关键词
电脑游戏,声音,承诺,声音生态学,声音学,浸润
摘要
此篇文章研究了玩家和电脑游戏背景音乐的关系,与此同时这种关系又使玩家置身于游戏世界中。在这个范围内主要是以声音和游戏内容为主角。声音生态学与声音科技共同作用,使游戏中每个场景,每个动作以及每个玩家都有自己相对应的声音。我们把在电影中应用的一些关于声音的技巧和理念运用到了游戏中,制作出了《第一枪手》这个游戏。这个游戏还包括系列有《Doom》,《Quake》,《Half-Life》和《Left 4 Dead》。生态音学的使用和游戏者的参与使这个游戏充满生命感。多玩家的交流,声音生态学,玩家的蔓延是这篇文章的主要研究对象。
参考资料
Back, M. & Des, D. (1996). Micro-narratives in sound design: Context and Caricature in Waveform Manipulation. (www.icad.org/websiteV2.0/Conferences/ICAD96/proc96/back5.htm) (07-01-08).
Böhme, G. (2000). Acoustic Atmospheres: A Contribution to the Study of Ecological Acoustics. Soundscape, 1(1); 14-18.
Chion, M. (1994). Audio-vision: Sound on Screen. New York: Columbia University Press.
Corner, J. (1992). Presumption as Theory: 'Realism' in Television Studies. Screen, 33(1); 97-102.
Ekman, I. & Kajastila, R. (2009). Localisation Cues Affect Emotional Judgements: Results from a User Study on Scary Sound. AES 35th International Conference.
Fencott, C. (1999). Presence and the Content of Virtual Environments. (web.onyxnet.co.uk/Fencott-onyxnet.co.uk/pres99/pres99.htm) (04-08-05).
Link DOI | Link Google Scholar
Grimshaw, M. & al. (2008). Sound and Immersion in the First-person Shooter: Mixed Measurement of the Player's Sonic Experience. Audio Mostly 2008.
Grimshaw, M. & Schott, G. (2007). Situating Gaming as a Sonic Experience: The Acoustic Ecology of First Person Shooters. Situated Play.
Grimshaw, M. (2007). Sound and Immersion in the First-person Shooter. 11th International Computer Games Conference. November 21-23.
Grimshaw, M. (2008a). The Acoustic Ecology of the First-person Shooter: The Player Experience of Sound in the First-person Shooter Computer Game. Saarbrücken: VDM Verlag.
Grimshaw, M. (2008b). Autopoiesis and Sonic Immersion: Modelling Sound-based Player Relationships as a Self-organizing System. Sixth Annual International Conference in Computer Game Design and Technology.
Halpern, D. & al. (1986). Psychoacoustics of a Chilling Sound. Percept Psychophys, 39(2); 77-80.
Link DOI | Link Google Scholar
Kramer, G. & al. (n.d.). Sonification Report: Status of the Field and Research Agenda. (www.icad.org/websiteV2.0/References/nsf.html) (01-09-05).
Kromand, D. (2008). Sound and the Diegesis in Survival-horror Games. Audio Mostly 2008.
Lastra, J. (2000). Sound Technology and the American Cinema: Perception, Representation, Modernity. New York: Columbia University Press.
Laurel, B. (1993). Computers as Theatre. New York: Addison-Wesley.
McMahan, A. (2003). Immersion, Engagement, and Presence: A New Method for Analyzing 3-D Video Games, en Wolf M.J.P. & Perron B. (Eds.). The Video Game Theory Reader. New York: Routledge; 67-87.
Link DOI | Link Google Scholar
Palmer, I.J. (2002). How Realistic is the Sound Design in the D-Day Landing Sequence in Saving Private Ryan? Master's Thesis, Bournemouth University.
Plutchik, R. (1980). A General Psychoevolutionary Theory of Emotion, in Plutchik R. & Kellerman H. (Eds.). Emotion: Theory, Research and Experience: Volume 1. New York: Academic; 3-33.
Schafer, R.M. (1994). The Soundscape: Our Sonic Environment and the Tuning of the World. Rochester Vt: Destiny Books.
Stockburger, A. (2003). The Game Environment from an Auditive Perspective. Level Up.
Tinwell, A. & Grimshaw, M. (2009). Survival Horror Games. An uncanny Modality, Thinking after Dark.
Truax, B. (2001). Acoustic Communication. Westport, Conn: Ablex.
Fundref
这项工作没有任何财政支持
技术信息
度量
这篇文章的度量
浏览次数: 32021
对摘要的解读: 21832
PDF下载: 10189
的全部指标 34
浏览次数: 1038253
对摘要的解读: 645335
PDF下载: 392918
被引用
引述 Web of Science
目前没有引用这个文件
引述 Scopus
目前没有引用这个文件
引述 Google Scholar
目前没有引用这个文件
替代指标
如何引用
Grimshaw, M. (2010). Player relationships as mediated through sound in immersive multi-player computer games. [Relaciones mediadas por el sonido entre jugadores en el entorno de juegos multijugador]. Comunicar, 34, 73-81. https://doi.org/10.3916/C34-2010-02-07