Music control method, device, storage medium and electronic device in games

Abstract

The present invention discloses a method, device, storage medium and electronic device for controlling music in a game. The game in the method includes a game scene and a virtual game character that is controlled by a player's input and performs game behaviors in the game scene. The method includes: obtaining the current game behavior of the virtual game character in the game scene, and determining a music emotional state based on the current game behavior; obtaining music data corresponding to the game scene, wherein the music data includes multiple sub-audios formed by splitting different parts of the same music, and each sub-audio includes sub-segments marked with different emotional intensities; according to the music emotional state, determining one or more target sub-audios from the music data, as well as target sub-segments to be played in each target sub-audio; and performing mixed playback based on the target sub-segments to be played. The present invention solves the technical problem of being unable to effectively control the music in the game scene.

Description

Technical Field

[0001] The present invention relates to the field of computers, and in particular to a method, device, storage medium and electronic device for controlling music in a game. Background Art

[0002] Currently, in game development, the design logic and playback logic of in-game music are usually carried out point-to-point based on the type of music or the content of the game screen. For example, for a game scene or a main city, a separate fixed music representing the city is designed. For a story happening in the city, a separate fixed music describing the story is designed. For battles, some fixed music with a sense of percussion and rhythm is designed. For achievements, some fixed music with a more joyful melody is designed.

[0003] Since the music in the game scene is fixed, the direction of emotional intensity is often also fixed, and there will not be much dynamic interaction and advancement of emotional intensity. The grasp of subtle emotions is not strong enough, not in place, and not precise enough, which makes the emotional mobilization in the game scene too slow and inflexible, resulting in a technical problem of being unable to effectively control the music in the game scene.

[0004] Currently, no effective solution has been proposed to the above-mentioned technical problem of being unable to effectively control the music in the game scene. Summary of the Invention

[0005] At least some embodiments of the present invention provide a method, device, storage medium, and electronic device for controlling music in a game, so as to at least solve the technical problem of being unable to effectively control the music in the game scene.

[0006] According to one embodiment of the present invention, a method for controlling music in a game is provided. The game in the method includes a game scene and a virtual game character that is controlled by player input and performs game behaviors in the game scene. The method includes: obtaining the current game behavior of the virtual game character in the game scene, and determining a musical emotional state based on the current game behavior; obtaining music data corresponding to the game scene, wherein the music data includes multiple sub-audios formed by splitting different parts of the same music, each sub-audio including sub-segments marked with different emotional intensities; determining one or more target sub-audios and target sub-segments to be played in each target sub-audio from the music data based on the musical emotional state; and performing mixed playback based on the target sub-segments to be played.

[0007] Optionally, the method further includes: splitting the music according to different parts of the music to obtain multiple layers of audio, wherein each layer of audio is generated by a corresponding part; and generating multiple sub-audios based on the multiple layers of audio.

[0008] Optionally, multiple sub-audios are generated based on multiple layers of audio, including: sorting the multiple layers of audio; obtaining the superposition result corresponding to each layer of sorted audio, wherein the superposition result is used to represent the sum between each layer of sorted audio and at least one layer of audio that precedes each layer of sorted audio; determining the superposition result corresponding to each layer of audio as a sub-audio, to obtain multiple sub-audios.

[0009] Optionally, the method also includes: obtaining playback information of each sub-audio, wherein the playback information is used to indicate the rhythm type and / or melody direction of each sub-audio during playback; marking each sub-audio based on the playback information of each sub-audio to obtain sub-segments with different emotional intensities.

[0010] Optionally, determining a music emotional state based on the current game behavior includes: determining a music emotional state that matches the current game behavior, wherein the music emotional state is used to represent a target emotional intensity at a target audio intensity.

[0011] Optionally, based on the emotional state of the music, one or more target sub-audios and a target sub-segment to be played in each target sub-audio are determined from the music data, including: determining one or more target sub-audios with an audio intensity of a target audio intensity from the music data, and determining a target sub-segment with an emotional intensity of a target emotional intensity in each target sub-audio.

[0012] Optionally, performing mixed playback based on the target sub-segments to be played includes: acquiring a target audio file based on the target sub-segments to be played in each target sub-audio; and playing the target audio file.

[0013] Optionally, obtaining a target audio file based on a target sub-segment to be played in each target sub-audio includes: obtaining a timestamp of a target sub-segment to be played in each target sub-audio to obtain multiple timestamps; and merging the target sub-segments to be played in multiple target sub-audios based on the multiple timestamps to obtain a target audio file.

[0014] Optionally, the target sub-segments to be played in the multiple target sub-audios include multiple target sub-segments with the same timestamp, and the target sub-segments to be played in the multiple target sub-audios are merged based on the multiple timestamps to obtain the target audio file, including: merging the multiple target sub-segments with the same timestamp to obtain the target audio file.

[0015] Optionally, multiple target sub-segments with the same timestamp are merged to obtain a target audio file, including: merging multiple target sub-segments with the same timestamp according to the order information of each target sub-segment in the target sub-audio to which it belongs, to obtain the target audio file.

[0016] Optionally, mixed playback is performed based on the target sub-segment to be played, including: when the playback time reaches the timestamp of the target sub-segment to be played in each target sub-audio, playing the target sub-segment to be played in each target sub-audio.

[0017] Optionally, the target sub-segments to be played in the multiple target sub-audios include multiple target sub-segments with the same timestamp, and the multiple target sub-segments are played simultaneously at the same timestamp.

[0018] Optionally, the target sub-segments to be played in the multiple target sub-audios include a first target sub-segment and a second target sub-segment, the emotional trend state from the emotional intensity of the first target sub-segment to the emotional intensity of the second target sub-segment is an emotional decline state, and the difference between the emotional intensity of the first target sub-segment and the emotional intensity of the second target sub-segment is a first target threshold, and mixed playback is performed based on the target sub-segments to be played, including: determining a third target sub-segment; playing the third target sub-segment after playing the first target sub-segment and before playing the second target sub-segment, wherein the playback of the third target sub-segment is used to make the playback of the first target sub-segment smoothly transition to the playback of the second target sub-segment.

[0019] Optionally, determining the third target sub-segment includes: determining a preset audio as the third target sub-segment; or selecting the third target sub-segment from target sub-segments to be played in multiple target sub-audios.

[0020] Optionally, the target sub-segments to be played in the multiple target sub-audios include a fourth target sub-segment and a fifth target sub-segment, the emotional trend state from the emotional intensity of the fourth target sub-segment to the emotional intensity of the fifth target sub-segment is an emotional upward state, and the difference between the emotional intensity of the fourth target sub-segment and the emotional intensity of the fifth target sub-segment is a second target threshold, and mixed playback is performed based on the target sub-segments to be played, including: determining that the target sub-segments to be played in the multiple target sub-audios include a sixth target sub-segment, wherein the timestamp of the sixth target sub-segment is between the timestamp of the fourth target sub-segment and the timestamp of the fifth target sub-segment; after playing the fourth target sub-segment and before playing the fifth target sub-segment, playing the sixth target sub-segment, wherein the playing of the sixth target sub-segment is used to make the playing of the fourth target sub-segment smoothly transition to the playing of the fifth target sub-segment.

[0021] According to one embodiment of the present invention, a music control device for a game is also provided, wherein the game in the device includes a game scene and a virtual game character that is controlled by a player's input and performs game behaviors in the game scene, and the device includes: a first acquisition unit, used to obtain the current game behavior of the virtual game character in the game scene, and determine a music emotional state based on the current game behavior; a second acquisition unit, used to obtain music data corresponding to the game scene, wherein the music data includes multiple sub-audios formed by splitting different parts of the same music, and each sub-audio includes sub-segments marked with different emotional intensities; a determination unit, used to determine one or more target sub-audios and a target sub-segment to be played in each target sub-audio from the music data according to the music emotional state; and a playback unit, used to perform mixed playback based on the target sub-segment to be played.

[0022] According to one embodiment of the present invention, a non-volatile storage medium is provided, in which a computer program is stored. The computer program is configured to execute the music control method in the game according to the embodiment of the present invention when executed by a processor.

[0023] According to one embodiment of the present invention, a processor is provided, which is configured to execute a program, wherein the program is configured to execute the music control method in a game according to an embodiment of the present invention when executed by the processor.

[0024] According to one embodiment of the present invention, an electronic device is provided. The electronic device may include a memory and a processor, wherein the memory stores a computer program, and the processor is configured to run the computer program to execute the music control method in a game according to the embodiment of the present invention.

[0025] In at least some embodiments of the present invention, a game includes a game scene and a virtual game character that is controlled by a player's input and performs game behaviors in the game scene. The current game behavior of the virtual game character in the game scene is obtained, and a musical emotional state is determined based on the current game behavior; music data corresponding to the game scene is obtained, wherein the music data includes multiple sub-audios formed by splitting different parts of the same music, and each sub-audio includes sub-segments marked with different emotional intensities; based on the musical emotional state, one or more target sub-audios and target sub-segments to be played in each target sub-audio are determined from the music data; and mixed playback is performed based on the target sub-segments to be played. In other words, this embodiment determines the target sub-audios and target sub-segments in the target sub-audios from the music data corresponding to the game scene based on the musical emotional state that matches the current game behavior of the virtual game character, and then mixes and plays them, so that the audio played in the game scene changes flexibly according to the changes in the game behavior, rather than being fixed, thereby achieving the technical effect of effectively controlling the music in the game scene and solving the technical problem of being unable to effectively control the music in the game scene. BRIEF DESCRIPTION OF THE DRAWINGS

[0026] The drawings described herein are used to provide a further understanding of the present invention and constitute a part of this application. The exemplary embodiments of the present invention and their descriptions are used to explain the present invention and do not constitute an improper limitation of the present invention. In the drawings:

[0027] Figure 1 1 is a hardware structure block diagram of a mobile terminal according to a method for controlling music in a game according to an embodiment of the present invention;

[0028] Figure 2 is a flow chart of a method for controlling music in a game according to an embodiment of the present invention;

[0029] Figure 3 is a flow chart of another method for controlling music in a game according to an embodiment of the present invention;

[0030] Figure 4 is a schematic diagram of a relationship between multiple audio intensities according to an embodiment of the present invention;

[0031] Figure 5 is a schematic diagram of multiple emotion changes in a game scene according to an embodiment of the present invention;

[0032] Figure 6 4 is a structural block diagram of a music control device for a game according to an embodiment of the present invention. DETAILED DESCRIPTION

[0033] In order to enable those skilled in the art to better understand the solutions of the present invention, the technical solutions in the embodiments of the present invention will be clearly and completely described below in conjunction with the drawings in the embodiments of the present invention. Obviously, the embodiments described are only part of the embodiments of the present invention, not all of the embodiments. Based on the embodiments of the present invention, all other embodiments obtained by ordinary technicians in this field without making creative efforts should fall within the scope of protection of the present invention.

[0034] It should be noted that the terms "first", "second", etc. in the description and claims of the present invention and the above-mentioned drawings are used to distinguish similar objects and are not necessarily used to describe a specific order or sequence. It should be understood that the numbers used in this way can be interchanged where appropriate, so that the embodiments of the present invention described herein can be implemented in an order other than those illustrated or described herein. In addition, the terms "including" and "having" and any variations thereof are intended to cover non-exclusive inclusions. For example, a process, method, system, product or device that includes a series of steps or units is not necessarily limited to those steps or units clearly listed, but may include other steps or units that are not clearly listed or inherent to these processes, methods, products or devices.

[0035] According to one embodiment of the present invention, an embodiment of a method for controlling music in a game is provided. It should be noted that the steps shown in the flowchart of the accompanying drawings can be executed in a computer system such as a set of computer-executable instructions, and although a logical order is shown in the flowchart, in some cases, the steps shown or described can be executed in an order different from that shown here.

[0036] The method embodiment can be executed on a mobile terminal, a computer terminal, or a similar computing device. Taking running on a mobile terminal as an example, the mobile terminal can be a smartphone (such as an Android phone, an iOS phone, etc.), a tablet computer, a PDA, a mobile Internet device (MID), a PAD, a game console, or other terminal devices. Figure 1 FIG is a hardware structure block diagram of a mobile terminal according to a method for controlling music in a game according to an embodiment of the present invention. Figure 1 As shown, the mobile terminal may include one or more ( Figure 1Only one is shown in the figure) processor 102 (the processor 102 may include but is not limited to a central processing unit (CPU), a graphics processing unit (GPU), a digital signal processing (DSP) chip, a microprocessor (MCU), a field-programmable logic device (FPGA), a neural network processor (NPU), a tensor processing unit (TPU), an artificial intelligence (AI) type processor, etc.) and a memory 104 for storing data. Optionally, the mobile terminal may further include a transmission device 106 for communication functions, an input and output device 108, and a display device 110. It will be understood by those skilled in the art that Figure 1 The structure shown is only for illustration and does not limit the structure of the mobile terminal. Figure 1 More or fewer components than shown, or with Figure 1 Different configurations shown.

[0037] Memory 104 can be used to store computer programs, such as software programs and modules of application software, such as the computer program corresponding to the music control method in the game described in the embodiments of the present invention. Processor 102 executes the computer programs stored in memory 104 to execute various functional applications and data processing, thereby implementing the music control method in the game described above. Memory 104 can include high-speed random access memory (RAM) and non-volatile memory, such as one or more magnetic storage devices, flash memory, or other non-volatile solid-state memory. In some embodiments, memory 104 can further include memory remotely located from processor 102, and such remote memory can be connected to the mobile terminal via a network. Examples of such networks include, but are not limited to, the Internet, corporate intranets, local area networks, mobile communication networks, and combinations thereof.

[0038] The transmission device 106 is used to receive or send data via a network. A specific example of the aforementioned network may include a wireless network provided by the mobile terminal's communications provider. In one embodiment, the transmission device 106 includes a network interface controller (NIC), which can be connected to other network devices via a base station to enable communication with the Internet. In another embodiment, the transmission device 106 may be a radio frequency (RF) module, which is used to communicate with the Internet wirelessly.

[0039] Inputs to the input / output devices 108 can come from a variety of human interface devices (HIDs). Examples include keyboards and mice, game controllers, and other specialized game controllers (e.g., steering wheels, fishing rods, dance mats, remote controls, etc.). Some HIDs provide not only input but also output, such as force feedback and vibration on game controllers and audio output on controllers.

[0040] The display device 110 may be, for example, a head-up display (HUD), a touch-screen liquid crystal display (LCD), and a touch display (also referred to as a "touch screen" or "touch display"). The LCD may enable a user to interact with the user interface of the mobile terminal. In some embodiments, the mobile terminal may have a graphical user interface (GUI), and the user may interact with the GUI by finger contacts and / or gestures on the touch-sensitive surface. The human-computer interaction functions herein may optionally include the following interactions: creating web pages, drawing, word processing, making electronic documents, games, video conferencing, instant messaging, sending and receiving emails, call interfaces, playing digital videos, playing digital music, and / or web browsing, etc. The executable instructions for executing the above-mentioned human-computer interaction functions are configured / stored in a computer program product or readable storage medium executable by one or more processors.

[0041] In a possible implementation, an embodiment of the present invention provides a method for controlling music in a game, where the game includes a game scene and a virtual game character that is controlled by a player's input and performs game actions in the game scene. Figure 2 FIG. 1 is a flow chart of a method for controlling music in a game according to an embodiment of the present invention. Figure 2 As shown, the method includes the following steps:

[0042] Step S202: obtaining the current game behavior of the virtual game character in the game scene, and determining a music emotional state based on the current game behavior.

[0043] In the technical solution provided in step S202 of the present invention, the virtual game character may be a virtual object controlled by a player in a game scene. This embodiment obtains the current game behavior of the virtual game character in the game scene. The current game behavior may be the game behavior currently being performed by the virtual game character in the game scene, and may be related to the current state or combat stage of the virtual game character. For example, the current game behavior may be the movement behavior or attack behavior of the virtual game character, and no limitation is imposed herein.

[0044] In this embodiment, after obtaining the current gaming behavior of the virtual game character in the game scene, a musical emotional state can be determined based on the current gaming behavior. This musical emotional state matches the current gaming behavior and can be used to mobilize the player's emotions while the virtual game character is performing the current gaming behavior, enhancing the player's immersion in the game scene, suggesting narrative or plot changes, acting as an emotional symbol, enhancing the player's sense of aesthetic continuity, and cultivating the unity of the game theme. This can reflect the atmosphere of the game scene, and thus the emotional state of this embodiment has a profound impact on the game player's gaming experience. Immersion is the feeling that the player is engaged in the game, with the player's thoughts, attention, and goals focused on the game.

[0045] Optionally, the musical emotional state of this embodiment is related to audio intensity (music intensity), and can be further used to represent the emotional intensity at the audio intensity. Thus, the musical emotional state of this embodiment is a concept that combines the two dimensions of audio intensity and emotional intensity. For example, the musical emotional state is the emotional intensity of high, flat, low, etc. at the audio intensity determined by the performance of different instruments. Optionally, this embodiment can use quantitative data to represent the degree of emotional intensity at the audio intensity, for example, by measuring the degree by several intensities, or by representing the degree of emotional intensity at the audio intensity through different quantitative levels.

[0046] Step S204 : Obtain music data corresponding to the game scene, wherein the music data includes multiple sub-audios formed by splitting different parts of the same music, and each sub-audio includes sub-segments marked with different emotional intensities.

[0047] In the technical solution provided in the above step S204 of the present invention, after determining a music emotional state based on the current game behavior, music data corresponding to the game scene can be obtained. The music data includes multiple sub-audios formed by splitting different parts of the same music, and each sub-audio includes sub-segments marked with different emotional intensities.

[0048] In this embodiment, the same music corresponding to the game scene can be background audio that matches the game scene, that is, game music. It can be a complete song, or a song that includes the same mode and rhythm, or a song with related modes and rhythms. This embodiment can split the same music into different parts to obtain multiple sub-audios, where the different parts can be determined by the performance information of different instruments. For example, the performance information of an instrument can determine a part. This embodiment can split the same music into a sub-audio according to the part, and each sub-audio can correspond to an audio intensity.

[0049] For example, the same music mentioned above is obtained by playing 10 musical instruments, and the same music has 10 parts. By splitting the same music according to the 10 parts, 10 sub-audios can be obtained, each of which corresponds to an audio intensity. Therefore, this embodiment achieves the purpose of splitting the same music into 10 audio intensities.

[0050] The audio intensity of this embodiment corresponds to the current game behavior of the virtual game character. For example, if the current game behavior is movement behavior, the audio intensity 1 that matches the movement behavior can be determined. If the current game behavior is intense combat behavior, the audio intensity 4 that matches the intense combat behavior can be determined.

[0051] This embodiment obtains music data corresponding to the game scene, and the music data may include the above-mentioned multiple sub-audios, and each of the above-mentioned sub-audios may include sub-segments marked with different emotional intensities. The sub-segments may also be called emotional segments or emotional paragraphs, which can be understood as a small audio segment in the sub-audio, which may be a sub-segment marked with emotional intensities such as high-pitched, flat, or low. That is, this embodiment further divides the music in the game scene into sub-segments of different emotional intensities based on the sub-audios of the music. Since the sub-audios correspond to audio intensity, this embodiment classifies the music according to the two dimensions of audio intensity and audio emotion, and can determine what kind of audio intensity the music belongs to and what kind of emotional intensity it wants to express under the audio intensity.

[0052] Step S206 , determining one or more target sub-audios and a target sub-segment to be played in each target sub-audio from the music data according to the emotional state of the music.

[0053] In the technical solution provided in the above step S206 of the present invention, after obtaining the music data corresponding to the game scene, one or more target sub-audios and target sub-segments to be played in each target sub-audio can be determined from the music data according to the emotional state of the music.

[0054] In this embodiment, since the music emotional state integrates audio intensity and emotional intensity, one or more target sub-audios can be determined from multiple sub-audios in the music data according to the music emotional state, and since each target sub-audio also includes sub-segments marked as different emotional intensities, a target sub-segment can be further determined in each target sub-audio. The target sub-segment is a sub-segment in each target sub-audio to be played in order to create an immersive feeling consistent with the real world for the player in the game scene and promote the player's immersion. That is, in this embodiment, not every sub-segment in the target sub-audio will be played, but specific target sub-segments are selected from the target sub-audio for play according to the music emotional intensity.

[0055] In this embodiment, one or more target sub-audios correspond to the current game behavior of the virtual game character. Optionally, the one or more target sub-audios corresponding to different game behaviors can be different. However, the target sub-audios corresponding to different game behaviors are all sub-audios among the multiple sub-audios of the same music. Therefore, the target sub-audios corresponding to different game behaviors can all be in the same mode and rhythm, or related modes and rhythms, and share the musical melody and theme content of the same music. This can avoid the problem of abrupt and imprecise switching between emotions, which makes it easier for players to lose the immersive experience and become distracted from the game.

[0056] Step S208: performing mixed playback based on the target sub-segment to be played.

[0057] In the technical solution provided in the above step S208 of the present invention, after determining one or more target sub-audios and the target sub-segments to be played in each target sub-audio from the music data according to the emotional state of the music, mixed playback can be performed based on the target sub-segments to be played.

[0058] In this embodiment, the target sub-segments to be played can be mixed and played. For example, the target sub-segments to be played in multiple target sub-audios can be remixed to promote the player's emotions towards the current game behavior to achieve an immersive experience. Optionally, this embodiment can determine the timestamps of the multiple target sub-segments to be played, and then mix and play the multiple target sub-segments according to the timestamps of the multiple target sub-segments to enhance the game screen, produce an auditory impact, understand and capture the rhythm of the game, and thus effectively mobilize and render the player's emotions towards the current game behavior in the game scene. That is, the target sub-segments to be mixed and played in this embodiment are dependent on the current game behavior of the virtual game character and are matched with the current game behavior. Therefore, the effect of mixing and playing the target sub-segments corresponds to the current game behavior of the virtual game character. Optionally, the target sub-segments of the mixed playback corresponding to different game behaviors of the virtual game character can be different, so as to accurately highlight the player's emotions towards different game behaviors in the game scene, achieve the purpose of immersive experience, and avoid all audio in the game scene being rigid and inflexible, and not having enough control over subtle emotions, not being in place, and not being refined enough.

[0059] Optionally, in this embodiment, the direction of emotional development can be planned for the player, and all possible game behaviors of the virtual game character can be designed in advance, and a pseudo-binding can be made between the game behavior and the musical emotional state. However, for the player, the target sub-segment corresponding to the musical emotional state is also optional, which depends on the game behavior of the virtual game character.

[0060] For example, when the emotional state of the music is at one quantitative level, the effect of playing the target sub-segments in a mixed manner can make the emotional advancement gradual; when the emotional state of the music is at two quantitative levels, the effect of playing the target sub-segments in a mixed manner can make the emotional recommendation leap-forward; when the emotional state of the music is at three quantitative levels, the effect of playing the target sub-segments in a mixed manner can make the emotional advancement explosive; when the emotional state of the music is at four quantitative levels, the effect of playing the target sub-segments in a mixed manner can make the emotional advancement directly enter a climax, thereby avoiding the lack of delicate combination of emotional level division and emotional trend, and the inability to guide and turn.

[0061] It should be noted that the above method of this embodiment can cover all interactive modes of emotional rendering and advancement of players in the game. This is designed to allow players to reach a certain emotional point to achieve the expected effect and then reach the expected emotional fluctuation level.

[0062] Through the above steps S202 to S208 of the present application, the current game behavior of the virtual game character in the game scene is obtained, and a music emotional state is determined based on the current game behavior; the music data corresponding to the game scene is obtained, wherein the music data includes multiple sub-audios formed by splitting different parts of the same music, and each sub-audio includes sub-segments marked with different emotional intensities; according to the music emotional state, one or more target sub-audios and target sub-segments to be played in each target sub-audio are determined from the music data; and mixed playback is performed based on the target sub-segments to be played. In other words, this embodiment determines the target sub-audio and the target sub-segments in the target sub-audio from the music data corresponding to the game scene based on the music emotional state that matches the current game behavior of the virtual game character, and then mixes and plays them, so that the audio played in the game scene changes flexibly according to the changes in the game behavior, rather than being fixed, thereby achieving the technical effect of effectively controlling the music in the game scene and solving the technical problem of being unable to effectively control the music in the game scene.

[0063] The above method of this embodiment is further described in detail below.

[0064] As an optional implementation, the method further includes: splitting the music according to different parts of the music to obtain multiple layers of audio, wherein each layer of audio is generated by a corresponding part; and generating multiple sub-audios based on the multiple layers of audio.

[0065] In this embodiment, multiple parts of music played by multiple instruments can be determined, and the music corresponding to the game scene can be split into layers (Layer) through these multiple parts to obtain multiple layers of different audio. That is, each layer of audio can correspond to a part, and then the multiple layers of audio are combined to obtain multiple sub-audios.

[0066] For example, if the above music is played by 10 musical instruments, then the music has 10 parts. By splitting the music according to the 10 parts, a layer of audio can be generated according to each part, thereby obtaining 10 layers of audio, and then combining the 10 layers of audio to obtain the above-mentioned multiple sub-audios.

[0067] As an optional implementation, multiple sub-audios are generated based on multiple layers of audio, including: sorting multiple layers of audio; obtaining the superposition result corresponding to each layer of sorted audio, wherein the superposition result is used to represent the sum between each layer of sorted audio and at least one layer of audio that precedes each layer of sorted audio; determining the superposition result corresponding to each layer of audio as a sub-audio, thereby obtaining multiple sub-audios.

[0068] In this embodiment, when generating multiple sub-audios based on multi-layer audio, the multi-layer audio can be sorted first. For example, since the multi-layer audio is obtained by splitting the music according to different parts of the music, this embodiment can arrange the multi-layer audio according to a predetermined part order or instrument order, or flexibly adjust the order of the multi-layer audio according to the needs of the game scene. No specific restrictions are made here. After sorting the multiple layers of audio, each sorted audio layer can be superimposed with the previous audio layer in sequence to obtain a superposition result corresponding to each layer of sorted audio. The superposition result is used to represent the sum of each layer of sorted audio and at least one layer of audio before each layer of sorted audio. For example, if the multiple layers of audio are 10 layers of audio, namely, the first layer of audio, the second layer of audio, the third layer of audio, the fourth layer of audio, the fifth layer of audio, the sixth layer of audio, the seventh layer of audio, the eighth layer of audio, the ninth layer of audio, and the tenth layer of audio, then the superposition result corresponding to the first layer of audio is the first layer of audio, the superposition result corresponding to the second layer of audio is the sum of the first layer of audio and the second layer of audio, the superposition result corresponding to the third layer of audio is the sum of the first layer of audio, the second layer of audio, and the third layer of audio, the superposition result corresponding to the fourth layer of audio is the sum of the first layer of audio, the second layer of audio, the third layer of audio, and the fourth layer of audio, and so on, thereby obtaining 10 superposition results. In this embodiment, the superposition result corresponding to each layer of audio can be determined as a sub-audio, thereby obtaining multiple sub-audios. That is, the number of multiple sub-audios in this embodiment can be the same as the number of multiple layers of audio.

[0069] As an optional implementation, the method also includes: obtaining playback information of each sub-audio, wherein the playback information is used to indicate the rhythm type and / or melody direction of each sub-audio during playback; marking each sub-audio based on the playback information of each sub-audio to obtain sub-segments with different emotional intensities.

[0070] In this embodiment, each sub-audio of the music has playback information, and the playback information can be used to indicate the rhythm type (rhythm type) and / or melody direction of each sub-audio when it is played, and each sub-audio can be further split based on the rhythm type and / or melody direction. That is, this embodiment further splits each sub-audio based on the rhythm type and / or melody direction of each sub-audio when it is played to obtain sub-segments of different emotional intensities. That is, this embodiment achieves the purpose of further dividing sub-segments of different emotional intensities on the basis of the sub-audio of the music, and achieves the emotional intensities corresponding to different audio intensities by fragmenting the music, so as to accurately determine the target sub-segment that matches the current game behavior, and then achieves the purpose of effectively controlling the music in the game scene by mixed playback of the target sub-segments.

[0071] As an optional implementation, step S202, determining a music emotional state based on the current game behavior, includes: determining a music emotional state that matches the current game behavior, wherein the music emotional state is used to represent a target emotional intensity at a target audio intensity.

[0072] In this embodiment, when determining a music emotional state based on the current game behavior, the target emotional intensity under the target audio intensity that matches the current game behavior among multiple audio intensities can be determined based on the current game behavior, and then the target emotional intensity under the target audio intensity is determined as the music emotional state.

[0073] In this embodiment, multiple sub-audios formed by splitting different parts of the same music correspond to multiple audio intensities. Optionally, the multiple audio intensities are divided into five levels, such as audio intensity 0, audio intensity 1, audio intensity 2, audio intensity 3, and audio intensity 4. Among them, the sub-audio corresponding to audio intensity 0 (default) can be used in ambient music. It is the default level of music and can mainly express the background noise of the environment to highlight the overall atmosphere of the environment in which the virtual game character is located. The emotions can be flat, mainly creating an immersive feeling, laying the foundation for the immersive experience, and also to provide some contrast with the subsequent emotional rendering.

[0074] Optionally, the sub-audio corresponding to the aforementioned audio intensity 1 (tension) can be used in the exploration portion of game missions and gameplay to build anticipation and suspense. This lower intensity, slightly tense portion can convey the emotions of exploration and the unknown, creating an atmosphere. This can guide the player's emotions, deepen their immersive experience, and lay the groundwork for subsequent emotional development.

[0075] Optionally, the above-mentioned audio intensity 2 (light action) can be the light audio intensity part, and the corresponding sub-audio can increase the intensity to cover light combat, which is used to express light combat in the wild or indoors. Feedback after exploration can be given through some small direct interactions. There are obvious emotional ups and downs here. At this time, the player can have begun to enter the immersive experience, and the emotions can no longer be separated from the influence of music. This is also to guide and pave the way for subsequent emotional outburst points.

[0076] Optionally, the above-mentioned audio intensity 3 (action) can be a medium audio intensity, and the corresponding sub-audio can increase the intensity to cover most combat encounters in the game scene, used to express small and medium-sized elite battles. The combat music can instantly bring players into the game, inspire players' fighting courage, reduce the frustration caused by combat failure, and motivate players' fighting spirit. This intensity can allow most players to directly enter a fully immersive experience and allow players to strongly bind their emotional rendering points in the game with the direction of the music. At this moment, no matter what the direction of the music is, it will directly affect the player's current mood.

[0077] Alternatively, audio intensity 4 (high action) can be a high audio intensity. Its corresponding sub-audio can be used for "boss" encounters, further elevating the player's emotions. The highest intensity audio matches the most intense battles, providing player progress and other information and feedback. This intensity can elevate the player's emotions to their highest point, stimulating them to the point of excitement and immersion in the moment, oblivious to the passage of time.

[0078] In this embodiment, the sub-audio corresponding to audio intensities 2 to 4 represents the combat portion of the gameplay. The greater the audio intensity, the more pronounced the percussive and melodic feel of the sub-audio. The sub-audio corresponding to audio intensity 4 has a distinctly thematic melody. The transition from sub-audio corresponding to audio intensity 1 to sub-audio corresponding to audio intensity 2 can incorporate a light percussion layer, creating a gradual, seamless transition. The transition from sub-audio corresponding to audio intensity 1 to sub-audio corresponding to audio intensity 4 directly impacts the player, delivering maximum tension, dynamics, and emotional drive. The transition from sub-audio corresponding to audio intensity 3 to sub-audio corresponding to audio intensity 4 thins out the sound, reducing the percussive feel and musical density, paving the way for subsequent high-intensity music. The transition from sub-audio corresponding to audio intensity 3 to sub-audio corresponding to audio intensity 4 incorporates a distinctly thematic melody, creating a strong percussive feel and stimulating the player's emotions.

[0079] Optionally, this embodiment can use the above-mentioned audio intensity 3 and audio intensity 4 during the most intense emotional mobilization to subtly strengthen key information and allow players to capture it, thereby enhancing the player's sense of immersion in multiple dimensions. It can render specific emotions by emphasizing certain parts of the music point-to-point, or shape emotional points in all directions in a certain musical form to enhance the player's immersive experience and emotional rendering.

[0080] In this embodiment, the direction of each audio intensity can be pre-designed. For example, the direction of the audio intensity can be changed from audio intensity 0 to audio intensity 1, from audio intensity 1 to audio intensity 0, from audio intensity 1 to audio intensity 2, from audio intensity 2 to audio intensity 1, from audio intensity 1 to audio intensity 3, from audio intensity 3 to audio intensity 1, from audio intensity 1 to audio intensity 4, from audio intensity 4 to audio intensity 1, from audio intensity 2 to audio intensity 3, from audio intensity 3 to audio intensity 2, from audio intensity 3 to audio intensity 4, from audio intensity 4 to audio intensity 3, from audio intensity 2 to audio intensity 4, and from audio intensity 4 to audio intensity 2.

[0081] Alternatively, in this embodiment, if the virtual game character does not perform any gaming actions within the game scene, for example, simply remaining within the game scene, the audio intensity may be 0, which is used to represent the virtual game character's environment within the game scene. This audio intensity may be maintained without any emotional overtones. Alternatively, in this embodiment, the player may independently select an audio intensity, directly selecting between audio intensity 0 and audio intensity 1. Audio intensity 1 is used to represent the virtual game character performing gaming actions within the game scene. This audio intensity will be maintained and will carry an exploratory emotional overtone.

[0082] As an optional implementation, step S206, based on the emotional state of the music, determines one or more target sub-audios and a target sub-segment to be played in each target sub-audio from the music data, including: determining one or more target sub-audios with an audio intensity of a target audio intensity from the music data, and determining a target sub-segment with an emotional intensity of a target emotional intensity in each target sub-audio.

[0083] In this embodiment, since the emotional state of the music is used to represent the target emotional intensity at the target audio intensity, for the target audio intensity, this embodiment can determine one or more target sub-audios with an audio intensity of the above-mentioned target audio intensity from the music data. Furthermore, for the above-mentioned target emotional intensity, a target sub-segment with an emotional intensity of the target emotional intensity can be determined in each target sub-audio, thereby achieving the purpose of fragmenting the music and splitting out the emotional intensities corresponding to different audio intensities.

[0084] The following further describes how to implement mixed playback based on target sub-segments to be played in this embodiment.

[0085] As an optional implementation, step S208, performing mixed playback based on the target sub-segments to be played, includes: acquiring a target audio file based on the target sub-segment to be played in each target sub-audio; and playing the target audio file.

[0086] In this embodiment, when implementing mixed playback based on the target sub-segment to be played, the segment information of the target sub-segment to be played in each target sub-audio can be first determined, and then according to the segment information of the target sub-segment to be played in each sub-audio, a target audio file is generated for at least one target sub-segment. This embodiment does not impose any restrictions on the format of the target audio file, and then the target audio file is played.

[0087] As an optional implementation, obtaining a target audio file based on the target sub-segment to be played in each target sub-audio includes: obtaining the timestamp of the target sub-segment to be played in each target sub-audio to obtain multiple timestamps; merging the target sub-segments to be played in multiple target sub-audios based on the multiple timestamps to obtain the target audio file.

[0088] In this embodiment, the segment information of the target sub-segment may include a timestamp, which may be the playback time of the target sub-segment. The multiple target sub-segments may be combined in the order of their timestamps, so as to achieve the purpose of the target audio file by combining the multiple target sub-segments in a segmented manner and in a sequential manner according to the order of the timestamps.

[0089] As an optional implementation, the target sub-segments to be played in multiple target sub-audios include multiple target sub-segments with the same timestamp, and the target sub-segments to be played in the multiple target sub-audios are merged based on the multiple timestamps to obtain the target audio file, including: merging the multiple target sub-segments with the same timestamp to obtain the target audio file.

[0090] In this embodiment, the above-mentioned multiple timestamps may include the same timestamp, so that when the multiple sub-segments are spliced in the order of the timestamps of the multiple target sub-segments, the multiple target sub-segments with the same timestamp can be merged together to obtain the target audio file, that is, when the playback time reaches the same timestamp, the multiple target sub-segments corresponding to the same timestamp are played simultaneously.

[0091] As an optional implementation, multiple target sub-segments with the same timestamp are merged to obtain a target audio file, including: merging multiple target sub-segments with the same timestamp according to the order information of each target sub-segment in the target sub-audio to which it belongs, to obtain the target audio file.

[0092] In this embodiment, when merging multiple target sub-segments with the same timestamp to obtain a target audio file, the order information of each target sub-segment in the multiple target sub-segments with the same timestamp in the target sub-audio to which it belongs can be determined, and each target sub-segment can be arranged in the target sub-audio to which it belongs according to the timestamp, and then the multiple target sub-segments with the same timestamp can be merged in turn according to the order information, and can also be further spliced with target sub-segments corresponding to other timestamps to obtain a final complete target audio file. This is an important step before the target sub-segments to be played are mixed and played, and then the target audio file is played, thereby achieving the purpose of mixed playback based on the target sub-segments to be played, maximizing the resource utilization of the target sub-segments, and promoting the purpose of emotional rendering in the game scene.

[0093] As an optional implementation, mixed playback is performed based on the target sub-segment to be played, including: playing the target sub-segment to be played in each target sub-audio when the playback time reaches the timestamp of the target sub-segment to be played in each target sub-audio.

[0094] In this embodiment, when implementing mixed playback based on the target sub-segment to be played, it is not necessary to generate a target audio file for the target sub-segment to be played. Instead, the player monitors whether the playback time reaches the timestamp of the target sub-segment to be played in each target sub-audio. If the playback time reaches the timestamp of the target sub-segment to be played in each target sub-audio, the target sub-segment is played; if the playback time does not reach the timestamp of the target sub-segment to be played in each target sub-audio, the target sub-segment is prohibited from being played.

[0095] For example, there are two target sub-segments, the timestamp of the first target sub-segment is 1 second, and the timestamp of the second target sub-segment is 2 seconds. When the player monitors that the playback time reaches the timestamp of the first target sub-segment and the timestamp of the second target sub-segment 1 second, the first target sub-segment can be played in this 1 second, and the second target sub-segment will not be played; when the player monitors that the playback time reaches the timestamp of the second target sub-segment 2 seconds, the third target sub-segment can be played in these 2 seconds.

[0096] For another example, in the same sub-audio, there are four sub-segments marked with different emotional intensities, such as the first sub-segment, the second sub-segment, the third sub-segment, and the fourth sub-segment. The first sub-segment and the fourth sub-segment are target sub-segments that need to be mixed and played. For example, the first sub-segment corresponds to a human voice, and the fourth sub-segment corresponds to footsteps. Among them, the second sub-segment and the third sub-segment are eliminated, and the first sub-segment and the fourth sub-segment still maintain the original playback order. The first sub-segment and the fourth sub-segment have timestamps, and the player can play the first sub-segment and the fourth sub-segment according to the timestamps. Optionally, this embodiment can store the first sub-segment and the fourth sub-segment respectively as separate audio files instead of combining them into one audio file. The player plays the audio file corresponding to the first sub-segment and the audio file corresponding to the fourth sub-segment in sequence according to the timestamps corresponding to the first sub-segment and the fourth sub-segment.

[0097] As an optional implementation manner, the target sub-segments to be played in the multiple target sub-audios include multiple target sub-segments with the same timestamp, and the multiple target sub-segments are played simultaneously at the same timestamp.

[0098] In this embodiment, it can be determined whether the target sub-segments to be played among the multiple target sub-audios include multiple target sub-segments with the same timestamp. If it is determined that the target sub-segments to be played among the multiple target sub-audios include multiple target sub-segments with the same timestamp, then when the playback time reaches the same timestamp, the multiple target sub-segments with the above-mentioned same timestamp can be played at the same timestamp.

[0099] For example, the timestamp of the first target sub-segment is 1 second and the timestamp of the third target sub-segment is 1 second. When the player monitors that the playback time reaches the timestamp of the first target sub-segment and the timestamp of the third target sub-segment 1 second, the first target sub-segment and the third target sub-segment can be played simultaneously in this 1 second.

[0100] As an optional embodiment, the target sub-segments to be played in the multiple target sub-audios include a first target sub-segment and a second target sub-segment, the emotional trend state from the emotional intensity of the first target sub-segment to the emotional intensity of the second target sub-segment is an emotional decline state, and the difference between the emotional intensity of the first target sub-segment and the emotional intensity of the second target sub-segment is a first target threshold, and mixed playback is performed based on the target sub-segments to be played, including: determining a third target sub-segment; playing the third target sub-segment after playing the first target sub-segment and before playing the second target sub-segment, wherein the playback of the third target sub-segment is used to make the playback of the first target sub-segment smoothly transition to the playback of the second target sub-segment.

[0101] Since music itself rarely has an emotional drop, the emotional intensity of a piece of music usually becomes stronger and stronger. When it goes from strong to weak, it is not as natural as going from weak to strong. For example, in many game logics, the emotional intensity reaches its highest point when the monster is killed, and the player is in a very excited state. However, the music usually ends abruptly, and there is no chance for the music to slowly drop back. It drops back quickly, which makes the transition of the music unnatural. However, in this embodiment, the emotional trend state of the emotional intensity from the first target sub-segment to the second target sub-segment in the target sub-segments to be played in multiple target sub-audios is an emotional decline state, and the emotional intensity of the first target sub-segment and the emotional intensity of the second target sub-segment differ by a first target threshold. For example, when the emotional advancement intensity exceeds two emotional intensities, a third target sub-segment can be determined. The third target sub-segment can be called an extracted preview segment (pre-outro) of the second target sub-segment. After playing the first target sub-segment and before playing the second target sub-segment, the third target sub-segment is played, and then the ending music (outro) is played to guide the emotional decline, so that the playback of the first target sub-segment can smoothly transition to the playback of the second target sub-segment, making the emotional decline from the first target sub-segment to the second target sub-segment more natural and not abrupt.

[0102] As an optional implementation manner, determining the third target sub-segment includes: determining a preset audio as the third target sub-segment; or selecting the third target sub-segment from target sub-segments to be played in multiple target sub-audios.

[0103] In this embodiment, when determining the third target sub-segment, a pre-set preset audio can be obtained, and the preset audio can be a general functional transition audio, which can be determined as the above-mentioned third target sub-segment to achieve the purpose of smooth transition from the playback of the first target sub-segment to the playback of the second target sub-segment; optionally, this embodiment can also select the third target sub-segment from the target sub-segments to be played in multiple target sub-audios to achieve the purpose of smooth transition from the playback of the first target sub-segment to the playback of the second target sub-segment.

[0104] As an optional embodiment, the target sub-segments to be played in the multiple target sub-audios include a fourth target sub-segment and a fifth target sub-segment, the emotional trend state from the emotional intensity of the fourth target sub-segment to the emotional intensity of the fifth target sub-segment is an emotional upward state, and the difference between the emotional intensity of the fourth target sub-segment and the emotional intensity of the fifth target sub-segment is a second target threshold, and mixed playback is performed based on the target sub-segments to be played, including: determining that the target sub-segments to be played in the multiple target sub-audios include a sixth target sub-segment, wherein the timestamp of the sixth target sub-segment is between the timestamp of the fourth target sub-segment and the timestamp of the fifth target sub-segment; after playing the fourth target sub-segment and before playing the fifth target sub-segment, playing the sixth target sub-segment, wherein the playing of the sixth target sub-segment is used to make the playing of the fourth target sub-segment smoothly transition to the playing of the fifth target sub-segment.

[0105] In this embodiment, the emotional trend state of the emotional intensity from the fourth target sub-segment to the fifth target sub-segment in the target sub-segments to be played in multiple target sub-audios can be an emotionally rising state, and the emotional intensity of the fourth target sub-segment and the emotional intensity of the fifth target sub-segment differ by a second target threshold. For example, when the emotional advancement intensity exceeds two emotional intensities, the sixth target sub-segment can be determined. The sixth target sub-segment can be called a piece of music (intro) before the main song begins, and its timestamp is between the timestamp of the fourth target sub-segment and the timestamp of the fifth target sub-segment. In this way, after playing the fourth target sub-segment and before playing the fifth target sub-segment, the sixth target sub-segment is played, so that the playback of the fourth target sub-segment can be smoothly transitioned to the playback of the fifth target sub-segment. Therefore, this embodiment avoids the problem of the emotional trend in the game scene being fixed, from low to high and then to low, and lack of tension through the above-mentioned emotional decline transition method and emotional rise transition method.

[0106] Optionally, in this embodiment, switching rules and transitions between sub-segments marked with different emotional intensities can be designed, and the ups and downs of sub-segments with different emotional intensities can be closed-loop. For example, in the game scene, the player can switch from a sub-segment with no emotion to a sub-segment with fluctuating emotions, or from a sub-segment with fluctuating emotions to a sub-segment with no emotion, or from a sub-segment with no emotion to a sub-segment with falling emotions, or from a sub-segment with falling emotions to a sub-segment with no emotion, or from a sub-segment with no emotion to a sub-segment with rising emotions, or from a sub-segment with rising emotions to a sub-segment with no emotion, or from a sub-segment with falling emotions to a sub-segment with rising emotions, or from a sub-segment with rising emotions to a sub-segment with falling emotions, or from a sub-segment with falling emotions to a sub-segment with falling emotions, or from a sub-segment with falling emotions to a sub-segment with fluctuating emotions, or from a sub-segment with fluctuating emotions to a sub-segment with falling emotions, so as to realize the player's emotional rendering and advancement.

[0107] In this embodiment, all the interactive modes for rendering and advancing the player's emotions in the game can be pre-designed. This is random for the player, but pseudo-random for the designer. It is an accidental design within a controllable range. All of them are designed to allow the player to reach a sub-segment of a certain emotion, and obtain the expected emotional rendering effect in this link, thereby achieving the expected emotional fluctuation level.

[0108] As an optional example, when an audio switching request is received, an additional transition audio can be inserted to more naturally transition from the currently playing sub-segment marked as emotional intensity to the next sub-segment marked as emotional intensity; optionally, each sub-segment marked as emotional intensity has an ending sentence. When an audio switching request is received, the ending sentence of the previous sub-segment marked as emotional intensity can be played directly, and then the sub-segment marked as emotional intensity after the switch is played; optionally, each sub-segment marked as emotional intensity has a starting sentence. When an audio switching request is received, it can be directly switched to the starting sentence of the sub-segment marked as emotional intensity in the next stage, and the audio switching is performed directly; optionally, when an audio switching request is received, the switching is performed after waiting for the phrase of the sub-segment currently marked as emotional intensity to be played.

[0109] As another optional example, players can customize audio for game scenes, such as custom music. This can also use the above-mentioned audio transition method of this embodiment, but the transition between music will not be as natural as the original music set for the game scene, and the switching between music will be relatively abrupt; secondly, the player selectability of this embodiment refers to some behavioral operations that players can perform on the characters they can control in the game.

[0110] As another optional example, when the player performs some operations on the virtual game character, the sub-segment marked as emotional intensity in the game scene may change, but the playback time of the sub-segment marked as emotional intensity may be played according to the status change of the virtual game character in the game content. For example, the virtual game character does something in the game, and when this thing reaches a certain state (the state may be designed in advance), the sub-segment marked as emotional intensity may change. For example, the virtual game character is fighting a boss monster, and the health of the boss monster drops below 50%, then the changed sub-segment marked as emotional intensity begins to play, and continues until the boss monster dies, and then enters the next stage of sub-segment marked as emotional intensity change.

[0111] This embodiment splits the music that matches the game scene into emotional segments under a certain audio intensity, determines the target sub-audio and the target sub-segment in the target sub-audio from the music data corresponding to the game scene according to the emotional state of the music that matches the current game behavior of the virtual game character, and then mixes and plays them. This method can optimize and promote the emotional rendering in the game scene according to the actual situation of the game behavior in the game scene, and provide sub-segments with different emotional states under various specified audio intensities. All of these sub-segments are in the same mode and rhythm, or related modes and rhythms, and share related music melody theme content, so that this embodiment can subtly strengthen key emotional information and allow players to capture it, and enhance the player's sense of substitution in the game scene in multiple dimensions. It can render specific emotions by emphasizing certain parts of the audio point-to-point, or shaping emotional points in all directions in a certain musical form, thereby enhancing the player's immersive experience and emotional rendering.

[0112] The above technical solution of the embodiment of the present invention is further introduced below with reference to preferred implementation modes.

[0113] The audio data in a game scene can be music, for example, game music, which can be background music and plays a crucial role in the game. Game music profoundly impacts the player's gaming experience, enhancing immersion, signaling narrative or plot changes, serving as emotional symbolism, enhancing aesthetic continuity, and fostering thematic unity. Music is an essential component of every successful game. All game designers and players desire games to be as immersive as possible.

[0114] Immersion, as described above, is the feeling that the player is engaged in the game, their thoughts, attention, and goals focused on it. Game audio aims to combine usability with a sense of presence and immersion in the virtual game world. The soundscape helps create a sense of immersion that is consistent with the real world. Sound can create the impression of a real space by presenting virtual off-screen sources. Games with sound can be used to provide audio supplements to on-screen action and create a realistic sense of physical space. All sounds in a game contribute to the player's immersion in some way. Music in games has the potential to be more than just a passive element; by being closely integrated with game content and background music, it can enhance the player's gaming experience and immersion.

[0115] It's important to note that the improved immersion caused by game music in standard games only occurs among low-level players, not high-level players. Because high-level players are typically exposed to a wide variety of games, they become desensitized to most, meaning they've become acclimated to them and their emotional responses to them tend to be muted. Therefore, regardless of background music, high-level players may experience more boredom and less immersion than low-level players. Conversely, low-level players, having experienced relatively few games, find every detail of a game incredibly novel and intriguing. Therefore, compared to games without music, they experience a stronger sense of immersion when playing games with music. With background music, players become more immersed in the game, losing track of time. From the moment the music starts, players can gauge the tone of the game. This is especially true when the opening animation doesn't provide much information about the overall mood. In such cases, music can be crucial for discerning whether the game is cheerful, profound, weighty, or ethereal.

[0116] The background music will change according to the changes in the game process. For example, in a linear narrative game story, the production team will use game music with different emotions in different stages and scenes to promote the development of the story, so that the player's mood changes with the ups and downs of the plot and game music, thereby becoming more integrated into the game.

[0117] However, considering the aforementioned player reach, it's becoming increasingly difficult to stimulate the emotions of high-end players through music. In game development, the design and playback logic of game music are often based on the type of music or the content of the game screen. For example, for a scene or a main city, a separate piece of music might be designed to represent that city. A separate piece of music might be designed to describe the story that takes place within that city. Combat music might be designed with a percussive, rhythmic feel, while achievements might be designed with upbeat, joyful melodies.

[0118] All of the above are designed point-by-point, resulting in unnatural transitions between emotions. Emotional development is too slow, requiring a gradual, inflexible process. The transitions between emotions are abrupt and imprecise, making it easier for players to lose immersion and become distracted. Precise emotional emphases are lacking, as the music is fixed and lacks significant dynamic interaction or emotional progression. Furthermore, all musical performances are rigid and inflexible, lacking sufficient control over subtle emotions, precision, and nuance. The emotional hierarchy and combination of emotional trends are not nuanced enough, failing to provide guidance or transitions. The emotional trajectory is often fixed, from low to high and then back to low, lacking tension.

[0119] To address the above issues, this embodiment can optimize and promote emotional rendering by splitting game music into emotional segments at specific audio intensities and then merging different emotional segments. This provides game music with emotional segments at various specified audio intensities, all of which are in the same mode and rhythm, or related modes and rhythms, and share related musical melodic themes. This enhances the impact of background music on the player's subjective immersion in the game, more strongly driving the player's emotions and thus achieving a deeper sense of immersion. The method of this embodiment is further described below.

[0120] In this embodiment, the audio intensity of the game music can be divided into five audio intensities. The differences between these five audio intensities can be different in harmony and instrumentation. Optionally, the five intensities in this embodiment can be audio intensity 0 (default), audio intensity 1 (tension), audio intensity 2 (light action), audio intensity 3 (action), and audio intensity 4 (high action).

[0121] In this embodiment, the audio corresponding to the audio intensity of 0 can be used in scene music. The music layer can be defaulted and is mainly used to express the background noise of the environment. It can be used to set off the overall atmosphere of the environment in which the player is located. There are no emotional ups and downs. It mainly creates an immersive feeling, lays some foundation for the immersive experience, and is also for comparison with the subsequent emotional rendering.

[0122] Audio intensity 1 can be used for exploration in missions and gameplay to build anticipation and suspense. This lower-intensity, slightly tense audio is used to convey exploration, stir emotions of the unknown, and primarily create atmosphere. This guides the player's emotions, deepens immersion, and lays the groundwork for subsequent emotional development.

[0123] Audio intensity 2 can be the light intensity part. The corresponding audio can increase in intensity to cover light combat, used to express light combat in the wild or indoors. Through some small direct interactions, feedback after exploration is given. Here, there are obvious emotional fluctuations. At this time, the player has begun to enter an immersive experience. The emotions can no longer be separated from the influence of music. It also serves as a guide and foreshadowing for subsequent emotional outbursts.

[0124] Audio intensity 3 is medium, covering most combat encounters and depicting small to medium-sized elite battles. Combat music instantly draws players into the game, inspiring them to fight, reducing the frustration of defeat, and motivating them. This intensity allows most players to enter a fully immersive experience and strongly binds their in-game emotions to the direction of the music. Regardless of the direction of the music, it will directly impact the player's current mood.

[0125] Audio intensity 4 is high, and its corresponding audio can be used for boss-level encounters to further enhance the player's emotions. The highest intensity music matches the most intense battles, and provides information and feedback about the player's combat progress. This intensity can arouse the player's emotions to the highest point. At this point, the player is already in a state of excitement, often immersed in the present moment and unaware of the passage of time.

[0126] In this embodiment, each piece of music can be derived into emotional segments under different audio intensities by splitting the layer. In this way, the emotional segments under each audio intensity can be combined sequentially, segmented, remixed, etc. to maximize resource utilization and promote emotional rendering.

[0127] Optionally, in this embodiment, audio intensities 2 to 4 may represent combat parts of the gameplay. The greater the intensity, the more pronounced the sense of impact and melody. Audio intensity 4 may have a distinctly thematic melody.

[0128] In this embodiment, from audio intensity 1 to audio intensity 2, a light percussion layer can be added, with gradual and seamless switching; from audio intensity 1 to audio intensity 4, it hits the heart directly, with maximum tension, maximum dynamics, and strongest emotional push; from audio intensity 3 to audio intensity 2, the voice part becomes thinner, reducing the sense of percussion and the density of music, paving the way for subsequent high-intensity music; from audio intensity 3 to audio intensity 4, a melody with a clear theme is added to render a strong sense of percussion and mobilize the player's emotions.

[0129] Figure 3 FIG. 1 is a flow chart of another method for controlling music in a game according to an embodiment of the present invention. Figure 3 As shown, the method may include the following steps:

[0130] Step S301: Players access the game and emotional guidance is in place.

[0131] In this embodiment, the player can independently select an audio intensity to enter. In this embodiment, there may be only two audio intensities that can be directly entered, but for the player, there are still options, which depend on the game behavior of the virtual game character.

[0132] In this embodiment, the audio intensity that the player can initially enter may include audio intensity 0, which is used to represent the environment in which the virtual game character is located. In the game scene, the virtual game character does nothing and will continue at this audio intensity without any emotional color; audio intensity 1, which is used to represent the virtual game character performing game actions in the game scene. This audio intensity will continue and has an emotional color of exploration.

[0133] Step S302: Determine the emotional segment under the audio intensity according to the game behavior.

[0134] In this embodiment, the subsequent development of the player's emotions can be planned. This embodiment pre-designs all possible player behaviors, creates a pseudo-binding between the direction of the player's subsequent emotional segment at a specific audio intensity and the game behavior, and designs the emotional direction and playback method. However, this is also optional for the player, depending on the game behavior of the virtual game character.

[0135] Figure 4 FIG. 1 is a schematic diagram of a relationship between multiple audio intensities according to an embodiment of the present invention. Figure 4 As shown, the audio intensity can change from 0 to audio intensity 1, from audio intensity 1 to audio intensity 0, from audio intensity 1 to audio intensity 2, from audio intensity 2 to audio intensity 1, from audio intensity 1 to audio intensity 3, from audio intensity 3 to audio intensity 1, from audio intensity 1 to audio intensity 4, from audio intensity 4 to audio intensity 1, from audio intensity 2 to audio intensity 3, from audio intensity 3 to audio intensity 2, from audio intensity 3 to audio intensity 4, from audio intensity 4 to audio intensity 3, from audio intensity 2 to audio intensity 4, and from audio intensity 4 to audio intensity 2.

[0136] Step S303: determining whether the emotional segment under the audio intensity can cover all the game behaviors of the player.

[0137] This embodiment determines that the emotional segments under the audio intensity cover all the game behaviors of the player, and can trigger an emotional advancement according to the emotional trend / incidental events. Subsequent music can be played according to the emotional trend type obtained in step S302 to advance the emotion and make a smooth transition.

[0138] In this embodiment, when only the quantization level corresponding to the emotional intensity under one audio intensity is advanced, the playing of the music makes the advancement of the emotion gradual; when two quantization levels are advanced, the playing of the music makes the advancement of the emotion leap-forward; when three quantization levels are advanced, the playing of the music makes the advancement of the emotion explosive; when four quantization levels are advanced, the playing of the music makes the advancement of the emotion directly reach a climax.

[0139] Step S304: Switch between various emotional segments to achieve full immersion.

[0140] In this embodiment, emotional segment switching rules and transitions can be designed, and the up and down closed loop of emotional segments can cover all interactive modes of emotional rendering and advancement of players in the game. This is random for players, but pseudo-random for designers. Accidental designs within a controllable range are all designed to allow players to reach a certain emotional point, and achieve the expected effect and the expected emotional fluctuation level in this link.

[0141] Step S305: End the game behavior and reset the emotional guidance.

[0142] In this embodiment, an emotion callback can be performed based on the game behavior after the behavior with the highest emotion falls back.

[0143] In this embodiment, the direction of emotional development is reversible, and the player's emotional rendering and advancement can be both positive and reverse, with the intention of regulating the player's current emotions through game behavior to achieve an immersive experience.

[0144] Figure 5 Schematic diagram of multiple emotional changes in a game scene according to an embodiment of the present invention. Figure 5 As shown, in the game scene, the player can go from no emotion to emotional fluctuations, or emotional fluctuations to no emotion, from no emotion to emotional decline, or emotional decline to no emotion, from no emotion to emotional rise, or emotional rise to no emotion, from emotional decline to emotional rise, or emotional rise to emotional decline, from emotional decline to emotional fluctuations, or emotional fluctuations to emotional decline, from emotional rise to emotional fluctuations, or emotional fluctuations to emotional rise, so as to achieve the player's emotional rendering and advancement.

[0145] In this embodiment, when the intensity of emotion exceeds two quantitative levels, for the advancement of rising emotions, music usually plays intro to ensure that the transition between emotions is natural; for the advancement of falling emotions, music usually plays outro to ensure that the transition between emotions is natural. Especially when the fall exceeds two quantitative levels, pre-outro will be inserted to foreshadow the direction of the emotion fall for the first time, and then outro will be played to guide the emotion fall.

[0146] In this embodiment, excellent audio design in the game scene can enhance the game screen and produce an auditory impact. It is obviously very important to understand and capture the rhythm. In the game, the music can have different performances according to the player's current state, threat, and battle stage. This embodiment can fragment the music into multiple emotional fragments at multiple audio intensities, and can mix and play them according to the actual situation in the game. This embodiment can subtly strengthen key information and allow players to capture it, enhance the player's sense of substitution in multiple dimensions, render specific emotions by emphasizing certain parts point-to-point, or shape emotional points in all directions in a certain musical form, enhance the player's immersive experience and emotional rendering, thereby achieving the technical effect of flexibly determining effective audio data in the game scene, and solving the technical problem of being unable to effectively control the music in the game scene.

[0147] Through the description of the above embodiments, those skilled in the art can clearly understand that the method according to the above embodiment can be implemented by means of software plus the necessary general hardware platform, and of course it can also be implemented by hardware, but in many cases the former is a better implementation method. Based on this understanding, the technical solution of the present invention is essentially or the part that contributes to the prior art can be embodied in the form of a software product, which is stored in a storage medium (such as ROM / RAM, magnetic disk, optical disk), and includes a number of instructions for enabling a terminal device (which can be a mobile phone, computer, server, or network device, etc.) to execute the methods described in each embodiment of the present invention.

[0148] In this embodiment, a music control device for a game is also provided. The game in the device includes a game scene and a virtual game character that is controlled by player input and performs game behaviors in the game scene. The device is used to implement the above-mentioned embodiments and preferred embodiments, and the details that have been described will not be repeated. As used below, the term "unit" can refer to a combination of software and / or hardware that implements a predetermined function. Although the devices described in the following embodiments are preferably implemented in software, implementation using hardware, or a combination of software and hardware, is also possible and contemplated.

[0149] Figure 6 FIG. 1 is a structural block diagram of a music control device in a game according to an embodiment of the present invention. Figure 6As shown, the music control device 60 in the game may include: a first acquisition unit 61 , a second acquisition unit 62 , a determination unit 63 and a playback unit 64 .

[0150] The first acquisition unit 61 is used to acquire the current game behavior of the virtual game character in the game scene, and determine a music emotional state based on the current game behavior.

[0151] The second acquisition unit 62 is used to acquire music data corresponding to the game scene, wherein the music data includes multiple sub-audios formed by splitting different parts of the same music, and each sub-audio includes sub-segments marked with different emotional intensities.

[0152] The determination unit 63 is configured to determine one or more target sub-audios and a target sub-segment to be played in each target sub-audio from the music data according to the emotional state of the music.

[0153] The playing unit 64 is configured to perform mixed playback based on the target sub-segments to be played.

[0154] In the music control device in the game of this embodiment, according to the music emotional state that matches the current game behavior of the virtual game character, the target sub-audio and the target sub-segment in the target sub-audio are determined from the music data corresponding to the game scene, and then mixed and played, so that the audio played in the game scene changes flexibly according to the changes in the game behavior, rather than being fixed, thereby achieving the technical effect of effectively controlling the music in the game scene and solving the technical problem of being unable to effectively control the music in the game scene.

[0155] It should be noted that the above-mentioned units can be implemented by software or hardware. For the latter, it can be implemented in the following ways, but not limited to: the above-mentioned units are all located in the same processor; or the above-mentioned units are located in different processors in any combination.

[0156] An embodiment of the present invention further provides a non-volatile storage medium storing a computer program, wherein the computer program is configured to execute the music control method in the game of the embodiment of the present invention when executed by a processor.

[0157] Optionally, in this embodiment, the non-volatile storage medium may be configured to store a computer program for executing the following steps:

[0158] S1, obtaining the current game behavior of the virtual game character in the game scene, and determining a music emotional state based on the current game behavior;

[0159] S2, obtaining music data corresponding to the game scene, wherein the music data includes multiple sub-audios formed by splitting different parts of the same music, each sub-audio including sub-segments marked with different emotional intensities;

[0160] S3, determining one or more target sub-audios and a target sub-segment to be played in each target sub-audio from the music data according to the emotional state of the music;

[0161] S4, performing mixed playback based on the target sub-segment to be played.

[0162] Optionally, in this embodiment, the above-mentioned non-volatile storage medium may include but is not limited to: a USB flash drive, a read-only memory (ROM), a random access memory (RAM), a mobile hard disk, a magnetic disk or an optical disk, and other media that can store computer programs.

[0163] According to one embodiment of the present invention, a processor is provided, which is configured to execute a program, wherein the program is configured to execute the music control method in a game according to an embodiment of the present invention when executed by the processor.

[0164] An embodiment of the present invention also provides an electronic device including a memory and a processor. The electronic device may include a memory and a processor, wherein a computer program is stored in the memory and the processor is configured to run the computer program to execute the music control method in the game of the embodiment of the present invention.

[0165] Optionally, the electronic device may further include a transmission device and an input / output device, wherein the transmission device is connected to the processor, and the input / output device is connected to the processor.

[0166] Optionally, in this embodiment, the processor may be configured to execute the following steps through a computer program:

[0167] S1, obtaining the current game behavior of the virtual game character in the game scene, and determining a music emotional state based on the current game behavior;

[0168] S2, obtaining music data corresponding to the game scene, wherein the music data includes multiple sub-audios formed by splitting different parts of the same music, each sub-audio including sub-segments marked with different emotional intensities;

[0169] S3, determining one or more target sub-audios and a target sub-segment to be played in each target sub-audio from the music data according to the emotional state of the music;

[0170] S4, performing mixed playback based on the target sub-segment to be played.

[0171] Optionally, specific examples in this embodiment may refer to the examples described in the above embodiments and optional implementation modes, and this embodiment will not be described in detail here.

[0172] The serial numbers of the above embodiments of the present invention are for description only and do not represent the advantages or disadvantages of the embodiments.

[0173] In the above embodiments of the present invention, the description of each embodiment has its own focus. For parts that are not described in detail in a certain embodiment, reference can be made to the relevant descriptions of other embodiments.

[0174] In the several embodiments provided in this application, it should be understood that the disclosed technical content can be implemented in other ways. Among them, the device embodiments described above are only exemplary. For example, the division of the units can be a logical function division. In actual implementation, there may be other division methods, such as multiple units or components can be combined or integrated into another system, or some features can be ignored or not executed. Another point is that the mutual coupling or direct coupling or communication connection shown or discussed can be through some interfaces, indirect coupling or communication connection of units or modules, which can be electrical or other forms.

[0175] The units described as separate components may or may not be physically separate, and the components shown as units may or may not be physical units, that is, they may be located in one place or distributed across multiple units. Some or all of the units may be selected according to actual needs to achieve the purpose of the present embodiment.

[0176] In addition, the functional units in the various embodiments of the present invention may be integrated into a single processing unit, each unit may exist physically separately, or two or more units may be integrated into a single unit. The aforementioned integrated units may be implemented in the form of hardware or software functional units.

[0177] If the integrated unit is implemented in the form of a software functional unit and sold or used as an independent product, it can be stored in a computer-readable storage medium. Based on this understanding, the technical solution of the present invention, or the part that contributes to the prior art, or all or part of the technical solution can be embodied in the form of a software product. The computer software product is stored in a storage medium and includes several instructions for enabling a computer device (which can be a personal computer, server or network device, etc.) to perform all or part of the steps of the method described in each embodiment of the present invention. The aforementioned storage medium includes: U disk, read-only memory (ROM, Read-Only Memory), random access memory (RAM, Random Access Memory), mobile hard disk, magnetic disk or optical disk, etc. Various media that can store program codes.

[0178] The above is only a preferred embodiment of the present invention. It should be pointed out that for ordinary technicians in this technical field, several improvements and modifications can be made without departing from the principles of the present invention. These improvements and modifications should also be regarded as within the scope of protection of the present invention.

Claims

1. A method for controlling music in a game, wherein the game comprises a game scene and a virtual game character that is controlled by a player's input and performs game actions in the game scene, characterized in that: The method comprises: Acquiring a current game behavior of the virtual game character in the game scene, and determining a music emotional state based on the current game behavior; Obtaining music data corresponding to the game scene, wherein the music data includes multiple sub-audios formed by splitting different parts of the same music, each of the sub-audios including sub-segments marked with different emotional intensities; determining, from the music data, one or more target sub-audios and a target sub-segment to be played in each of the target sub-audios according to the emotional state of the music; Perform mixed playback based on the target sub-segment to be played; Among them, mixed playback is performed based on the target sub-segments to be played, including: determining the emotional trend state between the multiple target sub-segments based on the emotional intensity corresponding to the multiple target sub-segments to be played; based on the emotional trend state, the multiple target sub-segments are mixed and played, wherein there is a smooth transition between the multiple target sub-segments after mixed playback.

2. The method according to claim 1, characterized in that The method further comprises: Splitting the music according to different parts of the music to obtain multiple layers of audio, wherein each layer of the audio is generated by the corresponding part; The plurality of sub-audios are generated based on the multi-layer audio.

3. The method according to claim 2, characterized in that Generating the plurality of sub-audios based on the multi-layer audio includes: sorting the multiple layers of audio; Obtaining a superposition result corresponding to each layer of the sorted audio, wherein the superposition result is used to represent the sum of each layer of the sorted audio and at least one layer of the audio that precedes each layer of the sorted audio; The superposition result corresponding to each layer of the audio is determined as one sub-audio to obtain the multiple sub-audios.

4. The method according to claim 1, wherein The method further comprises: Acquire playback information of each of the sub-audio tracks, wherein the playback information is used to indicate a rhythm type and / or melody direction of each of the sub-audio tracks during playback; Each sub-audio is marked based on the playback information of each sub-audio to obtain sub-segments with different emotional intensities.

5. The method according to claim 1, wherein Determining a music emotional state based on the current game behavior includes: The music emotional state that matches the current game behavior is determined, wherein the music emotional state is used to represent a target emotional intensity at a target audio intensity.

6. The method according to claim 5, characterized in that Determining one or more target sub-audios and a target sub-segment to be played in each of the target sub-audios from the music data according to the emotional state of the music, including: One or more target sub-audios having an audio intensity equal to the target audio intensity are determined from the music data, and a target sub-segment having an emotional intensity equal to the target emotional intensity is determined in each of the target sub-audios.

7. The method according to claim 1, characterized in that Performing mixed playback based on the target sub-segment to be played includes: Acquire a target audio file based on the target sub-segment to be played in each target sub-audio; Play the target audio file.

8. The method according to claim 7, characterized in that Acquiring a target audio file based on the target sub-segment to be played in each target sub-audio file includes: Obtaining a timestamp of the target sub-segment to be played in each target sub-audio, to obtain a plurality of timestamps; The target sub-segments to be played in the multiple target sub-audios are merged based on the multiple timestamps to obtain the target audio file.

9. The method according to claim 8, characterized in that The target sub-segments to be played in the plurality of target sub-audios include a plurality of target sub-segments having the same timestamp, and merging the target sub-segments to be played in the plurality of target sub-audios based on the multiple timestamps to obtain the target audio file, including: Merging a plurality of target sub-segments having the same timestamp to obtain the target audio file.

10. The method according to claim 9, characterized in that Merging a plurality of target sub-segments having the same timestamp to obtain the target audio file includes: According to the sequence information of each target sub-segment in the target sub-audio file, the target sub-segments with the same timestamp are merged to obtain the target audio file.

11. The method according to claim 1, wherein Performing mixed playback based on the target sub-segment to be played includes: When the playing time reaches the timestamp of the target sub-segment to be played in each target sub-audio, the target sub-segment to be played in each target sub-audio is played.

12. The method according to claim 11, characterized in that The target sub-segments to be played in the multiple target sub-audios include multiple target sub-segments with the same time stamp, and the multiple target sub-segments are played simultaneously at the same time stamp.

13. The method according to claim 1, wherein The target sub-segments to be played in the multiple target sub-audios include a first target sub-segment and a second target sub-segment, the emotional trend state from the emotional intensity of the first target sub-segment to the emotional intensity of the second target sub-segment is an emotional decline state, and the emotional intensity of the first target sub-segment differs from the emotional intensity of the second target sub-segment by a first target threshold, and mixed playback is performed based on the target sub-segments to be played, including: determining a third target sub-segment; After playing the first target sub-segment and before playing the second target sub-segment, play the third target sub-segment, wherein the playing of the third target sub-segment is used to smoothly transition from playing the first target sub-segment to playing the second target sub-segment.

14. The method according to claim 13, characterized in that Determining the third target sub-segment includes: determining a preset audio as the third target sub-segment; or, The third target sub-segment is selected from the target sub-segments to be played in the plurality of target sub-audios.

15. The method according to claim 1, wherein The target sub-segments to be played in the multiple target sub-audios include a fourth target sub-segment and a fifth target sub-segment, the emotional trend state from the emotional intensity of the fourth target sub-segment to the emotional intensity of the fifth target sub-segment is an emotionally upward state, and the difference between the emotional intensity of the fourth target sub-segment and the emotional intensity of the fifth target sub-segment is a second target threshold, and mixed playback is performed based on the target sub-segments to be played, including: Determining that the target sub-segments to be played in the plurality of target sub-audios include a sixth target sub-segment, wherein a timestamp of the sixth target sub-segment is between a timestamp of the fourth target sub-segment and a timestamp of the fifth target sub-segment; After playing the fourth target sub-segment and before playing the fifth target sub-segment, the sixth target sub-segment is played, wherein the playing of the sixth target sub-segment is used to smoothly transition from the playing of the fourth target sub-segment to the playing of the fifth target sub-segment.

16. A music control device for a game, wherein the game comprises a game scene and a virtual game character that performs game actions in the game scene under the control of a player's input, characterized in that: The device comprises: a first acquiring unit, configured to acquire a current game behavior of the virtual game character in the game scene, and determine a music emotional state based on the current game behavior; a second acquisition unit, configured to acquire music data corresponding to the game scene, wherein the music data includes a plurality of sub-audios formed by splitting different parts of the same music, each of the sub-audios including sub-segments marked with different emotional intensities; a determining unit, configured to determine, from the music data, one or more target sub-audios and a target sub-segment to be played in each of the target sub-audios according to the emotional state of the music; a playback unit, configured to perform mixed playback based on the target sub-segments to be played; Among them, the playback unit is used to perform mixed playback based on the target sub-segments to be played based on the following steps: determining the emotional trend state between the multiple target sub-segments based on the emotional intensity corresponding to the multiple target sub-segments to be played; based on the emotional trend state, performing mixed playback of the multiple target sub-segments, wherein there is a smooth transition between the multiple target sub-segments after mixed playback.

17. A computer-readable storage medium, characterized in that The computer-readable storage medium stores a computer program, wherein the computer program is configured to execute the music control method in the game described in any one of claims 1 to 15 when executed by a processor.

18. An electronic device comprising a memory and a processor, characterized in that: A computer program is stored in the memory, and the processor is configured to run the computer program to execute the music control method in a game as claimed in any one of claims 1 to 15.

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