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Game Sound Technology and Player Interaction

Book Description

The sounds that a player hears while immersed in a game can have dramatic effects on that person, opening up a considerable, far-reaching field of research. Game Sound Technology and Player Interaction: Concepts and Developments researches both how game sound affects a player psychologically, emotionally, and physiologically, and how this relationship itself impacts the design of computer game sound and the development of technology. This compilation also applies beyond the realm of video games to other types of immersive sound, such as soundscape design, gambling machines, emotive and fantastical sound to name a few. The application for this research is wide-ranging, interdisciplinary, and of primary importance for academics and practitioners searching for the right sounds.

Table of Contents

  1. Cover
  2. Title Page
  3. Copyright Page
  4. Editorial Advisory Board and List of Reviewers
    1. EDITORIAL ADVISORY BOARD
    2. LIST OF REVIEWERS
  5. Foreword
  6. Preface
  7. Acknowledgment
  8. Section 1: Interactive Practice
    1. Chapter 1: Sound in Electronic Gambling Machines
      1. ABSTRACT
      2. INTRODUCTION
      3. STRUCTURAL COMPONENTS OF EGM GAMES
      4. CASINO SOUND: ENVIRONMENTAL FACTORS
      5. SOUND IN EGMS
      6. RESPONSES TO EGM SOUND
      7. CONCLUSION
    2. Chapter 2: Sound for Fantasy and Freedom
      1. ABSTRACT
      2. INTRODUCTION
      3. BACKGROUND
      4. MIND THE GAP—SOUND FOR FEEDBACK AND IMMERSION
      5. SOUND PROPERTIES AT YOUR DISPOSAL
      6. SOUND TYPES AT YOUR DISPOSAL
      7. SOUND FOR FANTASY AND FREEDOM
      8. FUTURE RESEARCH DIRECTIONS
      9. CONCLUSION
    3. Chapter 3: Sound is Not a Simulation
      1. ABSTRACT
      2. INTRODUCTION
      3. THE EXPLORATION OF THE SOUNDSCAPE
      4. MEDIATED LISTENING
      5. NOISE: THE SIDE EFFECT OF INDUSTRY
      6. IMMERSION AND SIMULATED REALITY
      7. SOUND METHODOLOGY AND ANALYSIS
      8. CONCLUSION
    4. Chapter 4: Diegetic Music
      1. ABSTRACT
      2. INTRODUCTION
      3. ONSTAGE PERFORMED MUSIC
      4. VISUALIZED MUSIC
      5. INTERACTING WITH MUSIC: A CONCLUSION
  9. Section 2: Frameworks & Models
    1. Chapter 5: Time for New Terminology?
      1. ABSTRACT
      2. INTRODUCTION
      3. BACKGROUND
      4. SOUND AND THE GAMEWORLD
      5. SPATIAL INTEGRATION OF GAME SOUND
      6. CONCLUSIONS
    2. Chapter 6: A Combined Model for the Structuring of Computer Game Audio
      1. ABSTRACT
      2. INTRODUCTION
      3. MURCH’S CONCEPTUAL MODEL
      4. THE COMBINED MODEL FOR GAME AUDIO
      5. USING THE COMBINED MODEL TO ANALYZE COMPUTER GAMES
      6. USING THE COMBINED MODEL AS A PRODUCTION TOOLSET
      7. CONCLUSION
    3. Chapter 7: An Acoustic Communication Framework for Game Sound
      1. ABSTRACT
      2. INTRODUCTION
      3. THE ACOUSTIC COMMUNICATION MODEL: BACKGROUND AND RELEVANCE TO GAME SOUND
      4. FIDELITY
      5. VERISIMILITUDE
      6. LISTENING TO GAME SOUND
      7. ECOLOGY
      8. CONCLUSION AND FUTURE DIRECTIONS
    4. Chapter 8: Perceived Quality in Game Audio
      1. ABSTRACT
      2. INTRODUCTION
      3. MECHANISMS OF HUMAN PERCEPTION
      4. CROSS-MODAL INTERACTION BETWEEN AUDIO AND VIDEO
      5. AUDITORY AND AUDIO-VISUAL PLAUSIBILITY
      6. INTERACTIVITY ISSUES AND PRESENCE
      7. ATTENTION
      8. PERCEPTUAL SALIENCE AND SALIENCE MODEL
      9. SUMMARY AND CONCLUSION
  10. Section 3: Emotion & Affect
    1. Chapter 9: Causing Fear, Suspense, and Anxiety Using Sound Design in Computer Games
      1. ABSTRACT
      2. INTRODUCTION
      3. BACKGROUND: LITERATURE AND FIELD REVIEW
      4. EXPERIMENTAL EVIDENCE
      5. CONCLUSION
      6. FUTURE RESEARCH DIRECTIONS
    2. Chapter 10: Listening to Fear
      1. LISTENING TO FEAR
      2. ABSTRACT
      3. INTRODUCTION
      4. APPROACHING HORROR COMPUTER GAME SOUND
      5. STRUCTURING HORROR COMPUTER GAME SOUND
      6. THE FUNCTIONS OF HORROR COMPUTER GAME SOUND
      7. HORROR COMPUTER GAMES’ SOUND STRATEGIES
      8. CONCLUSION
    3. Chapter 11: Uncanny Speech
      1. ABSTRACT
      2. INTRODUCTION
      3. THE UNCANNY VALLEY
      4. CROSS-MODAL MISMATCH
      5. QUALITIES OF SPEECH
      6. LIP-SYNCHRONIZATION VOCALIZATION
      7. ARTICULATION OF SPEECH
      8. SUMMARY AND CONCLUSION
    4. Chapter 12: Emotion, Content, and Context in Sound and Music
      1. ABSTRACT
      2. INTRODUCTION
      3. EMOTION
      4. CONTENT
      5. CONTEXT
      6. DETERMINING USER PERCEPTIONS OF MUSIC
      7. EXAMPLE APPLICATIONS IN CURRENT RESEARCH
      8. FUTURE RESEARCH IDEAS AND CONCLUSIONS
    5. Chapter 13: Player-Game Interaction Through Affective Sound
      1. ABSTRACT
      2. INTRODUCTION
      3. THEORIES OF EMOTION
      4. IMMERSION, FLOW, AND PRESENCE
      5. PSYCHOPHYSIOLOGICAL MEASUREMENT OF EMOTIONS
      6. CONCLUSION
  11. Section 4: Technology
    1. Chapter 14: Spatial Sound for Computer Games and Virtual Reality
      1. ABSTRACT
      2. INTRODUCTION
      3. PERCEPTUAL PROCESSING OF SOUND
      4. SOUND PROPAGATION IN REAL SPACE
      5. VIRTUAL SPATIAL SOUND IMPLEMENTATION—INTRODUCTION
      6. CONCLUSIONS AND FUTURE DEVELOPMENTS
    2. Chapter 15: Behaviour, Structure and Causality in Procedural Audio1
      1. ABSTRACT
      2. INTRODUCTION
      3. BEHAVIOUR AND ANALYSIS
      4. MODELS, METHODS AND IMPLEMENTATIONS
      5. COST AND VALUE
      6. FROM STATE TO PROCESS
      7. LANGUAGE AND PROCESS
      8. BEHAVIOURAL AUDIO
      9. SCHOOLS OF DESIGN
      10. STRUCTURE, SPACE AND CAUSALITY IN PROCEDURAL SOUND
      11. DEVELOPMENT ADVANTAGES OF PROCEDURAL AUDIO
      12. SUMMARY
    3. Chapter 16: Physical Modelling for Sound Synthesis
      1. ABSTRACT
      2. INTRODUCTION
      3. PHYSICAL MODELLING FOR SOUND SYNTHESIS
      4. THE PAPER TRAIL OF PHYSICAL MODELLING IN VIRTUAL ENVIRONMENTS
      5. FUTURE DIRECTIONS AND CONCLUSION
  12. Section 5: Current & Future Design
    1. Chapter 17: Guidelines for Sound Design in Computer Games
      1. ABSTRACT
      2. INTRODUCTION
      3. INTENTIONAL SOUND DESIGN
      4. GUIDELINES FOR SOUND DESIGN IN COMPUTER GAMES
      5. APPLYING THE GUIDELINES
      6. A DESIGN EXERCISE
      7. CONCLUSION
    2. Chapter 18: New Wine in New Skins
      1. ABSTRACT
      2. INTRODUCTION: THE CREATIVE DEAD-END IN GAME SOUND DESIGN
      3. GAME SOUND DESIGN TODAY
      4. FILM SOUND: FROM WALLFLOWER TO EMANCIPATION
      5. REDRAWING PATTERNS OF CHANGE: PERSPECTIVES FOR GAME SOUND DESIGN
      6. CONCLUSION
  13. Compilation of References
  14. About the Contributors