==Computer Game Sound and Music==
McDonald (2004) states that sound and music in computer games, similar to visual media including film and television, has the power to manipulate a viewer’s mood or create added tension on a subconscious level. Allegedly this lets a gamer subtly immerse him or herself within a gameworld, allowing for a more realistic experience. Dyson (1996, pg 79) suggests that virtual audio technology, computer game sound and music being a form of this, creates three-dimensional spaces that a listener will believe to be part of reality or a lived environment increasing the suspension of disbelief. This increase of realism affects gamers in numerous ways.
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A successful computer game will rely on sound in order to add another dimension to the experience of the game (Hannigan, 2004). It does this through utilising the four principle functions of sound present in audiovisual works such as computer games, film and television (Mclennan, 2005):
As technology advances, the quality of sound and music used in computer games has too advanced drastically. Nowadays, samples (digital recordings) are utilised in order to make the computer gaming experience as authentic as possible (Poole, 2000, pg 80). Whalen believes that this enriches the world of computer games and assists the player’s navigation of space within them. Sounds and especially music inspire and enthuse the listener, thus, as the Carnatica website suggests, acts as a powerful medium on their emotional well-being.
Game Studies states that music in computer gaming takes on two directions:
Unlike film music, computer game music is static within scenes and is important for emotion, interest and information (Livingstone, 2005, Slide 8). Mclennan notes that music can be utilised for both good and evil intentions; it can play with a person’s memory and manipulate the mind. “Music can signify emotion, reward or punish players, lead players in various directions, be location-based, or even reflect the underlying game-state�? (Hannigan, 2004). Music determines the depth of immersion between a player and the gameworld and is a powerful element when considering how computer and video games affect player’s emotions.
Music in computer games can immerse the player, creating and setting a particular mood but it can also be immersion breaking. Monotonous and repetitive background music that is looped can cause the player irritation and consequently be frustrated with the game (Laursen and Nielsen, 2005, pg 23). In extreme cases, this irritation could lead to aggressive behaviour, as the gamer is frustrated with the game.
According to Cohen, (quoted by Whalen, 2004) “Studies of cognition and animation suggest that objects are perceived as alive and exhibiting anthropomorphic behaviour when their motions are accompanied by a synchronized soundtrack�?. Similar to film, computer game sound effects are used to enhance the quality of the game (Wikipedia, 2005) adding to its realism. Sound effects, like music, supposedly play with a gamer’s emotion by enhancing the player’s involvement (Poole, 2000, pg 81), which suggests the power computer game sound has on manipulating moods.
Dyson, F. (1996) “When is the Ear Pierced?: The Clashes of Sound, Technology, and Cyberculture,�? in M.A. Moser and D. MacLeod Immersed in Technology: Art and Virtual Environments, Cambridge, Mass: MIT Press ISBN 0262133148
Laursen, R. and Nielsen, D. (2005) Investigating Small Scale Combat Situations in Real Time Strategy Computer Games, retrieved October 22, 2005, from http://www.daimi.au.dk/~djn/thesis.pdf
Mclennan, R. (2005, August 11) “Michel Chion's Terminology Explained�?, Brisbane: QUT. [Public lecture: KMB638 Sound and Image Lecture 2]
Mclennan, R. (2005, August 18) “The Use of Music in Film�?, Brisbane: QUT. [Public lecture: KMB638 Sound and Image Lecture 3]
Poole, S. (2000) Trigger Happy: The Inner Life of Videogames, London: Fourth Estate ISBN 1841151203
Carnatica (2005) “Dimensions: Music and Psychology,�? retrieved October 2, 2005, from http://www.carnatica.net/dimensions/psychology.htm
Hannigan, J. (2004) Changing Our Tune – Part One, retrieved October 3, 2005, from http://www.jameshannigan.co.uk/changing.htm
Livingstone, S. (2005, September 29) “A System for Detecting and Influencing the Emotions of Music in Computer Mediated Performance�?, Brisbane: UQ. [Ph.D Confirmation: ITEE Seminar], retrieved October 9, 2005, from http://www.itee.uq.edu.au/~id/seminars/_files/livingstone.ppt
McDonald, G. (2004) A History of Videogame Music, retrieved August 5, 2005, from http://www.gamespot.com/features/6092391/
Whalen, Z. (2004) “Play Along - An Approach to Videogame Music,�? Game Studies, vol.4, issue 1, retrieved October 2, 2005, from http://www.gamestudies.org/0401/whalen/
Whalen, Z. (2004) Play Along: Video Game Music as Metaphor and Metonymy, retrieved October 2, 2005, from http://www.nwe.ufl.edu/~zwhalen/thesis/whalen_z.pdf
Wikipedia (2005) “Sound Effect,�? retrieved October 3, 2005, from http://en.wikipedia.org/wiki/Sound_effect#In_video_games
Terence Otto 17:41, 27 Oct 2005 (EST)
