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Droumeva, M. (2011). An acoustic communication framework for game sound: Fidelity, verisimilitude, ecology. In M. Grimshaw (Ed.), Game sound technology and player interaction: concepts and developments (pp. 131–152). Hershey (PA): IGI.   
Added by: Mark Grimshaw-Aagaard   Last edited by: Mark Grimshaw-Aagaard 5/30/21, 7:59 AM
"Fidelity reflects the development of sound in games from a technological perspective while verisimilitude reflects the cultural emergence of authenticity, immersion and suspension of disbelief in cinema"
"[...] sound's role in games is not simply descriptive, one of reflecting reality in a high-fidelity manner, but it is largely about function! Interface sounds, warning sounds, alerts, and musical earcons must continue to be part of this acoustic ecology, subject to issues of acoustic balance, masking and fidelity, as well as the informational ecology of interactive play."
"If fidelity refers to the faithfulness of sound quality in computer games, verisimilitude concerns itself with the experience and nature of truthfulness and authenticity in a game context, as conveyed through the game soundscape."
"[...] game sound has developed historically to conform to our sense of reality while at the same time it has constructed a sense of reality, particular to games, that we now expect."
"In its traditional literary/theatrical definition, verisimilitude reflects the extent to which a work of fiction exhibits realism or authenticity, or otherwise conforms to our sense of reality. In film, the notion of verisimilitude signifies the relative success of cinematography at creating an immersive, engaging fictional world of hyper-realistic proportions both in terms of image and sound, but also of intensity of emotion and experience"