Program, information processing method, and information processing system

Abstract

This technology provides the ability to improve the realism of sounds generated in virtual spaces. [Solution] The program causes the computer to function as a game progress unit that controls a virtual space in which a first object 5 (door object 50), a second object 6 (vase object 60), and a sound receiving point (virtual microphone M) are arranged, and a sound processing unit that receives and reproduces sounds generated in the virtual space at the sound receiving point (virtual microphone M). Based on the first sound (door opening sound 70) generated from the first object 5 (door object 50), the sound processing unit generates a second sound (resonance sound 80) from the second object 6 (vase object 60).

Description

Technical Field

[0001] The present disclosure relates to a program, an information processing method, and an information processing system.

Background Art

[0002] As a program for controlling an object in a virtual space, a game program is known. Patent Document 1 describes playing sounds such as sound effects and environmental sounds generated in a virtual space.

Prior Art Documents

Patent Documents

[0003]

Patent Document 1

Summary of the Invention

Problems to be Solved by the Invention

[0004] There is a demand for improving the reality of sounds generated in a virtual space such as a game.

[0005] The present disclosure provides a technology capable of improving the reality of sounds generated in a virtual space.

Means for Solving the Problems

[0006] A first aspect can be a program that causes a computer to function as a virtual space control unit that controls a virtual space in which a first object, a second object, and a sound receiving point are arranged, and a sound processing unit that receives and reproduces a sound generated in the virtual space at the sound receiving point, and the sound processing unit generates a second sound from the second object based on a first sound generated from the first object.

Effects of the Invention

[0007] This disclosure makes it possible to provide technology that can improve the realism of sounds generated in virtual space. [Brief explanation of the drawing]

[0008] [Figure 1] This is a block diagram showing the hardware configuration of the information processing system 1 according to this embodiment. [Figure 2A] This figure shows an example of sound processing in the first scene. [Figure 2B] This figure shows an example of sound processing in the first scene. [Figure 2C] This figure shows an example of sound processing in the first scene. [Figure 3A] This figure shows an example of sound processing in the second scene. [Figure 3B] This figure shows an example of sound processing in the second scene. [Figure 4] This is an explanatory diagram showing the positional relationship between the first and second objects. [Figure 5A] This is an explanatory diagram illustrating the positional relationship between the foot object and the shoji screen object, and the conditions for generating vibration noise, as in the first example. [Figure 5B] This is a diagram illustrating the positional relationship between the foot object and the shoji screen object, and the conditions for generating vibration noise, as in the second example. [Figure 6A] This figure shows an example of sound processing in the third scene. [Figure 6B] This figure shows an example of sound processing in the third scene. [Figure 7] This is an explanatory diagram showing the relationship between the range of the first tone and the volume of the first tone. [Figure 8] This is an explanatory diagram regarding the relationship between the volume of the first note and the volume of the second note. [Figure 9] This is an explanatory diagram regarding the correspondence between the first and second notes. [Figure 10] This is an explanatory diagram regarding the timing of the second sound's occurrence. [Figure 11] This diagram shows sound-related tag information (sound-related information). [Figure 12]It is a flowchart showing an example of sound processing executed by a game device. [Figure 13] It is an explanatory diagram regarding sound processing for realizing a sound chain.

Mode for Carrying Out the Invention

[0009] [Embodiment] The information processing system 1 according to the embodiment of the present disclosure will be described with reference to the drawings.

[0010] [Explanation of the Game] FIG. 1 is a block diagram showing the hardware configuration of the information processing system 1 according to the present embodiment. In the information processing system 1 shown in FIG. 1, an information processing device 2 and a plurality of game devices 3 are communicably connected to each other via a communication network 11. A game is executed in the game device 3. The information processing system 1 is composed of at least one device. The information processing system 1 of the present embodiment can also be said to be a game system for executing a game.

[0011] The game described in the present embodiment is a game performed in a virtual space. The virtual space is a three-dimensional space and is displayed on the display 41 as an image. Objects are arranged in the virtual space. Examples of objects include a player character operated by a player (user), a non-player character operated by a computer, and a gimmick that moves or performs a predetermined operation in the virtual space by a computer. Examples of non-player characters include ally characters that cooperate with the player character (able to perform actions advantageous to the user in the game), enemy characters that are opponents of the player character (able to perform actions disadvantageous to the user in the game), and the like.

[0012] In addition, the object includes a sound source object that serves as a virtual sound source in the virtual space. Examples of the sound source object include an object that operates in the virtual space and an object that only outputs sound in the virtual space (which may not be displaced in position). Examples of the sound source object include, for example, a foot object 51 set in the foot portion of a character to reproduce footsteps (see, for example, FIG. 3A), a game medium object for reproducing the sound of a game medium (equipment such as weapons and armor) equipped by the character, and a gimmick object for reproducing the operation sound of a gimmick (see, for example, the large ball object 52 in FIG. 6A).

[0013] In the game, sound is reproduced. The sound reproduced in the game includes the sound output from the sound source object, BGM (Background Music), and sound effects. Examples of the sound output from the sound source object include sounds associated with the operation of the object such as footsteps, wind noise, the sound of equipment swaying, attack sounds, and sounds emitted by the object such as cries and lines.

[0014] Hereinafter, for the sake of convenience of explanation, as an example of the game, a combat-type action game in which a player character attacks and defeats an enemy character will be exemplified. The character is an example of a sound source object. The type of the game is not limited.

[0015] The game as described above is executed using a game device 3 which is an electronic device such as a home game console like PlayStation (registered trademark), a portable game console like Nintendo Switch (registered trademark), or a personal computer, a smartphone, a tablet, etc. Hereinafter, the case where the game device 3 is a home game console will be exemplified.

[0016] <Overview of the information processing system 1> As shown in Figure 1, the information processing system 1 consists of an information processing device 2 and multiple game devices 3. The information processing device 2 stores game programs and game data and manages the game data (for each account information described below) of the game devices 3. The information processing device 2 is configured, for example, as a server. Each of the multiple game devices 3 has the same configuration as the others. In this embodiment, a system refers to one or more devices or components. Therefore, for example, the information processing device 2 or game device 3 described later can also be an example of the information processing system 1 (game system).

[0017] Game device 3 executes the game based on user input. Game device 3 receives (specifically downloads and installs) the game program and game data from information processing device 2 via the communication network 11. Each user is assigned account information, including identification information (user ID) and password, associated with game device 3. This account information is transmitted from game device 3 to information processing device 2 upon login and is used for user authentication in information processing device 2.

[0018] After user authentication, communication between the information processing device 2 and the game device 3 becomes possible. After logging in, the game device 3 receives data necessary for game progression (data related to game progress) from the information processing device 2, and then proceeds with the game while outputting game images and sounds to the display 41 and speaker 42 based on the user's input.

[0019] On the other hand, when offline, the game device 3 plays the game while outputting game images and sounds to the display 41 and speaker 42, based on the game progress data already stored in the memory unit 35 and the user's operations.

[0020] <Hardware configuration of Information Processing System 1> The hardware configuration of the information processing system 1 will be described below with reference to Figure 1. Each of the multiple game devices 3 has the same functional configuration as the others. However, multiple game devices 3 may include multiple types of devices, provided they have the same functional configuration. For example, multiple types of game devices 3, such as home game consoles, portable game consoles, and personal computers, may be mixed and connected to the communication network 11.

[0021] <Configuration of Information Processing Device 2> As shown in Figure 1, the information processing device 2 has a communication interface 21, a storage unit 22, and a control unit 23. The communication interface 21 and the storage unit 22 are electrically connected to the control unit 23 via a bus 29.

[0022] The communication interface 21 is connected to each game device 3 via a communication network 11 such as the Internet and a LAN.

[0023] The storage unit 22 consists of an HDD (Hard Disk Drive), RAM (Random Access Memory), ROM (Read Only Memory), and SSD (Solid State Drive), among others. The storage unit 22 stores account information for each user playing the game, game data such as login history, and various programs including a part of the game program according to this embodiment.

[0024] The control unit 23 is composed of a microcomputer including one or more processors, including a CPU and semiconductor memory, and controls the operation of the information processing device 2, which is itself. The control unit 23 realizes various functions related to the information processing device 2 by reading predetermined programs stored in the storage unit 22. In other words, information processing by software stored in the storage unit 22 is concretely realized by the control unit 23, which is an example of hardware, so that each of the functions described later can be executed. Note that the control unit 23 is not limited to being a single unit, and may be implemented with multiple control units 23 for each function, or a combination thereof.

[0025] <Functional configuration of the information processing device 2> The control unit 23 functions as an information processing unit 231, a matching unit 232, and a distribution unit 233 by executing various programs.

[0026] —Information Processing Unit 231— The information processing unit 231 sends and receives various data to and from each game device 3. Data received by the information processing unit 231 includes information regarding game program download requests, quest execution requests, and account information. Data transmitted by the information processing unit 231 includes information confirming that the game device 3 has received the game program.

[0027] -Verification unit 232- The matching unit 232 authenticates the user account using the user identification information received from the game device 3.

[0028] -Distribution Department 233- After the information processing unit 231 receives the game program download request information and the user's account information, the distribution unit 233 distributes (transmits) the game program and the game data and audio operation data corresponding to the received account information to the game device 3.

[0029] <Configuration of game device 3> The game device 3 has a display 41, speakers 42, and a controller 43, which are either externally connected or built-in. The game device 3 also has a network interface 31, a graphics processing unit 32, an audio processing unit 33, an operation interface 34, a storage unit 35, and a control unit 36. The network interface 31, graphics processing unit 32, audio processing unit 33, operation interface 34, and storage unit 35 are electrically connected to the control unit 36 ​​via a bus 39.

[0030] The network interface 31 is connected to the communication network 11 in a communicative manner in order to send and receive various data between the game device 3 and the information processing device 2.

[0031] The graphics processing unit 32 renders game images, including characters and various objects related to the virtual space (virtual game space), in video format according to the game image information output from the control unit 36. The graphics processing unit 32 is connected to a display 41, which is, for example, an LCD, and the game images rendered in video format are displayed on the display 41 as a game screen.

[0032] The audio processing unit 33 is connected to the speaker 42 and, following instructions from the control unit 36, plays and synthesizes game audio, which is then output from the speaker 42.

[0033] The operation interface 34 is connected to the controller 43. The operation interface 34 sends and receives data related to operation input to and from the controller 43. The user inputs operation signals to the game device 3 by operating the controller 43. Note that the controller 43 is a general term for a touch panel integrated with the display 41, an external gamepad, a mouse, a keyboard, etc.

[0034] The storage unit 35 consists of an HDD, SSD, RAM, and ROM. The storage unit 35 stores game data downloaded from the information processing device 2, various programs including parts of the game program, and account information for the game device 3, which is the device itself.

[0035] The control unit 36 ​​consists of a microcomputer including one or more processors such as a CPU and semiconductor memory, and controls the operation of the game device 3, which is itself.

[0036] <Functional configuration of game device 3> The control unit 36 ​​functions as a communication unit 361, a game progress unit 362, and a sound processing unit 363 by executing various programs.

[0037] -Communications Department 361- The communication unit 361 has the function of communicating with the information processing device 2 via the network interface 31.

[0038] The communication unit 361 generates and transmits information that the information processing device 2 can understand, in response to various operation signals received by the operation interface 34 from the controller 43. For example, the communication unit 361 transmits account information, new game data download request information, etc., to the information processing device 2. The communication unit 361 also receives new game data, etc., sent from the information processing device 2 in response to the download request information.

[0039] -Game Progression Section 362- The game progress unit 362 controls the progress of the game. For example, the game progress unit 362 controls the virtual space where objects are placed by reading data such as virtual space objects and textures contained in the game data from the storage unit 35 or by using data received from the information processing device 2, in accordance with the operation of the controller 43 by the user of the game device 3, which is its own device, and generates two-dimensional or three-dimensional game image information. As the game image information is processed by the graphics processing unit 32, the processed game image is displayed sequentially on the display 41.

[0040] The game progress unit 362 controls the actions of characters in the virtual space according to user operations and the progress of the game. The game progress unit 362 can also be described as a virtual space control unit that controls the virtual space. For example, the game progress unit 362 makes the player character C1 move in the virtual space as shown in Figure 2A, according to the user's (in this case, the game player's) operations. The game progress unit 362 also makes non-player characters and predetermined objects (e.g., gimmicks, vehicles, etc.) move in the virtual space.

[0041] The game progression unit 362 controls the actions of non-player characters and predetermined objects, for example, using AI (artificial intelligence). The game progression unit 362 advances the game according to the actions of the player character C1 and the non-player characters.

[0042] In this game, as illustrated in Figure 3A, characters may make footsteps when they move. If the character's movement speed is greater than or equal to the first predetermined speed, the footsteps will be made at a relatively loud volume. If the character's movement speed is less than the first predetermined speed, the footsteps may be made at a relatively quiet volume, or no footsteps may be made at all.

[0043] In this game, as illustrated in Figure 2B, when a predetermined object moves in response to user actions, that object may emit a sound. For example, when player character C1 opens a door (such as a sliding door) in a building, the door (such as a sliding door) moves, and a door opening sound 70 ("Bang!", see Figures 2B and 2C) may be emitted from the door (such as a sliding door).

[0044] In this game, as illustrated in Figure 6A, when a gimmick object (such as a giant sphere) is activated, it may emit a sound (such as a "rumbling" sound).

[0045] -Sound Processing Unit 363- This game program has various sound data pre-prepared. The sound processing unit 363 shown in Figure 1 plays the sound data according to the progress of the game. The sound processing unit 363 selects sound data according to the progress of the game or the state of objects in the virtual space and outputs the selected sound data to the audio processing unit 33. When outputting sound data, the sound processing unit 363 instructs the audio processing unit 33 on the volume. The audio processing unit 33 converts the sound data output by the sound processing unit 363 into an analog signal of the instructed volume and outputs it to the speaker 42.

[0046] The sound processing unit 363 performs sound localization for sound reproduction. Sound localization is the process of localizing the position of the sound source as perceived by a human (user) to a predetermined virtual position in the virtual space (for example, the position of the sound source object).

[0047] To perform sound image localization, a sound receiving point (sometimes referred to as a virtual microphone M) is placed in the virtual space, as illustrated in Figure 2A. The virtual microphone M is a virtual listener (sound collection point) and serves as the reference point for sound image localization by the sound processing unit 363. The virtual microphone M may have directionality. In this example, the virtual microphone M is placed at or near the coordinates corresponding to the player character C1 and moves in accordance with the movement of the player character C1. In this embodiment, the virtual microphone M is not displayed on the display 41 and cannot be seen by the user. The virtual microphone M is shown as an example in Figures 2A, 2B, and 2C, but may be omitted from other drawings.

[0048] The sound processing unit 363 receives and reproduces sounds generated in the virtual space at a sound receiving point (virtual microphone M). The sound processing unit 363 generates sound data according to the sound collection conditions of the virtual microphone M (for example, the position and direction of the virtual microphone M relative to the sound source object in the virtual space, the volume and direction of the sound output from the sound source object, etc.). By performing this sound image localization processing, the sound processing unit 363 makes it possible to output sounds output from a virtual sound source (sound source object) in the virtual space from the speaker 42 with an acoustic representation as if the sound had been collected by the virtual microphone M.

[0049] <An example of sound processing in the first scene> This section describes an example of sound processing in the first scene of a game. Figures 2A, 2B, and 2C illustrate an example of sound processing in the first scene. In the first scene, it is possible to generate a second sound from a second object 6 based on a first sound generated from a first object 5. Specifically, as shown in Figures 2A, 2B, and 2C, objects constituting rooms in a building are placed in the virtual space. A player character object C1 is placed inside the room. In the example shown in the figures, a door object 50 (an example of the first object 5), representing a door such as a sliding door, is placed at the back of the room. A vase object 60 (an example of the second object 6), representing a vase, is placed in the alcove of the room. The door object 50 (an example of the first object 5) and the vase object 60 (an example of the second object 6) are displayed on the display 41 and can be seen by the user.

[0050] The door object 50 is set to be movable to any of several positions, including a closed position and an open position. As shown in Figure 2A, when the player character object C1 approaches the door object 50 in the closed position and the user performs a door-opening operation, the door object 50 moves from the closed position (see Figure 2A) to the open position (see Figure 2B). As shown in Figure 2B, when the door object 50 moves to the open position, the door object 50 collides with a pillar object that makes up the room, and the door object 50 emits a door-opening sound 70 ("Bang!": an example of the first sound). Then, as shown in Figure 2C, a resonant sound 80 ("Weep": an example of the second sound) is emitted from the vase object 60 near the door object 50. Some of the sounds generated in the virtual space have a range set as the first sound. The door-opening sound 70, which is an example of the first sound, has a range W1 set as shown in Figures 2B and 2C, and the vase object 60 is located within the range W1 of the door-opening sound 70. The vase object 60 generates a resonant sound 80, with the condition that it is located within the reach range W1 of the door opening sound 70 as part of the sound generation conditions.

[0051] In this way, sound processing is performed to generate a resonant sound 80 from the vase object 60 based on the door opening sound 70 generated from the door object 50, so the resonant sound 80 is generated in conjunction with the door opening sound 70. Therefore, it is possible to reproduce in the virtual space sounds that would be generated by resonance phenomena in the real world, thereby improving the realism of the sounds generated in the virtual space and enhancing the user's sense of immersion in the virtual space. Furthermore, the movement of the door object 50 generates a door opening sound 70, and the resonance sound 80 is generated based on the door opening sound 70. This simulates the transmission of vibrations generated by the movement of the door object 50 to the vase object 60, thereby improving the realism of the sound. Furthermore, by setting a range for the first tone, the range in which the first tone can generate the second tone becomes finite, and the occurrence of the second tone may or may not occur depending on the situation, thus improving the realism of the sound. In the first scene, the first sound (door opening sound 70) is the sound of "door object 50 colliding with a building pillar object," and the second sound (resonance sound 80) is the sound of "vase object 60 making noise." The types of the first and second sounds are different.

[0052] <An example of sound processing in Scene 2> This section describes an example of sound processing in the second scene of a game. Figures 3A and 3B illustrate an example of sound processing in the second scene. As shown in Figures 3A and 3B, the virtual space contains a corridor object A1 that constitutes the corridor of a building, objects that constitute the rooms of the building, and multiple shoji screen objects 61a, 61b, 61c, and 61d (an example of the second object 6) placed at the boundary between the corridor and the rooms of the building. A player character object C1 is placed on the corridor. When the foot object 51 (an example of the first object 5) that constitutes the player character object C1 is in contact with the corridor object A1, as shown in Figure 3A, a running sound 71 ("thump-thump," an example of the first sound) is generated from the foot object 51. As shown in Figure 3B, the running sound 71 has a range W2 set. In the example above, in order to generate footsteps from the feet of the player character object C1, a collision detection process is set to be performed on the foot object 51 with the corridor object A1, and the collision detection process determines whether the corridor object A1 and the foot object 51 are in contact. However, this is just one example and is not limited to this.

[0053] Furthermore, when the foot object 51 of player character object C1 is in contact with corridor object A1, if player character object C1 performs a walking motion (movement speed is less than the first predetermined speed but greater than or equal to the second predetermined speed, with the first predetermined speed being greater than the second predetermined speed), a walking sound will be generated from the foot object 51. If player character object C1 performs a stealthy movement (movement speed is less than the second predetermined speed), no sound will be generated from the foot object 51 due to the stealthy movement. In other words, if the first character performs the first action, the first sound may be generated, and if the first character performs a second action different from the first action, the first sound may not be generated.

[0054] When the player character object C1 runs in the corridor object A1, as shown in Figure 3A, a running sound 71 ("thump-thump": an example of the first sound) is generated from the foot object 51. Next, as shown in Figure 3B, a vibration sound 81 ("rattling": an example of the second sound) is generated from the shoji screen object 61a, which is within the range W2 of the generated running sound 71. The vibration sound 81 generated by the shoji screen objects 61a to 61d is not generated by walking sounds. In other words, the shoji screen objects 61a to 61d generate the vibration sound 81 based on two conditions: being located within the range W2 of the running sound 71, and the sound they receive being the running sound 71 generated from the foot object 51. If the sound they receive is not the running sound 71 generated from the foot object 51, the shoji screen objects 61a to 61d do not generate the vibration sound 81. Since the generated running sound 71 has a defined range W2, as shown in Figure 3B, when the running sound 71 is generated from the foot object 51, vibration sound 81 is not generated from all the shoji screen objects 61a to 61d. Instead, vibration sound 81 is generated only from shoji screen object 61a, which is within the range W2 of the running sound 71 generated from the foot object 51. This phenomenon will be explained using a schematic Figure 4.

[0055] Figure 4 is an explanatory diagram regarding the positional relationship between the first object 5 and the second object 6. In Figure 4, the shapes of the objects have been simplified to circular shapes for illustrative purposes. As shown in Figure 4, when a running sound 71 ("thump-thump": first sound) is generated from a foot object 51, which is an example of the first object 5, a vibration sound 81 ("rattling": an example of the second sound) is generated from the shoji screen object 61a, which is within the range W2 of the running sound 71 ("thump-thump": first sound). However, the vibration sound 81 is not generated from the shoji screen objects 61b and 61c, which are outside the range W2 of the running sound 71 ("thump-thump": first sound).

[0056] As a result, for example, as shown in Figure 3B, when the player character object C1 continues to move along the corridor object A1, vibration sounds 81 are sequentially generated from each of the multiple shoji screen objects 61a, 61b, 61c, and 61d in the direction of movement of the player character object C1 (for example, from left to right in Figure 3B). Since vibration sounds 81 are generated from nearby shoji screen objects 61a, 61b, 61c, and 61d due to the movement of the player character object C1, it is possible to simulate that vibrations generated by the movement of the player character object C1 are transmitted to the shoji screen objects 61a, 61b, 61c, and 61d, thereby improving the realism of the sound.

[0057] [Example 1 of Scene 2] Figure 5A is an explanatory diagram of the first example regarding the positional relationship between the foot object 51 and the shoji screen object 61a, and the conditions for the generation of vibration sound 81. In the first example of the second scene, at the first timing shown at the top of Figure 5A, the player character object C1 is performing a running motion. When the shoji screen object 61a is within the reach range W2 of the running sound 71 generated from the foot object 51 of the player character object C1, vibration sound 81 is generated from the shoji screen object 61a. As shown at the bottom of Figure 5A, at the second timing, which is after the first timing, when the player character object C1 stops running and stands still, the foot object 51 stops generating sound, and the shoji screen object 61a, which was generating vibration sound 81 at the first timing, stops generating vibration sound 81. This simulates a change in the state where vibrations generated by the movement of the player character object C1 are transmitted to the shoji screen object 61a, and improves the realism of the sound.

[0058] [Second example of the second scene] Figure 5B is an explanatory diagram of the second example regarding the positional relationship between the foot object 51 and the shoji screen object 61a, and the conditions for the generation of vibration sound 81. In the second example of the second scene, just like in the first example shown in Figure 5A, the player character object C1 is running at the first timing shown at the top of Figure 5B. As shown at the bottom of Figure 5B, at the second timing, which is later than the first timing, the player character object C1 moves far away due to its running motion, and the shoji screen object 61a, which was generating vibration sound 81 at the first timing, is now outside the range W2 of the running sound 71 generated from the foot object 51. As a result, the conditions for sound generation of the shoji screen object 61a are no longer met, and vibration sound 81 is not generated from the shoji screen object 61a. This simulates a change in the state from when vibrations generated by the movement of the player character object C1 are transmitted to the shoji screen object 61a to when they are not transmitted to the shoji screen object 61a, thereby improving the realism of the sound.

[0059] <An example of sound processing in Scene 3> This section describes an example of sound processing in the third scene of the game. Figures 6A and 6B illustrate an example of sound processing in the third scene. As shown in Figures 6A and 6B, the virtual space contains a field object A2 with a slope, a large ball object 52 (an example of the first object 5) that rolls down the slope, and fence objects 62 (an example of the second object 6) arranged along the side of the slope. The large ball object 52 is controlled to roll down the slope by the game progress unit 362. When it finishes rolling down the slope and falls into the valley, it is removed from the virtual space, and a new large ball object 52 is placed at the top of the slope, and the process of the new large ball object 52 rolling down the slope is repeated. When the large ball object 52 rolls, it emits a rolling sound 72 ("rumble": an example of the first sound). The rolling sound 72 has a range W3 (see Figure 6B). A rattling sound 82 ([Jingle]: an example of the second sound) is generated from the fence object 62 located within the range W3 of the rolling sound 72, as the chains of the fence shake. The fence object 62 does not generate the rattling sound 82 even if an incompatible sound (for example, the running sound 71 of the player character object C1) reaches it. Thus, the first object 5 is not limited to a character, but may also be a gimmick that performs a predetermined action, such as a large ball object 52 that operates in the virtual space.

[0060] [Relationship between the range of the first note and the volume of the first note] This section explains the relationship between the range of the first sound and its volume. Figure 7 is an explanatory diagram showing the relationship between the range of the first sound and its volume. As shown in Figure 7, the range of the first sound varies depending on its volume. Specifically, as shown in Figure 7, the volume of the door opening sound 70 ("Bang!", an example of the first sound) generated from the door object 50 is louder than the volume of the running sound 71 ("Thump, thump," an example of the first sound) generated from the character's foot object 51. The volume referred to here is the volume at the time the sound is generated in the virtual space. If two sounds with the same volume at the time of generation are generated, the playback volume will differ if the distance between the sound generation point and the virtual microphone M is different. If the distance from the sound generation point to the virtual microphone M is long, the playback volume will be lower. For example, as shown in Figure 7, if the distance L1 between the door object 50 that generates the door opening sound 70 and the virtual microphone M is the same as the distance L2 between the foot object 51 that generates the running sound 71 and the virtual microphone M, then the volume of the door opening sound 70 ("bang!") will be louder than the volume of the character's running sound 71 ("thump thump"). In this case, as shown in Figure 7, the reach range W1 of the door opening sound 70 is wider than the reach range W2 of the running sound 71.

[0061] [Relationship between the volume of the first note and the volume of the second note] The relationship between the volume of the first sound and the volume of the second sound will be explained. Figure 8 is an explanatory diagram regarding the relationship between the volume of the first sound and the volume of the second sound. Since the second sound is excited by the first sound, the volume of the first sound at the time of its generation is greater than the volume of the second sound at the time of its generation. Specifically, as shown in Figure 8, when the distance L3 between the door object 50 that generates the door opening sound 70 and the virtual microphone M is the same as the distance L4 between the vase object 60 that generates the resonant sound 80 and the virtual microphone M, the volume of the door opening sound 70 will be reproduced at a higher volume than the volume of the resonant sound 80. This allows us to simulate the behavior of the second sound, which is generated by the transmission of the first sound, in accordance with the real physical law that it naturally decreases in volume due to the damping of vibrations, thereby improving the realism of the sound.

[0062] [Correspondence between the first and second notes] As shown in the fourth scene of Figure 9, a correspondence is established between the first and second sounds. Figure 9 is an explanatory diagram regarding the correspondence between the first and second sounds. As shown in the fourth scene of Figure 9, the foot object 51 of the player character object C1 (an example of the first object 5) can generate multiple types of first sounds. Specifically, the foot object 51 can generate a running sound 71 ("thump-thump") when running and a walking sound 73 ("tap") when walking. A glass window object 63 is placed as an example of the second object 6. The glass window object 63 can generate multiple types of second sounds. Specifically, the glass window object 63 can generate a vibration sound 81 ("rattling", an example of the second sound) and a second vibration sound 83 ("clatter", an example of the second sound). There is a correspondence between the running sound 71 and the vibration sound 81 ("rattling"), and there is a correspondence between the walking sound 73 and the second vibration sound 83 ("clicking"). In this case, as shown in the example of the fourth scene in Figure 9, if a running sound 71 ("thump-thump," an example of the first sound) is generated from the foot object 51, a vibration sound 81 ("rattling," an example of the second sound) is generated from the glass window object 63. On the other hand, if a walking sound 73 ("tap," an example of the first sound) is generated from the foot object 51, a second vibration sound 83 ("clunk," an example of the second sound) is generated from the glass window object 63. In other words, the first object 5 can generate multiple types of first sounds, the second object 6 can generate multiple types of second sounds, and the second sounds can be generated based on the corresponding first sounds.

[0063] Furthermore, as shown in the fifth scene in Figure 9, a correspondence is established between the first and second sounds. As in the fifth scene, when the player character object C1 moves, the player character object C1 generates a running sound 71 ("thump-thump," an example of the first sound). When the enemy character object C2 moves, the enemy character object C2 generates a second running sound 74 ("thud!", an example of the first sound). The glass window object 63 can generate multiple types of second sounds. Specifically, the glass window object 63 can generate a vibration sound 81 ("rattling," an example of the second sound) and a third vibration sound 84 ("clank clank," an example of the second sound). There is a correspondence between the running sound 71 ("thump-thump") and the vibration sound 81 ("rattling"), and there is a correspondence between the second running sound 74 ("thud!") and the third vibration sound 84 ("clank clank"). In this case, as shown in the example of the fifth scene in Figure 9, if a running sound 71 ("thump-thump") is generated from the player character object C1, a vibration sound 81 ("rattling") is generated from the glass window object 63. On the other hand, if a second running sound 74 ("thud!") is generated from the enemy character object C2, a third vibration sound 84 ("clanking") is generated from the glass window object 63. In other words, the second object 6 (glass window object 63) is capable of generating multiple types of second sounds, and these multiple types of second sounds include a vibration sound 81 ("rattling") corresponding to the running sound 71 ("thump-thump") generated from the player character object C1, and a third vibration sound 84 ("clanking") corresponding to the second running sound 74 ("thud!") generated from the enemy character object C2, which is different from the player character object C1. Furthermore, as shown in the example of Scene 5, even if a roar sound 75 is generated from another enemy character object C3, no sound is generated from the glass window object 63 due to the roar sound 75, because there is no second sound that corresponds to the roar sound 75 that can be generated from the glass window object 63. Although not shown here, it is of course possible to set a sound that corresponds to the roar sound 75.

[0064] [Timing of the second sound] The timing of the second sound generation will be explained. Figure 10 is an explanatory diagram regarding the timing of the second sound generation. As shown in Figure 10, a running sound 71 ("thump-thump") is generated from the first object 5, which is the foot object 51, and the case where there are multiple second objects 6 within the range W2 reached by the running sound 71 will be explained. In the example in Figure 10, there are shoji screen objects 61a and shoji screen objects 61b within the range W2 reached by the running sound 71. The distance L5 between shoji screen object 61a and foot object 51 is smaller than the distance L6 between shoji screen object 61b and foot object 51. In this case, since the distance reached by the running sound 71 to the two shoji screen objects 61a and 61b is different, the arrival times of the running sound 71 are different. Therefore, as shown in Figure 10, the vibration sounds 81 are generated in order from the shortest distance to the foot object 51. Specifically, as shown in the upper part of Figure 10, vibration noise 81 is first generated from the shoji screen object 61a, and then, as shown in the lower part of Figure 10, vibration noise 81 is generated from the shoji screen object 61b. In the example shown in Figure 10, the timing of the second sound generation is varied based on the distance between the first object 5 and the second object 6, but this is just one example and is not limited to this process. For example, the second sound may be generated simultaneously from at least two of the multiple second objects 6 that are within the range of the first sound, or the second sound may be generated in a random order from at least two of the multiple second objects 6 that are within the range of the first sound.

[0065] <Sound processing in Scene 6> This section describes the sound processing in the sixth scene of the game. The sixth scene involves sound processing when the player character object C1 crosses a suspension bridge. Although not shown in the diagram, the suspension bridge includes plank objects arranged in the direction of movement, which serve as a platform for the player character object C1, and rope objects that support both ends of the column objects in the width direction. When the player character object C1 moves with its foot object 51 in contact with a plank object, a walking sound (first sound) is generated from the foot object 51. In response to this walking sound (first sound), a second sound (creaking sound: "creak") is generated from each of the rope objects. Implementing this type of sound processing allows for a creaking sound (second tone) to be emitted from surrounding rope objects each time the player character object C1 walks. Relatively louder creaking sounds (second tone) are emitted from rope objects relatively close to the player character object C1, and relatively quieter creaking sounds (second tone) are emitted from rope objects relatively far away from the player character object C1. The creaking sounds can be heard from both in front of and behind the player character object C1. This allows for the reproduction of sounds similar to those of crossing a real suspension bridge, further enhancing the realism of the sound.

[0066] <Specific examples of sound processing> Specific examples of how to achieve sound processing in each of the above scenes will be explained.

[0067] The memory unit 35 shown in Figure 1 has sound-related tag information (sound-related information) as shown in Figure 11. Figure 11 is a diagram showing the sound-related tag information (sound-related information), and is shown in table format for ease of understanding. As shown in Figure 11, a tag "Start" associated with the first sound and a tag "Receive" corresponding to the second sound are set. The relationship between the tag "Start" and the tag "Receive" can be set to one-to-one, one-to-many, many-to-one, or many-to-many. In Figure 11, the same number indicates that the tag "Start" and the tag "Receive" are in a corresponding relationship.

[0068] In the example in Figure 11, the tag "Initiation 1" is associated with either door opening sound 70 ("Bang!") or door object 50. Additionally, the tag "Reception 1," which corresponds to tag "Initiation 1," is associated with either resonant sound 80 ("Squeak") or vase object 60. The tag "Start 2" is associated with running sound 71 ("thump thump") or foot object 51. The tag "Receive 2", which corresponds to the tag "Start 2", is associated with vibration sound 81 ("rattling") or shoji screen objects 61a, 61b, 61c, and 61d. The tag "Start 3" is associated with rolling sound 72 ("rumbling") or large ball object 52. The tag "Receive 3", which corresponds to the tag "Start 3", is associated with swaying sound 82 or fence object 62. The tag "Activate 4" is associated with either running sound 71 ("thump thump") or foot object 51. The tag "Receive 4", which corresponds to tag "Activate 4", is associated with either vibration sound 81 ("rattling") or glass window object 63. The tag "Activate 5" is associated with footsteps sound 73 ("tap") or foot object 51. The tag "Receive 5", which corresponds to tag "Activate 5", is associated with second vibration sound 83 ("clatter") or glass window object 63. The tag "Activate 6" is associated with the second running sound 74 ("Thud!") or enemy character object C2. The tag "Receive 6", which corresponds to the tag "Activate 6", is associated with the third vibration sound 84 ("Clatter") or glass window object 63.

[0069] <Operation Flow of Information Processing System 1>

[0070] Figure 12 is a flowchart showing an example of sound processing performed by the game device 3.

[0071] The sound processing unit 363 generates sound from objects based on the control of the virtual space by the game progress unit 362. In this case, sound is generated from objects among several types of objects, including the first object 5, that correspond to the control of the virtual space.

[0072] In the next step ST2, the sound processing unit 363 determines whether the generated sound is the first sound generated from the first object 5. Specifically, the sound processing unit 363 determines whether the tag "start" is associated with the generated sound. It can be exemplified that when the tag "start" is associated with the generated sound, it is determined that the generated sound is the first sound generated from the first object 5. If it is determined in step ST2 that the generated sound is not the first sound generated from the first object 5 (ST2: NO), the process proceeds to the process of step ST1.

[0073] On the other hand, if it is determined in step ST2 that the generated sound is the first sound generated from the first object 5 (ST2: YES), in step ST3, the sound processing unit 363 calculates the reach range of the generated first sound based on the coordinates of the first object 5. In the next step ST4, the sound processing unit 363 determines whether a second object 6 corresponding to the first sound exists within the reach range of the generated first sound. Specifically, the sound processing unit 363 determines whether a second object 6 associated with the tag "receive" corresponding to the tag "start" of the first sound exists within the reach range of the generated first sound. If it is determined in step ST4 that the second object 6 corresponding to the first sound does not exist within the reach range of the generated first sound (ST4: NO), the process proceeds to the process of step ST1.

[0074] On the other hand, if it is determined in step ST4 that the second object 6 corresponding to the first sound exists within the reach range of the generated first sound (ST4: YES), in the next step ST5, the sound processing unit 363 identifies the second sound of the second object 6. In the next step ST6, the sound processing unit 363 generates the second sound identified at a timing corresponding to the distance between the first object 5 where the first sound is generated and the second object 6. The sound processing unit 363 proceeds to the process of step ST1.

[0075] [1] As in this embodiment, the program may cause the computer to function as a virtual space control unit (game progress unit 362) that controls a virtual space in which a first object 5, a second object 6, and a sound receiving point (virtual microphone M) are arranged, and a sound processing unit 363 that receives and reproduces sounds generated in the virtual space at the sound receiving point (virtual microphone M). The sound processing unit 363 may generate a second sound from the second object 6 based on a first sound generated from the first object 5.

[0076] <Effects of the invention> According to the program described in [1] above, the second sound is generated from the second object 6 based on the first sound generated from the first object 5, so the second sound is generated in conjunction with the first sound. Therefore, it is possible to provide a technology that can improve the realism of sounds generated in virtual space.

[0077] [2] The program described in [1] above may also be configured such that the sound processing unit 363 generates a first sound due to the movement of the first object 5 in the virtual space, and generates a second sound from the second object 6 based on the generated first sound. In this way, the first sound is generated due to the movement (movement, etc.) of the first object 5, and the second sound is generated based on the first sound. Therefore, it is possible to simulate that the vibrations generated by the movement (movement, etc.) of the first object 5 are transmitted to the second object 6, thereby improving the realism of the sound.

[0078] [3] The program described in [1] or [2] above may also be such that the volume of the first tone is greater than the volume of the second tone. The second sound, generated by the transmission of the first sound, naturally decreases in volume due to the damping of vibrations, a behavior consistent with real-world physical laws, can be simulated, thereby improving the realism of the sound.

[0079] [4] The program may be as described in any of [1] to [3] above, wherein the first sound has a range W1, W2, and W3, and the sound processing unit 363 can generate a second sound from the second object 6 if the second object 6 is within the range W1, W2, and W3 of the first sound generated from the first object 5. This limits the range in which the first sound can generate the second sound, making it possible to improve the realism of the sound.

[0080] [5] The program described in [4] above may be such that the ranges W1, W2, and W3 differ depending on the volume of the first tone. It becomes possible to set the reach ranges W1, W2, and W3 based on the laws of physics.

[0081] [6] The program described in [4] or [5] above may also be configured such that, at the first timing, the sound processing unit 363 is configured to generate a second sound (vibration sound 81) from the second object 6 (sliding screen object 61a) which is within the reach range W2 of the first sound (running sound 71) generated from the first object 5 (foot object 51), and at the second timing, which is later than the first timing, if the first sound (running sound 71) is not generated from the first object 5 (foot object 51), or if the second object 6 (sliding screen object 61a) is outside the reach range W2 of the first sound (running sound 71) generated from the first object 5 (foot object 51), the second sound (vibration sound 81) is not generated from the second object 6 (sliding screen object 61a).

[0082] [7] The program may be as described in any of [4] to [6] above, wherein the virtual space has a third object (sliding screen object 61b), and the sound processing unit 363 generates sounds from the second object 6 (sliding screen object 61a) and the third object (sliding screen object 61b) in an order corresponding to the distance from the first object 5 (foot object 51) when the second object 6 (sliding screen object 61a) and the third object (sliding screen object 61b) are within the reach range W2 of the first sound (running sound 71) generated from the first object 5 (foot object 51). Since the second sound is generated in order of proximity to the first object (object 5), it becomes possible to further improve the realism of the sound.

[0083] [8] The program may be one of the above [1] to [7], wherein the second sound generated from the second object 6 (glass window object 63) corresponds to at least one of several types of sounds generated in the virtual space, and the sound processing unit 363 generates a second sound from the second object 6 (glass window object 63) that corresponds to a sound generated in the virtual space.

[0084] [9] The program may be one of the above [1] to [8], wherein there are multiple types of first sounds generated from the first object 5 (foot object 51), and multiple types of second sounds generated from the second object 6 (glass window object 63), and each of the multiple types of second sounds corresponds to one of the multiple types of first sounds, and the sound processing unit 363 generates a second sound from the second object 6 (glass window object 63) that corresponds to the first sound generated from the first object 5 (foot object 51).

[0085]

[10] Sound processing that enables a chain reaction of sounds is possible. Figure 13 is an explanatory diagram of sound processing that enables a chain reaction of sounds. For example, a chain reaction of sounds can be achieved by setting the tag "Initiate" to an object that has the tag "Receiver" set to it. Specifically, as shown in Figure 13, the tag "Initiate 2" is set to the running sound 71 (first sound) generated by the foot object 51 (an example of the first object 5), and the tag "Receiver 2" corresponding to the tag "Initiate 2" is set to the shoji screen object 61a (second object 6) and its vibration sound 81. Furthermore, the tag "Initiate 7" is set to the vibration sound 81, and the tag "Receiver 7" corresponding to the tag "Initiate 7" is set to another shoji screen object 61b and its vibration sound 81. In this case, as shown at the top of Figure 13, the running sound 71 ("thump-thump", first sound) is generated from the foot object 51, and the vibration sound 81 (second sound) is generated from the shoji screen object 61a (second object 6) which is within its reach range W2. Then, as shown in the lower part of Figure 13, vibration sound 81 ("rattling", third sound) is generated from another shoji screen object 61b (third object) that is within the reach of vibration sound 81 generated from shoji screen object 61a (second object 6). In this way, by setting tags (sound-related information), it is possible to represent a chain of sounds. In this case, if the distance between each object and the virtual microphone M is equal, the volume of the running sound 71 > the volume of the vibration sound 81 from shoji screen object 61a > the volume of the vibration sound 81 from the other shoji screen object 61b. That is, as shown in Figure 13, the program may be one of the above [1] to [9], wherein the virtual space has a third object (sliding screen object 61b), and the sound processing unit 363 generates a second sound (vibration sound 81) from the second object 6 (sliding screen object 61a) based on a first sound (running sound 71) generated from the first object 5 (foot object 51), and generates a third sound (vibration sound 81) from the third object (another sliding screen object 61b) based on the second sound (vibration sound 81) generated from the second object 6 (sliding screen object 61a).

[0086]

[11] The program may be one of the above [1] to

[10] , wherein the first object 5 is a character (C1, C2, C3) or gimmick (large ball object 52) ​​that can move within the virtual space. This is a preferred example.

[0087]

[12] As in this embodiment, the information processing method (game processing method) includes a step of controlling a virtual space in which a first object 5, a second object 6, and a sound receiving point (virtual microphone M) are arranged, and a sound processing step of receiving and reproducing sounds generated in the virtual space at the sound receiving point (virtual microphone M), wherein the sound processing step may involve generating a second sound from the second object 6 based on a first sound generated from the first object 5.

[0088]

[13] As in this embodiment, the information processing system 1 may include a storage unit 35 that stores the program described in any of [1] to

[11] above, and one or more processors (control units 36) that execute the program.

[0089] [Other embodiments] The various control means and processing procedures described in the above embodiments are examples and are not intended to limit the scope of the present invention, its applications, or its uses. The various control means and processing procedures can be modified as appropriate without altering the essence of the present invention.

[0090] (A) In the above embodiment, the sound receiving point (virtual microphone M) is placed at a position corresponding to the position of the player character object C1, but is not limited to this. For example, if the player character C1 can use a reconnaissance doppelganger (another object or camera) separate from the player character C1, the sound receiving point (virtual microphone M) may be placed at a position corresponding to the position of that reconnaissance doppelganger.

[0091] (B) In the above embodiment, an example is given in which the type of the first sound and the type of the second sound are different, but the embodiment is not limited to this. For example, the type of the first sound and the type of the second sound may be the same. Specifically, if the first sound is the sound produced by the vase object 60, the second sound may be the sound produced by another vase object 60 in resonance with the first sound.

[0092] (C) In the above embodiment, sound processing associated with the control of a virtual space in a game is given as an example, but the technology is not limited to games. For example, the above technology can be applied to sound processing associated with the control of virtual spaces other than games, such as the metaverse (registered trademark).

[0093] (D) In ​​the above embodiment, the virtual microphone M is not visible to the user, but is not limited thereto. For example, the virtual microphone M or an object corresponding to the virtual microphone M may be displayed on the display 41 and visible to the user.

[0094] (E) In the above embodiment, the reach ranges W1 and W2 of the first sound differ depending on the volume at the time the first sound is generated, but are not limited thereto. For example, the reach ranges W1 and W2 of the first sound may be the same regardless of the volume at the time the first sound is generated. As another example, if the volume of the first tone of type 1 at the time of its occurrence is greater than the volume of the first tone of type 2 at the time of its occurrence, then the range of the first tone of type 1 may be narrower than the range of the first tone of type 2.

[0095] (F) In the above embodiment, the volume at the time of the first sound generation is assumed to be greater than the volume at the time of the second sound generation, but this is not limited to this. For example, the volume at the time of the first sound generation may be the same as the volume at the time of the second sound generation. Furthermore, the volume of the first sound at the time of its generation may be lower than the volume of the second sound at the time of its generation. For example, if the resonant frequency of the object generating the second sound matches the frequency of the first sound, it becomes possible to reproduce the phenomenon in which the object resonates due to the first sound, resulting in the generation of a louder second sound.

[0096] (G) In the above embodiment, the sound localization process performs a process to identify the direction from which the sound is heard (sense of direction) and a volume adjustment process according to the distance between the sound source and the receiving point (virtual microphone M), but is not limited to this. For example, in the sound localization process, the process to identify the direction from which the sound is heard (sense of direction) may not be performed, and only the volume adjustment process according to the distance between the sound source and the receiving point (virtual microphone M) may be performed.

[0097] In the above embodiment, the example given was that the game device 3 is a home game console, but the game device 3 may also be an amusement machine provided to arcades or a smartphone.

[0098] The above embodiment exemplifies an action game, but is not limited to this. The game can be applied to various types of games, such as shooting games, role-playing games, simulation games, board games, and puzzle games.

[0099] In the above embodiment, an example was given in which the control unit 36 ​​(one or more processors) of the game device 3 executes the game processing method and the game device 3 is equipped with each means, but the invention is not limited to this. Each step constituting the game processing method may be provided in the information processing device 2 alone, the game device 3 alone, a separate communication terminal separate from the information processing device 2 and the game device 3, or two of these devices combined. Furthermore, when the information processing device 2 (server), the game device 3, and the communication terminal function as an integrated unit, it is possible to appropriately change which means are provided in which device.

[0100] The effects and advantages of the present invention will also be exhibited when these other embodiments are adopted. Furthermore, it is possible to combine this embodiment with other embodiments, and other embodiments with each other, as appropriate. [Explanation of Symbols]

[0101] 5: First object 6: Second object 50: Door object (an example of the first object) 51: Foot object (an example of the first object) 52: Large ball object (an example of the first object) 61a: Shoji screen object (an example of a second object) 61b: Shoji screen object (an example of a second object) 61c: Shoji screen object (an example of a second object) 61d: Shoji screen object (an example of a second object) 62: Fence object (an example of a second object) 63: Glass window object (an example of a second object) 70: Door opening sound (an example of the first sound) 71: Running sound (an example of the first sound) 72: Rolling sound (an example of the first tone) 73: Footsteps (an example of the first sound) 74: Second running sound (an example of the first sound) 80: Resonant tone (an example of a second tone) 81: Vibrational sound (an example of the second tone) 82: Oscillating sound (an example of a second tone) 83: Second tone (an example of a second tone) 84: Third frequency tone (an example of the second tone) 362: Game Progression Unit (Virtual Space Control Unit) 363: Sound Processing Unit

Claims

1. Computers, A virtual space control unit controls a virtual space in which a first object capable of outputting a first sound with a reach range, a second object capable of outputting a second sound with a reach range, a third object, and a sound receiving point are arranged. A sound processing unit that receives and reproduces sound generated in the virtual space at the sound receiving point. To make it function as, The second object is located within the range of the first sound output from the first object. The third object is located outside the reach of the first sound output from the first object. The sound processing unit causes the second object located within the range of the first sound to output a second sound based on the first sound output from the first object, but does not cause the third object located outside the range of the first sound to output a sound. Based on the second sound output from the second object due to the arrival of the first sound, the third object located within the range of the second sound is made to output a third sound. program.

2. The sound processing unit is A character capable of moving in the virtual space generates the first sound, which is the sound of a door, by moving a door object that constitutes a room in a building placed in the virtual space. Based on the first sound, the second sound is generated from the second object in the room of the building. The program according to claim 1.

3. The sound processing unit is The first sound is generated when a movable character placed in the virtual space moves along a corridor object that constitutes a building placed in the virtual space. Based on the first sound, the second sound is generated from the second object, which is an object constituting the building other than the corridor object. The program according to claim 1.

4. The aforementioned first tone has a range of reach, The program according to claim 1, wherein the sound processing unit is capable of generating a second sound from a second object when the second object is within the reach range of the first sound generated from the first object.

5. The sound processing unit is At the first timing, the second sound is generated from a second object that is within the reach range of the first sound generated from the first object. The program according to claim 4, which, at a second timing later than the first timing, if the first sound is not generated from the first object, or if the second object is outside the reach range of the first sound generated from the first object, causes the second sound to not be generated from the second object.

6. The aforementioned virtual space has a third object, The program according to claim 4, wherein the sound processing unit generates sounds from the second object and the third object in an order corresponding to the distance from the first object, when the second object and the third object are within the reach range of the first sound generated from the first object.

7. The second sound generated from the second object corresponds to at least one of the multiple types of sounds generated in the virtual space. The program according to claim 1, wherein the sound processing unit generates the second sound having a corresponding relationship to the sound generated in the virtual space from the second object.

8. A step of controlling a virtual space in which a first object capable of outputting a first sound with a reach range, a second object capable of outputting a second sound with a reach range, a third object, and a sound receiving point are arranged, The process includes a sound processing step of receiving and reproducing sound generated in the virtual space at the receiving point, The second object is located within the range of the first sound output from the first object. The third object is located outside the reach of the first sound output from the first object. In the aforementioned sound processing step, Based on the first sound output from the first object, the second object located within the range of the first sound outputs a second sound, but the third object located outside the range of the first sound does not output a sound. Based on the second sound output from the second object due to the arrival of the first sound, the third object located within the range of the second sound is made to output a third sound. Information processing methods.

9. A storage unit for storing the program described in any one of claims 1 to 7, One or more processors that execute the aforementioned program, An information processing system equipped with the following features.

Images