A comprehensive study of sound in computer games: how audio affects player action
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Lewiston, NY [u.a.]
Edwin Mellen Press
2009
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | VIII, 263 S. |
| ISBN: | 9780773438262 |
Internformat
MARC
| LEADER | 00000nam a22000002c 4500 | ||
|---|---|---|---|
| 001 | BV036483076 | ||
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| 008 | 100602s2009 |||| 00||| eng d | ||
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| 245 | 1 | 0 | |a A comprehensive study of sound in computer games |b how audio affects player action |c Kristine Jørgensen |
| 264 | 1 | |a Lewiston, NY [u.a.] |b Edwin Mellen Press |c 2009 | |
| 300 | |a VIII, 263 S. | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
| 648 | 7 | |a Geschichte |2 gnd |9 rswk-swf | |
| 650 | 4 | |a Psychologie | |
| 650 | 4 | |a Computer games / Physiological aspects | |
| 650 | 4 | |a Computer games / Psychological aspects | |
| 650 | 4 | |a Computer game music / Physiological aspects | |
| 650 | 4 | |a Computer sound processing | |
| 650 | 4 | |a Computer games / Design | |
| 650 | 0 | 7 | |a Musik |0 (DE-588)4040802-4 |2 gnd |9 rswk-swf |
| 650 | 0 | 7 | |a World of Warcraft |0 (DE-588)7526399-3 |2 gnd |9 rswk-swf |
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| 650 | 0 | 7 | |a Musikpsychologie |0 (DE-588)4127817-3 |2 gnd |9 rswk-swf |
| 689 | 0 | 0 | |a Computerspiel |0 (DE-588)4010457-6 |D s |
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| 689 | 0 | 2 | |a Musikpsychologie |0 (DE-588)4127817-3 |D s |
| 689 | 0 | 3 | |a Geschichte |A z |
| 689 | 0 | |5 DE-604 | |
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Datensatz im Suchindex
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|---|---|
| adam_text | TABLE
OF
CONTENTS
LIST OF ILLUSTRATIONS
................................................................................
і
FOREWORD by Prof.
Klaas
Bruhn Jensen
......................................................
iii
References
...............................................................................................................
v
ACKNOWLEDGEMENTS
................................................................................
vii
1.
INTRODUCTION
..............................................................................................1
1.1
Themes
&
Problems
..........................................................................................3
1.2
Methodological
&
Theoretical Background
......................................................4
1.3
Objects of Analysis
............................................................................................8
1.4
The Structure of the Book
...............................................................................10
2.
COMPUTER GAME AUDIO
-
A HISTORICAL PERSPECTIVE
..........13
2.1
The History of Game Audio
............................................................................13
Phase
1:
Earliest Developments
............................................................................14
Phase
2:
Games Go Commercial
..........................................................................16
Phase
3:
Establishing Functionality
.....................................................................19
Phase
4:
Towards Modern Times
..........................................................................22
2.2
The Games of Study: Formal Description
&
Historical Contextualization
.....24
2.2.1
Genre
&
History. Classification of Two Games
...........................................25
2.2.2 Warcraft
III: Reign of Chaos. A Formal Description
..................................30
a)
Gameplay &
Interface
........................................................................................30
b) Sound Features
..................................................................................................35
2.2.3
Hitman Contracts: A Formal Description
....................................................37
a)
Gameplay &
Interface
........................................................................................37
b) Sound Features
..................................................................................................42
2.2.4
Summary:
Warcraft
III vs. Hitman Contracts
..............................................45
3.
THEORETICAL BACKGROUND
...............................................................47
3.1
Games, Computer Games
&
Players
...............................................................48
3.1.1
Understanding Games
..................................................................................48
3.1.2
Player
Experiences of Games
.......................................................................51
3.2
Computer Games as Virtual Worlds
&
as User Systems
................................55
3.2.1
Games as Virtual Worlds
..............................................................................56
3.2.2
Sound in Virtual Worlds
...............................................................................59
3.2.3
Sound as User System Feature
.....................................................................61
3.4
The Audiovisual Alliance
................................................................................63
3.4.1
The Unity of Sound
&
Image
........................................................................63
3.4.2
Films vs. Games as Representational Systems
.............................................68
3.5
Hearing
&
Listening
........................................................................................73
3.6
Games as Auditory Displays
............................................................................82
3.6.1
The Use of Audio as Sign System
.................................................................83
a) Auditory Icons
&
Earcons
.................................................................................87
b) Iconic
&
Arbitrary Sound Relations
..................................................................90
3.6.2
Functionality: Urgency
&
Response
............................................................92
3.7
Transdiegetic Sounds
.......................................................................................97
3.7.1
Branigan s Spatial Understanding of Music in Film
...................................99
3.7.2
Diegetic
&
Extradiegetic Spaces in Games
................................................101
3.7.3
Transdiegesis as Concept
...........................................................................106
3.7.4
Why Transdiegetic Space?
..........................................................................110
3.8
Conclusions
...................................................................................................
Ill
4.
EXAMINATION OF EMPIRICAL DATA
................................................117
4.1
Selection of Informants
.................................................................................120
4.2
Procedure
.......................................................................................................123
4.2.1
Game Audio Designer Studies
....................................................................123
4.2.2
Player Studies
.............................................................................................124
4.3
Review of the Study
......................................................................................127
5.
GAME AUDIO DEVELOPMENT
_______________________________133
5.1
Game Audio Development as a Trade
...........................................................134
5.2
Sound in the Development Process
...............................................................140
5.3
Intentions and Functions of Game Audio
......................................................144
5.3.1
The Realization of Game Audio in the Company s Latest Title
.................147
5.4
Summary
........................................................................................................155
6.
PLAYER EXPERIENCES OF SOUND IN GAMES
.................................157
6.1
The Functionality of Sound in
Warcraft
Ш:
..................................................160
6.1.1
Usability Sounds
.........................................................................................160
a) Earcons
............................................................................................................161
b) Non-
Arbitrary Auditory Icons
.........................................................................165
c) Semantic Use of Voice
....................................................................................167
d) Iconic Auditory Icons
......................................................................................170
6.1.2
Idenfìcation
&
Value
...................................................................................172
6.1.3
Sound
&
Atmosphere
..................................................................................175
6.1.4
Sound
&
Orientation
..................................................................................178
a) Playing Without Sound
....................................................................................179
b) The Mini-Map
.................................................................................................181
c) Attention
&
Apprehension
..............................................................................183
6.1.5 Warcraft
III: A Summary
............................................................................185
6.2
The Functionality of Sound in Hitman Contracts
..........................................186
6.2.1
Usability Sounds
.........................................................................................186
a) Auditory Icons
.................................................................................................187
b) Non-Musical Earcons
......................................................................................192
c) Musical Earcons
..............................................................................................194
a) The Semantic Use of Voice
.............................................................................196
6.2.2
The Atmospheric Function of Sound
..........................................................197
a) Music
...............................................................................................................197
b) A Realistic Soundscape?
.................................................................................202
6.2.3
Sound
&
Orientation
..................................................................................204
a) Playing Without Sound
....................................................................................204
b) Attention
&
Apprehension
..............................................................................206
6.2.4
Hitman Contracts: A Summary
..................................................................207
6.3
Memory of Game Audio: Recall
&
Recognition
...........................................208
6.3.1
Recalling Game Audio
................................................................................210
6.3.2
Recognizing Game Audio
...........................................................................214
a)
Warcraft
III: Oiegetic Sounds from Battle
......................................................215
b)
Warcraft
III:
Response from a Military Unit
..................................................217
c)
Warcraft
III: Diegetic Sounds of Wood Chopping
.........................................218
d)
Warcraft
III: Response from a Civilian Building
............................................220
e)
Warcraft
ΠΙ:
Our town is under attack!
.......................................................221
í)
Hitman Contracts: Sound of a Voice: Denied Entrance
..................................223
^Hitman Contracts: Violent Action Music
.......................................................225
h) Hitman Contracts: Signal Messages
...............................................................227
6.3.3
Memories of Sound in Other Games
...........................................................228
6.3.4
Summary: Memories of Game Audio
..........................................................232
6.4
Hitman Contracts vs.
Warcraft
Ш:
Comparative Remarks
...........................233
7.
CONCLUSIONS
............................................................................................241
7.1
The Transdiegetic Function
...........................................................................242
7.2
Other Functions
.............................................................................................244
7.3
Comparative Observations
............................................................................246
7.4
Methodology
&
Empirical Studies
................................................................248
7.5
Future Research?
...........................................................................................249
REFERENCES
..................................................................................................251
Literature
.............................................................................................................251
Web sources
.........................................................................................................258
Games
..................................................................................................................258
INDEX
................................................................................................................261
|
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| id | DE-604.BV036483076 |
| illustrated | Not Illustrated |
| indexdate | 2024-07-09T22:40:27Z |
| institution | BVB |
| isbn | 9780773438262 |
| language | English |
| lccn | 2009039031 |
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| physical | VIII, 263 S. |
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| publisher | Edwin Mellen Press |
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| spelling | Jørgensen, Kristine 1978- Verfasser (DE-588)141731125 aut A comprehensive study of sound in computer games how audio affects player action Kristine Jørgensen Lewiston, NY [u.a.] Edwin Mellen Press 2009 VIII, 263 S. txt rdacontent n rdamedia nc rdacarrier Geschichte gnd rswk-swf Psychologie Computer games / Physiological aspects Computer games / Psychological aspects Computer game music / Physiological aspects Computer sound processing Computer games / Design Musik (DE-588)4040802-4 gnd rswk-swf World of Warcraft (DE-588)7526399-3 gnd rswk-swf Computerspiel (DE-588)4010457-6 gnd rswk-swf Musikpsychologie (DE-588)4127817-3 gnd rswk-swf Computerspiel (DE-588)4010457-6 s Musik (DE-588)4040802-4 s Musikpsychologie (DE-588)4127817-3 s Geschichte z DE-604 World of Warcraft (DE-588)7526399-3 s Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=020354549&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Jørgensen, Kristine 1978- A comprehensive study of sound in computer games how audio affects player action Psychologie Computer games / Physiological aspects Computer games / Psychological aspects Computer game music / Physiological aspects Computer sound processing Computer games / Design Musik (DE-588)4040802-4 gnd World of Warcraft (DE-588)7526399-3 gnd Computerspiel (DE-588)4010457-6 gnd Musikpsychologie (DE-588)4127817-3 gnd |
| subject_GND | (DE-588)4040802-4 (DE-588)7526399-3 (DE-588)4010457-6 (DE-588)4127817-3 |
| title | A comprehensive study of sound in computer games how audio affects player action |
| title_auth | A comprehensive study of sound in computer games how audio affects player action |
| title_exact_search | A comprehensive study of sound in computer games how audio affects player action |
| title_full | A comprehensive study of sound in computer games how audio affects player action Kristine Jørgensen |
| title_fullStr | A comprehensive study of sound in computer games how audio affects player action Kristine Jørgensen |
| title_full_unstemmed | A comprehensive study of sound in computer games how audio affects player action Kristine Jørgensen |
| title_short | A comprehensive study of sound in computer games |
| title_sort | a comprehensive study of sound in computer games how audio affects player action |
| title_sub | how audio affects player action |
| topic | Psychologie Computer games / Physiological aspects Computer games / Psychological aspects Computer game music / Physiological aspects Computer sound processing Computer games / Design Musik (DE-588)4040802-4 gnd World of Warcraft (DE-588)7526399-3 gnd Computerspiel (DE-588)4010457-6 gnd Musikpsychologie (DE-588)4127817-3 gnd |
| topic_facet | Psychologie Computer games / Physiological aspects Computer games / Psychological aspects Computer game music / Physiological aspects Computer sound processing Computer games / Design Musik World of Warcraft Computerspiel Musikpsychologie |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=020354549&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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