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Sound Research WIKINDX

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Bernstein, C. (2001). Play it again pac-man. In M. J. P. Wolf (Ed), The Medium of the Video Game. (pp. 155–168). Austin: University of Texas Press.
Added by: Mark Grimshaw-Aagaard 12/10/2004, 17:08
Grimshaw, M. (2023). Sound. In M. J. P. Wolf & B. Perron (Eds.), The Routledge Companion to Video Game Studies 2nd ed. (pp. 188–195). London: Routledge.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 10/01/2024, 11:45
Grodal, T. (2003). Stories for eye, ear, and muscles: Video games, media, and embodied experiences. In M. J. P. Wolf & B. Perron (Eds.), The Video Game Theory Reader. (pp. 129–155). New York: Routledge.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 22/08/2006, 08:23
"...video games and other types of interactive virtual reality are simulations of basic modes of real-life experiences. This means that cognitive psychology provides many advantages as a tool for describing video games compared with a semiotic approach."
"...a purely linguistic model may seriously impede descriptions of those media like video games that rely on a series of nonverbal skills."
Takes Brenda Laurel (Laurel 1993) to task for comparing the computer metaphorically to theatre since the human faculties required for theatre "are neither exhaustive nor exclusive to theater."
Kent, S. L. (2001). Super mario nation. In M. J. P. Wolf (Ed), The Medium of the Video Game. (pp. 35–48). Austin: University of Texas Press.
Added by: Mark Grimshaw-Aagaard 08/10/2004, 17:00
McMahan, A. (2003). Immersion, engagement, and presence: A new method for analyzing 3-D video games. In M. J. P. Wolf & B. Perron (Eds.), The Video Game Theory Reader. (pp. 67–87). New York: Routledge.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 01/02/2018, 14:16
"Immersion is not wholly subject to the technology's physical dimensions nor is it wholly dependent on audio or photo realism. Three conditions are required for immersion" "the user's expectations of the game or environment must match the environment's conventions fairly closely" "the user's actions must have a non-trivial impact on the environment" "the conventions of the world must be consistent" These conditions are described further by Ermi (Ermi & Mäyrä 2005)
Defining realism as one of the factors of immersion/presence, McMahan describes two parts of it: social realism and perceptual realism. She extends Fencott's (1999) work and his argument that, because presence relies on perception (which is a mental rather than sensory/tactile state), increased presence derives from increased field of view and a strong sense of foreground and background. Fencott has derived Perceptual Opportunities which include: Sureties -- indicators, signs, architectural detail Shocks -- polygon leaks, poor design - anything which detracts from presence and indicates that this is merely a game Surprises -- nonpredictable details that are a part of the virtual world's logic and design. 3 types of surprises Attractors - tempt the user to do something. Connectors -- similar to sureties in helping the user's orientation. Retainers -- make the user "linger and enjoy" parts of the environment.
Slovin, R. (2001). Hot circuits: Reflections on the 1989 video game exhibition of the american museum of the moving image. In M. J. P. Wolf (Ed), The Medium of the Video Game. (pp. 137–154). Austin: University of Texas Press.
Added by: Mark Grimshaw-Aagaard 12/10/2004, 17:07
Tews, R. R. (2001). Archetypes on acid: Video games and culture. In M. J. P. Wolf (Ed), The Medium of the Video Game. (pp. 169–182). Austin: University of Texas Press.
Added by: Mark Grimshaw-Aagaard 18/10/2004, 17:28
Wolf, M. J. P. (2001). Genre and the video game. In M. J. P. Wolf (Ed), The Medium of the Video Game. (pp. 114–134). Austin: University of Texas Press.
Added by: Mark Grimshaw-Aagaard 12/10/2004, 17:05
Wolf, M. J. P. (2001). Introduction. In M. J. P. Wolf (Ed), The Medium of the Video Game. (pp. 1–9). Austin: University of Texas Press.
Added by: Mark Grimshaw-Aagaard 08/10/2004, 16:57
Wolf, M. J. P. (2001). Narrative in the video game. In M. J. P. Wolf (Ed), The Medium of the Video Game. (pp. 94–111). Austin: University of Texas Press.
Added by: Mark Grimshaw-Aagaard 04/10/2006, 12:59
Wolf, M. J. P. (2001). Space in the video game. In M. J. P. Wolf (Ed), The Medium of the Video Game. (pp. 51–75). Austin: University of Texas Press.
Added by: Mark Grimshaw-Aagaard 08/10/2004, 17:10
While discussing the variety of video game representations of space, the 10th type is the three-dimensional environment (interactive). "Battlezone was also the first game to feature off-screen sound and events; sounds of the player's tank getting hit indicated an off-screen tank's attack, alerting the player to turn and fight. The first-person perspective increased the importance of off-screen space because it positioned the player within the space subjectively, as opposed to the third-person objective view in eariler games. This shift also allowed a more mature usage of off-screen space and one closer to that of cinematic off-screen space."
Wolf, M. J. P. (2001). The video game as a medium. In M. J. P. Wolf (Ed), The Medium of the Video Game. (pp. 13–33). Austin: University of Texas Press.
Added by: Mark Grimshaw-Aagaard 08/10/2004, 16:59
Wolf, M. J. P. (2001). Time in the video game. In M. J. P. Wolf (Ed), The Medium of the Video Game. (pp. 78–91). Austin: University of Texas Press.
Added by: Mark Grimshaw-Aagaard 14/02/2006, 10:28
Talking of time indicators in film: "...grain, hiss and flicker are nondiegetic indicators of time passing. ... Since video games usually do not have the same nondiegetic indicators of passing time ... other forms of ambience are sometimes added to scenes to emphasize the potential for movement and keep the image feeling "live"." Gives an example of ambient sound (wind) in Myst. As this movement (he's referring more to other time indicators such as fan blades etc. but I include sound 'movement' like wind) is repeated (i.e. looping sound samples), this is a form of cyclical as opposed to linear time.