Javascript is disabled or not supported in your browser. JavaScript must be enabled in order for you to use WIKINDX fully. Enable JavaScript through your browser options then try again, otherwise, try using a different browser.

Sound Research WIKINDX

List Resources

Displaying 1 - 4 of 4
Parameters

Ekman, I., & Lankoski, P. (2009). Hair-raising entertainment: Emotions, sound, and structure in silent hill 2 and fatal frame. In B. Perron (Ed), Horror Video Games: Essays on the Fusion of Fear and Play. Jefferson, NC: McFarland.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 03/03/2013, 08:37
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."
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.