Sound Research WIKINDX
Sound Research WIKINDX |
|
 |
|
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. Added by: Mark Grimshaw-Aagaard (06/01/2009, 04:39) |
 |
| Resource type: Book Chapter BibTeX citation key: Collins2007 Email resource to friend View all bibliographic details  |
Categories: Sound Design Creators: Collins, Hawkins, Richardson Publisher: Helsinki University Press (Helsinki) Collection: Essays on Sound and Vision |
Views: 7/664
|
| Notes |
|
Although there is some discussion of sound FX, 'game audio' here refers mainly to music (non-diegetic and diegetic) and most of the examples given are musical.
Added by: Mark Grimshaw-Aagaard |
| Paraphrases |
|
pp.1–3
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. Added by: Mark Grimshaw-Aagaard Keywords: adaptive Diegetic/non-diegetic Interaction |