MétaCan
Menu
Back to cohort
Record W3082219717 · doi:10.1386/ts_00005_1

Music as temporal disruption in Assassin’s Creed

2019· article· en· W3082219717 on OpenAlex
Stephanie Lind

Why this work is in the frame

A frame that forgets how it found something cannot be audited. These are the routes that admitted this work.

affAt least one author lists a Canadian institution in the pinned OpenAlex snapshot.

Bibliographic record

VenueThe Soundtrack · 2019
Typearticle
Languageen
FieldSocial Sciences
TopicDigital Games and Media
Canadian institutionsQueen's University
Fundersnot available
KeywordsNarrativeCreedMusicalPlot (graphics)Video gameLiteratureComputer scienceAestheticsArtVisual artsMultimediaPhilosophyMathematics

Abstract

fetched live from OpenAlex

The Assassin’s Creed video game series incorporates real-world historical elements. While some historically derived musical elements are referenced from the time period and geographic setting of the game, in the first game of the series, Assassin’s Creed 1 (2007), these historical snippets are subsumed within a modern musical setting emphasizing digital sound. The effect is a bleeding-over of ancient with modern that mirrors the plot of the game. This new spin on the time travel narrative creates a disconnect for the player and invokes disruption in a number of ways: through plots, visual distortions and sound/music effects. Musically, disruptions invoke a sense of aural discomfort in the player, which mimics aspects of the game narrative such as the protagonist’s physical distress. In order to better understand the interrelationship between these components, this article uses graphic transcriptions to categorize the musical, visual and narrative functions into fiction, interface and hypervisual/hypersonic components.

Fetched live from OpenAlex and de-inverted. Abstracts are not stored in this database: the inverted indexes are 8.6 GB of the frame’s 9.3 GB of text, and the host has 13 GB free.

Full frame distilled prediction

Teacher imitation

Not calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.

metaresearch head score (Codex)0.001
metaresearch head score (Gemma)0.000
Version: codex-gemma-dda1882f352aValidation status: machine_predicted_unvalidated
Candidate categoriesInsufficient payload (model declined to judge)
Consensus categoriesnone
DomainCandidate signal: none · Consensus signal: none
Study designCandidate signal: Not applicable · Consensus signal: none
GenreCandidate signal: Empirical · Consensus signal: Empirical
Teacher disagreement score0.847
Threshold uncertainty score0.999

Codex and Gemma teacher scores by category

CategoryCodexGemma
Metaresearch0.0010.000
Meta-epidemiology (narrow)0.0000.000
Meta-epidemiology (broad)0.0000.000
Bibliometrics0.0000.000
Science and technology studies0.0000.000
Scholarly communication0.0000.000
Open science0.0000.000
Research integrity0.0000.000
Insufficient payload (model declined to judge)0.0010.002

Machine scores (provisional)

The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.

Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.

Opus teacher head0.028
GPT teacher head0.307
Teacher spread0.279 · how far apart the two teachers sit on this one work
Validation statusscore_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from it