Sound Research WIKINDX
Sound Research WIKINDX |
|
|
Displaying 1 - 6 of 6 Parameters |
| Ekman, I. 2005 Meaningful noise: Understanding sound effects in computer games. Paper presented at Digital Arts and Cultures, Kopenhagen. |
  
|
| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 14/10/2008, 01:21 | |
| To be diegetic, game sound must be considered real in the context of the story. | |
| A game sound that is a diegetic referent, references or signifies something real inside the game. | |
From the supplied table, there are four types of sound:
comprising relationships between the signal (diegetic or non-diegetic) and the referent (diegetic or non-diegetic). Diegetic sounds are 'real within the game world'. Symbolic sounds have a non-diegetic signal but a diegetic referent. For example, a cartoon-like sound to accompany a diegetic action, the use of some music that changes with the game's action (e.g. pac-man, space invaders) or the use of one external sound FX to represent another game action. Masked sounds have a non-diegetic referent and a diegetic signal. The example Ekman gives is the sound an unseen monster in the game makes when the player wanders into the monster's vicinity. According to Ekman, the signified event is non-diegetic because neither the monster nor the player can see each other. Non-diegetic sounds have both non-diegetic referent and signal. The examples given are that of interface sounds, background music and some forms of game narrator's voice. |
|
| Ekman, I. 2007, September 27–28. Sound-based gaming for sighted audiences: Experiences from a mobile multiplayer location aware game. Paper presented at Audio Mostly 2007. |
|
| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 11/08/2008, 13:01 | |
| Ekman, I. 2008, October 22–23. Psychologically motivated techniques for emotional sound in computer games. Paper presented at Audio Mostly 2008, Piteå, Sweden. |
|
| Added by: Mark Grimshaw-Aagaard 08/01/2009, 10:14 | |
| The role of sound in film (and, for Ekman, by extension games) is "to make things on screen seem real [...] to create a sense of immediacy", to support and facilitate gameplay and to provoke "sensory pleasure and displeasure." | |
| Typically in film, sounds (especially dialogue) is used to drive the narrative; in games, sounds support player action and hence have a greater utility value as opposed to narrative value. | |
| Ekman, I., & Kajastila, R. 2009, February 11–13, Localisation cues affect emotional judgements: Results from a user study on scary sound. Unpublished paper presented at AES 35th International Conference, London. |
|
| Added by: Mark Grimshaw-Aagaard 02/02/2009, 09:39 | |
|
Following on work by: R. Reber, N. Schwarz, and P. Winkielman, “Processing Fluency and Aesthetic Pleasure: Is Beauty in the Perceiver's Processing Experience?” Personality and Social Psychology Review, vol. 8, no. 4, pp. 364—382 (2004). the authors suggest that negativity in sound perception is proportional to the fluency and ease of processing it (more difficult to understand, more scary). |
|
|
Results showed that: 1. front point sounds were less scary than back point sounds. 2. front point sounds are less scary than back spread sounds. 3. Following on from 2., increasing the spread of front sounds and decreasing the spread of back sounds lessened the difference in scariness. |
|
| Ekman, I., Lahti, J., Nummela, J., Lankoski, P., & Mäyrä, F. 2005, June 16–20. Designing sound for a pervasive mobile game. Paper presented at Changing Views -- Worlds in Play, Toronto. |
|
| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 07/01/2019, 12:02 | |
| 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 |