the first target musical data to
provide a player score.
Description
FIELD OF THE INVENTION
[0001] This invention relates to video game controllers and, more
particularly, to video game controllers that emulate a guitar or
bass guitar musical instrument to provide game input.
BACKGROUND
[0002] "Rhythm-action" is a popular video game genre which requires
a player to perform phrases from a pre-recorded musical composition
using the video game's input device. In this series of games the
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. In the block diagram
environment shown in FIG. 1, visual markers 104 move from the top
of the display to the bottom of the display. As each marker on the
scrolling timelines 110, 120, 130, 140 passes a graphical cursor
108 displayed along this timeline, the player must simultaneously
press a button on an input device (not shown) corresponding to the
correct timeline to play the sound of the corresponding note at the
correct time. If the player performs this action successfully for a
sufficient percentage of the notes, he scores well and wins the
game. If the player fails to perform this action successfully for a
sufficient percentage of the notes, he scores poorly and loses the
game. As shown in FIG. 1, 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.
[0003] Video game controllers for "rhythm-action" games are
designed to allow players to provide inputs to the game console in
a life-like fashion. However, the controller is limited by the
ability of the player to manipulate the buttons or components of
the controller as well as the ability of the controller to accept
the inputs from players with a variety of skill levels. In
addition, simulated game controllers, including guitar controllers,
are often designed to be as realistic in appearance and function as
possible. The design of a game controller must therefore include
aspects of a "real" guitar while also maintaining a look and feel
that is unique to a video game controller and video game
operations. Finally, a simulated game controller must also be
useable by players who have minimal experience playing or
maneuvering real instruments. Developing a simulated game
controller that is too similar to a real instrument may discourage
players who have no experience playing musical instruments.
SUMMARY OF THE INVENTION
[0004] A simulated game controller is desired that can be
manipulated similarly to a "real" musical instrument, for example a
guitar, while also maintaining a simplicity of operation such that
musical beginners are able to participate and enjoy using the
simulated instrument controller.
[0005] In one aspect of the present invention, the invention
includes a game controller for simulating a guitar which
facilitates a player using multiple fingers to strum notes. In one
embodiment, the controller includes a body portion, a plurality of
strum bars disposed on a front face of the body portion, a neck
portion extending outwardly away from the body portion, and a
plurality of fret buttons disposed on the neck portion.
[0006] In another aspect of the invention, the invention includes a
method for facilitating interaction of a video game player with a
game controller that simulates a guitar. In some embodiments, a
game controller comprising a body portion can be provided wherein a
neck portion extends outwardly from the body portion and a
plurality of strum bars are positioned on a front face of the body
portion. Further, a first target musical data associate with a
musical composition can be displayed to the player. Finally, an
input generated by the player strumming at least one of the
plurality of strum bars can be detected that that corresponds to
the first target musical data.
[0007] Any of the aspects can also include one or more of the
following features. In some embodiments the game controller
includes a thumb rest positioned on the front face of the body
portion. Some embodiments can also include a whammy knob or whammy
bar disposed on the front face of the body portion of the guitar.
And in some embodiments the game controller can include a plurality
of strum bars that pivot with respect to a single axis. In some
embodiments, the plurality of strum bars pivot with respect to a
plurality of axis. The plurality of strum bars can correspond to a
plurality of pivot bars. The plurality of pivot bars can be
arranged in parallel on the body portion. The plurality of strum
bars can be connected electrically in common. And in some
embodiments, the plurality of strum bars shares a common pivot bar.
In some embodiments, the plurality of strum bars comprises three or
four strum bars.
[0008] Any of the aspects above can also include one or more of the
following features. The activation of each of the plurality of
strum bars can cause the controller to produce a unique output. And
in some embodiments activation of each of the plurality of strum
bars can cause the controller to produce an identical output.
[0009] Any of the aspects above can also include one or more of the
following features. An input generated by the player strumming more
than one of the plurality of strum bars during a particular time
period can be detected as a single strum. And in some embodiments
the input generated by the player can be evaluated with the first
target musical data to provide a player score.
BRIEF DESCRIPTION OF THE DRAWINGS
[0010] The invention is pointed out with particularity in the
appended claims. The advantages of the invention described above,
as well as further advantages of the invention, may be better
understood by reference to the following description taken in
conjunction with the accompanying drawings, in which:
[0011] FIG. 1 is a block diagram depiction of one embodiment of a
rhythm-action game environment;
[0012] FIG. 2 is a configuration diagram of one embodiment of a
guitar controller with a plurality of strum bars that share a
common axis;
[0013] FIG. 2A is a configuration diagram of another embodiment of
a guitar controller with a plurality of strum bars that share a
common axis;
[0014] FIG. 2B is a configuration diagram of another embodiment of
a guitar controller with a plurality of strum bars that share a
common axis;
[0015] FIG. 2C is a configuration diagram of yet another embodiment
of a guitar controller having two sets of fret buttons disposed on
the neck of the guitar with a plurality of strum bars that share a
common axis;
[0016] FIG. 2D is a configuration diagram of another embodiment of
a guitar controller having a whammy bar in a first position and a
plurality of strum bars that share a common axis;
[0017] FIG. 2E is a side view diagram of an embodiment of a game
controller simulating a guitar that includes a whammy bar and a
plurality of strum bars that share a common axis;
[0018] FIG. 2F is a configuration diagram of yet another embodiment
of a guitar controller having two sets of fret buttons disposed on
the neck of the guitar and a plurality of strum bars that share a
common axis disposed on the front face of the body portion of the
guitar;
[0019] FIG. 2G. is a configuration diagram of an embodiment of a
guitar that includes a split strum bar;
[0020] FIG. 2H is a configuration diagram of an embodiment of the
components of a split strum bar;
[0021] FIG. 2I. is a configuration diagram of an embodiment of a
guitar that includes two split strum bars arranged in parallel;
[0022] FIG. 3 is a screen shot depicting one embodiment of a screen
display of a rhythm action game;
[0023] FIG. 3A is a screen shot depicting one embodiment of a
screen display of a rhythm action game;
[0024] FIG. 3B is a flow diagram illustrating one embodiment of a
method for facilitating interaction of a player with a music-based
video game using a game controller simulating a guitar;
[0025] FIG. 3C is a flow diagram illustrating one embodiment of a
method for facilitating interaction of a player with a music-based
video game using a game controller simulating a guitar that
includes a split strum bar;
[0026] FIG. 4 is a screen shot depicting one embodiment of a screen
display in which a player affects gameplay using a guitar
controller having a whammy bar;
[0027] FIG. 5 is a screen shot depicting another embodiment of a
screen display in which a player affects gameplay using a guitar
controller having a whammy bar.
DETAILED DESCRIPTION OF THE DRAWINGS
[0028] Game controllers simulating instruments may provide a
note-producing mechanism different from that usually associated
with a simulated instrument. Referring now to FIG. 2, an embodiment
of a simulated guitar controller 200 for use with a video game is
shown. The simulated guitar controller 200 is provided with fret
buttons 220. Although five fret buttons are shown in FIG. 2, any
number of fret buttons 220 may be provided by the controller 200.
The simulated guitar controller also includes a "strum bar" 240. In
order to successfully "play" a game event, the player holds down
one or more of the fret buttons 220 while simultaneously strumming
the strum bar 240, in much the same way that one would play a
guitar. In some embodiments players may also execute "hammer ons"
and "pull offs," as described below, which allow a player to "play"
a game event by pressing or releasing only a fret button 220.
[0029] FIGS. 2A and 2B depict alternate embodiments of the guitar
controller of FIG. 2. FIG. 2A depicts an embodiment of the guitar
controller intended to simulate a guitar model by Gibson known as
the "Flying V." FIG. 2B depicts an embodiment of the guitar
controller intended to simulate a guitar model known as the
"Moderne." Any other body styling may be provided. For example,
U.S. Pat. No. 7,320,643, assigned to Harmonix Music Systems, Inc.
Cambridge Mass., which is herein incorporated by reference,
discusses a multitude of additional styles of guitars that may be
used in some embodiments. In some embodiments, FIG. 2B, a simulated
guitar controller can include a thumb rest 245 which is located
such that a player can support their hand that manipulates the
strum bar 240. The thumb rest can be located on the face of the
body portion of the simulated guitar controller.
[0030] FIG. 2C depicts another alternate embodiment of the guitar
controller having two sets of fret buttons 220, 220'. As shown in
FIG. 2C a second set of fret buttons 220' is disposed on the "neck"
of the guitar proximal to the guitar body, i.e. in between the
first set of fret buttons 220 and the guitar body. In some
embodiments, the ordering of the second set of fret buttons 220' is
the same as the first set of fret buttons 220; that is, if the
first set of fret buttons 220 are colored, beginning at the "head"
of the guitar neck and moving toward the body, green, red, yellow,
blue, orange, then the second set of fret buttons 220' have the
same coloring as one continues down the neck toward the guitar
body.
[0031] In some embodiments, the fret buttons 220 and 220' may be
colored to indicate that the buttons correspond to a particular
note, chord, or fret. In some embodiments, a fret button 220 may
indicate color by the color of the entire fret button. In other
embodiments, only a portion of the fret button may be colored. For
example, a fret button may be mostly black, but contain a colored
dot or stripe indicating color. Or for example, the fret button may
be clear, and one or more lights underneath the fret button may
indicate the color.
[0032] In other embodiments, other markings on the neck may
indicate the "color" of a particular fret button. For example,
colored dots may be placed on the neck of the guitar next to one or
more fret buttons 220 indicating the color corresponding to the
fret button. In another example, patterns of dots may be used to
indicate the note, chord, or fret to which a given button
corresponds, similar to the patterns of dots used on traditional
guitars to designate frets by thirds and octaves. In these
embodiments, the fret buttons themselves may be white, clear,
black, or all colored a similar color. In still other embodiments,
one set of fret buttons 220 may be colored, while a second set of
fret buttons is colorless. For example, in an embodiment such as
the one shown in FIG. 2F, only one of the two fret buttons disposed
on a given fret may be colored.
[0033] In some embodiments, a user of a guitar controller may be
able to change the colors corresponding to one or more fret
buttons, such as by using stickers, removable button colors,
multiple colored LED's under the fret buttons, or otherwise. A game
using the guitar controller may then have a configuration tool such
that the user can configure the game to recognize the altered
colors.
[0034] Although shown in FIG. 2C as round buttons, fret buttons
220' may be any shape or size, including the same shape and size of
the first set of fret buttons 220.
[0035] Referring ahead to FIG. 2F, the second set of fret buttons
220' may be positioned on the neck portion of the guitar controller
such that respective ones of the first set of fret buttons and
corresponding ones of the second set of fret buttons are positioned
on the same fret of the neck (i.e. a red fret button of the first
set of buttons 220 and a red fret button of the second set of fret
buttons 220' are located near each other on the same "fret" of the
neck portion of the guitar controller). In specific ones of these
embodiments, fret buttons are physically connected to a toggle
switch which allows a single physical button to provide two fret
buttons, one associated with a first set of fret buttons and one
provided with a second set of fret buttons. In further embodiments,
respective ones of the first set of fret buttons 220 and
corresponding ones of the second set of fret buttons 220' are
electrically connected, e.g. wired together, so that activation of
either one of the respective fret buttons is identified by the
controller as activation of the fret button, regardless of whether
the fret button from the first set of fret buttons 220, the fret
button from the second set of fret buttons 220', or both, are
activated. In still other embodiments, the respective ones of the
fret buttons are not wired together, that is, the controller can
distinguish between activation of fret buttons in one set versus
activation of fret button in another set.
[0036] In some of these latter embodiments, the second set of fret
buttons 220' may be used for playing "solos" during gameplay. Use
of the guitar controller in this manner provides a player with a
more realistic gameplay experience, since guitar solos are often
played very close to the body of the guitar. In some embodiments,
the second set of fret buttons 220; may be the only set of fret
buttons on which hammer-ons and pull-offs may be executed, as
described below. In other embodiments, the second set of fret
buttons 220' may be used to trigger specific guitar effects, such
as pick slides, screeches, or feedback. Alternatively, "performing"
using the second set of fret buttons may alter game graphics (such
as venue animation, venue lighting, crowd animation, brightness,
avatar animation, game cue sustain tail, game cue brightness, game
cue sustain tail brightness, game cue size, game cue shape, game
cue sustain tail pulsation, and game cue sustain tail size), sound
quality, or other gameplay characteristics, such as character
health, character wealth in the game, the player's score, or
in-game "powerups."
[0037] Referring back to any one of FIGS. 2, 2A, 2B and 2C, the
simulated guitar controller 200 also includes a vibrato bar 260,
also known to guitar players as a tremolo bar or "whammy bar." The
vibrato bar 260, for convenience, will be referred to throughout
the remainder of this document as a "whammy bar." The whammy bar
260, as will be described below, may be used to alter the
frequency, pitch, volume, sound quality, distortion, simulated
feedback sound, or any other attribute of the current note or chord
being played by the player. In some embodiments, the operations and
effects of a whammy bar can also be realized through the use of a
whammy knob, FIG. 2G.
[0038] The whammy bar 260 of the controller resembles a whammy bar
of a real guitar. As shown in FIG. 2D, and with comparison to FIG.
2B, the whammy bar 260 can be rotated to any one of a number of
positions for the convenience of the player. As shown in FIG. 2D,
the whammy bar 260 has been rotated to a position that places it
out of the way of the player's strumming hand. In some embodiments,
the whammy bar 260 is spring-loaded, like the whammy bar of a real
guitar. In these embodiments, as depicted by FIG. 2E, the whammy
bar 260 can be pushed down or pulled up to affect the played note.
When released, it settles back to its default, neutral
position.
[0039] The whammy bar is typically manipulated by the guitarist's
strumming hand, that is, the hand with which the player operates
the strum bar 240. In a real guitar, manipulating the whammy bar
directly affects the tension of the guitar strings, and therefore
causes the pitch of the vibrating strings to rise and fall as the
bar is pulled or pushed. The simulated whammy bar of the guitar
controller, the vibrato bar, can be used as a continuous
controlling actuator, much like a joystick. Typically, the vibrato
bar has a single degree-of-freedom, but it may have more degrees of
freedom. It may additionally be used as an on-off switch, instead
of a continuous controller. The whammy bar 260 of the controller
looks and feels like the whammy bar of a real guitar, and,
therefore provides a much more enjoyable gaming experience for the
player.
[0040] The guitar controller 200 also allows a player to use more
sophisticated guitar playing techniques to interact with a game.
Two such techniques are "hammer ons" and "pull offs." Hammer-ons
and pull-offs allow a guitarist to player notes in rapid
succession. Typically, they only require the use of the player's
fretting hand. To play a hammer-on note, the guitarist uses one of
the free fingers of his fretting hand to strike the guitar string
with high velocity. This results in the string vibrating due to the
force of the string hitting a fret. As a result, the string need
not be strummed by the strumming hand. Pull offs require the
guitarist to tug slightly on the string when he releases it from a
fret. This pulling action also causes the string to vibrate more,
again, eliminating the need to strum the string with the strumming
hand.
[0041] In the simulated guitar controller 200, hammer-ons may be
simulated by allowing the player to press down fret buttons 220
without needing to simultaneously strum the strum bar 240. This is
achieved by the manufacturer of the game authoring the game content
to identify a note as amenable to hammering on or pulling off. For
a hammer on, a player will generally need to capture a "lower"
pitched note traditionally, that is, by holding down a fret button
and simultaneously activating the strum bar. If the next note is
identified as amenable to being played by a hammer technique, the
player need only activates the "higher" pitched fret button to
successfully capture the note.
[0042] Similarly, in pull-offs, the player can "play a note" by
releasing a fret button 220 without needing to simultaneously strum
the strum bar 240. This is achieved, again, by the manufacturer of
the game authoring the game content to identify a note as amenable
to hammering on or pulling off For a pull off, a player will
generally need to capture a pair of notes traditionally, that is,
by holding down both fret buttons and simultaneously activating the
strum bar. If the next note is identified as amenable to being
played by a pull off technique, the player need only release the
"higher" pitched fret button to successfully capture the note. As
discussed above, when using the embodiment of a guitar controller
200 depicted in FIG. 2E, the second set of fret buttons may be used
to perform hammer-ons and pull-offs. In either of these
embodiments, notes that may be played using a hammer-on or pull-off
technique may be visually indicated to the player by, for example,
changing their geometric shape, transparency, color, or
brightness.
[0043] In some embodiments, FIG. 2G, the front face of the
simulated guitar controller can also include a strum bar 240 that
consists of more than one part, i.e., a split strum bar or
plurality of strum bars. A simulated guitar controller can include
any multitude of strum bars, for example two or four strum bars,
arranged to form a split strum bar. In one embodiment, a split
strum bar pivots with respect to a plurality of axis (not shown),
and in some embodiments the split strum bar pivots with respect to
a single axis.
[0044] The whammy bar 260 is not always included in every
implementation, particularly with simulated bass guitar controllers
to more realistically reflect the design of a real bass guitar.
Rather, in some implementations, FIG. 2G, a whammy knob 261 on the
guitar is used to alter the frequency, pitch, volume, sound quality
distortion, simulated feedback sound, or any other alteration of
the note or chord being played.
[0045] FIG. 2H illustrates a split strum bar that consists of three
strum bars linearly arranged. The three strum bars, shown in FIG.
2H, are arranged to simulate a bass guitar. However, a split strum
bar can also be implemented in any of the other simulated guitar
controllers discussed herein. Furthermore, the design or shape of
the strum bar can be changed or altered. In some embodiments, the
split strum bars correspond to a plurality of pivot bars 246. One
or more of the plurality of strum bars can also share a common
pivot bar. The plurality of pivot bars in FIG. 2H are aligned with
a single axis. In other embodiments the plurality of pivot bars are
aligned with a plurality of axes. The plurality of pivot bars can
also be arranged in parallel on the body portion of the simulated
guitar controller to simulate different strings of a bass guitar.
FIG. 2I shows an embodiment of a guitar controller which includes
two split strum bars 240 arranged in parallel. In some
implementations, there are four strum bars in parallel, this design
is intended to simulate one strum bar for each string of a four
string bass guitar. The plurality of split strum bars can be
electrically connected in common such that manipulating one of the
plurality of the strum bars generates an output similar to
activating a guitar controller that includes a single strum bar.
The output generated by the strum bars can be commonly shared by
the plurality of strum bars, i.e., the output is the same
regardless of which strum bar is activated. Furthermore, the
activation, or manipulation of each of the plurality of strum bars
can cause the guitar controller to produce an output that is unique
to the each of the plurality of strum bars. And in some
embodiments, when more than one strum bar is activated at one time,
the output generated can reflect the unique output of all activated
strum bars simultaneously. The output generated by activating more
than one of the plurality of strum bars can also reflect the output
associated with only one of the strum bars while muting or
excluding the output generated by the other activated strum bars.
In some embodiments, activation of any one of the plurality of
strum bars causes the controller to produce an identical output as
compared to the output generated by activating any other of the
plurality of strum bars. The split strum bars can be electrically
connected to the guitar controller and the game console such that
when more than one of the split strum bars is activated
simultaneously, the output generated is the same as if only one of
the strum bars was activated at a time.
[0046] Real guitarists often perform flamboyant motions on stage
when playing guitar as part of their showmanship. One typical
motion involves rotating the guitar vertically so that the neck of
the guitar points up, while the body of the guitar is down, usually
at waist level. In the simulated guitar controller 200, a
mechanical "tilt sensor" can be included that monitors the guitar's
physical orientation. This tilt sensor is typically a mercury
switch or a ball-bearing switch which acts as a binary actuator,
indicating whether the guitar has been rotated into a "neck up"
position, or is in the normal playing position. Such tilt sensors
have been included in guitar controllers manufactured by Konami and
by Red Octane. Other secondary techniques for interacting with the
controller include shaking the controller and slapping the
controller.
[0047] Referring now to FIG. 3, one embodiment of a screen shot
depicting a rhythm action game in which the simulated musical
instrument, such as a simulated guitar controller, can be used is
shown. A lane 320 extends to the players. In the embodiment shown
in FIG. 3, the lane has five sub lanes 322, 324, 326, 328, 330
which correspond to a respective one of the fret buttons 220
provided on the guitar controller 200. In other embodiments, the
number of sublanes does not need to match the number of fret
buttons 220 provided by the simulated guitar controller 200. For
embodiments in which there are more fret buttons 220 provided than
sublanes, a subset of the provided fret buttons 220 may be used to
interact with the game. For those embodiments in which there are
more sublanes than fret buttons 220, one fret button 220 may be
assigned to more than one sublane.
[0048] As shown in FIG. 3, each lane may be subdivided into a
plurality of segments.
[0049] 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. Although the embodiment shown in FIG. 3 show
equally-sized segments, each segment may have a different length
depending on the particular musical data to be displayed. In
addition to musical data, each segment may be textured or colored
to enhance the interactivity of the display.
[0050] Referring back to FIG. 3, a sublane may have one or more
game "cues", "elements" or "gems" 350 corresponding to musical
events distributed along the sublanes. During gameplay, the cues
350 appear to flow toward a game player. The cues 350 are
distributed on the sublanes in a manner having some relationship to
musical content associated with the game level. For example, 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. Although shown in FIG. 3 as a circular
element, the game elements 350 may be any geometric shape, and may
have other visual characteristics, such as transparency, color, or
variable brightness.
[0051] As the game elements 350 move along a respective sublane,
musical data represented by the game elements 350 may be
substantially simultaneously played as audible music when the
player successfully performs the event. To successfully perform an
event, a player holds down the fret button 220 corresponding to the
sublane on which the game element 350 appears while strumming the
strum bar 240. The player must perform this action when the game
element 350 passes under the target marker 375. In some
embodiments, the player may hold down the corresponding fret button
at any point in time before the moment when game element 350 passed
under the target marker 375. In other embodiments, the player may
successfully perform an event by performing a hammer on or pull off
when the game element 350 passes under the target marker 375.
[0052] In some embodiments, audible music represented by a game
element 350 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 350. In other
embodiments, the audible music represented by a game element 350 is
modified, distorted, or otherwise manipulated in response to the
player's proficiency in executing game elements associated with a
sublane. For example, 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 sublane, allowing the audible music to be degraded if the
player performs poorly or enhancing the audible music if the player
performs well. For example, if a player fails to execute a game
event, the audible music represented by the failed event may be
muted, played at less than full volume, or filtered to alter the
its sound. In certain embodiments, a "wrong note" sound may be
substituted for the music represented by the failed event.
Conversely, if a player successfully executes a game event, the
audible music may be played normally. In some embodiments, if the
player successfully executes several, successive game events, 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. Further,
application of the filter to the audible music output, which in
many embodiments corresponds to musical events represented by game
elements 350, can be done dynamically, that is, during play.
Alternatively, the musical content may be processed before game
play begins. In these embodiments, 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.
[0053] FIG. 3A depicts a screenshot of an embodiment of a
rhythm-action game in which a second set of fret buttons is part of
gameplay. As shown in FIG. 3A and similar to FIG. 3, cues 350
appear to flow toward a game player. Unlike the embodiment depicted
in FIG. 3, a second set of cues 355 are also distributed on the
sublanes. The second set of game cues 355 indicate to the player
that the second set of fret buttons 220' should be used when
performing those game events. In some embodiments, failure to
perform those game events on the second set of fret buttons 220'
may result in failure. In other embodiments, successfully
performing the game events indicated by the second set of game cues
355 may alter game graphics (such as venue animation, venue
lighting, crowd animation, brightness, avatar animation, game cue
sustain tail, game cue brightness, game cue sustain tail
brightness, game cue size, game cue shape, game cue sustain tail
pulsation, and game cue sustain tail size), sound quality, or other
gameplay characteristics, such as character health, character
wealth in the game, the player's score, or in-game "powerups."
Although the difference between game cues 350 and 355 is shown in
FIG. 3 as geometric shape, the difference may be indicated using
any visual characteristics, such as transparency, color, or
brightness.
[0054] Referring now to FIG. 3B, a flow diagram illustrating one
embodiment of a method for facilitating interaction of a player
with a music-based video game using a game controller simulating a
guitar is shown. In brief overview, the method comprises: providing
a game controller comprising a body portion having a strum bar and
a neck portion extending outwardly from the body portion and
including a first plurality of fret buttons and a second plurality
of fret buttons (step 301); displaying to a player first target
musical data associated with a musical composition (step 303);
receiving first music performance input from the player using one
of the first plurality of fret buttons (step 305); displaying to
the player second target musical data associated with the musical
composition (step 307); receiving second music performance input
from the player using one of the second plurality of fret buttons
(step 309); and altering a gameplay characteristic in response to
the received second music performance input (step 311).
[0055] Still referring to FIG. 3B, now in greater detail, the
method shown comprises: providing a game controller comprising a
body portion having a strum bar and a neck portion extending
outwardly from the body portion and including a first plurality of
fret buttons and a second plurality of fret buttons (step 301). The
game controller may comprise a simulated guitar such as the one in
FIG. 2C.
[0056] The method shown comprises displaying to a player first
target musical data associated with a musical composition (step
303). This target musical data may comprise cues, elements, or gems
as discussed herein. The first target musical data may indicate to
the player that the player should use the first plurality of fret
buttons 220 when playing the notes corresponding to the target
musical data. For example, the first target musical data may
correspond to a chorus or verse of a song which is meant to be
played on the fret buttons 220 furthest from the body of the
guitar. The method shown then comprises receiving first music
performance input from the player using one of the first plurality
of fret buttons (step 305).
[0057] The method shown comprises displaying to the player second
target musical data associated with the musical composition (step
307). This target musical data may comprise cues, elements, or gems
as discussed herein. The second target musical data may indicate to
the player that the player should use the second plurality of fret
buttons 220 when playing the notes corresponding to the target
musical data. The second target musical data may differ from the
first target musical data in shape, size color, transparency,
and/or any other graphical property. For example, the second target
musical data may correspond to a solo within a song that is meant
to be played on the fret buttons 220' close to the body of the
guitar. The method then comprises receiving second music
performance input from the player using one of the second plurality
of fret buttons (step 309).
[0058] In some embodiments, the method comprises altering gameplay
characteristics in response to the second music performance input
(step 311). Examples of gameplay characteristics which may be
altered include score bonus, star power, player score, character
health, character money, in-game power-ups, and crowd excitement.
For example, a player successfully playing a portion of a solo on
the fret buttons 220' close to the body of the guitar may result in
increased crowd response, and an increased score. In other
embodiments, the method comprises altering graphical
characteristics of the game in response to the second musical
performance input. Examples of graphical characteristics which may
be altered include venue lighting, venue brightness, venue
animation, crowd animation, crowd excitement, brightness, avatar
animation, sustain tail, note brightness, sustain tail brightness,
note size, note shape, sustain tail pulsation, and sustain tail
size. For example, if a player successfully plays one or more notes
using the fret buttons 220' close to the body of the guitar, the
notes may change color to indicate the success, and the crowd
animations may be changed such that the crowd appears more
enthusiastic about the performance.
[0059] FIG. 3C illustrates a method for facilitating (step 350)
interaction of a video game player with a simulated guitar video
game controller. In one embodiment the method can include a game
controller, for example the simulated guitar controller shown in
FIG. 2A-2F, provided (step 355) to the game player. The guitar
controller can include a neck portion that extends outward from the
body portion of the guitar, and also can include a plurality of
strum bars positioned on the front face of the body portion, as
shown in FIG. 2G. The plurality of strum bars can also be arranged
as shown in FIG. 2H and FIG. 2I.
[0060] Target music data associated with a musical composition can
be displayed (step 360) to the player. In some embodiments, the
musical composition will be preselected for the player, and in some
embodiments the game player will have the opportunity to select the
musical composition from a list of available options. The musical
compositions may include any prerecorded, commercially available
song, although in some embodiments, the player will select a
musical composition that is simply a collection of musical notes
that are arranged to allow the game player to practice or refine
their game playing ability.
[0061] An input generated by the player strumming at least one of
the plurality of strum bars that corresponds to the first target
musical data can be detected (step 365). As discussed above, the
input can be generated by strumming one or more of the plurality of
strum bars. In some embodiments, strumming more than one of the
plurality of strum bars during a particular time period can be
detected as a single strum. After the input is provided by the
player, the input can be evaluated (step 370) as compared to the
target music data. A higher score can be awarded to the game
player, the closer the input matches the target music data.
[0062] Referring now to FIG. 4, one embodiment of a screen display
showing player interaction using the whammy bar 260 or whammy knob
261 is shown. As described above, successfully activating the
correct fret button 220 and strum bar 240 results in performance of
a musical event. By activating the whammy bar or knob, the player
can alter the certain aspects of the reproduced musical event. For
example, pushing or pulling on the whammy bar or twisting the
whammy knob can change the pitch of a note or chord, the volume of
a note or chord, or the sound quality of a note or chord.
Activation of the whammy bar or knob may also add effects to the
audio such as simulated feedback, flange, fuzz, vocoder, echo,
reverb, chorus, and delay. In some embodiments, pushing or pulling
the whammy bar or twisting the whammy knob in a particular
direction can add a feedback audio effect to a note or chord. In
other embodiments, pushing or pulling the whammy bar can add a
distortion audio effect to the note or chord being held. In
addition, the whammy bar or knob can affect sustained notes in
addition to short single gems.
[0063] As shown in FIG. 4, pushing or pulling the whammy bar 260 or
twisting the whammy knob 261 may affect the graphical elements of
the game. In FIG. 4, use of the whammy bar or knob alters a note's
"sustain trail," a visual cue that helps a player know for how long
a fret button should be depressed. As shown in FIG. 4, the player
is using the whammy bar or knob to alternately increase and
decrease the width of the sustain trail. Others visuals can be
directly affected by the whammy bar or knob. The graphical display
of the note may widen or narrow, it may brighten or dim, pulses can
be animated down the length of the note, and its overall size may
grow or shrink. Any number of graphical effects may alter the note
to inform the player that the whammy bar or knob is being actively
used. In some embodiments, the player might be required by the game
to move the whammy bar or knob synchronously with a pitch bend in
the recorded music. The player's moving of the whammy bar or knob
does not affect the sound, but the player's ability to bend the
whammy bar or turn the whammy knob as directed by the game affects
the player's game score.
[0064] In other embodiments, use of the whammy bar or knob may
alter both the visual and auditory aspects of the game. For
example, referring to FIG. 4, use of the whammy bar or knob may
cause the pitch of the sustained note to increase and decrease
while the displayed sustain trail is widened and narrowed. In
another embodiment, use of the whammy bar or knob distorts a
sustained note and causes a player's avatar to execute a flamboyant
move, such as a jump, striking a pose with the guitar, or "machine
gunning" the crowd with the guitar.
[0065] FIG. 5 depicts an embodiment of a screen display showing how
use of the whammy bar or knob may be used as a gameplay mechanic.
In the screenshot shown if FIG. 5, the player is using the whammy
bar or knob to alter the pitch of a performed note. As shown in
FIG. 5, the altered note is a special note indicating that the
player will receive a bonus for successfully performing the note.
By altering the note's pitch using the whammy bar or knob, the
player builds up the bonus more quickly. In one specific
embodiment, the bonus is referred to as "star power collection" and
is graphically indicated by the "star meter" 510.
[0066] In other embodiments, manipulating the whammy bar or knob
can affect other aspects of gameplay, such as the excitement of the
simulated crowd, the number of points the player receives, the
amount of "health" a player has, or, in general, the amount of any
arbitrary game resource, such as points, score, health, money.
[0067] In some embodiments, the controller 200 may be used in
conjunction with effects pedals that allow a player to activate
certain audio effects. For example, a controller 200 may be
provided with a socket for receiving input indicating activation of
a flange pedal, fuzzbox, vocoder, distortion pedal, echo pedal,
reverb pedal, chorus pedal, delay pedal, pedals that affect the
attack and decay of a reproduced note and any other pedal typically
used with real guitars.
[0068] The tilt sensor of controller 200 may be used as part of a
gameplay mechanic. In one specific embodiment, tilting the guitar
vertically causes "star power deployment" and is indicated by
scoring, graphical, and sonic changes in the game. For example,
tilting the guitar vertically changes the excitement of the
simulated crowd, the number of points a player receives, the rate
at which a player accumulates points, the overall reverberation of
the music, the sound quality of the guitar notes, and other
graphical and audio effects.
[0069] Although described in the context of a rhythm action game,
the simulated guitar controller 200 may be used with any genre of
game, including first-person shooter, survival horror, action
adventure, fighting games, role playing games, real-time strategy
games, platformers, puzzle games, racing games, sports games, and
stealth action games, third-person shooters. The simulated guitar
controller 200 may also be used with rhythm action games that do
not center on performance of a musical work using an instrument,
such as Dance Dance Revolution or Karaoke Revolution, both
published by Konami.
[0070] Having described certain embodiments of the invention, it
will now become apparent to one of skill 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 invention can extend to
other areas that involve musical collaboration or competition by
two or more users connected to a network. Therefore, the invention
should not be limited to certain embodiments, but rather should be
limited only by the spirit and scope of the following claims.
* * * * *