Patent Grant
8690670
The present invention relates to rhythm action games, and, more specifically, video games which simulate the experience of playing in a band.
Music making is often a collaborative effort among many musicians who interact with each other. One form of musical interaction may be provided by a video game genre known as “rhythm-action,” which involves a player performing phrases from a pre-recorded musical composition using a video game's input device to simulate a musical performance. If the player performs a sufficient percentage of the notes or cues displayed, he may score well and win the game. If the player fails to perform a sufficient percentage, he may score poorly and lose the game. Two or more players may compete against each other, such as by each one attempting to play back different, parallel musical phrases from the same song simultaneously, by playing alternating musical phrases from a song, or by playing similar phrases simultaneously. The player who plays the highest percentage of notes correctly may achieve the highest score and win. Two or more players may also play with each other cooperatively. In this mode, players may work together to playa song, such as by playing different parts of a song, either on similar or dissimilar instruments. One example of a rhythm-action game is the GUITAR HERO series of games published by Red Octane and Activision. Another example of a rhythm-action game is the KARAOKE REVOLUTION series of games published by Konami.
Past rhythm action games that have been released for home consoles have utilized a variety of controller types. For example, GUITAR HERO II, published by Red Octane, could be played with a simulated guitar controller or with a standard game console controller.
A rhythm action-game may require a number of inputs to be manipulated by a player simultaneously and in succession. Past rhythm action games have utilized lanes divided into sub-lanes to indicate actions. In these games, a lane is divided into a number of distinct sub-lanes, with each sub-lane corresponding to a different input element. For example, a lane for a player might be divided into five sub-lanes, with each sub-lane containing cues corresponding to a different one of five fret buttons on a simulated guitar. As cues appear in each of the sub-lanes, a player must press the appropriate corresponding fret button.
In some cases, the sub-lanes are laid out to correspond to a linear set of input elements. For example, a lane may be divided into five sub-lanes, each sub-lane containing red cues, green cues, yellow cues, blue cues and orange cues, respectively, to correspond to a guitar having a linear arrangement of a red button, green button, yellow button, blue button and orange button. Displaying cues may be more challenging in instances where input elements are not linearly arranged. For example, in the DRUMMANIA series of games published by Konami, players provided input via a number of drum pads and a foot pedal. Foot pedal actions were signified by a sub-lane containing cues shaped like feet.
In some single-player rhythm action games, such as the GUITAR HERO series, it is possible for a player to “fail” midway through a song. That is, if the player's performance falls below a given threshold, the player may be prevented from completing the song. Such a failure may be accompanied by sounds of the music stopping, the crowd booing, and images of the band stopping the performance. This possibility of failure may enhance a game by providing more serious consequences for poor performance than simply a lower score: if a player wants to complete a song to the end, the player must satisfy a minimum standard of performance. Adapting this failure mechanic to a multiplayer game presents a challenge, as the enhanced incentives for good performance may be desired, but it may be undesirable for one player to remain inactive for long periods of time while others are playing a song.
In many cases players may wish to play rhythm action games online, either cooperatively or competitively, with remote players. Thus there exists a need for efficient ways of matching remote players of rhythm action games.
The present disclosure broadly relates to video games which may be used to simulate a rock band experience.
In one aspect the present invention relates to systems and methods for indicating the performance of a plurality of players playing a video game simulating a rock band experience. In one embodiment, a method may include: calculating a player score for each player playing a rhythm action game within a band, each player score representing the performance level of a particular player; calculating a composite score for the band playing a rhythm action game, the composite score based in part on a performance level associated with each player within the band; displaying the composite score on a performance meter as a performance level; and displaying each player score on the performance meter as a graphical indication positioned on the meter at a position corresponding to the calculated player score.
In a second aspect, the present invention relates to systems and methods for allowing players in a band to reinstate a member of the band who has failed a given song during a game. Broadly, band members may use their own performance during a song to reinstate a band member who has failed during the course of the song. Once a band member has failed, options are given to other members of the band who have achieved a predetermined bonus or performance level to save the fallen band member. Once saved, the failed member returns to normal play of the song. In this manner, failure still has the consequence of removing a player from a song at least temporarily, and perhaps permanently if bandmates are unable or unwilling to save the fallen member. However, by providing the option of reinstatement, band members can prevent their friends from long stretches of inactivity following a failure. This may have the added benefit of encouraging band members to perform strongly in order to be able to save their friends.
In one embodiment; a method for reinstating a player within a rhythm action game includes: changing the status of a first player of a rhythm-action game from an active play status to an inactive play status during a performance of a song; determining a value, associated with a second player of the rhythm-action game, exceeds a predetermined threshold; detecting an action of the second player; the action generated via manipulation of an input device by the second player; and reinstating the first player, in response to the determined value and the detected action, to an active play status during the performance of the song. In some embodiments, a bonus may be subtracted from the second player as a cost of the reinstatement.
In some embodiments, a total performance level for the band may be drained during the time a player is inactive, providing additional incentive for a band mate to reinstate the failed player.
In a third aspect, the present invention relates to systems and methods for allowing players of a rhythm action game to play improvisational sections during gameplay. In one embodiment, a method for providing improvisational vocal sections of a song during a rhythm action game comprises: identifying that a value associated with a vocalist's performance of a song in a rhythm action game exceeds a first predetermined threshold; providing, in response to the identifying, a vocal improvisational section during the song; determining, that sound data from a microphone assigned to the vocalist exceeds a second predetermined threshold during the improvisational section; and deploying, in response to the determining, a bonus. In some embodiments, the improvisational sections may be provided during portions of a song with no vocals.
In a fourth aspect, the present invention relates to systems and methods for creating and using simulated guitar controllers. In one embodiment a five-way switch may be included on a simulated guitar controller. In other embodiments, pressure sensitive fret buttons may be incorporated into a simulated guitar controller.
In a fifth aspect, the present invention relates to systems and methods for creating and using simulated drum sets in rhythm action games. In one embodiment, a simulated drum set may comprise a foot pedal using a contactless switch. In still another embodiment, a video game may allow a user to navigate menu items using a simulated drum set. In still another embodiment, a video game may reassign different percussion sounds to drum pads during the course of a single song.
In another embodiment, a video game may indicate a foot pedal is to be used through the use of one or more special gem indicators. Broadly speaking, for rhythm action games, a display in which musical cues are confined to distinct sub-lanes may not be optimal for all types of input devices. For example, if a simulated drum set contains a number of drum pads and foot pedal, the foot pedal may be neither “to the left” nor “to the right” of the drum pads. Thus, there may not be a logical way to map the foot-pedal input cues to a linear series of sub lanes. For example, it may be natural to display cues for four linearly arranged drum pads contained in four corresponding sub-lanes. However, if a foot-pedal cue is displayed in a sub lane to the right of the sub-lane corresponding to the furthest-right drum pad, it may have the undesirable effect of confusing a player into attempting to strike a drum pad that does not exist. While, as mentioned above in the context of DRUMMANIA, cues for foot-pedal actions can be specially colored or shaped to somewhat mitigate this confusion potential, a player is still faced with a linear display of a number of sub-lanes that does not logically map to the input devices the player is given.
The present disclosure addresses this problem by introducing cues that span a plurality or all of the sub-lanes contained within a lane. These larger cues are more difficult to mistake for cues indicating one of a number of linear input elements, and may thus be less likely to cause players to mistakenly attempt to use an incorrect or non-existent input. In one embodiment, a method for displaying a foot-pedal cue in a rhythm-action game includes: displaying, to a player of a rhythm-action game, a lane divided into at least two sub-lanes, each sub-lane containing cues indicating a drum input element; and displaying, to the player, an additional cue spanning a plurality of the sub-lanes, the additional cue indicating a foot pedal action. In some embodiments, the additional cue may span all the sub-lanes. In some embodiments, the additional cue may be a different color than other cues. In some embodiments, each sub-lane may contain cues indicating a drum input element of a set of linearly arranged drum input elements.
In another embodiment, a method for displaying cues in a rhythm-action game to indicate a specific input element includes: displaying, to a player of a rhythm-action game, a lane divided into X sub-lanes, each sub-lane containing cues indicating a unique one of a set of X input actions; and displaying, to the player, an additional cue spanning a plurality of the sub-lanes, the additional cue indicating a first input action not in the set of X input actions. In some embodiments, each of the set of X input actions corresponds to an input element in a linear arrangement, and the first input action corresponds to an input element not in the linear arrangement. In some embodiments, each of the set of X input actions identifies a fret button be depressed in combination with a strum, and the first input action corresponds to an open strum.
In a sixth aspect, the present invention relates to systems and methods for accepting vocal input in a video game. In one embodiment, phoneme detection may be used to determine if a player is singing approximately correct lyrics. In other embodiments, a vocalist may serve as a secondary percussionist during a song by providing input simulating a percussion instrument such as a tambourine or cowbell. In one embodiment, a method for combining vocal cues and percussion cues for a player of a rhythm action game during a song comprises: displaying, in a rhythm action game, a lane comprising cues corresponding to a vocal track of a song; displaying, on the lane during the song, at least one cue corresponding to a percussion element of the song; evaluating, with a first gameplay mechanic, a player's performance with respect to the cues corresponding to a vocal elements; and evaluating, with a second gameplay mechanic, the player's performance with respect to the cues corresponding to the percussion element. Such a method may be used to keep a vocalist engaged during portions of a song with no vocals.
In a seventh aspect, the present invention relates to systems and methods for matching remote players of a video game into bands for purposes of playing songs. Broadly speaking, bands may require certain instrumentation, and one object of the invention is to efficiently match remote players or groups of players to quickly form bands with the desired instrumentation for a song and/or session of a game. For example, players may playas bands featuring a guitarist, a bassist, a drummer, and a vocalist, and matchmaking methods may be used to allow players to play with others remotely according to the needed instrumentation.
In one embodiment; a method for matching suitable remote players to one or more local players of a rhythm-action game includes: identifying one or more local players to participate in a networked session of a rhythm action game corresponding to a predetermined band template, each local player associated with a type of simulated musical instrument. A first type of simulated musical instrument represented in the predetermined band template and not associated with any of the one or more local players may then be identified, along with a remote player associated with the first type of simulated musical instrument. A game session may then be provided including the one or more local players and the identified remote player.
In an eighth aspect, the present invention relates to systems and methods for providing a simulated world tour available to bands and solo players playing a video game simulating a rock band experience.
In a ninth aspect, the present invention relates to systems and methods for allowing players of a game to create merchandise corresponding to an in-game character, group of characters, or band.
In a tenth aspect, the present invention relates to a video game simulating a rock band experience which provides different gameplay content and experiences depending upon a simulated instrument controller type detected by the game. For example, the user experience if a simulated drum set is connected to the game console may be very different than if a simulated guitar is connected to the game console. For example, a game may provide a certain song list if the player has plugged in a simulated drum set, but provide a different song list if a player has connected a simulated guitar to the platform. In this way, a single game can be sold that allows users to select among a plurality of unique instrumental experiences. Or, for example, a player who wants to experience the game as a vocalist may plug in a microphone and be presented with a gameplay scenario in which the player must successfully sing the pitches and/or words to a song. The same player may then decide to experience the game as a drummer, connect a simulated drum set in place of the microphone, and be presented with a gameplay mechanic in which the player must successfully strike the pads of the drum set in time with the music. The game may be sold in a package with each of a plurality of instrument types, or the instruments may be sold separately from the game.
In one embodiment, a method for altering game content responsive to detecting a type of controller used by a player of a rhythm action game comprises: detecting, by a game executing on a game console, that a first simulated musical instrument type of a plurality of simulated musical instrument types is connected to the game console; selecting, by the game in response to the detection, a first song progression from a plurality of song progressions, each song progression corresponding to a different simulated musical instrument type, and wherein at least two of the song progressions comprise different sequences of songs; and providing, by the game, a session of a rhythm-action game with the selected first song progression.
In another embodiment, a method for altering game content responsive to detecting a type of controller used by a player of a rhythm action game comprises: detecting, by a game executing on a game console, that a first simulated musical instrument type of a plurality of simulated musical instrument types is connected to the game console; selecting, by the game from a plurality of collections of level data, each collection corresponding to a different simulated musical instrument type, a first collection of level data corresponding to the first simulated musical instrument type; and providing, by the game, a session of a rhythm-action game with the selected collection of level data.
In still another embodiment, a method for altering game content responsive to detecting a type of controller used by a player of a rhythm action game comprises: detecting, by a game executing on a game console, that a first simulated musical instrument type of a plurality of simulated musical instrument types is connected to the game console; selecting, by the game from a plurality of collections of level data, each collection corresponding to a different simulated musical instrument type, a first collection of level data corresponding to the first simulated musical instrument type; and providing, by the game, a session of a rhythm-action game with the selected collection of level data.
Computer readable media having executable code for implementing any of the above methods, functions, and features may also be provided.
The foregoing and other objects, aspects, features, and advantages of the invention will become more apparent and better understood by referring to the following description taken in conjunction with the accompanying drawings, in which:
Referring now to
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As the gems move along a respective lane, musical data represented by the gems may be substantially simultaneously played as audible music. In some embodiments, audible music represented by a gem 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 gem. In some embodiments, a musical tone is played to indicate successful execution of a musical event by a player. In other embodiments, a stream of audio is played to indicate successful execution of a musical event by a player. In certain embodiments, successfully performing the musical content triggers or controls the animations of avatars.
In other embodiments, the audible music, tone, or stream of audio represented by a cue is modified, distorted, or otherwise manipulated in response to the player's proficiency in executing cues associated with a lane. For example, various digital filters can operate on the audible music, tone, or stream of audio prior to being played by the game player. Various parameters of the filters can be dynamically and automatically modified in response to the player capturing cues associated with a lane, allowing the audible music to be degraded if the player performs poorly or enhancing the audible music, tone, or stream of audio if the player performs well. For example, if a player fails to execute a game event, the audible music, tone, or stream of audio represented by the failed event may be muted, played at less than full volume, or filtered to alter 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, tone, or stream of audio may be played normally. In some embodiments, if the player successfully executes several, successive game events, the audible music, tone, or stream of audio 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 cues, 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.
In addition to modification of the audio aspects of game events based on the player's performance, the visual appearance of those events may also be modified based on the player's proficiency with the game. For example, failure to execute a game event properly may cause game interface elements to appear more dimly. Alternatively, successfully executing game events may cause game interface elements to glow more brightly. Similarly, the player's failure to execute game events may cause their associated avatar to appear embarrassed or dejected, while successful performance of game events may cause their associated avatar to appear happy and confident. In other embodiments, successfully executing cues associated with a lane causes the avatar associated with that lane to appear to play an instrument. For example, the drummer avatar will appear to strike the correct drum for producing the audible music. Successful execution of a number of successive cues may cause the corresponding avatar to execute a “flourish,” such as kicking their leg, pumping their fist, performing a guitar “windmill,” spinning around, winking at the “crowd,” or throwing drum sticks.
Player interaction with a cue may be required in a number of different ways. In general, the player is required to provide input when a cue passes under or over a respective one of a set of target markers 140, 141 disposed on the lane. For example, the player associated with lane 102 (lead guitar) may use a specialized controller to interact with the game that simulates a guitar, such as a Guitar Hero SG Controller, manufactured by RedOctane of Sunnyvale, Calif. In this embodiment, the player executes the cue by activating the “strum bar” while pressing the correct fret button of the controller when the cue 125 passes under the target marker 141. In other embodiments, the player may execute a cue by performing a “hammer on” or “pull off,” which requires quick depression or release of a fret button without activation of the strum bar. In other embodiments, the player may be required to perform a cue using a “whammy bar” provided by the guitar controller. For example, the player may be required to bend the pitch of a note represented by a cue using the whammy bar. In some embodiments, the guitar controller may also use one or more “effects pedals,” such as reverb or fuzz, to alter the sound reproduced by the gaming platform.
In other embodiments, player interaction with a cue may comprise singing a pitch and or a lyric associated with a cue. For example, the player associated with lane 101 may be required to sing into a microphone to match the pitches indicated by the gem 124 as the gem 124 passes over the target marker 140. As shown in
In still other embodiments, a player interaction with a cue may comprise any manipulation of any simulated instrument and/or game controller.
As shown in
Referring now to
In other embodiments, a game display may alternate the display of one or more avatars and/or the display of the band as a whole. For example, during the performance of a song, a display may switch between a number of camera angle providing, for example, close-ups of the guitarist, bassist, drummer, or vocalist, shots of the band as a whole, shots of the crowd, and/or any combination of the avatars, stage, crowd, and instruments. In some embodiments, the sequence and timing of camera angles may be selected to resemble a music video. In some embodiments, the camera angles may be selected to display an avatar of a player who is performing a distinctive portion of a song. In other embodiments the camera angles may be selected to display an avatar of a player who is performing particularly well or poorly. In some embodiments, an avatar's gestures or actions may correspond to the current camera angle. For example, an avatar may have certain moves, such as a jump, head bang, devil horns, special dance, or other move, which are performed when a close-up of the avatar is shown. In some embodiments, the avatars motions may be choreographed to mimic the actual playing of the song. For example, if a song contains a section where the drummer hits a cymbal crash, the drummer avatar may be shown to hit a cymbal crash at the correct point in the song.
In some embodiments, avatars may interact with the crowd at a venue, and camera angles may correspond to the interaction. For example, in one camera angle, an avatar may be shown pointing at various sections of the crowd. In the next camera angle the various sections of the crowd may be shown screaming, waving, or otherwise interacting with the avatar. In other embodiments, avatars may interact with each other. For example, two avatars may lean back-to back while performing a portion of a song. Or for example, the entire band may jump up and land simultaneously, and stage pyrotechnics may also be synchronized to the band's move.
In some embodiments, the “lanes” containing the musical cues to be performed by the players may be on screen continuously. In other embodiments one or more lanes may be removed in response to game conditions, for example if a player has failed a portion of a song, or if a song contains an extended time without requiring input from a given player.
Although depicted in
In some embodiments, a lane does not extend perpendicularly from the image plane of the display, but instead extends obliquely from the image plane of the display. In further embodiments, the lane may be curved or may be some combination of curved portions and straight portions. In still further embodiments, the lane may form a closed loop through which the viewer may travel, such as a circular or ellipsoid loop.
It should be understood that the display of three-dimensional “virtual” space is an illusion achieved by mathematically “rendering” two-dimensional images from objects in a three-dimensional “virtual space” using a “virtual camera,” just as a physical camera optically renders a two-dimensional view of real three-dimensional objects. Animation may be achieved by displaying a series of two-dimensional views in rapid succession, similar to motion picture films that display multiple still photographs per second.
To generate the three-dimensional space, each object in the three-dimensional space is typically modeled as one or more polygons, each of which has associated visual features such as texture, transparency, lighting, shading, anti-aliasing, z-buffering, and many other graphical attributes. The combination of all the polygons with their associated visual features can be used to model a three-dimensional scene. A virtual camera may be positioned and oriented anywhere within the scene. In many cases, the camera is under the control of the viewer, allowing the viewer to scan objects. Movement of the camera through the three-dimensional space results in the creation of animations that give the appearance of navigation by the user through the three-dimensional environment.
A software graphics engine may be provided which supports three-dimensional scene creation and manipulation. A graphics engine generally includes one or more software modules that perform the mathematical operations necessary to “render” the three-dimensional environment, which means that the graphics engine applies texture, transparency, and other attributes to the polygons that make up a scene. Graphic engines that may be used in connection with the present invention include Gamebryo, manufactured by Emergent Game Technologies of Calabasas, Calif., the Unreal Engine, manufactured by Epic Games, and Renderware, manufactured by Criterion Software of Austin, Tex. In other embodiments, a proprietary graphic engine may be used. In many embodiments, a graphics hardware accelerator may be utilized to improve performance. Generally, a graphics accelerator includes video memory that is used to store image and environment data while it is being manipulated by the accelerator.
In other embodiments, a three-dimensional engine may not be used. Instead, a two-dimensional interface may be used. In such an embodiment, video footage of a band can be used in the background of the video game. In others of these embodiments, traditional two-dimensional computer-generated representations of a band may be used in the game. In still further embodiments, the background may be only slightly related, or unrelated, to the band. For example, the background may be a still photograph or an abstract pattern of colors. In these embodiments, the lane may be represented as a linear element of the display, such as a horizontal, vertical or diagonal element.
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Referring back to
In some embodiments, a player is associated with a “turntable” or “scratch” track. In these embodiments, the player may provide input using a simulated turntable such as the turntable controller sold by Konami Corporation.
Local play may be competitive or it may be cooperative. Cooperative play is when two or more players work together in an attempt to earn a combined score. Competitive play may be when a player competes against another player in an attempt to earn a higher score. In other embodiments, competitive play involves a team of cooperating players competing against another team of competing players in attempt to achieve a higher team score than the other team. Competitive local play may be head-to-head competition using the same instrument, head-to head competition using separate instruments, simultaneous competition using the same instrument, or simultaneous competition using separate instruments. In some embodiments, rather than competing for a high score, players or teams may compete for the best crowd rating, longest consecutive correct note streak, highest accuracy, or any other performance metric. In some embodiments, competitive play may feature a “tug-of-war” on a crowd meter, in which each side tries to “pull” a crowd meter in their direction by successfully playing a song. In one embodiment, a limit may be placed on how far ahead one side can get in a competitive event. In this manner, even a side which has been significantly outplayed in the first section of a song may have a chance late in a song to win the crowd back and win the event.
In one embodiment; competition in local play may involve two or more players using the same type of instrument controller to play the game, for example, guitar controllers. In some embodiments, each player associates themselves with a band in order to begin play. In other embodiments, each player can simply play “solo,” without association with a band. In these embodiments, the other instruments required for performance of a musical composition are reproduced by the gaming platform. Each of the players has an associated lane and each player is alternately required to perform a predetermined portion of the musical composition. Each player scores depending on how faithfully he or she reproduces their portions of the musical composition. In some embodiments, scores may be normalized to produce similar scores and promote competition across different difficulty levels. For example, a guitarist on a “medium” difficulty level may be required to perform half of the notes as a guitarist on a “hard” difficulty level and, as such, should get 100 points per note instead of 50. An additional per-difficulty scalar may be required to make this feel “fair.”
This embodiment of head-to-head play may be extended to allow the players to use different types of game controllers and, therefore, to perform different portions of the musical composition. For example, one player may elect 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, but one player elects to play “lead guitar” while the other player elects to play “rhythm guitar” or, in some embodiments, “bass guitar.” In these examples, the gaming platform reproduces the instruments other than the guitar when it is the first player's turn to play, and the lane associated with the first player is populated with gems representing the guitar portion of the composition. When it is time for the second player to compete, the gaming platform reproduces the instruments other than, for example, the drum part, and the second player's lane is populated with gems representing the drum portion of the musical composition. In some of these embodiments, a scalar factor may be applied to the score of one of the player's to compensate for the differences in the parts of the musical composition.
In still other embodiments, the players may compete simultaneously, that is, each player may provide a musical performance at the same time as the other player. In some embodiments, both players may use the same type of controller. In these embodiments, each player's lane provides the same pattern of cues and each player attempts to reproduce the musical performance identified by those elements more faithfully than the other player. In other embodiments, the players use different types of controllers. In these embodiments, one player attempts to reproduce one portion of a musical composition while the other player tries to represent a different portion of the same composition.
In any of these forms of competition, the relative performance of a player may affect their associated avatar. For example, the avatar of a player that is doing better than the competition may, for example, smile, look confident, glow, swagger, “pogo stick,” etc. Conversely, the losing player's avatar may look depressed, embarrassed, etc.
Instead of competing, the players may cooperate in an attempt to achieve a combined score. In these embodiments, the score of each player contributes to the score of the team, that is, a single score is assigned to the team based on the performance of all players. As described above, a scalar factor may be applied to the score of one of the player's to compensate for the differences in the parts of the musical composition.
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Calculating a player score representing the performance of each player may be done according to any metric (step 2301). In some embodiments, a weighted rolling average of a player's performance may be used. For example, a player's position on the meter may reflect a percentage of notes successfully hit, where more recent notes are weighted more heavily than less recent notes. In another embodiment, a player's position on the meter may be calculated by computing a weighted average of the player's performance on a number of phrases. In some embodiments, a player's position on the meter may be updated on a note-by-note basis. In other embodiments, a player's position on the meter may be updated on a phrase-by-phrase basis. The meter may also indicate any measure of a band's performance. In some embodiments, the meter may display the band's performance as an average of each of the players' performances. In other embodiments, the indicated band's performance may comprise a weighted average in which some players' performances are more heavily weighted.
In some embodiments, a single meter 180 may be used to display the performance level of multiple players as well as a band as a whole. A band composite performance level may be computed in any manner (step 2303). In some embodiments, a band performance level may comprise an average of the performance of each player in the band. In other embodiments, a band performance level may comprise a weighted average of the performance of each player in the band, with weights being assigned based on difficulty of parts, amount of notes played recently, and/or any bonuses triggered.
A band performance level may be shown on a meter 180 in any manner (step 2305). In some embodiments, the meter 180 may comprise subdivisions which indicate relative levels of performance. For example, in the embodiment shown, the meter 180 is divided roughly into thirds, which may correspond to Good, Average, and Poor performance. In some embodiments, a band performance level may be represented as a line or bar on a meter 180. In other embodiments, a band performance level may be represented as an icon or text on a meter 180. In the embodiment shown in
In some embodiments, a player or players in a band may “fail” a song if their performance falls to the bottom of the meter. In some embodiments, consequences of failing a song may include being removed from the rest of the song. In these embodiments, a player who has failed may have their lane removed from the display, and the audio corresponding to that player's part may be removed. In some embodiments, if a single member of a band fails a song, the band may consequently fail the song. In other embodiments, if a member of a band fails a song, one or more other members of the band may continue playing. In still other embodiments, one or more other members of a band may reinstate the failed player.
Individual player performance levels may be indicated on the meter in any manner (step 2307) In the embodiment shown in
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In some embodiments, if a given amount of bonuses are accumulated, a player may activate the bonus to trigger an in-game effect. An in-game effect may comprise a graphical display change including, without limitation, an increase or change in crowd animation, avatar animation, performance of a special trick by the avatar, lighting change, setting change, or change to the display of the lane of the player. An in-game effect may also comprise an aural effect, such as a guitar modulation, including feedback, distortion, screech, flange, wah-wah, echo, or reverb, a crowd cheer, an increase in volume, and/or an explosion or other aural signifier that the bonus has been activated. An in-game effect may also comprise a score effect, such as a score multiplier or bonus score addition. In some embodiments, the in-game effect may last a predetermined amount of time for a given bonus activation.
In some embodiments, bonuses may be accumulated and/or deployed in a continuous manner. In other embodiments, bonuses may be accumulated and/or deployed in a discrete manner. For example, instead of the continuous bar shown in
In some embodiments, bonus accumulation and deployment may be different for each simulated instrument. For example, in one embodiment only the bass player may accumulate bonuses, while only the lead guitarist can deploy the bonuses.
In some embodiments, a separate performance meter (not shown) may be displayed under the lane of each player. This separate performance meter may comprise a simplified indication of how well the player is doing. In one embodiment, the separate performance meter may comprise an icon which indicates whether a player is doing great, well, or poorly. For example, the icon for “great” may comprise a hand showing devil horns, “good” may be a thumbs up, and “poor” may be a thumbs down. In other embodiments, a player's lane may flash or change color to indicate good or poor performance.
Each player may use a gaming platform in order to participate in the game. In one embodiment, the gaming platform is a dedicated game console, such as: PLAYSTATION2, PLAYSTATION3, or PLAYSTATION PERSONAL, manufactured by Sony Corporation; DREAMCAST, manufactured by Sega Corp.; GAMECUBE, GAMEBOY, GAMEBOY ADVANCE, or WII, manufactured by Nintendo Corp.; or XBOX or XBOX360, manufactured by Microsoft Corp. In other embodiments, the gaming platform comprises a personal computer, personal digital assistant, or cellular telephone. In some embodiments, the players associated with avatars may be physically proximate to one another. For example, each of the players associated with the avatars may connect their respective game controllers into the same gaming platform (“local play”).
In some embodiments, one or more of the players may participate remotely.
When a networked multiplayer game session begins at the direction of one of the players, that player's gaming platform 100a (the “host”) transmits a “start” instruction to all other gaming platforms participating in the networked game, and the game begins on all platforms. A timer begins counting on each gaming platform, each player's game cues are displayed, and each player begins attempting to perform the musical composition.
Gameplay on gaming platform 100a is independent from game play on gaming platform 100b, except that each player's gaming platform contains a local copy of the musical event data for all other players. The timers on the various gaming platforms communicate with each other via the network 196 to maintain approximate synchrony using any number of the conventional means known in the art.
The gaming platforms 100a, 100b also continually transmit game score data to each other, so that each system (and player) remains aware of the game score of all other systems (and players). Similarly, this is accomplished by any number of means known in the art. Note that this data is not particularly timing sensitive, because if there is momentary disagreement between any two gaming platforms regarding the score (or similar game-related parameters), the consequences to gameplay are negligible.
In one embodiment, as each player plays the game at their respective location, an analyzer module 187a, 187b on that player's gaming platform 100a, 100 continually extracts data from an event monitor 185a, 185b regarding the local player's performance, referred to hereafter as “emulation data”. Emulation data may include any number of parameters that describe how well the player is performing. Some examples of these parameters include:
Each analyzer module 187a, 187b continually transmits the emulation data it extracts over the network 196 using transceiver 190a, 190b; each event monitor 185a, 185b continually receives the other gaming platform's emulation data transmitted over the network 196.
In one embodiment, the emulation data essentially contains a statistical description of a player's performance in the recent past. The event monitor 185a, 185b uses received emulation data to create a statistical approximation of the remote player's performance.
In one particular example, an incoming emulation parameter from a remote player indicates that the most recent remote event was correctly reproduced. When the local event monitor 185a, 185b reaches the next note in the local copy of the remote player's note data, it will respond accordingly by “faking” a successfully played note, triggering the appropriate sound. That is, the local event monitor 185a, 185b will perform the next musical event from the other players' musical event data, even though that event was not necessarily actually performed by the other player's event monitor 185a, 185b. If instead the emulation parameter had indicated that the most recent remote event was a miss, no sound would be triggered.
In another particular example, an incoming emulation parameter from a remote player indicates that, during the last 8 beats, 75% of events were correctly reproduced and 25% were not correctly reproduced. When the local event monitor 185a reaches the next note in the local copy of the remote player's note data, it will respond accordingly by randomly reproducing the event correctly 75% of the time and not reproducing it correctly 25% of the time.
In another particular example, an incoming emulation parameter from a remote player indicates that, during the last 4 beats, 2 events were incorrectly performed, with an average timing error of 50 “ticks.” The local event monitor 185a, 185b will respond accordingly by randomly generating incorrect events at a rate of 0.5 misses-per-beat, displacing them in time from nearby notes by the specified average timing error.
The above three cases are merely examples of the many types of emulation parameters that may be used. In essence, the remote player performances are only emulated (rather than exactly reproduced) on each local machine.
In this embodiment, the analyzer module 187a, 187b may extract musical parameters from the input and transmit them over a network 196 to a remote gaming platform. For example, the analyzer module 187a, 187b may simply transmit the input stream over a network 196 or it may extract the information into a more abstract form, such as “faster” or “lower.” Although described in the context of a two-player game, the technique may be used with any number of players.
Still referring to
In other embodiments, the transmitted data is associated with a flag that indicates whether the transmitted data represents a successfully executed musical event or an unsuccessfully executed musical event. In these embodiments, the analyzer 187a, 187b provides a locally-generated emulation parameter to the event monitor 185a, 185b based on the flag associated with the transmitted data.
One unusual side effect of these techniques is that each local player does not hear an exact reproduction of the remote players' performances; only a statistical approximation. However, these statistical approximations have two countervailing positive attributes: because they are synchronized to the local player's timer and the local copy of the remote players' note data, they are synchronous with the local player's performance; and while not exact reproductions, they are “close enough” to effectively communicate to the local player the essence of how well the remote players are performing musically. In this model, delays in the transmission of the data over the network 196 do not have the intolerable side effect of causing cacophonous asynchronicity between the note streams triggering sounds on each player's local system.
In other embodiments, a central server may be used to facilitate communication between the gaming platforms 100a, 100b. Extraction of emulation parameters is performed, as described above. The server distributes data, whether music performance data or emulation parameter data, to all other gaming platforms participating in the current game. In other embodiments, the server may store received data for use later. For example, a band may elect to use the stored data for the performance of a band member who is unavailable to play in a specific game.
Referring now to
As shown in
In some embodiments, multiple players participate in an online face-off 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 types of instruments at the same difficulty level selection, e.g., a guitarist playing on “hard” and a bassist playing on “medium” playing against a guitarist playing on “hard” and a bassist playing on “medium.” In other embodiments, the two bands still need to have the same types of instruments but the difficulty selections can be different: Players participating at a lower difficulty level simply have fewer gems to contribute to the overall score. The song to be played may be selected after the teams have been paired up. Alternatively, a band may publish a challenge to playa particular song and a team may accept the challenge.
For example, a local group of players may formed a band and give their band a name (“The Freqs.”). Each of the four players in the “The Freqs” is local to one another. They may then competing against a team of players located remotely, who have formed a band called “The Champs.” In some cases “The Champs” may each be local to one another. In other cases, members of “The Champs” may be remote to each other. Each player in “The Freqs” and “the Champs” may see a display similar to
In some embodiments, the bands “trade” alternating portions of the musical composition to perform; that is, the performance of the song alternates between bands. In these embodiments, musical performance output from “The Champs” is reproduced locally at the gaming platform used by “The Freqs” when “The Champs” are performing. Similarly, the musical performance of “The Freqs” is reproduced remotely (using the emulation parameter technique described above) at the gaming platform of “The Champs” when “The Freqs” are performing. In other embodiments, the bands play simultaneously. In these embodiments, the displayed score may be the only feedback that “The Freqs” are provided regarding how well “The Champs” are performing.
In some particular embodiments, members of cooperating bands may be local to one another or remote from one another. Similarly, members of competing bands may be local to one another or remote from one another. In one example, each player is remote from every other player.
In some embodiments, players may form persistent bands. In these embodiments, those bands may only compete when at least a majority of the band in available online. In some of the embodiments, if a member of a persistent band in not online and the other band members want to compete, a gaming platform may substitute for the missing band member. Alternatively, a player unaffiliated with the band may substitute for the missing band member. In still other embodiments, a stream of emulation parameters stored during a previous performance by the missing band member may be substituted for the player. In other embodiments, an online venue may be provided allowing players to form impromptu bands. Impromptu bands may dissolve quickly or they may become persistent bands.
Although
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After determining that a player has failed a song, the player may then be removed from active participation in the song (step 203). Removing a player from active participation may comprise any method of discontinuing a players involvement in the performing the song. In some embodiments, a failed player may no longer attempt to hit notes comprising the player's part. In some embodiments, the audio corresponding to the player's part in the band may be silenced. In some embodiments, the band's overall performance may be adversely affected by the failure. For example, a failed band member's performance may be continually given the lowest possible rating, such as for the drummer in
In some embodiments, the failed player's lane may be removed from the display. For example,
The player may then be reinstated in response to one or more band mates activating a bonus (step 205). In some embodiments, the activated bonus may reflect a bonus stored in a bonus meter 120. For example, a player may accumulate bonuses by successfully playing a designated musical phrase. The player may then activate the bonus in any manner. Examples of ways of activating a bonus may include pressing a button, tilting a guitar, hitting a special combo or gem, and singing or shouting a special phrase. In other embodiments, the activation may be automatic. For example, if a player's bonus meter 120 becomes full, the bonus may automatically be activated and the failed player may be reinstated. In some embodiments, reinstating a player may “cost” a certain amount of bonus. In some embodiments, reinstating a failed player may take the place of any other effects (e.g. score multipliers, and/or graphical and aural effects) that would typically be associated with activating a bonus. In other embodiments, a player may be reinstated in addition to any effects that typically accompany bonus activation.
The player may be reinstated in any manner. In some embodiments, the player may be reinstated with a predetermined level of performance. For example, a reinstated player may have their performance set in the middle of a performance meter. Once the player has been reinstated, the player may resume their participation in playing the song as they did previously. Likewise, the audio corresponding to the player's performance may be resumed. In some embodiments, the reinstated player may be shown with a message “resurrected” or a similar message indicating that the player has returned. In other embodiments, the player who saved the failed player may be shown with a graphic stating “savior” or a similar message identifying the player as the reinstater of the failed player.
A player reinstatement may be indicated graphically and aurally in any manner. In some embodiments, a lane corresponding to the player that has been removed may reappear. In other embodiments, a player's avatar may return to the stage, become energized, resume playing their on-screen instrument, or otherwise indicate their reinstatement. In some embodiments, the crowd may cheer, encourage, or otherwise indicate renewed approval for the reinstated player.
Referring now to
An improvisational section of a song may be indicated in any manner. In some embodiments, an improvisational section of a song may be indicated graphically. For example, an improvisational section may be indicated by highlighting all the columns in a player's lane. Or for example, an improvisational section may be indicated by a special gem or series of special gems. Or for example, an improvisational section may be indicated by a message displayed to a player.
In some embodiments, an improvisation section may be indicated by a color block spanning some or all the columns or rows of a player's lane.
In these embodiments, a color block indicating an improvisational section may then be graphically altered in response to a player's input. For example, after a player plays a note corresponding to a given column, that column may temporarily be made brighter and then fade. In this example, a player may be incentivized to play notes corresponding to each of the columns in order to keep all the columns brightly lit. In this example, score bonuses may be awarded for keeping the lanes lit.
In some embodiments, improvisational sections may be implemented similarly across all the instruments in the game. In other embodiments, improvisational sections may be implemented differently across a number of instruments to reflect unique properties of the simulated instruments.
For simulated guitars, in one embodiment, improvisational sections may be provided in which a player must strum or press fret buttons at above a minimum rate and/or move among a minimum number of different fret buttons. While the minimum rate is met, then audio from a pre-recorded guitar solo may be played. This may provide the player with the feeling of freely playing a section and producing an improvised solo, without having to mimic a note progression contained in the pre-recorded solo. If the player meets the minimum threshold, the player may also be awarded a bonus or given a score addition.
For a simulated drum set, in one embodiment, in improvisational sections each of the simulated drum pads and foot pedal may be mapped to a different drum sound. The player may then freely play the simulated drum set as though it were an actual drum set, and hear similar audio as if the player was playing a drum set. In some embodiments, a player may be required to play the simulated drum set at above a given minimum rate and/or move between the simulated drum pads at least a minimum amount in order to keep the improvisational section going. In other embodiments, the player may be required to play the simulated drum set at above a given minimum rate and/or move between the simulated drum pads at least a minimum amount in order to score points or acquire a bonus for the improvisational section.
In some embodiments, improvisational drum sections may be used in conjunction with bonuses. In one embodiment, after a player has accumulated a predetermined amount of bonuses, drum fill sections of a song may be “unlocked.” These sections may appear during the course of songs where drum fills might typically be played. The player may then use their simulated drum set to play their own drum fills during these sections. Scoring for these fill sections may be computed using the technique described above of requiring a player to play above a given minimum rate and/or move between the simulated drum pads at least a minimum amount in order to collect a score for the section. In some embodiments, these fill sections may be tied to activation of a bonus. In one embodiment, at the end of a fill section, a special gem may be displayed. If the player hits a drum pad corresponding to the gem, the player's accumulated bonus will be activated. If the player does not hit the gem, the player's accumulated bonus will not be activated. In some cases, the special gem may correspond to the drum pad typically used for a crash cymbal.
For a vocalist, in one embodiment, during improvisational sections the audio from a prerecorded vocal solo may be played, while the player is given the freedom to sing as he/she chooses. In some embodiments, the player may be required to make a minimum amount of noise or sing a minimum number of notes to sustain the improvisational section and/or collect a bonus. In some embodiments, a color block representing a vocal improvisational section may be distorted in an artistic or aesthetic manner in response to a player's vocal improvisations. Such distortions may mimic a tye-dye, fractal, wave, explosion, or other visual effects.
Referring now to
In greater detail, an improvisational sequence may be provided during a song to players of a game (step 301). In some embodiments, the improvisational sequence may correspond to an improvisational sequence in the prerecorded version of the song. For example, a recorded song may have an ending sequence during which a number of the artists freestyle. This section of the song may be provided to players of a game as an improvisational sequence using any of the techniques described above. For example, each of the players may have to maintain a certain level of input in order to sustain the improvisational section. In some embodiments, icons may be displayed above each player's lane to indicate whether each player is sustaining the correct amount of input. In other embodiments, the audio of corresponding a given player may be discontinued in the event the player fails to maintain the correct level of input.
In some embodiments, the players may accumulate a bonus during the improvisation section depending on the speed, variety, or skill of their improvisation.
The game may then indicate to the players a unison sequence following the improvisational sequence (step 303). The game may indicate the unison sequence in any manner used to indicate musical sequences, including gems, indicators, and/or note bars. The unison sequence may comprise any musical sequence. In some embodiments, the unison sequence may correspond to an ending hit or riff played after an improvisational section. For example, some rock songs feature an ending where one or more of the artists freestyle until a climax is reached where one or more ending riffs is played in unison. The improvisational sequence followed by the unison sequence may mimic such a song ending. In some embodiments, icons may be displayed to indicate whether each player is successfully playing the unison sequence. For example, an icon may be displayed for each player which turns red in the event that a player misses a note in the unison sequence.
The game may then award a bonus to the members of the band or the band as a whole for successfully executing the unison sequence (step 305). Examples of bonuses that may be awarded include additional points, score multipliers, in-game money, in-game frame, in-game gear, and/or access to additional levels. Additionally, the game may alter one or more graphical and/or audio elements in response to the successful execution, including, without limitation, crowd volume, crowd animation, arena lighting, arena effects, avatar demeanor, and avatar actions. In some embodiments, a bonus accumulated as in
Referring now to
The body portion of the guitar may simulate bass guitars, such as the Gibson EB-0, Gibson EB-I, Gibson EB-2, Gibson EB-3, Gibson EB-6, Gibson RD bass, Gibson Thunderbird, Gibson Ripper, Gibson Grabber, Gibson G3, Gibson Victory Standard bass, Gibson Les Paul bass, Fender Jazz Bass, Fender Jaguar Bass, Fender Mustang Bass, Fender Precision Bass, Fender Performer Bass, Fender Telecaster Bass, Fender VI, Fender Zone Bass, Fender Dimension Bass, Fender Bass V, Fender Bronco Bass, or Fender Bullet Bass.
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.
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
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.
In some embodiments, one or more fret buttons may be pressure sensitive. In one embodiment, the fret buttons may sense the amount of force a player is holding them down with, and transmit a signal accordingly. In one embodiment, this pressure sensitivity may be used to simulate a vibrato effect, in which a player can vary the pressure on a fret button to bend the pitch of a played note up and down. In another embodiment, a player may be able to control the volume of playing by varying the amount of pressure on a fret button. In still other embodiments, a player may vary the amount of pressure on a fret button to vary the attack or tail of a played note.
Although shown in
Referring ahead to
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.”
Referring back to anyone of
The whammy bar 260 of the controller resembles a whammy bar of a real guitar. As shown in
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.
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 playa 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.
In the simulated guitar controller 400, hammer-ons may be simulated by allowing the player to press down fret buttons 420 without needing to simultaneously strum the strum bar 440. 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 activate the “higher” pitched fret button to successfully capture the note.
Similarly, in pull-offs, the player can “playa 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
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.
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A selected guitar effect may be implemented in any manner within the game. In some embodiments, the selected guitar effect may immediately be applied to the guitar sounds produced by the player, and be applied for as long as the player has the switch set to the guitar effect. In other embodiments, guitar effects may only be deployed for certain amounts of time, and in certain places in songs. In one embodiment, a guitar effect may only be activated when a player activates a bonus. For example, when a player activates a bonus (such as from a bonus meter 120) the player's currently selected guitar effect may be deployed for a set amount of time, or a set number of notes. In another embodiment, a player may earn the right to deploy one or more guitar effects by achieving a given score or completing a certain task. Once the guitar effects are earned, then the player may deploy them at any time. In some embodiments, certain guitar effects may positively or negatively impact a player's score.
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In some embodiments, the drum pads 502 may be struck with drum sticks used with ordinary drums. In other embodiments, the drum pads 502 may be struck with customized drum sticks designed specially to work with the set 500.
During a game session, each drum pad may be configured to simulate an individual percussion instrument. For example, a user striking a drum pad 502a may cause a snare drum sound to be played, while the user striking drum pad 502b may cause a tom-tom sound to be player, while the user striking drum pad 502d may cause a crash cymbal sound to be played. In some embodiments, the played sound may reflect any of the properties of the user's strike of the drum pad. For example, a game may playa louder snare drum sound in response to a user hitting a drum pad harder. Or for example, a game may alter the sound of a ride cymbal played depending on how close to the center or the rim of the drum pad the user strikes. In some embodiments, the sound played in response to a drum pad strike may be chosen from a prerecorded library of percussion sounds. In other embodiments, in response to a user successfully striking a pad 502 corresponding to an on screen gem, a portion of a pre-recorded drum track corresponding to the current song may be played.
The drum set 500 may also comprise a number of foot pedals 530. In some embodiments, a single foot pedal may be provided. In other embodiments, any number of foot pedals may be provided, including two (such as one to simulate a bass drum and one to simulate a hi-hat), three or four. During a game, the foot pedal may be used to create any percussion sound.
In some embodiments, a drum set 500 may comprise a stand 520 which allows a user to sit or stand while playing the drum pads, and still have access to the foot pedal 530. In one embodiment, the stand may allow a user to adjust the height of the drum pads as a whole. In another embodiment, the stand 520 may allow a user to adjust the height of the drum pads individually. In still another embodiment, the stand 520 may allow a user to adjust the position of one or more pads, such as by swiveling one or more pads closer to the player. In some embodiments, the stand 520 may allow a user to adjust the placement of the foot pedal, including moving the foot pedal forwards, backwards, and side-to-side. In one embodiment, the foot pedal and/or drum pads 502 may be detachable from the stand. In this embodiment, the drum pads 502 may be placed on a table top or held on a player's lap.
In some embodiments, a simulated drum set 500 may include a controller 510. The controller may comprise inputs for configuring the simulated drum set, including, for example, sensitivity, left/right handed switching, and turning the drum set on and off. The controller 510 may also comprise any other game inputs. In some embodiments, the controller 510 may comprise some or all of the functionality of a standard game controller for any of the game systems described herein. In some embodiments, the controller may be used for navigating menus, or inputting configuration or other game data.
A simulated drum set 500 may also comprise any other elements incorporated in game controllers. In some embodiments, a drum set 500 may comprise a speaker which may provide individual feedback to the player about the player's performance. In large multiplayer games, this individual speaker may assist a player in assessing their performance and hearing whether or not they missed a note. In other embodiments, a drum set 500 may comprise a microphone which may be used to chat with other players, provide vocal input, or provide hand claps, microphone taps, or other aural input. In other embodiments, such an individual speaker may be included in any other simulated instrument, including a guitar and/or microphone.
In some embodiments, the drum pads 502 and/or foot pedal 530 may be color coded. For example, drum pad 502a may be green, pad 502b may be red, pad 502c may be yellow, pad 502d may be blue, and the foot pedal 530 may be orange. Color coding may be indicated in any manner, including the color of the pads 502, the color of the rims surround the pads 502, the color of an icon or design on the pads 502 or rims, or one or more labels on the pads, rims, and/or stand. The color code of the foot pedal may also be indicated in any manner, including the color of the foot pedal, the color of a design or icon on the foot pedal, or one or more labels on the foot pedal or stand.
In addition to being used during gameplay, in some embodiments the simulated drum set may be used to navigate one or more menus or produce other game input. For example, a game may display a menu to users in which different menu options are color coded. A user may then strike the drum pad or stomp the foot pedal corresponding to the color of a menu option to activate that menu option. Or for example, a series of menus may be provided in which a user may use two drums 502b 502c to cycle up and down among choices within a menu, and use two drums 502a, 502d to move forward and backward between different menus. In some embodiments, one or more drums may be assigned a designated function throughout a game interface. For example, during the course of navigating a series of menus, startup, and/or configuration screens, a player may always be able to use the foot pedal to return to a main screen. Or for example, the player may always be able to use the leftmost drum 502d to alter a currently selected option. In some embodiments, navigating menus and configuration screens may be done via a combination of the drum pads, foot pedal, and controller.
Referring now to
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The sensor 533 may comprise any electrical means for measuring the position and/or velocity of the magnet 531 and generating a signal indicating the position and/or velocity. In some embodiments, the sensor may measure an electrical charge created by the magnet's 531 position. In these embodiments, the sensor may comprise a Hall Effect sensor. In other embodiments, the sensor 533 may measure an electrical current induced by the motion of the magnet. Although the sensor is shown mounted to the base 537 of the foot pedal, in other embodiments the sensor 533 may be mounted to the foot board 534 of the foot pedal. Further, although a magnet 531 is shown activating the sensor, in other embodiments, any other contactless switch and/or sensor may be used, including without limitation optical sensors.
The foot pedal 530 may transmit any signal relating to the position and/or velocity of the foot pedal. In some embodiments, the foot pedal may transmit a signal each time the pedal is pressed past a certain threshold. In one embodiment, the threshold may be defined as a predetermined angle of depression. In another embodiment, the threshold may be defined as a predetermined velocity of the depression. In still another embodiment, the threshold may be defined as a predetermined velocity combined with a predetermined angle. For example, the foot pedal may transmit a signal when the angle between the base 537 and foot board 534 becomes less than 15 degrees (which may correspond to when the pad 535 contacts the base). In another example, the foot pedal may transmit a signal when the angle between the base 537 and foot board 534 becomes less than 15 degrees provided that the foot board 534 was pressed above a minimum velocity. In this manner, the foot pedal may simulate a real bass drum in that a minimum velocity and angle are required to produce a sound. In other embodiments, the foot pedal may transmit a continuous signal detailing the position and velocity of the foot board 534.
A game may use any aspects of the signal produced by a foot pedal in simulating a drum sound. For example, in some embodiments, the game may reproduce a louder drum sound in response to a harder stomp from a player on the foot pedal.
A foot pedal 530 may comprise a spring, elastic, or any other mechanism for returning the foot pedal 530 to its original state after the foot pedal has been depressed. In some embodiments, the foot pedal 530 may comprise a spring in a pivot point 539. In other embodiments, the foot pedal 530 may comprise one or more springs positioned between the base 537 and the foot board 534: In some embodiments, the springs of a foot pedal 530 may be configured to simulate the feel of a real kick drum.
Referring back to
In these embodiments, vertical position of a note tube 124 represents the pitch to be sung by the player; the length of the note tube indicates the duration for which the player must hold that pitch. The arrow 108 provides the player with visual feedback regarding the pitch of the note that is currently being sung. If the arrow is above the note tube 124, the player needs to lower the pitch of the note being sung. Similarly, if the arrow 108 is below the note tube 124, the player needs to raise the pitch of the note being sung. In these embodiments, the player providing vocal input may do so using a USB microphone of the sort manufactured by Logitech International of Switzerland. As shown in
In some embodiments, in addition to detecting the pitch the player is singing, a game may also detect phonemes used by a player to determine whether a player is singing the correct lyrics to a song. For example, for the lyrics “She's the girl for me” a phoneme detection scheme may require that the player sing words that at least begin with a “sh” sound, followed by a “th” sound, a “g” sound and end with a “ee” sound. In some embodiments, the phoneme detection may be synchronized with the rhythm of the song being played, such that a player is required to sing certain syllables at the proper times within a song. In some embodiments, phoneme detection may be used in all the songs of a game. In other embodiments, phoneme detection may only be used with certain songs or difficulty levels. In still other embodiments, phoneme detection may be used in place of pitch detection during vocal sections of songs which meant to be spoken or shouted instead of sung traditionally. In some embodiments, a phoneme detection library software package may be used to facilitate the phoneme detection.
As discussed above, in some embodiments one or more of the players may participate remotely. In these embodiments, remote play may be facilitated using the “emulation data” methods described above. In those methods, a remote gaming platform receives emulation parameters, either from a central service or directly from a participating player, regarding the player's performance. As above, the emulation data may include any number of parameters that describe how well the player is performing. In some specific embodiments, the emulation data may also reflect whether the player providing vocal input is singing an octave higher or lower than the target musical data.
In one particular example, an incoming emulation parameter from a remote player indicates that the most recently performed note tube was performed at one of a set of quantized quality levels, e.g., “lousy,” “poor,” “ok,” “good,” “great,” and “perfect.” The local gaming platform will respond accordingly by modifying the vocal track that is locally reproduced in a manner that approximates the received emulation data. For example the pitch of the vocal track may be elevated or depressed a number of half steps corresponding to the received emulation data. In other embodiments, distorting effects may be applied to the reproduced vocal musical data to reflect the emulation data received. Such distorting effects may include white noise, frequency shifting, frequency shaping, volume adjustments, and tempo shifting. In certain embodiments, the vocal track may not be reproduced if the emulation data reflects a very poor vocal performance. In other embodiments, the volume of the vocal track may be decreased to reflect poor performance, and increased to reflect good performance.
In another particular example, an incoming emulation parameter from a remote player indicates that the player providing vocal input is providing input an octave higher than expected. In these embodiments, the pitch of the vocal track may be raised by an octave to reflect the vocal player's performance. A similar technique may be used if the vocal player provides vocal input that is an octave lower than the expected musical performance data. In other embodiments, incoming emulation parameters may reflect whether a remote singer is flat or sharp, and the pitch of the vocal track may be adjusted accordingly.
Referring now to
Still referring to
At least one cue corresponding to a percussion element of the song may be displayed on the same lane as the cues corresponding to the vocal track (step 603). The at least one cue may be displayed at any point during the song, including prior to, during, or after the display of any vocal cues. In some embodiments, the at least one percussion cue may be displayed during a portion of the song with no lead vocals. For example, a song may have an instrumental section in the middle of the song where no lead vocals (or no vocals at all) are present. During this section, cues may be displayed to the vocalist corresponding to a percussion instrument that is present during the instrumental section that may typically be played by a singer, such as a cowbell or tambourine. In this way, the vocalist does not have a long portion of a song with nothing to do.
Referring ahead to
The musical targets 610 may comprise any graphical indication of a percussion act to be performed. In some embodiments, musical targets may be shaped to resemble the percussion instrument to be played. For example, cues may be shaped like a tambourine to indicate that a tambourine part should be mimicked. In some embodiments, the musical targets may be displayed in the vocalist's lane along with the pitch indications. In other embodiments, the musical targets may be displayed in the row where lyrics typically appear.
Referring now to 6C, a second embodiment of a screen display for a video game in which a player emulating a musical performance by providing vocal input is also asked to supply percussive input is shown. The screen depicts tambourine targets 610 scrolling across the bottom of the screen. If a player successfully shouts or taps the microphone at the correct time, the targets 610 may explode or flash to indicate the success. The screen also depicts the avatar of the vocalist holding a tambourine. In other embodiments, a vocalist avatar may be depicted holding or using any other percussion instrument the player vocalist is asked to mimic. Although no vocal cues are shown in
Referring back to
A second gameplay mechanic may be used to evaluate the player's performance with respect to the cues corresponding to the percussion element. In one embodiment, the second gameplay mechanic may be to evaluate the timing of one or more bursts in sound data received from a microphone. In certain of these embodiments in which the player providing vocal input uses a USB microphone, input may be provided by tapping or striking the microphone or, in some embodiments, by shouting sharply or otherwise vocalizing into the microphone. In other embodiments, a sensor may be included in a microphone and a player may be required to shake, tilt, strike, or otherwise move the microphone to produce the percussion effect.
In some embodiments, the success of a player in performing the percussion targets may be included in their overall vocal performance metric, such as on a performance meter. In other embodiments, the success of a player in performing the percussion targets may be scored separately. For example, a vocalist's standing on a performance meter may be unaffected by their performance on the percussion targets. However, in this example successful execution of the percussion targets may trigger one or more bonuses, and/or increase a point score awarded to the vocalist or band.
Referring now to
Still referring to
In response to the identifying, an improvisational section of any length may be provided during the song (step 703). An improvisational section may be in contrast to the scenarios described above in which players must mimic a predetermined progression of gems to playa predetermined piece of music. An improvisational section may allow players to freely perform on the microphone without requiring a specific progression of notes or sounds. In some embodiments, a player's actions during an improvisational section may have no impact on a performance meter. In some of these embodiments, a performance meter may be removed from the display during an improvisational section.
An improvisational section of a song may be indicated in any manner. In some embodiments, an improvisational section of a song may be indicated graphically. For example, an improvisational section may be indicated by highlighting all the columns in a player's lane. Or for example, an improvisational section may be indicated by a special gem or series of special gems. Or for example, an improvisational section may be indicated by a message displayed to a player.
In some embodiments, an improvisation section may be indicated by a color block spanning some or all the columns or rows of a player's lane. In these embodiments, a color block indicating an improvisational section may then be graphically altered in response to a player's input. For a vocalist, in one embodiment, during improvisational sections the audio from pre-recorded vocal solo may be played, while the player is given the freedom to sing as he/she chooses. In some embodiments, a color block representing a vocal improvisational section may be distorted in an artistic or aesthetic manner in response to a player's vocal improvisations. Such distortions may mimic a tye-dye, fractal, wave, explosion, or other visual effects.
A determination may then be made that that sound data from a microphone assigned to the vocalist exceeds a second predetermined threshold during the improvisational section (step 705). The second predetermined threshold may comprise any threshold measure including without limitation volume, pitch, duration, and any combination thereof. In one embodiment, the second predetermined threshold may be a volume threshold, such that a player is required to make noise above a given volume. In another embodiment, the threshold may be a burst threshold, such that the player is required to produce a burst of sound with given parameters.
In response to the determining, a bonus may be deployed (step 707). In some embodiments, the deployed bonus may be a bonus accumulated by playing a predetermined number of selected phrases. For example, a player may accumulate bonuses by singing certain vocal sections above a given standard of performance. Once a player has accumulated enough bonuses, improvisational sections may begin to be provided to the player (such as, for example, during breaks between vocal phrases of the song). If a player sings or otherwise makes sufficient sound during the improvisational section, the accumulated bonus may be activated. The accumulated bonus may result in a score multiplier, improved performance meter, and/or increased crowd reaction.
Referring now to
In the tour mode, members of the band earn money by traveling to various cities and countries and performing at venues within the locations. A band may earn money for successfully completing a show comprising one or more songs at a venue. A band may spend money by purchasing items, hiring assistants, and renting venues. The game experience may be provided in part by a number of servers which host data related to a bands progress through a tour and which comprise information about the venues and locations of the tour. In this manner, the venues, locations, and songs available to bands on a tour may be continually changed or updated as new content is added to servers. Referring ahead to
The band may earn fame by performing well, and lose fame by performing poorly. The amount of a band's fame may determine the number and type of venues at which the band can play. For example, a band with a relatively low fame rating may not be able to access large arenas or concert halls. Fame may be measured both locally with respect to a given geographic region and globally. For example, a band may have a high fame rating in their hometown if they have played a number of gigs there, but have a low fame rating in a foreign city if they have not played any gigs there.
In some embodiments, a band may also have a “buzz” rating which is related to fame, but only calculated with respect to a band's most recent gigs. For example, a band's fame may steadily increase as they perform a large number of shows well, and remain high even if a recent number of shows are poor. However, the “buzz” rating for the band may fall much faster than their fame as a result of recent failures. In some embodiments, the buzz rating may be calculated relative to previous performances. For example, a band may receive buzz points if their most recent performance was better than their previous performance, regardless of the absolute level of the performance. Likewise, a band may lose buzz if their performance was worse than a previous performance, regardless of the absolute level of their performance. In some embodiments, however, a band may not lose buzz (and may even gain buzz) if their performance is at a high enough level regardless of any previous performances. In some embodiments, the amount of buzz a band has may be decremented if the band is inactive for longer than a given period of time.
In some embodiments, special events may be triggered based on a band's changing fame and/or buzz levels. For example, a band with a falling buzz level may be granted events for “washout” or “failure” bands. Or for example, a band with a rising buzz level may be eligible for “success” events, which may include bonus venues, songs, or prizes. Or for example, a band with a buzz cycling from high to low and back to high may be eligible for “comeback” events.
The venues available for band to play in may have a number of properties. In one embodiment, venues may have a minimum amount of fame required to play in the venue. In some embodiments, venues may be stratified related to their capacity and the amount of fame required for a band to be able to book them. For example, house parties, small bars, and open mic nights may require no fame or only a small amount of fame to play. Clubs, radio contests, and battles of bands may require a moderate amount of fame to play in. Arenas, large concert halls, and Outdoor venues may then require a larger amount of fame to play. In some embodiments, the amount of fame required to playa venue may vary depending on the type of gig. For example, playing a Thursday night opening set may require a smaller amount of fame than headlining a Saturday night show. In other embodiments, venues may require a minimum amount of buzz, or a minimum amount of increasing buzz.
Venues may also cost a given amount of money to rent. In some embodiments, this cost may vary depending on the type of gig. In some embodiments, the cost of a venue may be roughly proportional to the size and prestige of the venue. Venues may also pay a certain amount to a band or players within a band for a successful performance. In some embodiments, the amount of money paid may be dependent on the quality of the player's performance. For example, a venue may offer to pay each player of a band $500 per star (out of five) earned on their performance. In this embodiment, different members of a band may be paid different amounts based on their individual performances. In some embodiments, the amount paid to a band or player may be decreased if the band fails one or more songs. For example, if a band fails 1 song out of a five song set, the band may only receive 4/5 of the original compensation.
In other embodiments, venues may require that a band be playing at a given difficulty level. For example, a band playing at a low difficulty level may not be able to access large arenas or clubs. In still other embodiments, venues may require that a band have a certain number of employees. For example, a gig at a club may require that a band employ a band manager to book the gig. Or for example, a gig at an arena may require that a band employ a number of set and/or lighting personnel, in addition to a number of roadies to set up the band's equipment.
Any data relating to a band's progress or performance at a given venue may be stored on a server so that it can be accessed by members of the band and/or other players. For example, a leaderboard may be maintained for each venue listing the bands with the best performances at that venue.
The following paragraphs provides one detailed example of how a band may be created and managed using the funds earned by the band in the context of an XBOX environment.
In this example, by default, all players are in a ‘pick-up band’ when they first begin a session in the online world tour area of a game. At any time, the session leader has the option of formalizing the group as a band. This may be accomplished through a Band Management screen by selecting “Create New Band” and assigning the current pick-up mix of players a collective moniker. The location of the data being stored is dependent on the type of people in the band. If all players are local or in System Link mode, then the data is stored on the band leaders' local Xbox save. If any player is also on Xbox Live, then the data is stored in the Band Leader's Xbox Live profile data for under the rock band game. In this example, by default, when all members of a band are in a session, the session automatically converts to the applicable persistent band instead of a pick-up band.
In this example, various band customization abilities are available depending on the current fame and cash level of the band. Naming your band is available from the instant you formalize the pick-up band as a persistent band. Creating a band logo is available once your band can play outside of town, and costs a small amount of money. Using your band logo as a stamp is available once a Merchandise Guy is hired, and costs money also. Making band posters for the practice room is possible once a Promotions Guy is hired, and costs money. Making band signs for the stage is possible once a Set Director is hired, and costs money. Spraypainting the band logo on the main menu screen of the game is available for a large amount of money. Downloading virtual stickers to be placed on instruments or clothing may also be available for some amount of money.
Still referring to
In some embodiments, screens may also display a band status (e.g. “Garage Band”). In some embodiments a band status may reflect a band's current amount of fame. In other embodiments, a venue, event, or city selection screen may display the amount of money held by each player of the band, the name of the band, and the name of the geographic location the band is currently in. A band's selections and progress through a world tour may be saved on a server such that the information is retrievable by any of the band members, remote or local, at any time. In some embodiments, the band leader may be responsible for selecting the venue and gigs that a band plays. In other embodiments, a band may all have to accept a given gig and venue before it is played.
In
In some embodiments, a venue may have a prerequisite for playing. For example, an arena may require that a band hire roadies before the band may play in the arena. A game may provide any in-game mechanism for hiring virtual assistants. In some embodiments, a band may recruit employees after achieving a given amount of fame. In other embodiments, a band may hire employees after earning a set amount of money. In still other embodiments, employees may be awarded to a band after completion of certain tasks or songs.
In some embodiments, a city selection screen may be provided. A city selection screen may allow a band to choose a city to travel to and play venues in that city. In some embodiments, the cities available to a band may be determined based on one or more of a band's fame, money, or vehicles. For example, in some games, a band might be required to own a van before the band can play at cities outside the band's hometown. In other games, a band might be required to pay a given amount of money to buy plane tickets to a given city. In other embodiments bands may choose to visit any type of geographic or geopolitical region, including without limitation towns, suburbs, blocks, districts, counties, states, countries and continents.
Referring now to
In some embodiments, a player may be able to download game content from a server 801. Examples of game content that may be downloaded may include new songs, new venues, new virtual instruments, new avatars, new avatar clothing, new avatar animations, and music videos. In some embodiments, downloadable game content may be made freely available. In other embodiments, downloadable game content must be purchased with earned in-game money or points. In still other embodiments, downloadable game content might be purchased using actual currency or currency equivalents such as XBOX LIVE points. In some embodiments, downloadable content may be for use in a single player game. In other embodiments, downloadable content may be for use in a multiplayer game. In some embodiments, all members of a band must purchase the downloadable content for it to be used by the band. In other embodiments, only one member of a band must purchase the content for the content to be usable by the band. In some embodiments, downloadable content may be purchased by a band as a whole.
In some embodiments, downloadable content may be offered in packs arranged by themes. For example, a downloadable pack may feature a number of songs, music videos, and avatar designs based on a real life band. Or for example, a downloadable pack may feature a number of songs, venues, and avatar designs centered around a given style of music.
Although a world tour mode has been shown, it should be understood that any other gameplay mode may be offered in the context of a rock band game. In some embodiments, a “quickplay” mode may be selected which allows a player or band to quickly select and playa single song. In other embodiments, a practice mode may be provided which allows a player or band to rehearse a song. In some embodiments, the practice mode may allow players to slow down or speed up a song, or only rehearse a given section or lick of a song. All of these modes may be offered in the context of both remote and local play.
Referring now to
Still referring to
Information corresponding to the created character or band may then be stored in any manner (step 903). In some embodiments, the information may be stored on a server 801. In other embodiments, the information may be stored on a player's game system. In other embodiments, the information may be stored on a combination of the player's game system and the server 801. The information may be stored in any format, and may persist for any amount of time.
An order may then be received for a piece of merchandise corresponding to the created character or band (step 905). The order may be received in any manner. In some embodiments, the order may be received from a web site operated in conjunction with a game. In other embodiments, the order may be received from an in-game store. In some embodiments, the order may be received bye-mail or other electronic messaging protocol. In some embodiments, the order may be transmitted via the internet. In other embodiments, the order may be transmitted over a network operated in conjunction with a game system.
In some embodiments, the merchandise may be sold for money. In other embodiments the merchandise may be given away, or sold for in-game currency. In still other embodiments, the merchandise may be ordered after completing certain in-game tasks. In still other embodiments, a character or band must acquire certain items, experience, or fame before merchandise may be ordered featuring the band or character.
The merchandise ordered may comprise any articles typically sold as merchandise, including any merchandise typically associated with real world bands. Examples of merchandise that may be sold include, without limitation, key rings, sunglasses, watches, patches, posters, hats, visors, t-shirts, long-sleeve t-shirts, sweatshirts, polo shirts, golf shirts, belts, belt buckles, mugs, coffee cups, letter openers, paperweights, action figures, statues, figurines, jackets, scarves, gloves, stickers, purses, bags, totes, jewelry, toys, and/or guitar picks.
The merchandise may correspond to the character or band in any manner. In some cases, the merchandise may be imprinted with the name of the band or character. In other embodiments, the merchandise may be printed with a picture of the band or character. In still other embodiments, the merchandise may be printed with a logo of a band or character. In some embodiments, the person ordering the merchandise may customize the way the band or character appears on the merchandise. For example, the person may select a given pose for their character's avatar to appear on a t-shirt. Or for example, the person may select a given venue for their band to appear on a poster of the band. Or for example, the person may select the size, location, color, and/or style of the logo, text, or image printed on the merchandise. In other cases, the person may be able to select the color, size, or style of the underlying merchandise, such as the color or size of the t-shirt on which their band appears.
In some embodiments, the merchandise may also indicate accomplishments, fame, ratings, or skill of the character or band. For example, a poster may be offered with a picture of a character and caption reading “5 star performance on all songs.” Or for example, a t-shirt may be offered with a picture of a band and a listing on the back of the shirt of a number of gigs the band played along with the ratings the band received. Or for example, a figurine of a character may be ordered with a plaque stating that the character played to a sold-out arena. In some embodiments, any or all of the order processing steps may be automated. For example, an e-commerce web site may be created for accepting merchandise orders. Upon a person logging into the site, the person may be asked to specify a band or character they would like to order merchandise for. After the person specifies this (and enters a password if necessary), the e-commerce server may access the stored character or band data to create one or more images and/or text descriptions of merchandise that may be ordered featuring the band or character. The e-commerce site may then comprise any means for the person to specify and customize their order before purchasing it.
The ordered merchandise may then be produced in any manner (step 907). In some embodiments, some or all of the production and shipping of the merchandise may be automated. For example, after an order is placed, an e-commerce server may transmit details of the order to a poster printer, including the image to be printed and the shipping address. The poster printer may then print the poster and mail it to the designated address. Or for example, an e-commerce server may transmit specifications of a figure ordered to a 3D printer which may produce a 3D sculpture of a specified character in an automated fashion. The ordered merchandise may be delivered to the consumer in any manner, including electronically, by mail, by fax, and by hand delivery.
Now referring to
For example, in the first column of
In the second column of
In some embodiments a single game may contain entire unique and separate single-player modes and quests for each of a number of simulated instruments which may be used with the game. For example, a game may be sold which contains a separate guitar, bass, drum, and singing campaign, with the campaign that is presented to a player depending on the hardware the player has connected to the system.
In the third column of
Referring now to
Still referring to
In some embodiments, the game may detect a musical instrument type and a corresponding game controller. For example, a game may detect a microphone is connected to the platform, as well as a standard game controller. The standard game controller may be used by the player using the microphone to navigate menus and other game functions.
A game may then select, in response to the detection, a first song progression from a plurality of song progressions, each song progression corresponding to a different simulated musical instrument type, and wherein at least two of the song progressions comprise different sequences of songs (step 1103). A song progression may comprise any sequence of songs presented to a player of the game during the course of play.
For example, a song progression may comprise a linear sequence of songs, in which a player must successfully complete each song to advance to the next song. Or for example, a song progression may comprise a series of groups of songs, in which a player must complete a certain number of songs from a group before the player may advance to the next group.
Or for example, a song progression may comprise a matching of a number of songs with a plurality of difficulty levels. In this example, songs may be assigned different difficulties depending on which instrument is used to play the song.
For example, a song may have a very difficult drum part, but a relatively easy vocal part. Thus the song may be placed higher in a song progression provided to a player using a drum controller than to a player using a microphone controller.
For example, the table below illustrates three song progressions which may be provided depending on whether a guitar, drum, or microphone controller is connected to the game platform.
Although in the above example, the three song progressions have the same number of songs, in some embodiments, different song progressions may comprise different numbers of songs. For example, more songs may be available to be played on drums than on guitar.
Referring now to
Still referring to
The first gameplay mechanic, which may be referred to as the “guitar mechanic,” comprises displaying a series of cues to a player, which may correspond to a guitar track of a song. In this mechanic, the player executes the cue by activating the “strum bar” while pressing the correct fret button of the controller when a cue passes under the target marker. The player may also execute certain cues by performing a “hammer on” or “pull off,” which requires quick depression or release of a fret button without activation of the strum bar. The player is judged based on how closely the activations of the strum bars and fret buttons match the provided cues. A guitar mechanic may be selected by a game if the game detects a guitar controller connected to the platform.
The second gameplay mechanic, which may be referred to as the “drum mechanic,” comprises displaying a series of cues to a player, which may correspond to a drum track of a song. The player executes the cues by striking an appropriate drum pad, or depressing a foot pedal, based on the displayed cues. The player is then evaluated based on how closely the player's activations of the drum pads and/or foot pedal match the provided cues. A drum mechanic may be selected by a game if the game detects a drum controller connected to the platform.
The third gameplay mechanic, which may be referred to as the “vocal mechanic,” comprises displaying a series of cues to a player, which may correspond to a vocal track of a song. The player executes the cues by singing the pitches and/or words indicated by the cues. The player is then evaluated based on how closely the player's pitches and words match the provided cues. A vocal mechanic may be selected by a game if the game detects a microphone connected to the platform.
Though three specific mechanics have been described, any other gameplay mechanics may be used. In some embodiments, the other gameplay mechanics may correspond to different musical instrument types. For example, a “keyboard mechanic” may be employed in which a player is evaluated based on their activation of keys and foot pedals on a simulated musical keyboard.
The selection of the gameplay mechanic occurs without requiring user input. That is, a user who has connected a guitar controller is not required to select “guitar” from a menu to be provided with the guitar gameplay mechanic (however, a user may select a part to play, such as whether to playa guitar part or a bass part of a song, both of which utilize the guitar mechanic). Likewise, a user connecting a simulated drum controller is not required to specify that they wish to play according to the drum mechanic.
In some embodiments, a game may select a gameplay mechanic for each of a plurality of local and/or remote players. For example, a multiplayer rhythm action game may allow for guitar, drums, and vocals to be simultaneously performed by three players. The game may detect a controller type corresponding to each player, and assign each player the appropriate gameplay mechanic.
After selecting a gameplay mechanic, the game may provide a session of a rhythm-action game with the selected gameplay mechanic (step 1305). In addition to the gameplay mechanic, a session may comprise any game elements known to rhythm-action games, including without limitation song performance, avatar display, crowd and venue animations, menu navigation, character creation, song selection, gig selection, and career and tour modes. Any or all of these game elements may be determined based on the detected controller type. For example, if a drum controller is detected, a player's avatar may be displayed as a drummer, and career events may be tailored to reflect events that might happen to a drummer.
Referring ahead to
Referring now to
Still referring to
A collection of level data may correspond to a type of simulated musical instrument if the collection of level data is related to musical events of the instrument type. That is, a vocal collection of level data may comprise a collection of level data corresponding to vocal events (e.g. pitches and/or words sung) for each of the songs in the collection. Likewise a drum collection of level data may comprise a collection of level data corresponding to drum events (e.g. drums struck) for each of the songs in the collection. The level data may correspond to a type of simulated musical instrument by specifying actions that can be performed by the controller type. For example, level data might specify a particular pitch, which may be performed by singing into a microphone. Or for example, level data might specify a particular fret button and strum combination, which can be performed using a simulated guitar. Or for example, level data might specify a particular drum pad or foot pedal to activate on a simulated drum controller.
After selecting a collection of level data, the game may provide a session of a rhythm-action game with the selected collection of level data. Referring to
Referring now to
Still referring to
In some embodiments, lines or other demarcations may be displayed in between sub-lanes. For example, referring back to
In some embodiments, each sub-lane may contain cues corresponding to a different drum pad. For example, a lane may be divided into four sub-lanes, each sub-lane corresponding to one of four drum pads. Referring ahead to
In some embodiments, cues in each sub-lane may always correspond to a given percussion sound during a song. For example, cues in sub-lane 1550a may correspond to a snare drum, while cues in sub-lane 1550b, 1550c may correspond to tom-tom sounds while cues in sub-lane 1550d may correspond to crash cymbal sounds. In other embodiments, cues in a single sub-lane may correspond to different percussion sounds over the course of a song. For example, during the course of a song, gems in sub-lane 1550d may first correspond to cowbell sounds, and then correspond to a crash cymbal sound. In some embodiments, the display of cues within a sub-lane may be changed to indicate to a user that the cues represent a different percussion sound.
Referring back to
A cue may span a plurality of sub-lanes by occupying a portion of visual space corresponding to each of the plurality of sub-lanes. In some embodiments, a cue may span a plurality of sub-lanes by being displayed as covering some or all of each of the plurality of sub-lanes. For example, the cue 1503 in
In some embodiments, a cue spanning a plurality of sub-lanes may have one or more cues corresponding to an individual sub-lane overlaid on the cue. For example, the cue 1500 in
In some embodiments, a cue spanning a plurality of sub-lanes may comprise a different color than any of the cues corresponding to individual sub-lanes.
Referring now to
In some embodiments, multiple foot pedals may be used, and different types of cues spanning multiple sub-lanes may be used to indicate which pedal a user should strike. For example, a drum set may comprise an orange color-coded pedal and a purple color-coded pedal. An orange cue spanning all the sub-lanes may be used to indicate the user should step on the orange pedal, and a purple cue spanning all the sub lanes may be used to indicate the user should step on the purple pedal. Or, for example, a drum set may comprise a left foot-pedal and a right foot-pedal. A cue spanning a plurality of sub-lanes on the right side of a lane may indicate the right foot pedal, while a cue spanning a plurality of sub-lanes on the left side of a lane may indicate the left foot pedal. In this case, a display similar to
Although cues spanning multiple sub-lanes have been described above in the context of indicating foot-pedal actions, they may be useful in for indicating any other type of input event. In some embodiments, cues spanning multiple sub-lanes may be used in any case where a series of X input elements corresponds to a series of X sub-lanes, and there is a need to indicate an additional input action not in the series. The use of a cue spanning multiple lanes can serve as a clear indication to the player that the additional input action is different in character and/or location than the input elements in the series.
Referring now to
Other examples of input actions that may be indicated by a cue spanning multiple sub-lanes include, without limitation, a foot-pedal-action on a simulated keyboard, a striking of a microphone, and a tilting of a guitar.
Referring now to
Still referring to
Removing a player from active participation may comprise any method of discontinuing a player's involvement in performing the song. In some embodiments, a failed player may no longer be allowed to hit notes or cues comprising the player's part. In some embodiments, the audio corresponding to the player's part in the band may be silenced. In some embodiments, a lane corresponding to the inactive player may be removed from the display. For example, referring ahead to
In other embodiments, any other graphical or audio output may be used to indicate a player has failed a song. In some embodiments, the failed players avatar may become dejected, stop playing the instrument, and/or be removed from the stage. In other embodiments, the player's avatar may be displayed along with graphical text stating “failed.” In other embodiments, the crowd may be shown to boo, heckle, taunt, or otherwise indicate dissatisfaction with the failed player's performance. In some embodiments, the crowd meter may change color, size, or otherwise indicate that a player has failed a song. For example, a player performing poorly may cause their icon on a performance meter to change to red. After the player fails, the icon may change from red to black or gray.
In some embodiments, a band's overall performance may be adversely affected by the inactivation of a member. For example, a failed band member's performance may be continually given the lowest possible rating. This low rating may then pull down the average rating of the band. In other embodiments, the failed player may continually be docked for notes that the player should be playing if not for the player's failure. In these embodiments, the continual missed notes may serve as a drain on the performance of the band. In some embodiments, after a player has failed, the penalty for other players missing notes may be raised. In some embodiments, after a player has failed, a drain may be applied to the band's performance rating such that if the player is not reinstated in time, the band as a whole will fail the song. For example, the performance meter 1920 in
Referring back to
In some embodiments, the value associated with the second player may comprise an amount of bonus stored by the player. In cases where a player may accumulate bonuses by successfully executing designated series of notes, a game may then determine whether the amount of accumulated bonus of the player exceeds a given threshold. For example, a player may be required to successfully execute two designated series of notes before the player reaches the predetermined bonus threshold.
A method for reinstating a player may also comprise detecting an action of a player (step 1805). An action of a player may comprise any movement, sound, and/or manipulation of an input device. In some embodiments, the action may comprise the pressing of a button or strumming of a strum bar. In some embodiments, the action may comprise moving a simulated instrument, such as tilting a guitar controller. In other embodiments, the action may comprise striking a drum pad. In other embodiments, the action may comprise generating sound into a microphone.
In some embodiments, the action may be time-sensitive. For example, a player may be required to strike a given drum pad at a predetermined time, such as striking a pad corresponding to a cymbal crash at the end of a drum fill. Or for example, a player may be required to make noise into a microphone during a time when no lyrics are displayed.
In some embodiments, a player may be specifically prompted to perform the action if another player has failed and the player has enough accumulated bonus to “save” the failed played. Referring ahead to
Referring back to
A player reinstatement may be indicated graphically and/or aurally in any manner. In some embodiments, a lane corresponding to the player that has been removed may reappear. In other embodiments, a player's avatar may return to the stage, become energized, resume playing their on-screen instrument, or otherwise indicate their reinstatement. In some embodiments, the crowd may cheer, encourage, or otherwise indicate renewed approval for the reinstated player.
In some embodiments, the reinstated player may be shown with a message “resurrected” or a similar message indicating that the player has returned. In other embodiments, the player who saved the failed player may be shown with a graphic stating “savior” or a similar message identifying the player as the player who resuscitated the failed player. Referring to
Referring back to
Though
In other embodiments, a player may be able to resuscitate a bandmate simply by performing an action, such as tilting their guitar controller without the requirement of accruing a certain amount of points or bonus. Or, for example, a player may be able to reinstate a bandmate by executing a specific sequence of actions. Such a sequence of actions may be adjusted based on the difficulty level of the failed player and/or the player attempting reinstatement. Or, for example, a player may be able to reinstate a bandmate by successfully completing a mini-game during the song.
In some embodiments, the number of times a player may be reinstated during a song may be limited. For example, a player may only be allowed to be reinstated twice during a given song. If the player fails the song a third time, the player may be kept inactive for the duration of the song and ineligible for reinstatement. In some embodiments, the number of times a player may be reinstated during a performance of a set of songs may be limited. For example, a player may only be allowed to be reinstated twice during a given performance. If the player fails a song a third time during the performance, the player may be kept inactive for the duration of the performance. In some embodiments, the number of times a player is allowed to be reinstated may be varied based on a preset difficulty level. In other embodiments, the number of times a player is allowed to be reinstated may be varied based on the instrument type corresponding to the player.
Referring now to
Still referring to
The game may first detect whether one or more local players are present, and which simulated instruments the local players would like to use. In some embodiments, the game may detect the type or types of controllers plugged into the game to determine the simulated instruments used by the local players. In other embodiments, the game may allow a player to select their instrument. For example, if the game detects that a player has plugged in a guitar controller, the game may allow a player to choose between playing guitar or bass parts. For local players, slots in a band may also reflect the order the controllers are plugged into a game system, and/or the arrangement in which the controllers are plugged into given physical slots on the game system. Or for example, slots in a band may reflect the order avatars appear on stage during performances.
After the game has detected a local player using a simulated instrument, the game may allow the player to select or create a character to represent the player in the game. A character may comprise any information to the player, and may be customized by the player in any way. Character attributes which may be set by a player and/or set automatically include a character name, screen name, hometown, motto, favorite music, skill level, amount of in-game money, bands the character is a member of, and amount of in-game fame. In some embodiments, a player may be able to customize an avatar representing the character. A player may alter any attribute of an avatar including without limitation gender, appearance, clothing, style, gestures, size, height, color, in-game instrument, gear, demeanor, tattoos, face paint, and makeup. In some embodiments, a player may modify their avatar's clothing or instrument with virtual stickers. In some embodiments, a player may save a character so that it can be accessed later. In other embodiments, the character may be erased after a use. In some embodiments, character data may be uploaded and/or saved on a server so that other players may view the character. In some embodiments, a server may provide a leaderboard or similar feature which allows users to browse through a listing of characters and view their past performance. In some embodiments, a single player may be able to create and/or maintain multiple characters.
After a player has created a character or selected an already created character, the player may be taken to a screen which allows the player to assemble or join a band. Referring ahead to
A band may have a leader who is designated as the decision maker for certain matters involving the band. In some embodiments, the band leader may have the sole authority to find new players for a band, which may entail either asking specific players to join or using an online player matching service. In some embodiments, the band leader may have the sole authority to remove band members.
As shown in
A band formation screen may also have the option to search for additional remote players in the cases where there is not a specific player the player would like to invite into the band. Referring ahead to
A search algorithm used to match players may match players based on any criteria including, without limitation, skill, latency, experience, instrument, physical location, language, and hardware. For example, in one embodiment, a search algorithm may first search for players of the required instruments of a comparable skill level. In some embodiments, skill level may be measured using a history of past online performance. After identifying a pool of comparably skilled players of the required instruments, the search algorithm may select the player with the lowest latency to the forming band. In this embodiment, the latency measure may be either the latency between the potential players and the searching player or between the potential players and a given server.
After a transient band is formed, the band may then be given the opportunity to play one or more songs as a band. In some embodiments, one or more members of the band may be replaced after a song. In some embodiments, a transient band may be given the option to change into a persistent band.
Referring back to
A game may also provide a screen for creating and editing properties of a band. These properties may be stored locally or on a server. Properties of a band may include the names of the band members, the date the band was created, the name of the band leader, the number of songs the band has performed, the amount of fame the band has accumulated, the current amount of “buzz” surrounding the band, the number and type of venues the band has played at, the band's “hometown,” a band logo, band possessions such as vehicles, equipment, and money, and band employees, such as roadies, set designers, managers, and agents. In some embodiments, some or all of these properties may be set by a member of the band or by the band leader. In other embodiments, some or all of these properties may be determined by a central server tracking the band's progress. In some embodiments, an external web site may be provided which allows a band's attributes and/or progress through a tour to be viewed over the internet In one of these embodiments, the web site may give bands an option to make their attributes and statistics public.
Referring now to
Still referring to
A band template may comprise any specification of allowable instrument types and numbers of those types for a rhythm-action game. A band template may specify minimum and/or maximum numbers for each instrument type. For example, a band template may specify that a band may have up to two guitarists, one drummer, and one vocalist. Or for example, a band template may specify that a band must have at least one guitarist, at least one vocalist, and no more than one drummer. Or for example, a band template may specify that a band may have a guitarist, a bassist, a drummer, and a vocalist.
The method may then comprise identifying a first type of simulated musical instrument represented in the predetermined band template and not associated with any of the one or more local players (step 2103). For example, if a guitarist and a drummer are the local players, and the band template specifies that a band includes a guitarist, a bassist, a drummer, and a vocalist, the method may identify that a vocalist and bassist are the types not represented locally. This identification may be performed either by the local console, a central server, or a remote console. The method may then comprise identifying a remote player associated with the first type of simulated musical instrument (step 2105). The remote player may be further identified by any criteria, including without limitation the remote player's presence in a group having one or more other needed instrument types.
After the players have been identified, a networked session of the rhythm action game may be provided with the one or more local players and the identified remote player (step 2107). The session may be hosted on any of the local console, the remote console, or a central server. The session may comprise any of the gameplay described herein, and may comprise a persistent band or a quickplay session.
Quickplay Example
The following paragraphs provide a detailed example of how online matchmaking may be implemented in a game that allows up to four players to play together, including 2 guitarists, 1 vocalist, and 1 drummer. In the quickplay mode, players are able to form a cooperative band to play songs without any persistent data stored about their team. A full band consists of 1 drummer, 1 vocalist, and 2 guitarists. When the user first enters our matchmaking screen, he is allowed to join the band and become its leader. Any other players in the same room can also connect instruments to the console and join up as members of the band.
At this point in the process, the player has created a session on a matchmaking server. However, the session is marked as “private”, meaning that no one else can see that it exists yet.
If the player only wants to play online with friends, he then selects an “Invite Friend” button. This will bring up a list of the player's friends, and upon selecting a friend, an invite message is sent to the matchmaking server, which then relays the message to the friend if he is currently playing the game. If the friend accepts the invite, he is given the appropriate information that will allow him to connect to the session, even though it may still be private on the matchmaking server. An invite system may be structured such that the friend can receive an invite while in any game mode (e.g. mid-song, in single-player modes . . . ). In this way, it does not require him to be sitting in a lobby to see that his friend would like to play with him.
A user may also decide that he would like to play with strangers. To do this, he selects a “Find Players” option on the matchmaking screen. At this point, the screen goes into a “searching” state. A matchmaking algorithm optimized to form complete bands as quickly as possible may then be started:
In some embodiments, the matchmaking algorithms described herein may be applied to head-to-head competitive modes, such as one-on-one remote competitions and remote “battle of the bands” competitions. Matchmaking with strangers in head to head modes uses a modified version of the above algorithm, in which players are grouped with opponents that are using the same instrument type.
In some modes, players with a guitar controller are required to choose whether they want to playa song's guitar part or bass part before they enter the matchmaking screen. In those cases, guitarists are only matched up with other guitarists who chose the same part that they did. In other modes, users are required to choose a difficulty level before they are match. In those cases, only players that have chosen the same difficulty will be grouped together.
Head-to-head modes may fall into two general categories: “Player Match” and “Ranked”. Player Matches are casual encounters in which no stats are recorded. In Player Matches, the user may invite his friends to play with a mechanic that is similar to Band Quickplay. In Ranked matches, details about the winner and loser are tracked so that users may be ranked on a leaderboard. Players are not allowed to invite friends to play them in a Ranked match, as that would allow players to rig matches in order to abuse the ranking system.
Persistent Band Example
In some embodiments, the matching methods described herein may be applied to persistent band modes. For example, a game may provide a “World Tour” option which allows persistent bands to make progress as a group together through a set of venues, events, and songs, and resume their progress later if they desire.
After choosing the persistent mode, a player chooses one of four options:
When a player chooses to start a new band, he will own the band. The user is taken to a matchmaking screen that may look similar to the matchmaking screens for Quickplay (e.g.
When a player chooses to substitute for a band, he will be taken to a searching screen, where he will wait while the game asks the server for a list of bands that have a slot available for his instrument. This search will only find sessions that have marked themselves as public. Once the server has returned the list, the game will sort the list, giving highest priority to larger bands. The game then starts at the top of the list, and attempts to join each session in order. As soon as a join request is accepted, the console joins the session and the user joins the host on the matchmaking screen. At that moment, he is a “substitute” or a temporary member of the band, though the host may decide to promote him to a permanent member.
If the player chooses a band that he has already created, he will be taken again to the matchmaking screen. As before, he will have the option to invite his friends or allow strangers to join the band if he wishes. However, any other remote player that he has already added to the band's permanent roster will also be able to join into the band, even without him explicitly inviting the player or making the session public.
If a player chooses a band that he is a member of, but is not the owner, he is taken to a searching screen. He sends a special request to the matchmaking server which contains the unique ID of the band. The matchmaking server looks through all its existing sessions to see if the owner is currently playing Band World Tour for that band. Even if the session is marked as private, the matchmaking server will return the connection info for the session so that the user can join up. This structure ensures that the band owner doesn't have to send out invites to each friend to join the session.
Aspects of the present invention may be provided as one or more computer-readable programs embodied on or in one or more articles of manufacture comprising computer readable media. The article of manufacture may be a floppy disk, a hard disk, a CD-ROM, DVD, other optical disk, a flash memory card, a PROM, a RAM, a ROM, or a magnetic tape. In general, the computer-readable programs may be implemented in any programming language, LISP, PERL, C, C++, PROLOG, or any byte code language such as JAVA. The software programs may be stored on or in one or more articles of manufacture as executable instructions. In some embodiments, portions of the software programs may be stored on or in one or more articles of manufacture, and other portions may be made available for download to a hard drive or other media connected to a game platform. For example, a game may be sold on an optical disk, but patches and/or downloadable content may be made available online containing additional features or functionality.
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.
The present application claims priority to U.S. Provisional Application Ser. No. 60/944,054, filed Jun. 14, 2007 and titled “Systems and Methods for Simulating a Rock Band Experience,” and which is hereby explicitly incorporated by reference herein.
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| Video <http://www.bing.com/videos/search?q=dance+instruction+game&mid=E69356CFA 1B6719FF 5C8E69356CFA1B6719FF5C8&view=detaii&FORM=VIRE5> (uploaded Jul. 27, 2010). |
| Video Britney's Dance Beat (Released May 8, 2002 for PS2); <http://www. youtube.com/watch?v=-KR 1 dR GNX w>. |
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| Video Dance on Broadway: Jun. 2010 (<http://youtu.be/Wi9Y5HHcvtY>). |
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| Video E3 2010 Live Demo <http://www.gametrailers.com/video/e3-201 0-michael-jackson/101449>; (Jun. 14, 2010). |
| Video Eyetoy Groove for PS2; <http://www.youtube.com/watch?v=c80aaOU fuE> (A(2ri12004). |
| Video Gamescom '1 0—Billie Jean Demo <http:/iwww.aarnetraiiHrs.corn/video/gc-•1 Q..Michael-Jackson/703294>: 1:58-1 :13) (Aug. 20, 201 D). |
| Video Gamescom '10—Working Day and Night Demo <http://www.gametrailers.com/video/gc-1 0-michael-jackson/703295> (Aug. 20, 2010). |
| Video Grease Dance—505 Games: release—Oct. 2011 li—http://www.youtube.com/watch?v=PaGBHSB2urg). |
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| Number | Date | Country | |
|---|---|---|---|
| 20090104956 A1 | Apr 2009 | US |
| Number | Date | Country | |
|---|---|---|---|
| 60944054 | Jun 2007 | US |
