| Collins, K. (2007). An introduction to the participatory and non-linear aspects of video games audio. In S. Hawkins & J. Richardson (Eds), Essays on Sound and Vision Helsinki: Helsinki University Press. |
 
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| Added by: Mark Grimshaw-Aagaard 03/02/2009, 06:00 |
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Interactive audio responds directly to player actions.
Adaptive audio reacts to gameplay and can anticipate player actions. (Mor attuned to plot, narrative than to individual player actions.)
Dynamic audio is the term Collins uses to cover both interactive and adaptive audio.
Adaptive non-diegetic sounds react to gameplay but are outside the diegesis and are sounds that are not affected directly by player actions.
Interactive non-diegetic sounds are produced in response to player actions but are still outside the diegesis.
Non-dynamic diegetic sounds are not sounded in response to the player's actions but are part of the diegesis.
Interactive non-diegetic sounds are produced directly as a result of player's actions and are diegetic.
Collins also defines kinetic gestural interaction for both diegetic and non-diegetic sound as an extremely direct form of sonic interaction. The example she gives is the use of the joystick or controller to player the ocarina melodies in Selda. Other examples include the playing of guitars in Guitar Hero. |
| Ekman, I. 2005, Meaningful noise: Understanding sound effects in computer games. Paper presented at Digital Arts and Cultures, Kopenhagen. |
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| Last edited by: Mark Grimshaw-Aagaard 14/10/2008, 01:21 |
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| 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. |
| 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 |
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| Diegetic game sound comprises environmental (e.g. distant sound) and reactive sound (e.g. local sound). |
| 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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| Added by: Mark Grimshaw-Aagaard 24/11/2008, 11:12 |
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Debating Jørgensen's 'trans-diegetic' sound terminology: sound that crosses the barrier between diegetic and nondiegetic worlds (cf Count Basie's orchestra in Blazing Saddles at first seems nondiegetic until the hero comes across the orchestra playing in the desert at which point the music becomes diegetic.
Trans-diegesis is a short transgression of the barrier between diegetic/nondiegetic, not a breakdown.
The trans-diegetic sound transfers information to the player from the game. Two types, 'reactive sound affirming player input or as a proactive sound informing the player of an altered game state (Jørgensen 2007; 116).' |
