Sound Research WIKINDX
Sound Research WIKINDX |
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Displaying 1 - 17 of 17 Parameters |
| Bessell, D. (2002). What's that funny noise? An examination of the role of music in Cool Boarders 2, Alien Trilogy and Medievil 2. In G. King & T. Krzywinska (Eds.), Screenplay: Cinema/Videogames/Interfaces. (pp. 136–144). London: Wallflower Press. |
 
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| Added by: Mark Grimshaw-Aagaard 04/10/2004, 17:07 | |
| 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 | |
| "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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| 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." | |
| Burill, D. A. (2002). 'oh grow up 007': The performance of bond and boyhood in film and videogames. In G. King & T. Krzywinska (Eds.), Screenplay: Cinema/Videogames/Interfaces. (pp. 181–193). London: Wallflower Press. |
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| Added by: Mark Grimshaw-Aagaard 05/10/2004, 12:02 | |
| Carr, D. (2002). Playing with Lara. In G. King & T. Krzywinska (Eds.), Screenplay: Cinema/Videogames/Interfaces. (pp. 171–180). London: Wallflower Press. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 25/10/2021, 13:44 | |
| "Cinematic space is haunted by what remains just off-screen, especially in a scary movie, but digital game space seems less able to evoke such resonance. The creepiest monsters in tomb Raider are those that manage, in their murmerings and groans, to attain a kind of uncanny, auditory ambiguity despite their digital construction." | |
| Grieb, M. (2002). Run lara run. In G. King & T. Krzywinska (Eds.), Screenplay: Cinema/Videogames/Interfaces. (pp. 157–170). London: Wallflower Press. |
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| Added by: Mark Grimshaw-Aagaard 04/10/2004, 17:01 | |
| Howells, S. A. (2002). Watching a game, playing a movie: When media collide. In G. King & T. Krzywinska (Eds.), Screenplay: Cinema/Videogames/Interfaces. (pp. 110–121). London: Wallflower Press. |
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| Added by: Mark Grimshaw-Aagaard 30/09/2004, 08:02 | |
| Hunt, L. (2002). 'i know kung fu!': The martial arts in the age of digital reproduction. In G. King & T. Krzywinska (Eds.), Screenplay: Cinema/Videogames/Interfaces. (pp. 194–205). London: Wallflower Press. |
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| Added by: Mark Grimshaw-Aagaard 05/10/2004, 12:04 | |
| Keane, S. (2002). From hardware to fleshware: Plugging into David Cronenberg's eXistenZ. In G. King & T. Krzywinska (Eds.), Screenplay: Cinema/Videogames/Interfaces. (pp. 145–156). London: Wallflower Press. |
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| Added by: Mark Grimshaw-Aagaard 04/10/2004, 17:04 | |
| King, G. (2003). Die hard/try harder: Narrative, spectacle and beyond, from hollywood to videogame. In G. King & T. Krzywinska (Eds.), Screenplay: Cinema/Videogames/Interfaces. (pp. 50–65). London: Wallflower Press. |
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| Added by: Mark Grimshaw-Aagaard 23/09/2004, 12:28 | |
| King, G., & Krzywinska, T. 2003, November 4–6. Gamescapes: Exploration and virtual presence in game-worlds. Paper presented at Level Up, Utrecht Universiteit. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 20/09/2005, 10:14 | |
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"The greatest exploration is usually found in role-playing games". Says that Everquest has an "impression of uninterrupted freedom of exploration". |
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| "Many 3D action-adventure or first-person shooter games occupy a space between extremes of restriction and freedom to explore." | |
| King, G., & Krzywinska, T. (2002). Cinema/videogames/interfaces. In G. King & T. Krzywinska (Eds.), Screenplay: Cinema/Videogames/Interfaces. (pp. 1–32). London: Wallflower Press. |
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| Added by: Mark Grimshaw-Aagaard 11/04/2006, 13:42 | |
| A discussion of the term interactive as applied to videogames. Notes the problems associated with using it as a term to distinguish games from cinema (the latter also requires interaction from its audience which likewise may be passive or active). Notes Aarseth's coining of the term ergotic as a replacement meaning greater effort is required to process the text in videogames. | |
| King, G., & Krzywinska, T. (2006). Film studies and digital games. In J. Rutter & J. Bryce (Eds.), Understanding digital games. (pp. 112–128). London: Sage Publications. |
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| Added by: Mark Grimshaw-Aagaard 02/06/2007, 02:39 | |
| "One of the primary building blocks of film studies that can be applied to games is the close analysis of formal characteristics: the precise manner in which sounds and images are organized on the screen" | |
| Comparing games to films may highlight similarities or point to differences. | |
| Diegetic game sound comprises environmental (e.g. distant sound) and reactive sound (e.g. local sound). | |
| Krzywinska, T. (2002). Hands-on horror. In G. King & T. Krzywinska (Eds.), Screenplay: Cinema/Videogames/Interfaces. (pp. 206–223). London: Wallflower Press. |
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| Added by: Mark Grimshaw-Aagaard 05/10/2004, 12:09 | |
| Talking of horror in film and game: "Sound also plays a crucial role in both media to evoke the emotional impact of horror, and is often linked to the operation of the moral occult. Many videogames deploy sound as a key sign of impending danger, designed to agitate a tingling sense in anticipation of the need to act... These aural cues ... help to create an increased level of expectation and play a significant role in the creation of atmosphere as well as in emotional and structural dynamics of the games." | |
| Liang, W., & Tan, M. C. C. (2002). Vision and virtuality: The construction of narrative space in film and computer games. In G. King & T. Krzywinska (Eds.), Screenplay: Cinema/Videogames/Interfaces. (pp. 98–109). London: Wallflower Press. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 22/09/2005, 13:11 | |
| Paraphrasing Stephen Heath writing about film: "the centrality of vision is crucial in the constuction of narrative space." | |
| Mactavish, A. (2002). Technological pleasure: The performance and narrative of technology in Half-Life and other high-tech computer games. In G. King & T. Krzywinska (Eds.), Screenplay: Cinema/Videogames/Interfaces. (pp. 33–49). London: Wallflower Press. |
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| Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 13/01/2006, 12:10 | |
| Criticizing linguistics-based theories applied to computer games: "When all meaning is reduced to language, there is very little room left to imagine a phenomenology of sensual experience that can account for the intensely visual and auditory performances that characterise even the most strongly narrative of today's media-rich computer games." | |
| "...a significant and relatively unexplored component of the pleasure of computer gameplay is our astonishment at visual and auditory technology ... game designers use visual and auditory display to immerse players into a frenetic virtual world but also to draw attention to the game's virtual world as virtual." | |
| Morris, S. (2002). First person shooters -- a game apparatus. In G. King & T. Krzywinska (Eds.), Screenplay: Cinema/Videogames/Interfaces. (pp. 81–97). London: Wallflower Press. |
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| Added by: Mark Grimshaw-Aagaard 23/09/2004, 15:57 | |
| "Sound is highly important to players, less for aesthetic reasons than as a carrier of information ... essential information that can be obtained much faster and over a greater distance than if the player were relying upon visual input." | |
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"[Players] get sonic information from the full 360 degrees of their surroundings". This is as in real life and as opposed to vision which is 90-120 degrees (talking of quake 2 and quake 3 arena) in-game and slightly more in-life. |
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| "Sound in games operates on a number of levels ... an audio complement to action on screen ... and to create a sense of a real physical space". | |
| Talking of a typical gamer's hardware setup and location, says they often have to use headphones to "create their own dedicated sonic space which, not surprisingly, increases the immersiveness of the gaming experience." | |
| Ward, P. (2002). Videogames as remediated animation. In G. King & T. Krzywinska (Eds.), Screenplay: Cinema/Videogames/Interfaces. (pp. 122–135). London: Wallflower Press. |
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| Added by: Mark Grimshaw-Aagaard 03/07/2021, 09:04 | |
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Quoting Steven Poole (2000) "it is lack of coherence rather than unrealism which ruins a gameplaying experience" (p.95) Poole further says that indeed the more realistic a character's movements may be, the more frustrated a player may become that the character cannot complete other realistic, and therefore to be expected, movements. |
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| Realism is either mimetic or abstract. Quoting from Maureen Furniss mimesis is "the desire to reproduce natural reality" while abstraction is "the use of pure form -- a suggestion of a concept rather than an attempt to explicate it in real life terms". | |
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Discussing animation, film and games and the notion of realism, says that realism is relative (a realtistically rendered game is realistic only in comparison to other games for example). Often, environmental details tend to the mimetic (mimicking reality as closely as possible) while character and animation tend to the abstract (suggesting reality or a particular concept of reality). |
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| Uses the terms simulation and emulation as synonyms for abstraction and mimetics. |