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| Diegesis. (2003-2006). Wikipedia, Retrieved January 12, 2006, from http://en.wikipedia.org/wiki/Diegetic |
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| Diegesis (2005). In Oxford English Dictionary Online Oxford: Oxford University Press. |
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| Ekman, I. 2005, Meaningful noise: Understanding sound effects in computer games. Paper presented at Digital Arts and Cultures, Kopenhagen. |
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| van Elferen, I. (2011). ¡un forastero! Issues of virtuality and diegesis in videogame music. Music and the Moving Image, 4(2), 30–39. |
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| 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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| 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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| Jørgensen, K. (2007). On transdiegetic sounds in computer games. Northern Lights, 5, 105–117. |
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| Kromand, D. 2008, October 22, Sound and the diegesis in survival-horror games. Paper presented at Audio Mostly 2008, Piteå, Sweden. |
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| Laurel, B. (1993). Computers as theatre. New York: Addison-Wesley. |
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| Palmer, I. J. (2002). How realistic is the sound design in the D-Day landing sequence in Saving Private Ryan? Unpublished thesis master's, Bournemouth University. |
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| Space invaders. (1978). [Computer game]. Taito. |
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| Taylor, L. N. (2002). Video games: Perspective, point-of-view, and immersion. Unpublished thesis master's, University of Florida. |
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| Truppin, A. (1992). And then there was sound: The films of Andrei Tarkovsky. In R. Altman (Ed.), Sound Theory Sound Practice (pp. 235–248). New York: Routledge. |
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| 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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| Wolf, M. J. P. (2001). Time in the video game. In M. J. P. Wolf (Ed.), The Medium of the Video Game (pp. 78–91). Austin: University of Texas Press. |
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