Ensayos que determinan las propiedades mecánicas

The survey designed for the user study was reviewed and verified by the Institutional Review

Board (IRB) representatives at Cal Poly, SLO. The questions are grouped based on the topic

they primarily concern, and each is followed by their responses. Note that in figure 6.3,CSC

stands for Computer Science,CPE

for Computer Engineering,LAES

for Liberal Arts and

Engineering Studies,MATH

as its autological,

CM

for Construction Management,BMED

for Biomedical Engineering, andCOMS

as Communication Studies.

Figure 6.1: Gender distribution

Figure 6.2: Academic status

6.1.1

Basis Questions

These questions largely focused on participants’ general interpretation of the generated

music as it related to gameplay. To gauge whether or not participants were able to pick

up on the independent musical aspects as related to in-game parameters, they were split

into tempo, melody, harmony / accompaniment, musical mode, and instrumentation. The

last question was a baseline to see whether or not participants were able to distinguish any

relationship between the music and the NPC characteristics.

I:

Tempo: do you think it represented anything?

1. Risk-Based Responses

•

“Faster = more danger or close to boss area, slower = more passive or overworld”

•

“The danger level in an area - higher tempo = greater danger”

2. Environment-Based Responses

•

“Faster tempo for areas with enemies, slower for village, etc”

•

“Yes, tempo felt very explorer-like, making the character feel like a wanderer”

•

“Represents how eventful the area is. However, can’t tell what triggers change”

3. Gameplay and Feel-Based Responses

•

“The closer I got to a goal, tempo changed”

•

“How intense the game is; it felt slower earlier on”

Two participants of 23 were unable to tell a difference in tempo as they played through. For

this category, the ideal response would have related to

boss speed. All responses generally

fell into one of three categories: risk, environment, or gameplay and feel.

II:

Melody: do you think it represented anything?

1. NPC-Based Responses (Ideal)

•

“Changed depending on which environment you were in, or which boss/character

you were encountering”

•

“The melody related to either the characters or the various levels when entering

a new environment”

•

“Feels a little forlorn, like the player character is fighting monsters after the

monsters have already won”

2. Risk-Based Responses

•

“Peaceful melodies for safe spots, more menacing ones for dangerous areas”

•

“Amount of action and area in world”

•

“Most of the songs were very soft, despite the game showcasing an action adven-

ture, it felt more relaxing than anything to explore and hack away at monsters”

Four participants of 23 were unable to discern whether or not the melody changed accord-

ing to in-game events. This was the musical aspect that most participants noticed was tied

to the NPC attributes, noting the most success in indicating the appropriate boss char-

acteristic in their thematic music to the players. Many attributed the melodic changes,

again, to environmental characteristics and location-based changes. For this category, the

ideal response would have related toNPC friendliness and / or disposition. All responses

generally fell into one of three categories: NPC-related, environment, progression, or risk.

III:

Harmony / Accompaniment: do you think it represented anything?

1. NPC-Bases Responses

•

“Harmony represented the enemies”

2. Progression-Based Responses

•

“Encouraged me to keep going, because it was continuous and pleasant”

•

“Rising tension near the final boss battle and comfort when in the starting town”

•

“It conveyed a happy tone, like nothing’s wrong with the world. An escape”

3. Environmental-Based Responses

•

“I think it represented the mood of each environment; western for the desert

areas, fresh and reviving for the forest area”

4. Risk-Based Responses

•

“It seemed to diminish / disappear after defeating a boss, but that may just

have been timing”

5. Gameplay and Feel-Based Responses

•

“Nothing disquieting, but let you know when the game is intensifying or not”

•

“Calm game phases without conflict / fighting”

Seven participants of 23 were either unable to distinguish what the harmony / accompa-

niment was, or were unable to discern whether or not it represented anything. For this

category, the ideal response would have related toboss life, or HP / strength. All responses

generally fell into one of three categories: NPC-related, environment, risk, gameplay and

feel, and non-game related (music only).

IV:

Musical Mode: do you think it represented anything?

1. “It was represented when you encountered an enemy; the tempo increased and it felt

as if there was an attacker. When in the village, the beat was very calm, kind, and

comfortable, like the village; there were no skeletons or enemies.”

2. “Helped to make environments feel more distinct, adding to the progression of the

game, as quick and limited as it was”

3.

Ideal Response:

•

NPC tendency

Half of my participants (11 out of 23) were unable to discern the musical mode, which is

fair; many that have experience with music analysis still have a difficult time identifying a

piece of music’s exact musical mode. The responses of those who were able to distinguish

a mood as derived from the mode had a difficult time discerning what aspects of the game

the mode actually related to according to the generative algorithm. For this category, the

ideal response would have related to the respectiveNPC’s tendency. All responses generally

fell into one of three categories: NPC-related, environment, risk, gameplay and feel, and

non-game related (music only).

V:

Instrumentation: do you think it represented anything?

1. NPC-Based Responses

•

“Different instruments for each area due to different enemies in each area”

•

“Different characters”

2. Gameplay and Feel-Based Responses

•

“Felt as if the instruments were similar to cultures represented by the setting,

like sitar in the sand area and something similar to lute in the starting town”

3. Environment-Based Responses

•

“The instruments in a sense corresponded to the environments that they were

being played in. The early songs playing used instruments to convey a mellow

tone, while the later songs were not as cheery but still tried to match their

respective environments”

•

“I think the instruments sounded similar to the ”time period” of the game.

Fantasy games usually take place in a medieval setting”

•

“The instruments felt fitting for the different levels, regions, and intensity levels”

Five of my 23 participants were either unable to tell or had no extra insight as to what

instrumentation may represent; many assumed that it was “standard” video game music

instrumentation. Recall from figure 4.3 this related to encounter number and number of

active voices or layers.

For the accompanying free response question verifying whether or not players detected

any correlation between the layered voices in the music and the in-game attributes, see

appendix B.1.6.

VI: Did the music help indicate any of the following?

•

Boss HP

•

Boss Stamina

•

Boss Weapon Rating / Attack

•

Boss Armor Rating / Defense

•

Power Differential (between you and the boss)

•

Interaction Number (first, second, third time you encountered the boss)

A about a quarter of participants correctly identified thePower Differential

between them-

selves and the boss NPCs as the key in-game characteristic that controlled the generated

Figure 6.4: Total responses including write-in answers

music parameters. For further discussion of these results, see the following section: 7.1.1.

6.1.2

Musical Quality Questions

The following questions were solely about musical quality. As the fidelity and integrity of

generated music was as equally important as indicating information to players about NPCs

in the game through the music, these questions were pertinent. Graphical representations

of these responses are included in appendix C.1.

Was the music:

Definition Summary

Average

Pleasing?

Easy to listen to, not necessarily good

7.81 / 10

Random?

How unstructured or dissonant music was

4.57 / 10

Harmonious?

Objective musical ”correctness”

7.38 / 10

Interesting?

Subjective preference for generated music

7.76 / 10

Dynamic?

On return to NPC, noticeable variance

8.29 / 10

Recall that the breakdown of musical quality attributes as above are adapted from Scirea

et al.’s evaluation work for their own generative music system,

MetaCompose

[45]. The

average scores were higher than expected for musical quality. After inverting the score for

randomness (as a lower score in this category is preferable, inversion is necessary to match

the rest), theoverall score

for musical quality incorporating all attributes is7.16 / 10with

a

standard deviation

=

√

σ

2

_of

_4.40

_{using the following calculation for variance.}

σ

2

=

n

X

i=1

(x

i

−µ)

2

n

(6.1)

For a full list of all the free responses regarding the quality of the generated music, see

appendix C.2. Most responses were very positive, and felt that certain attributes in-game

were reflected in the generated compositions.

6.1.3

Gameplay Questions

For a full list of all the free responses regarding the quality of the generated music, see

appendix D.1. The majority of responses were positive and helpful in terms of bug reports.

Figure 6.5:

Did the music save you time? As in, did it indicate anything to you that

other feedback in the game didn’t make immediately apparent to you?

For further discussion of these results, see the following section in the Conclusion: 7.2.3.

Which boss did youthink

you were facing in the final scenario,

versus

the boss

you actually faced? Did the music help inform you?

Figure 6.6:

True: those who guessed the boss

they were about to face correctly;

False: those who didn’t

Figure 6.7:

Did you guess which boss you

were about to face based on the

music you heard?

Chapter 7

CONCLUSION

In document Efectos de los agentes intensificadores de molienda en la adición mineral LC2 (página 62-71)