Sound Research WIKINDX
Sound Research WIKINDX |
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Displaying 1 - 20 of 40 Parameters |
| Bohemia Interactive Studio. (2001). Operation flashpoint: Cold war crisis. [Computer Game]. Codemasters. |
 
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| Added by: Mark Grimshaw-Aagaard 12/04/2006, 15:29 | |
| Breinbjerg, M. (2005). The aesthetic experience of sound: Staging of auditory spaces in 3D computer games. Retrieved January 24, 2006, from http://www.aestheticsofplay.org/breinbjerg.php |
 
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| Added by: Mark Grimshaw-Aagaard 28/08/2006, 13:30 | |
| "But sound is not just indicative to the space and the actions taking place. Part of its aesthetic value is reserved a more connotative power. Sound evokes memories and provokes images and brings about strong emotional experiences, also when it does not make the world more readable, but rather ambiguous and opaque." [sic] | |
| "Adopting an ecological approach to auditory perception [in the game is a means to understanding] our natural way of listening" | |
| "In our natural way of listening sound is indexical. It points to the fact that a given event is taking place. Sound occurs only when materials interact... The interaction is to be understood as a source-cause relation... in which a sounding system (the source) resonates as a consequence of a given action (the cause), like when a hammer hits a bell." | |
| "...sound enhances the visual space and the form of our ears and the distance between them, enables us to position the sounding object quite precisely in that space" | |
| "The sense of distance is related to the amplitude of the sound; since a sound becomes louder the closer it is to the ear. The experience of distance is also related to the distribution of energy in the spectrum of the sound. High frequencies loose energy faster than low frequencies." | |
| Suggests that, although every sound informs us about the salient features of the source-cause event, we are not necessarily able to confirm precisely the nature of the source other than its rough features. | |
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Outlines three dimensions of space constructed by sound that the gamer (in Half-life 2) experiences: 1. Architectural space In a closed space, this is defined by the construction, dimensions and materials used and is a quantitative phenomenon. Since architecture itself does not produce sound, this space needs to be signalled by some sound source (such as footsteps, dripping water). 2. Relational space This is defined by distance and position of sound sources relative to the listener and is subjective and non-quantifiable because each listener has her own relational space, and is dynamic, especially when sound sources and listener move in relation to each other. 3. Space as place The genius loci that signifies what type of space it is or what function it has. e.g. traffic indicates urban space. |
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| States that localization of sound is achieved through time delays between sound arriving at the ears combined with some filtering of sound by the head. | |
| Bryce, J., & Rutter, J. (2002). Spectacle of the deathmatch: Character and narrative in first-person shooters. In G. King & T. Krzywinska (Eds.), Screenplay: Cinema/Videogames/Interfaces. (pp. 66–80). London: Wallflower Press. |
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| Added by: Mark Grimshaw-Aagaard 23/09/2004, 14:59 | |
| Talking of Doom: "The utilisation of graphic and audio production techniques in the creation of atmospheric game environments adds to the visceral reaction and to the stimulation provided by the spectacle presented by the game." | |
| "In spectacular media narrative offers a brief rationale on which to hang visceral pleasures rather than the driving engine of the text." (sic) | |
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Asking how important realism is to gaming, paraphrases Anna Warm: "...playability and pace were more important to gamers' enjoyment than realism or stunning graphics." "Demands for realism in game environments are likely to be secondary to the requirement for spectacle as the backdrop for competitive gameplay." |
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| Bungie Studios. (2001-2004). Halo series. [Computer Game]. Redmond: Microsoft. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 13/04/2006, 14:39 | |
| Crogan, P. The experience of information in computer games. Paper presented at 5th International Digital Arts and Culture Conference, RMIT, Melbourne. |
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| Added by: Mark Grimshaw-Aagaard 09/09/2004, 21:14 | |
| Digital Illusions. (2002). Battlefield 1942. [Computer Game]. Electronic Arts. |
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| Added by: Mark Grimshaw-Aagaard 06/03/2006, 06:50 | |
| Eidos Interactive. (1998). Thief: The dark project. [Computer Game]. Activision. |
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| Added by: Mark Grimshaw-Aagaard 12/04/2006, 15:26 | |
| Epic Games, & Digital Extremes. (2004). Unreal tournament 2004. [Computer Game]. New York: Atari. |
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| Added by: Mark Grimshaw-Aagaard 13/04/2006, 16:35 | |
| Fan fiction inspired by Halo. (n.d.). Retrieved April 13, 2006, from http://halosn.bungie.org/fanfic/ |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 17/04/2006, 11:46 | |
| First-person shooter. (2002-2006). Wikipedia, Retrieved April 12, 2006, from http://en.wikipedia.org/wiki/First-person_shooter |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 15/05/2006, 12:46 | |
| A first-person shooter (FPS) is a combat computer or video game genre, which is characterized by the player’s on-screen view of the game simulating that of the character or First Person view. | |
| Gamer's Edge. (1992). The catacomb abyss. [Computer Game]. Shreveport LA: Softdisk Publishing. |
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| Added by: Mark Grimshaw-Aagaard 04/03/2006, 10:35 | |
| Gray Matter Studios, & id Software. (2001). Return to Castle Wolfenstein. [Computer Game]. Activision. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 06/03/2006, 07:11 | |
| "you are U.S. Army Ranger B.J. Blazkowicz ... You are about to embark on a journey deep into the heart of the Third Reich" | |
| Grimshaw, M. (2001). Grim Shores 2: Devil's Island. [Computer Game]. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 30/07/2006, 08:59 | |
| Grimshaw, M. (2001). Grim Shores 3: Atlantis. [Computer Game]. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 30/07/2006, 08:59 | |
| Grimshaw, M. (2007). The acoustic ecology of the first-person shooter. Unpublished thesis PhD, University of Waikato, New Zealand. |
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| Added by: Mark Grimshaw-Aagaard 30/05/2007, 16:07 | |
| Grimshaw, M., Lindley, C. A., & Nacke, L. 2008, October 22–23. Sound and immersion in the first-person shooter: Mixed measurement of the player's sonic experience. Paper presented at Audio Mostly 2008, Piteå, Sweden. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Deleted user 31/07/2009, 16:58 | |
| Güttler, C., & Johansson, T. D. Spatial principles of level-design in multi-player first-person shooters. Paper presented at Proceedings of the 2nd workshop on Network and system support for games, Redwood City, California. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 14/01/2005, 11:29 | |
| Use the term "collision points" to designate areas of virtual space where teams meet while carrying out their missions and "where the result of the game is often decided." These are not visually indicated in the map but arise out of possible team route interceptions or locations critical to the mission. A "reasonable interception of probably team routes" is a requirement of good level design. | |
| Discussing the concept of a COunter-Strike "map" (level), state that it is better to perceive of maps as "spatial abstractions of levels." | |
| Discusses Jesper Jull's ideas of games of emergence and games of progression and equates these two respectively to multiplayer and single-player (FPS) games. | |
| id Software. (1993). Doom. [Computer Game]. Activision. |
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| Added by: Mark Grimshaw-Aagaard 12/04/2006, 15:23 | |
| id Software. (2004). Doom 3. [Computer Game]. Activision. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 06/03/2006, 07:14 | |
| "incredible graphics, and revolutionary technology combine to draw you into the most frightening and gripping first person gaming experience ever created" | |
| "You are a marine ... Only you stand between Hell and Earth" | |
| Ion Storm. (2000). Deus ex. [Computer Game]. Eidos Interactive. |
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| Added by: Mark Grimshaw-Aagaard 12/04/2006, 15:28 |