Sound Research WIKINDX
Sound Research WIKINDX |
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Displaying 1 - 14 of 14 Parameters |
| Aarseth, E. (2001). Computer game studies, year one. Game Studies, 1(1). Retrieved August 31, 2006, from http://www.gamestudies.org/0101/editorial.html |
  
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| Added by: Mark Grimshaw-Aagaard 31/08/2006, 09:49 | |
| "01-02 may also be the academic year when regular graduate programs in computer game studies are offered for the first time in universities. And it might be the first time scholars and academics take computer games seriously, as a cultural field whose value is hard to overestimate." | |
| "Games are not a kind of cinema, or literature...the extensive media differences within the field of computer games makes a traditional medium perspective almost useless" | |
| Bringsjord, S. (2001). Is it possible to build dramatically compelling interactive digital entertainment (in the form, e.g., of computer games)? Game Studies, 1(1). Retrieved September 16, 2003, from http://www.gamestudies.org/0101/bringsjord/ |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 04/09/2006, 15:00 | |
| Carr, D. (2003). Play dead: Genre and affect in silent hill and planescape torment. Game Studies, 3(1). Retrieved September 16, 2003, from http://www.gamestudies.org/0301/carr/ |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 04/09/2006, 15:01 | |
| Quoting Jonathan Ree: "the spatial indeterminancy of sound means that auditory illusion can be even more disconcerting than either optical or visual onces". | |
| Eskelinen, M. (2001). The gaming situation. Game Studies, 1(1). Retrieved August 31, 2006, from http://www.gamestudies.org/0101/eskelinen/ |
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| Added by: Mark Grimshaw-Aagaard 31/08/2006, 14:44 | |
| "Games are seen as interactive narratives, procedural stories or remediated cinema. On top of everything else, such definitions, despite being successful in terms of influence or funding, are conceptually weak and ill-grounded, as they are usually derived from a very limited knowledge of mere mainstream drama or outdated literary theory, or both. Consequently, the seriously and hilariously obsolete presuppositions of Aristotelian drama, commedia dell'arte, Victorian novels, and Proppian folklore continue to dominate the scene." | |
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"According to Gerald Prince's well-known definition a narrative is "the recounting (as product and process, object and act, structure and structuration) of one or more real or fictitious events communicated by one, two or several (more or less overt) narrators to one, two or several (more or less overt) narratees." Before going into the details of this definition it is important to note one of its most obvious consequences: "a dramatic performance representing (many fascinating) events does not constitute a narrative either, since these events, rather than being recounted, occur directly on stage." (Prince 1987, 58)" Prince, Gerald (1987) The Dictionary of Narratology. Lincoln and London: University of Nebraska Press. |
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| "...stories are just uninteresting ornaments or gift-wrappings to games, and laying any emphasis on studying these kinds of marketing tools is just a waste of time and energy" | |
| Galloway, A. R. (2004). Social realism in gaming. Game Studies, 4(1). Retrieved November 14, 2021, from http://gamestudies.org/0401/galloway/ |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 14/05/2021, 14:12 | |
| Jørgensen, K. (2008). Audio and gameplay: An analysis of PvP battlegrounds in World of Warcraft. Game Studies, 8(2). Retrieved January 6, 2009, from http://gamestudies.org/0802/articles/jorgensen |
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| Added by: Mark Grimshaw-Aagaard 06/01/2009, 03:42 | |
| Juul, J. (2001). Games telling stories? A brief note on games and narratives. Game Studies, 1(1). Retrieved September 16, 2003, from http://www.gamestudies.org/0101/juul-gts/ |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 04/09/2006, 15:02 | |
| Kücklich, J. (2003). Perspectives of computer game philology. Game Studies, 3(1). Retrieved September 16, 2003, from http://www.gamestudies.org/0301/kucklich/ |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 04/09/2006, 15:02 | |
| "Usually, the only thing the player knows about the world of the game is what is displayed on the screen." | |
| "A game can thus be conceptualized as a system of signs that resist the player by virtue of their secondness. When they are interpreted in the process of playing, some of them become more complex, while others remain in their incomplete state. The process of interpretation necessarily leads to the existence of event-signs, which are then put into relation by narrative-signs. This whole process takes place on a level that cannot be located within the game, but exists merely as a projection of the player's mind." | |
| Lindley, C. A. (2005). The semiotics of time structure in ludic space as a foundation for analysis and design. Game Studies, 5(1). Retrieved March 22, 2006, from http://www.gamestudies.org/0501/lindley/ |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 22/03/2006, 15:10 | |
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Defines three temporal semiotic levels in games: 1. Simulation: the functional characteristics of the game. time frames, quantization, ticks per cycles etc. At the level of the game design(er). 2. Ludic or Game: patterns of player movements, player engagement with the game rules. Turns, tournaments etc. At the level of the player. 3. Narrative: Based upon the three-act restorative structure. Often, especially in action games, the second act (conflict) is the most extended with the first act (beginning) and third act (resolution) often being limited to cut scenes, FMV, display of final scores etc. |
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| Manninen, T. (2003). Interaction forms and communicative actions in multiplayer games. Game Studies, 3(1). Retrieved September 16, 2004, from http://www.gamestudies.org/0301/manninen/ |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 04/09/2006, 15:03 | |
| Ryan, M.-L. (2001). Beyond myth and metaphor: The case of narrative in digital media. Game Studies, 1(1). Retrieved July 25, 2006, from http://www.gamestudies.org/0101/ryan/ |
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| Added by: Mark Grimshaw-Aagaard 25/07/2006, 13:15 | |
| Taylor, L. N. (2003). When seams fall apart: Video game space and the player. Game Studies, 3(2). Retrieved March 15, 2006, from http://gamestudies.org/0302/taylor/ |
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| Added by: Mark Grimshaw-Aagaard 15/03/2006, 10:32 | |
| "...video game spaces are more than simply the sum of their code ― they are experiential spaces generated through code and the physics of the game engine" | |
| "The very attempt to bring a player into the game space through the screen by means of a first-person point-of-view is, ironically, inconsistent because the first-person point-of-view assumes that the player herself can be caught into the structure of the game and can then be incorporated into the game space. In this way first-person perspective assumes that by enveloping the player as the player into the game space, the player becomes part of the structure of the game space" | |
| "first-person games posit that the player can assume the perceptions of the player-character and then merge with the player-character through the limited perceptual apparatus afforded by first-person games" | |
| "This is how most first-person point-of-view games operate, by allowing the player to function on the space, but not within the space" | |
| Whalen, Z. (2004). Play along -- an approach to videogame music. Game Studies, 4(1). Retrieved February 20, 2005, from http://www.gamestudies.org/0401/whalen/ |
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| Added by: Mark Grimshaw-Aagaard 06/12/2015, 18:50 | |
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"...studies of the relationship between audial and visual elements in older media (for example, film) prove useful for understanding game music because certain basic ideas (for example, diegetic versus non-diegetic musical sound) apply to videogames." (Chion 1992; 1994) See also Curtis 1992) etc. |
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| "By simultaneously enriching the worlds of videogames and assisting the player's navigating the space of videogames, music is essential to the semantic operations of a videogame." | |
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"The metaphoric behaviour of game music is that which relates to the game as a story or world. It is the function that draws the player into the experience, giving shape and semantic meaning to that experience. When the constant background music in the classic Super Mario Brothers switches from its sunny major theme to a tense minor theme, the visible environment of the player-character has switched from broad daylight to a subterranean cavern. This switch can be seen as paradigmatic in that the game's syntagmatic structures of play are still in place – Mario must still move from left to right and progress toward the final castle. The metonymic function of game music facilitates the player's accomplishing the goals of the game. To remain with the Mario Brothers example, whatever music is currently representing the environment increases in tempo as the end of the level approaches. This teaches the player to move faster toward the level's completion, and thus enforces the syntagmatic properties of the game by pushing it forward in a contiguous progression." (van Leeuwen 1999) See also |
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| Wright, T., Boria, E., & Breidenbach, P. (2002). Creative player actions in FPS online video games. Game Studies, 2(2). Retrieved September 16, 2003, from http://www.gamestudies.org/0202/wright/ |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 04/09/2006, 15:06 |