Game sound

This paper presents the ludomusicological research associated with the development of a digital game: Otogarden (Oliva, 2021). If “making an actual game [...] is useful to materialize the design question [or] aesthetic issues [...] that are being addressed” (Khaled, Lessard, & Barr, 2018), Otogarden is intended as a playable support to research on musical participation with digital games. Specifically, this paper understands digital games as a contemporary venue for technologically augmented musicking (Borgo, 2007; 2013), potentially allowing access to forms of musical improvisation to a variety of users and players.
While digital games afford a remarkable variety of possible musicking (Oliva, 2017; 2019a; 2019b, 2019c), examples related to musical improvisation remain few and underexplored, with most games favoring score-based interactions, as made popular by titles such Guitar Hero (Harmonix, 2005) or Rock Band (Harmonix, 2007). In similar examples, music is presented as “a task to be achieved, a disciplinary activity in which the player should “play” again and again until the game (and thereby music) is mastered” (Kassabian & Jarman, 2016). Crucially, in these examples “music” is understood as pre-recorded compositions performed with the aid of simplified notation (Biamonte, 2011). Notable exceptions, such as the experimental music game Electroplankton (Nintendo, 2005), have been criticized by reviewers specifically for their lack of composition-oriented functionalities (Pilchmair, 2007), indicating an underlying set of expected qualities which constitute a barrier to the emergence of improvisatory musical practices in digital games.
Otogarden challenges this understanding of “music game”, by focusing on musical improvisation, "an activity of enormous complexity and sophistication, or the simplest and most direct expression” (Bailey, 1993, p. 83, 84). Players of Otogarden are able to repeat short phrases through the use of a “loop” mechanic, musicalizing potentially extra-musical (Kahn, 1999, p. 103) acoustic juxtapositions. While retaining the “intimate and reactive musical bond” (Grimshaw, Tan, & Lipscomb, 2013) typical of the music game genre, Otogarden does not feature canonic game characteristics, such as a winning condition, compatibly with recent understandings of game definitions (Juul, 2019, p. 224). The conclusions show that it is possible to deliberately stimulate the players’ perspective (Aarseth & Calleja, 2015) on the game towards an improvisatory musical direction, rendering manifest the extemporaneous musical possibilities connected with digital game engagement (Oliva, 2019c).

This article will identify and define the concept of transdiegetic sound space in computer games, and discuss the relationship of this space to action and events in the game. The point of departure for the article is based on discussions of the diegetic space in film theory, but ...

Esta dissertação busca investigar de que maneira os sons atuam na produção de sentidos e afetos em três jogos do gênero survival-horror: Amnesia – The dark descent (Frictional Games, 2010), Outlast (Red Barrels, 2013) e Pesadelo (Skyjaz, 2016). Para este fim, adotamos uma abordagem semiótica baseada em um diálogo entre Peirce e Greimas. A
partir da semiótica peirceiana, consideramos os sons como signos sonoros e verificamos suas relações com seus objetos, exemplificando um processo de semiose. Desta forma, as categorias universais de primeiridade, secundidade e terceiridade, assim como as relações
entre o signo e seu objeto, ícone, índice e símbolo são utilizadas para descrever estes processos. A semiótica greimasiana nos oferece uma atenção ao contexto narrativo e interativo dos jogos, levando em consideração as noções de narrativa e narratividade. Consideramos que
o contexto no qual os signos são percebidos é relevante para a sua interpretação. A partir da semiótica greimasiana, compreendemos uma possibilidade de relacionar o signo sonoro aos afetos do jogador, pensando em uma sintaxe afetiva. Para que esta abordagem semiótica seja possível, desenvolvemos algumas discussões em relação ao som nos videogames e em relação ao gênero de horror, que se manifesta nos games como o subgênero survival-horror, que une o gênero lúdico de aventura e o gênero narrativo de horror. Discutimos aspectos do horror a
partir de Noël Carroll (1990), Wilson Gomes (1992), Tom Garner (2013) e Mark Grimshawn (2011). Consideramos o gênero como uma categoria cultural, pois acreditamos que o que define um gênero não são seus aspectos textuais; o gênero se manifesta pelo texto, mas é definido culturalmente em um contexto histórico e sociocultural (MITTEL, 2004; MOTA GOMES, 2011). Desta forma, consideramos o contexto cultural sem abrir mão de uma análise textual. Em relação aos games, discutimos questões como: som e diegese (JØRGENSEN, 2004; 2007; 2011; ROUX-GIRARD, 2009), tipologias sonoras nos games (GRIMSHAWN, 2008; HUIBERTS, 2010; JØRGENSEN, 2008; 2011; ROUX-GIRARD, 2009) e aspectos lúdico/narrativos dos jogos, ou seja, mecânicas, dinâmicas e estéticas (HUNICKE; LeBLANC; ZUBEK, 2004; THOMAZ, 2018). Verificamos que a abordagem semiótica aplicada nesta investigação possibilita uma compreensão do funcionamento do som nos jogos
analisados em relação à produção de sentidos e afetos. Os resultados desta pesquisa demonstram que a relação entre o som e o contexto narrativo e interativo interfere nesta produção semântica e afetiva, e que o som nos jogos survival-horror é de fundamental importância na otimização da experiência do jogador.

This paper looks at sound as a representational system in computer games. Being part of a Ph.D. project on the functionality of sound in computer games, this paper does not present a semiotic answer to how we should understand the relationship between computer game ...

This essay examines the soundscape and architecture of Punchdrunk’s immersive
theater installation Sleep No More (New York, 2011). Although many of its sonic references are drawn from wellknown
analog sources, their deployment marks a shift in the role of sound in theater and film. The installation’s
sound environment establishes ambience and also guides and synchronizes the actions of the individual
audience- and cast members who navigate the space during each performance. The use of sonic cues, in this
context, draws directly from the logic of role-playing video games. Moreover, the use of rhythm and repetition in
Sleep No More resonates on an even deeper register with similar architectures of meaning in some of the work’s
key points of reference. A careful examination the work’s structure reveals a complex deployment of sonic
patterning that activates new connections with historical texts and challenges our understanding of the experience
of sound, touch, and performance in the digital era.

ABSTRACT This paper will discuss the past and potential future intersections between game design and theories within contemporary sound art. It will look at methods for broadening the ways in which videogames engage with the world of audio. The author will describe his design process in the creation of several experimental audio games. These range from music composition based on chance game events to silent games that simulate aspects of sound. Future experiments and applications are suggested.

Resumo: Neste trabalho construímos as relações necessárias para a aplicação do modelo semiótico de Peirce na análise da construção sonora de videogames. Especificamente, games de horror. Levamos em consideração o gênero como uma categoria cultural capaz de interferir na produção de sentidos, as características específicas dos videogames, como a sua não-linearidade e interatividade e levantamos alguns aspectos da semiótica peirceana, exemplificando sua aplicação na análise de um evento sonoro do game Outlast (Red Barrels, 2013). Palavras-chave: Semiótica. Peirce. Game audio. Horror. Outlast. Abstract: In this paper we build the necessary relations for the application of Peirce 's semiotic model in the analysis of the sound construction in video games. Specifically, horror games. We take into account the genre as a cultural category capable of interfering in the production of meanings, the specific characteristics of videogames, such as its non-linearity and interactivity and raise some aspects of Peircean semiotics, exemplifying its application in the analysis of a sound event from the game Outlast (Red Barrels, 2013). 1. Gêneros midiáticos e a produção de sentidos Do ponto de vista da análise, as convenções de gênero cinematográfico servem como um quadro de referência que permite que o pesquisador determine o grau de conformidade ou de desvio de uma obra em relação às premissas criativas (NOGUEIRA, 2010, p. 8). Uma obra de um determinado gênero possui afinidades e semelhanças com outras obras, e um conjunto de obras dentro de um gênero criam um repertório reconhecível, um "'saber' coletivo" (MOINE, 2008, p. 3) que estabelece uma expectativa entre o apreciador e a obra. Desta forma, existem alguns padrões temáticos, visuais e sonoros que determinam um gênero. Klaus Bragança (2008, p. 53) define o gênero de horror como uma combinação estratégica destes padrões a fim de provocar efeitos como medo, asco, repulsa, ansiedade, mal estar, entre outros. Para Mittel (2004, p. xii) os gêneros são constituídos culturalmente, na relação entre a indústria da mídia, público, contexto histórico, políticas e críticas. "Assim, os gêneros podem ser vistos como as principais formas pelas quais nossas experiências de mídia são classificadas e organizadas em categorias que têm ligações específicas com determinado valor cultural, público-alvo e função social." (MITTEL, 2004, p. xii, tradução nossa).

It was a pleasure to welcome procedural audio pioneer, Leonard Paul, to February’s meetup! Leonard shared some of the highlights of his procedural audio career to date, and talked in depth about his early ambitions to develop tools for videogame integrations, using Pure Data to build prototypes that might one day emerge in a AAA title. He went on to discuss the current state of play, looking at the movers and shakers in the field and where they could be heading next, before leading us into a Q&A session and some open discussion.

During a demo of his music and SFX systems for the educational game, Sim Cell, he explained how he used oscillators, variable delay lines and granular synthesis patches in Pure Data to generate a dynamic soundtrack that could react to different game states, as well produce as the more routine sound effects used for GUI navigation and spacecraft propulsion.

Videos of each section of the talk can be found in the link, and if you want to try out any of Leonard’s Pd patches for yourself, you can follow the link.

Leonard Paul is a composer, sound designer and educator based in Vancouver, Canada. He runs the School of Video Game Audio.

This paper will discuss the past and potential future intersections between game design and theories within contemporary sound art. It will look at methods for broadening the ways in which videogames engage with the world of audio. The author will describe his design process in the creation of several experimental audio games. These range from music composition based on chance game events to silent games that simulate aspects of sound. Future experiments and applications are suggested.

Klang im Computerspiel umfasst neben Musik auch Geräusche und Sprache. Die Autorinnen und Autoren dieser Sonderausgabe gehen darauf ein und darüber hinaus. Sie schreiben über die Funktionen und Wirkungen von Sprache (Ruf/Matt/Bayreuther und Stingel-Voigt), sie erforschen die Rezeption von Computerspielmusik (Roth), ihre Rhythmuswirkungen (Akkermann/Heßler) und denken die semiotischen Möglichkeiten von Computerspielklängen durch (Schwinning).

Wir freuen uns als Herausgeberinnen der Sonderausgabe besonders darüber, dass unsere Autorinnen und Autoren eine Methodenvielfalt im Umgang mit dem Thema Klang im Computerspiel aufzeigen.

Neben der Ludomusikologie, also der Forschung zu Musik im Computerspiel, gibt es vielfältige Ansätze aus anderen Disziplinen zum weitgefassten Thema, das auch Geräusche der Spielwelt und ihre Atmosphäre betrifft sowie Signalgeräusche wie „Auditory Icons“ und „Earcons“ neben stimmlichen Äußerungen.

Julia H. Schröder & Yvonne Stingel-Voigt

Neste artigo analisamos o uso da música no game survival-horror Pesadelo – Regressão (Skyjaz Games, 2016) em comparativo com Amnesia – The Dark Descent (Frictional Games, 2011) e Outlast (Red Barrels, 2013). Relacionamos a música à noção de gêneros de videogames; discutimos como o gênero é compreendido dentro deste campo e como o survival-horror pode ser compreendido enquanto gênero. Comentamos acerca da música nos videogames e analisamos os jogos, com maior ênfase na análise de Pesadelo – Regressão. Concluímos que algumas decisões feitas na construção sonora de Pesadelo interferem na experiência do jogador de maneira negativa e comentamos como a produção independente e com pouco investimento pode afetar no resultado sonoro de um game.

This chapter is a critical discussion of the use of the concepts diegetic and non-diegetic in connection with computer game sound. It is argued that the terms are problematic because they do not take into account the functional aspects of sound and how gameworlds differ from traditional ...

"Description: This study examines the functionality of sound in computer games, a topic which has received little attention in game studies and media studies. It is a study of the communicative aspects of sound in computer games that utilizes theories from both film studies and research on audio as a system of information in computer-based and physical environments. Reviews: “A special strength is [the author’s] emphasis on the functionality of sound in computer games; the studies explore the relationship between game audio and player actions. This is particularly welcome in an area where much public debate remains concerned about what media may do to people, and in which a substantial portion of research so far has been preoccupied with the forms and aesthetics of gaming.” – Prof. Klaus Bruhn Jensen, University of Copenhagen “Jørgensen’s study is clearly argued, methodologically sound, theoretically original, and provides game studies with (to my knowledge) the first comprehensive account of the role of sound and audition in game design and play. It will thus be a welcome contribution both to the understanding of gaming and game audio - as well as the role of sound in audiovisual media in general.” – Prof. Arnt Maasø, University of Oslo “. . . likely to help set the agenda for further studies of sound in gaming as well as other communicative practices. In addition to its theoretical overviews and empirical findings, the work makes a strong case for the value of detailed empirical studies as a basis for theory development.” – Prof. Jon Dovey, University of the West of England "