Sound Research WIKINDX
Sound Research WIKINDX |
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Displaying 1 - 15 of 15 Parameters |
| Aarseth, E., Smedstad, S. M., & Sunnanå, L. 2003, November 4–6. A multi-dimensional typology of games. Paper presented at Level Up. |
  
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 20/09/2005, 10:18 | |
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Points out that it "makes no sense to look at a single player game and a multiplayer game as the same game." "...they are two different games" in terms of the given typology. There's a possible contradiction to this on p.51 where: "It is common to distinguish between single player and multiplayer games, but we see this as an oversimplified categorization". |
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| "Space is a key meta-category of games." | |
| Adams, E. W. 2003, November 4–6. The construction of ludic space. Paper presented at Level Up. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 20/09/2005, 10:17 | |
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Makes the following observations on real-world sound: Perception is 3-dimensional. All observer-created sounds are audible. The aural environment may be created from an infinite number of sounds. Acoustic phenomena such as echoes are created naturally by the materials and shapes in the world. The observer can explore the soundscape by making sound at will. Usually no soundtrack. |
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Following his observations on real-world sound, has the following to say about "ludic spaces": If enough speakers are available, audio approaches 3D quality. Player-created sounds must be supported by the hardware to be audible. The no. of hardware channels limits the no. of ambient sounds. Acoustic phenomena such a echoes are simulated inaccurately or are not present. Usually the player cannot interact with the audio environment by making sound at will. Usually a soundtrack. |
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| Points out that it will be a long time before VR hardware is capable of reproducing the full range of human visual and auditory perception. | |
| Discussing the relationship between architecture and gameplay, he says that architecture can provide subtle clues to aid in exploration - sunglight through a window informs about the environment the other side of the wall. | |
| Brand, J. E., Knight, S., & Majewski, J. 2003, November 4–6. The diverse worlds of computer games: A content analysis of spaces, populations, styles and narratives. Paper presented at Level Up. |
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| Added by: Mark Grimshaw-Aagaard 11/09/2006, 10:59 | |
| FPS games give the player little control over narrative progression as opposed to the other extreme (e.g. racing or sports games) where "the player is in control of the progression and story outcome" | |
| Copier, M. 2003, November 4–6. The other game researcher: Participating in and watching the construction of boundaries in game studies. Paper presented at Level Up. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 31/08/2006, 10:57 | |
| Halloran, J., Rogers, Y., & Fitzpatrick, G. 2003, November 4–6. From text to talk: Multiplayer games and voiceover ip. Paper presented at Level Up. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 20/09/2005, 10:16 | |
| Järvinen, A. 2003, November 4–6. Making and breaking games: A typology of rules. Paper presented at Level Up. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 20/09/2005, 10:16 | |
| States that in a game "[T]here should also be a clear definition of when the game will end." | |
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Five elements of games: Interface. Theme. Procedures. Components. Environment. |
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| Juul, J. 2003, November 4–6. The game, player, world: Looking for a heart of gameness. Paper presented at Level Up, Utrecht Universiteit. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 20/09/2005, 10:15 | |
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Proposes six elements of games: Rules. Variable, quantifiable outcome. Value assigned to possible outcomes. Player effort. Player attached to outcome. Negotiable consequences. |
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| Kattenbelt, C., & Raessens, J. 2003, November 4–6. Computer games and the complexity of experience. Paper presented at Level Up. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 31/08/2006, 10:58 | |
| "The lyric position primarily concerns an emotional orientation towards an affective perception of the world; the dramatic position primarily concerns an action-motivated orientation towards and a senso-motorial perception of the world; and the epic position primarily concerns a reflective oreientation towards and a contemplative perception of the world. The lyric and the epci position [sic] have in common that the player is liberated from the necessity of action." | |
| State that computer games are usually analyzed as a sensory-motor model closely related to actuality and to the causality of action. This presupposes the Aristotelean, action-driven dramatic model. The complexity of experience on the part of the player is not done justice to with this approach. | |
| King, G., & Krzywinska, T. 2003, November 4–6. Gamescapes: Exploration and virtual presence in game-worlds. Paper presented at Level Up, Utrecht Universiteit. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 20/09/2005, 10:14 | |
| "Many 3D action-adventure or first-person shooter games occupy a space between extremes of restriction and freedom to explore." | |
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"The greatest exploration is usually found in role-playing games". Says that Everquest has an "impression of uninterrupted freedom of exploration". |
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| Klabbers, J. H. G. 2003, November 4–6. The gaming landscape: A taxonomy for classifying games and simulations. Paper presented at Level Up, Utrecht Universiteit. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 20/09/2005, 10:13 | |
| Lauwaert, M. 2003, November 4–6. In search of a "fifth dimension". Paper presented at Level Up, Utrecht Universiteit. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 20/09/2005, 10:12 | |
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In 1961, Caillois identified four dimensions of game play: Agôn (Competition) Alea (Chance) Mimicry (Simulation - make believe) Ilinx (Vertigo - a destruction of order) Lauwaert adds a fifth dimension: Repens ("Sequentially embedded surprise"). Repens are structured "moments and elements in the game that are specifically designed to guide the player, to ... learn something, do something, make progress." Repens should have an element of surprise. |
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Card games and chess etc. have no repens as, after a time, we are aware of a finite order of cards or moves. Uses the example of Tony Hawk -- user doesn't know which level comes next -- hence repens. |
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| Nitsche, M., & Thomas, M. 2003, November 4–6. Stepping back: Players as active participators. Paper presented at Level Up. |
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| Added by: Mark Grimshaw-Aagaard 11/09/2006, 10:57 | |
| "Having two heroes battling with certain tasks spread on a virtual stage filled with dramatic elements ... transforms the space between the virtual heroes in Common Tales into a valuable expressive element of the relationship between the two main characters." | |
| "Players step into a dramatic position in relation to the fictional world -- defined by the very character they control." | |
| Roudavski, S., & Penz, F. 2003, November 4–6. Space, agency, meaning and drama in navigable real-time virtual environments. Paper presented at Level Up. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 11/09/2006, 11:06 | |
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"...navigable space always carries meaning". "...environmental perception is inclusive of both 'bottom-up' (the information is in the environment) and 'top-down' (the interpretation is shaped by experience) theoretical standpoints." This is cyclical: "we use the environmental information to build up a perceptual model and then rely on this model in search of unexpected features." |
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| Schut, K. 2003, November 4–6. Technology tells a tale: Digital games and narrative. Paper presented at Level Up. |
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| Added by: Mark Grimshaw-Aagaard 11/09/2006, 11:00 | |
| Stockburger, A. 2003, November 4–6. The game environment from an auditive perspective. Paper presented at Level Up, Utrecht Universiteit. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 15/05/2008, 10:09 | |
| In addition to spatial representation, sound serves "to inform and give feedback, to set the mood, rhythm and pace, and to convey the narrative." | |
| "The kinaesthetic control over the acousmatisation and visualisation of sound objects in the game environment is a key factor in creating unique spatial experiences when playing computer games." | |
| When discussing real-time creation of spatial signatures simulating various acoustic spaces, "[T]he simulation process literally turns the relationship between source and surrounding, as observed by Rick Altman on its head. The user follows an inductive process from isolated sound to an assumption about the surrounding space." | |
| "...it is precisely the dynamic relation between material and program that separates sound practice in a computer game from other [audiovisual] media". | |
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Discusses the notion of a 'sound object' and its original meaning as coined by the composer Pierre Schaeffer in 1966. Schaeffer proposed reduced listening to describe listening to the physical and perceptual properties of sound devoid of semantic meaning. Stockburger makes the point that while such a notion is useful when analyzing game audio, semantic properties of sound are used when the game player constructs relationships between the audio and visual material presented. |
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| Acousmatic is a Pythagorean term that describes the distance between the point of hearing and the point of origin of sound, specifically to the distance separating disciples from an intoning priest hidden behind a curtain. It later became a part of the electro-acoustic and Musique Concrète tradition in its first sense above. Michel Chion uses it, and transforms its meaning somewhat, to describe particular relationships between sound and vision in film. | |
| Takes up Christian Metz's point that there is no such thing as off-screen sound as opposed to on-screen sound and that sound has been conceptualized by technicians in terms relating to the visual. | |
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The analysis of sound by use in Metal Gear Solid 2 is: Speech sound objects. Effect sound objects. Zone sound objects. Score sound objects (musical score). Interface sound objects. |
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| Promotes the terms user environment and game environment. Differentiates between sounds originating from the user's environment (bedroom etc.) or hardware mediating the sound (speakers, headphones etc.) and sounds originating from the game. |