Re: [Audiogames-reflector] Research: Game Audio in Audio Games
Re: Research: Game Audio in Audio Games Oops, looks like audiogames.net replies were going to my spam! Anyway, yes, Rickard, we should definitely stay in touch!Balooba wrote:Btw, great last sentence! /RickardHaha, thanks! You seem to be a person of many talents, so I'd definitely not want to "pigeonhole" you. Balooba wrote:And I'm glad that you got inspired for further reading too! I can't take credit for other peoples work, but since I came across all of these great and inspiring resources, I really wanted to compile my favourites so that others might discover them too. /RickardI know what you mean, but I have to say that even though you quote other people's work, you put all these insights together and made your own conclusions, so I think you can take some credit, haha. Plus, you've kept the "inspiration dominoes" going. I know the paper was written for you Bachelors, but it's great that you continued to share your findings. This is a tangent, but I've met people who are discouraged from writing or creating because they want to create something original, but they're afraid it's already been said or done. Worse yet, I've met people who refuse to recognize their own influences or study others in their field just so they can feel as if they've created something on their own. This stops the flow of inspiration when all these people need to do is dig a little deeper to say what they really want to say. Some of the most original and creative people I can think of recognize their influences and know when those influences show in their work (Brendon Small and Simon Pegg are two good examples). To tie this back into the conversation, what you did isn't easy. Balancing what has been said along with saying something new and finding both factual and subjective information is something I see as a gift. Being able to communicate these perspectives so clearly is a very powerful ability, too. Kind of a stepping stone to peace and harmony and all that, haha.Hey, and I'm not sure what you think of social media, but you should get on Twitter or whatever else is popular these days so you can share your thoughts on a regular basis. Unless, maybe you have a website? Oh yeah, and looking at your Linkedin, I have to say it's pretty coincidental that we were both in Army bands!Stay in touch!AdrianeURL: http://forum.audiogames.net/viewtopic.php?pid=165394#p165394 ___ Audiogames-reflector mailing list Audiogames-reflector@sabahattin-gucukoglu.com http://sabahattin-gucukoglu.com/cgi-bin/mailman/listinfo/audiogames-reflector
Re: [Audiogames-reflector] Research: Game Audio in Audio Games
Re: Research: Game Audio in Audio Games moshverhavikk wrote:I hope to hear more from you in however you decide to express yourself in the future!AdrianeHi, Adriane!Thank you very much for your kind words! It warms my heart to see that you liked it so much! And I'm glad that you got inspired for further reading too! I can't take credit for other peoples work, but since I came across all of these great and inspiring resources, I really wanted to compile my favourites so that others might discover them too. And yeah, I also got an "Aha!"-moment when I read Forrester! Even though his notion of the 'sound frame' might be hard to translate into practise, I find that it can be very p owerful as a sound designer to just gain some new perspectives once in a while.Btw, great last sentence! We'll stay in touch for sure, especially since it seems we'll be working in the same business!Good luck to you Adrianne in all your work!/RickardURL: http://forum.audiogames.net/viewtopic.php?pid=164419#p164419 ___ Audiogames-reflector mailing list Audiogames-reflector@sabahattin-gucukoglu.com http://sabahattin-gucukoglu.com/cgi-bin/mailman/listinfo/audiogames-reflector
Re: [Audiogames-reflector] Research: Game Audio in Audio Games
Re: Research: Game Audio in Audio Games I love to play games in my free time, as a designer, I need to learn about graphics and games are the best source of learning graphics and background everyone have their opinion with everything and mine is this for in my articles.URL: http://forum.audiogames.net/viewtopic.php?pid=163469#p163469 ___ Audiogames-reflector mailing list Audiogames-reflector@sabahattin-gucukoglu.com http://sabahattin-gucukoglu.com/cgi-bin/mailman/listinfo/audiogames-reflector
Re: [Audiogames-reflector] Research: Game Audio in Audio Games
Re: Research: Game Audio in Audio Games Rickard,I just finished reading your thesis, and - [[wow]]! - my notes are plentiful! Your writing style is very accessible, and I was happy to see you relied on the community as well as academia. You provided a sturdy foundation for understanding and implementing specific audio game theories by teaching the lexicon and core concepts, which also gives more people a basis to enter the discussion.One thing I want to mention is that you included something that gave me a whole other perspective to approaching audio implementation in audio games. The quote from Forrester about thinking of sounds as being in and out of "frame” is really intriguing and blew my mind. It takes me out of my tendency to be so literal in sound design and helps me break down the concept of player perspective so I might find that proper balance to being immersive and realistic yet include a little “mise en scéne."You also provided an array of resources for further reading! Thank you!I hope to hear more from you in however you decide to express yourself in the future!AdrianeURL: http://forum.audiogames.net/viewtopic.php?pid=163311#p163311 ___ Audiogames-reflector mailing list Audiogames-reflector@sabahattin-gucukoglu.com http://sabahattin-gucukoglu.com/cgi-bin/mailman/listinfo/audiogames-reflector
Re: [Audiogames-reflector] Research: Game Audio in Audio Games
Re: Research: Game Audio in Audio Games BlackBird wrote:This is not usually needed and indeed some blind or visually impaired players don't like it if their disability is used as a plot device while others simply don't care. This "you are blind in an audio game because you are playing an audio game" convention is simply the result of two factors. Raising the appeal to the mainstream and non-impaired player or as a convenience excuse used to rationalize game design or technological decisions.Good point, and one that I wished I had emphasised too. Especially since I already explained one perspective of it.I didn't think of that but given how our brain operates ( Broca, Wernicke center) this makes sense. However I'd be interested to know if these processed might work differently in blind people. Given that their brain operates quite different where auditive stimuli are concerned it would be reasonable to assume that this part might not necessarily be true for them. I would be cautious when referring to scientific publications about acoustic experiences in non-visually deprived people when we are talking about people who have lived for decades or even since birth without distracting sights.Interesting observation. It would definitely be valuable to find some research about that. I didn't think of that at the time, but maybe someone already looked into it?This might have been true in 2003 where this quote originates but in recent years game designers have migrated to a concept known as emergent gameplay. The designer creates a simple but usually vast set of rules and mechanics that are not necessarily interconnected. The player itself combines and uses these mechanics with each other and is therefore able to create emergent gameplay not explicitly designed by the originator of the system. Minecraft is a good and well known example of it. It simply provides a semi-randomly generated world and a set of simple mechanics and tools. The players themselves create their own objectives and experiences never envisioned by the creator of the game. It is even possible to design a game that provides emergent narrative although this is difficult to do and often fails. Creating emergent gameplay in an audio game would be the pinnacle of game design and is something that interests me greatly.Another good point! I didn't think to connect emergent gameplay to that part, but games with emergent gameplay would definitely function differently than traditional game design models. I guess that this quote still holds true for the majority of digital games developed today, though.This chapter simply reproduces the theories and work of other people without additional conclusions. Since the terminology of this work is used in the following chapters the summary is obviously justified but I would have liked to see some additional derivative thoughts added to it.Again, it's hard to disagree with you, as I definitely see your point. I remember that when I studied for the thesis I found these previous works of game audio functionality so inspiring that I really wanted to bring them forward in the context of audio games. But I suppose that I could have tested their theories even further with more specific examples from audio games. I wondered for a long while how I should organise the thesis, and eventually decided to depart somewhat from the more traditonal structure of "Introduction, Theoretical Foundation, Methodology, Analysis/Results and Conclussions". Instead I found it better to divide the analysis/results into separate chapters that each deals with different aspects: roughly the "Conditions", "Functions" and "Roles". For good or bad, that decision also led me to explain previous research within each chapter, rather than having one section in the beginning of the thesis that works as a theoretical foundation upon which the rest of the thesis relies on. If I had instead gone with the more traditional structure, I would probably have put the 4.2 section under a Theoretical Foundation chapter earlier in the thesis. Either way, like I said, I do agree that it would have been interesting to see even more conclussions about these theories, especially regarding the IEZA-model.What did you think about the Direct or Indirect usage of Jørgensens functions, btw?The unconscious mind still perceives and processes sound. This is also true for our eyes but since the lids are closed the brain usually only receives the sensation of brightness. The things we hear while sleeping are committed to memory and can influence our decisions and emotions beyond the sleeping state well into consciousness. The absence of our visual input during sleep emphasis the importance of sounds. This might lead to the conclusion that what we hear while sleeping might in fact be more important than what we hear while awake.Interesting addition! It's seriously amazing how everything works.. I'm not sure how this excursion into linguistics and semantics provides any value t
Re: [Audiogames-reflector] Research: Game Audio in Audio Games
Re: Research: Game Audio in Audio Games @ianrXAudio2 was somehow slow and performed rather poorly. It doesn't provide a lot of intelligence and therefore doesn't seem to be worth the effort. OpenAL/OpenTK seems to be your best bet if you are committed to invest a lot of time and effort. It's low level stuff and if you are like me not a professional programmer this will most likely cause you severe headaches. Even if you are and use it to the fullest of its capabilities there is still the inherent problem with HRTF itself. It would ideally need to be fitted to the individual person or the advantage over a simple left/right/distance implementation of sound is not high enough to warrant all the required work. Differentiating sounds behind and in front of you is already hard enough in real life where you move around your head. In static unmovable stereo headphones it is in my opinion just not possible to do it in any sensible way that works. Using surround sound currently seems to be the way to go. If y ou use it together with surround sound headphones then that is probably the closest to real positional sound you can achieve and much, much easier to implement.Probably check out this thread here in the forum. Brian Schmidt Ear Monsters. He actually made and released a HRTF iOS game and is therefore a million times more qualified to help you. I'm just someone that writes programs as a hobby in his spare time when he's not playing games.URL: http://forum.audiogames.net/viewtopic.php?pid=161351#p161351 ___ Audiogames-reflector mailing list Audiogames-reflector@sabahattin-gucukoglu.com http://sabahattin-gucukoglu.com/cgi-bin/mailman/listinfo/audiogames-reflector
Re: [Audiogames-reflector] Research: Game Audio in Audio Games
Re: Research: Game Audio in Audio Games @ianrXAudio2 was somehow slow and performed rather poorly. It doesn't provide a lot of intelligence and therefore doesn't seem to be worth the effort. OpenAL/OpenTK seems to be your best bet if you are committed to invest a lot of time and effort. It's low level stuff and if you are like me not a professional programmer this will most likely cause you severe headaches. Even if you are and use it to the fullest of its capabilities there is still the inherent problem with HRTF itself. It would ideally need to be fitted to the individual person or the advantage over a simple left/right/distance implementation of sound is not high enough to warrant all the required work. Differentiating sounds behind and in front of you is already hard enough in real life where you move around your head. In static unmovable stereo headphones it is in my opinion just not possible to do it in any sensible way that works. Using surround sound currently seems to be the way to go. If y ou use it together with surround sound headphones then that is probably the closest to real positional sound you can achieve and much, much easier to implement.URL: http://forum.audiogames.net/viewtopic.php?pid=161351#p161351 ___ Audiogames-reflector mailing list Audiogames-reflector@sabahattin-gucukoglu.com http://sabahattin-gucukoglu.com/cgi-bin/mailman/listinfo/audiogames-reflector
Re: [Audiogames-reflector] Research: Game Audio in Audio Games
Re: Research: Game Audio in Audio Games @ianrXAudio2 was somehow slow and performed rather poorly. It doesn't provide a lot of intelligence and therefore doesn't seem to be worth the effort. OpenAL/OpenTK seems to be your best bet if you are committed to invest a lot of time and effort. It's low level stuff and if you are like me not a professional programmer this will most likely cause you severe headaches. Even if you are and use it to the fullest of its capabilities there is still the inherent problem with HRTF itself. It would ideally need to be fitted to the individual person or the advantage over a simple left/right/distance implementation of sound is not high enough to warrant all the required work. Differentiating sounds behind and in front of you is already hard enough in real life where you move around your head. In static unmovable stereo headphones it is in my opinion just not possible to do it in any sensible way that works. Using surround sound currently seems to be the way to go. If y ou use it together with surround sound headphones then that is probably just as good as real HRTF and much, much easier to implement.URL: http://forum.audiogames.net/viewtopic.php?pid=161351#p161351 ___ Audiogames-reflector mailing list Audiogames-reflector@sabahattin-gucukoglu.com http://sabahattin-gucukoglu.com/cgi-bin/mailman/listinfo/audiogames-reflector
Re: [Audiogames-reflector] Research: Game Audio in Audio Games
Re: Research: Game Audio in Audio Games @ianrXAudio2 was somehow slow and performed rather poorly. It doesn't provide a lot of intelligence and therefore doesn't seem to be worth the effort. OpenAL/OpenTK seems to be your best bet if you are committed to invest a lot of time and effort. It's low level stuff and if you are like me not a professional programmer this will most likely cause you severe headaches. Even if you are and use it to the fullest of its capabilities there is still the inherent problem with HRTF itself. It would ideally need to be fitted to the individual person or the advantage over a simple left/right/distance implementation of sound is not high enough to warrant all the required work. Differentiating sounds behind and in front of you is already hard enough in real life where you move around your head. In static unmovable headphones it is in my opinion just not possible to do it in any sensible way that works without specialized headphones. Using surround sound currently seems t o be the way to go. If you use it together with surround sound headphones then that is probably just as good as real HRTF.URL: http://forum.audiogames.net/viewtopic.php?pid=161351#p161351 ___ Audiogames-reflector mailing list Audiogames-reflector@sabahattin-gucukoglu.com http://sabahattin-gucukoglu.com/cgi-bin/mailman/listinfo/audiogames-reflector
Re: [Audiogames-reflector] Research: Game Audio in Audio Games
Re: Research: Game Audio in Audio Games BlackBird said: The HRTF algorithms currently available either yield terrible results or are immensely taxing on calculation cycles.I say: Could you elaborate on the technologies you tried and your results with each?The knowledge you gained could save me some time.Additionally, and please understand I am not very knowledgable about HRTF at all, it's my understanding that Papa Sangre has HRTF support.If Papa Sangre can support HRTF calculations on an iOS device, one would assume that a PC would have no problem with it considering the difference in processing power.I've been looking at using OpenAL Soft. Do you have any findings to share about it specifically?Thanks!URL: http://forum.audiogames.net/viewtopic.php?pid=161346#p161346 ___ Audiogames-reflector mailing list Audiogames-reflector@sabahattin-gucukoglu.com http://sabahattin-gucukoglu.com/cgi-bin/mailman/listinfo/audiogames-reflector
Re: [Audiogames-reflector] Research: Game Audio in Audio Games
Re: Research: Game Audio in Audio Games Balooba wrote:Otherwise, as far as the first-person 3D perspective goes, I really needed to make some demarcations, as the thesis is already very wide-aiming.This was actually not a criticism because I'm well aware of the limits of a thesis. I wanted to point this out because you mentioned that you like the topic and might even have further interest in exploring it. I merely wanted to mention that non first person audio games are often much more interesting from a design standpoint.Alright, back to the document. And please do challenge my thoughts and responses. I can't learn anything if everyone just agrees with me.This limitation sometimes leads to games being created to involve the lack of sight within the game plot, in order to explain to the player why he or she cannot see anything. The avatar might for example be blind, or the game plot is set in an environment where there are no visual stimuli to be foundThis is not usually needed and indeed some blind or visually impaired players don't like it if their disability is used as a plot device while others simply don't care. This "you are blind in an audio game because you are playing an audio game" convention is simply the result of two factors. Raising the appeal to the mainstream and non-impaired player or as a convenience excuse used to rationalize game design or technological decisions.listening to semantic use of voice would take precedence over causal identification of an objectI didn't think of that but given how our brain operates ( Broca, Wernicke center) this makes sense. However I'd be interested to know if these processed might work differently in blind people. Given that their brain operates quite different where auditive stimuli are concerned it would be reasonable to assume that this part might not necessarily be true for them. I would be cautious when referring to scientific publications about acoustic experiences in non-visually deprived people when we are talking about people who have lived for decades or even since birth without distracting sights.In audio games, on the other hand, though being set in an all acousmatic situation, sound events inside the sound frame are objectified within the player’s mental imagery, thus making them ‘visible’ to the player, and therefore, not truly acousmatic.Herein lies the problem with creating audio games for sight impaired people. Most professional developers and programmers are not visually impaired and their mental imagery based on sound input differ significantly of the one their customers experience.When a developer designs an audio game environment, the amount of information present will always have to be balanced against the comprehensibility of the soundscape.An astute conclusion and one that most people only make after actually trying their hand at designing and creating an audio game. There is one pitfall though and one that repeats a point I made earlier. I am truly and completely screwed when I try to play most audio games because my ability to separate a sound-scape into individual sounds is seriously underdeveloped. However, sight impaired people have years of training and experience in doing so. What I perceive as a cacophonous mess might be easily comprehensible to others.In fact, user–system interaction is viewed as a conversation between the user and the “designer’s deputy” – a programmed representative of the designer. Since the designers are no longer there at the time such conversations are carried out, they must anticipate every possible conversation. Thus, the designer’s deputy is capable of participating in all and only the designed conversations.This might have been true in 2003 where this quote originates but in recent years game designers have migrated to a concept known as emergent gameplay. The designer creates a simple but usually vast set of rules and mechanics that are not necessarily interconnected. The player itself combines and uses these mechanics with each other and is therefore able to create emergent gameplay not explicitly designed by the originator of the system. Minecraft is a good and well known example of it. It simply provides a semi-randomly generated world and a set of simple mechanics and tools. The players themselves create their own objectives and experiences never envisioned by the creator of the game. It is even possible to design a game that provides emergent narrative although this is difficult to do and often fails. Creating emergent gameplay in an audio game would be the pinnacle of game design and is something that interests me greatly.Chapter 4.2This chapter simply reproduces the theories and work of other people without additional conclusions. Since the terminology of this work is used in the following chapters the summary is obviously justified but I would have liked to see some additional derivative thoughts added to it.Sound can often be the first thing that a person perceives before waking up
[Audiogames-reflector] Research: Game Audio in Audio Games
Research: Game Audio in Audio Games Hi!My name is Rickard Åsén, and yesterday I published my bachelor thesis which researches the various functions and roles of sound in audio games.I already wrote this in my old thread on this topic, but I realised that it would be easier for everyone to make a new topic dedicated to the publication of the thesis.The full name of the thesis is: "Game Audio in Audio Games: Towards a Theory on the Roles and Functions of Sound in Audio Games"For those that are interested in reading my research, this URL links directly to an unprotected version of the PDF:https://www.dropbox.com/s/43xg1dtuq1w32 … Thesis.pdfI want to personally thank all of you who answered my questions, as well as the whole AudioGames.net community for writing such interesting discussions in other forum threads.Even though the thesis took a bit different turn than I had first planned, you have all been a great inspiration for me to write it.Particularly, you were of great help in writing the "Section 3.1 - Conditions of the Game System & the Development Scene".I hope that by publishing it, I can finally give something back to the audio games community, and that it might contribute to further research and discussions into audio games.Anyway, thank you all once again, and I hope you like it!Best regards,Rickard ÅsénEDIT: I changed the link from the official publisher link to a Dropbox link, since the publisher had added a protection encryption to the published file. The documents are otherwise identical to each other.URL: http://forum.audiogames.net/viewtopic.php?pid=161192#p161192 ___ Audiogames-reflector mailing list Audiogames-reflector@sabahattin-gucukoglu.com http://sabahattin-gucukoglu.com/cgi-bin/mailman/listinfo/audiogames-reflector
Re: [Audiogames-reflector] Research: Game Audio in Audio Games
Re: Research: Game Audio in Audio Games Hi BlackBird!Very interesting comments, and trust me, I am very happy to see that you debate my work.And I can take criticism! First of all, I apologize for the protected file. I did not password protect the file, and I see now that the file that I uploaded to the publishing platform is not the very same as the published one.My local file is PDF 1.5 and not password protected, while the published one is 1.6 and protected.I have actually spent a great deal of time ensuring myself that the document should be accessible, and I even made alternative descriptions of the few images and tables that are presented.I don't think I can do much about the official published version, but maybe we can upload a second unprotected version here on the AudioGames.net resources page?For now, feel free to use this dropbox link to an unprotected version:https://www.dropbox.com/s/43xg1dtuq1w32 … Thesis.pdfI hope that one will work better for you!Otherwise, as far as the first-person 3D perspective goes, I really needed to make some demarcations, as the thesis is already very wide-aiming. I couldn't possibly fit anything more in it, unless I wanted to write a book. And note that I did also emphasize that I wrote the thesis from the perspective of a sighted person with more previous experience of playing video games than audio games, and that I warmly recommend research on the topic from many other perspectives as well. I don't think there are any right or wrong perspectives to approach the topic of audio games with, and only by exploring many of them can we start to understand the whole picture.I guess you can say that this is an attempt to explain sound in audio games mainly based on theories and viewpoints from previous research of sound in video games and other audio-visual medias, in order to show the main differences between the two. I suppose it could make sense to use "Input-Process-Output" instead of "Player, Game System, Virtual Reality", but since it deals more with audio games based on a humanities approach (and even semiotics) rather than from an engineering and technology perspective, I felt that this explanation would be more representative.It also made more sense to me to structure the thesis in this manner, in order to relate previous research to the different entities.And for your last comment regarding the indie scene on PC/mobile, do you refer to the indie scene for audio games or video games?Thank you again for you inputs, BlackBird! It's always interesting to hear other people's thoughts! URL: http://forum.audiogames.net/viewtopic.php?pid=161205#p161205 ___ Audiogames-reflector mailing list Audiogames-reflector@sabahattin-gucukoglu.com http://sabahattin-gucukoglu.com/cgi-bin/mailman/listinfo/audiogames-reflector
Re: [Audiogames-reflector] Research: Game Audio in Audio Games
Re: Research: Game Audio in Audio Games @BaloobaI'll write my feedback here as I progress through your document. I'll keep it in the form of a quote and then my comment underneath it. First of all it would be immensely appreciated it you could provide your text as an actual text instead of a protected pdf that most sight impaired users can probably not even read. I'm not sure how screen readers react to protected pdf documents but I know some of them experience severe problems. It's not like anyone is going to steal it. I know the feeling. I've had my own thesis protected in a similar way until I realized that simply no one cares. Furthermore is this not going to stop anyone anyway as my quotes below demonstrate quite well. I could also provide an unprotected file but it is not my place to do so unless you approve.More specifically, this thesis will focus on sound in first-person three-dimensional (hereafter referred to as F-P 3-D) audio gamesThat's a real bummer. The really interesting sound engineering happens not in those kind of games because audio games in a first person perspective are straight forward. You simply implement what the protagonist hears and you add a couple of utility sounds to replace the user interface feedback found in visual games. The implementation of those utilitarian sounds is quite diverse and interesting but nothing compared to the ingenuity needed to replicate other game perspectives in an entirely auditive experience. Think of super mario bros. as an audio game or the injustice side scrolling beat em up game found here in this forum as well.the game system, the player, and the virtual environmentOr as they are commonly known input, processing, output. Not sure how this proprietary terminology is truly needed. I guess it is more descriptive and evoking than the classic definition used for software.Even though the technology exists today, besides Papa Sangre, it seems nearly impossible to find any other commercial game—video game or otherwise—that uses a somewhat realistic real-time binaural audio processing.I've tried to program different prototypes based on various technologies and I came to the conclusion that binaural sound is at the moment not something that is possible to realize in video games. Real binaural sound needs to be recorded specific to the situation and doesn't fit with the idea of an interactive medium. The HRTF algorithms currently available either yield terrible results or are immensely taxing on calculation cycles.The indie game developers, on the other hand, have focused mostly on the mobile phone market.The indie scene on the PC is thriving and as diverse and healthy as it has ever been. Platforms like Steam, GOG and the Humble Bundle initiative show statistics that generally surpass the mobile environment if we subtract the shovelware commonly found there. The best selling indie games 2012 have all been on the PC and I expect the 2013 figures to follow suit.I'll have to stop here and continue later on. Got some work to do for my clients.URL: http://forum.audiogames.net/viewtopic.php?pid=161197#p161197 ___ Audiogames-reflector mailing list Audiogames-reflector@sabahattin-gucukoglu.com http://sabahattin-gucukoglu.com/cgi-bin/mailman/listinfo/audiogames-reflector
Re: [Audiogames-reflector] Research: Game Audio in Audio Games
Re: Research: Game Audio in Audio Games @BaloobaI'll write my feedback here as I progress through your document. I'll keep it in the form of a quote and then my comment underneath it. First of all it would be immensely appreciated it you could provide your text as an actual text instead of a protected pdf that most sight impaired users can probably not even read. I'm not sure how screen readers react to protected pdf documents but I know some of them experience severe problems. It's not like anyone is going to steal it. I know the feeling. I've had my own thesis protected in a similar way until I realized that simply no one cares. Furthermore is this not going to stop anyone anyway as my quotes below demonstrate quite well. I could also provide an unprotected file but it is not my place to do so unless you approve.More specifically, this thesis will focus on sound in first-person three-dimensional (hereafter referred to as F-P 3-D) audio gamesThat's a real bummer. The really interesting sound engineering happens not in those kind of games because audio games in a first person perspective are straight forward. You simply implement what the protagonist hears and you add a couple of utility sounds to replace the user interface feedback found in visual games. The implementation of those utilitarian sounds is quite diverse and interesting but nothing compared to the ingenuity needed to replicate other game perspectives in an entirely auditive experience. Think of super mario bros. as an audio game or the injustice side scrolling beat em up game found here in this forum as well.the game system, the player, and the virtual environmentOr as they are commonly known input, processing, output. Not sure how this proprietary terminology is truly needed. I guess it is more descriptive and evoking than the classic definition used for software.Even though the technology exists today, besides Papa Sangre, it seems nearly impossible to find any other commercial game—video game or otherwise—that uses a somewhat realistic real-time binaural audio processing.I've tried to program different prototypes based on various technologies and I came to the conclusion that binaural sound is at the moment not something that is possible to realize in video games. Real binaural sound needs to be recorded specific to the situation and doesn't fit with the idea of an interactive medium. The HRTF algorithms currently available either yield terrible results or are immensely taxing on calculation cycles.The indie game developers, on the other hand, have focused mostly on the mobile phone market.That's simply not true. The indie scene on the PC is thriving and as diverse and healthy as it has ever been. Platforms like Steam, GOG and the Humble Bundle initiative show statistics that generally surpass the mobile environment if we subtract the shovelware commonly found there. The best selling indie games 2012 have all been on the PC and I expect the 2013 figures to follow suit.I'll have to stop here and continue later on. Got some work to do for my clients.URL: http://forum.audiogames.net/viewtopic.php?pid=161197#p161197 ___ Audiogames-reflector mailing list Audiogames-reflector@sabahattin-gucukoglu.com http://sabahattin-gucukoglu.com/cgi-bin/mailman/listinfo/audiogames-reflector
Re: [Audiogames-reflector] Research: Game Audio in Audio Games
Re: Research: Game Audio in Audio Games And here is a link to the official archive page, with publishing details about the thesis:http://du.diva-portal.org/smash/record. … va2:682971URL: http://forum.audiogames.net/viewtopic.php?pid=161193#p161193 ___ Audiogames-reflector mailing list Audiogames-reflector@sabahattin-gucukoglu.com http://sabahattin-gucukoglu.com/cgi-bin/mailman/listinfo/audiogames-reflector
[Audiogames-reflector] Research: Game Audio in Audio Games
Research: Game Audio in Audio Games Hi!My name is Rickard Åsén, and yesterday I published my bachelor thesis which researches the various functions and roles of sound in audio games.I already wrote this in my old thread on this topic, but I realised that it would be easier for everyone to make a new topic dedicated to the publication of the thesis.The full name of the thesis is: "Game Audio in Audio Games: Towards a Theory on the Roles and Functions of Sound in Audio Games"For those that are interested in reading my research, this URL links directly to the PDF:http://du.diva-portal.org/smash/get/div … TEXT03.pdfI want to personally thank all of you who answered my questions, as well as the whole AudioGames.net community for writing such interesting discussions in other forum threads.Even though the thesis took a bit different turn than I had first planned, you have all been a great inspiration for me to write it.Particularly, you were of great help in writing the "Section 3.1 - Conditions of the Game System & the Development Scene".I hope that by publishing it, I can finally give something back to the audio games community, and that it might contribute to further research and discussions into audio games.Anyway, thank you all once again, and I hope you like it!Best regards,Rickard ÅsénURL: http://forum.audiogames.net/viewtopic.php?pid=161192#p161192 ___ Audiogames-reflector mailing list Audiogames-reflector@sabahattin-gucukoglu.com http://sabahattin-gucukoglu.com/cgi-bin/mailman/listinfo/audiogames-reflector
[Audiogames-reflector] Research: Game Audio in Audio Games
Research: Game Audio in Audio Games Hi!My name is Rickard Åsén, and yesterday I published my bachelor thesis which researches the various functions and roles of sound in audio games.I already wrote this in my old thread on this topic, but I realised that it would be easier for everyone to make a new topic dedicated to the publication of the thesis.The full name of the thesis is: "Game Audio in Audio Games: Towards a Theory on the Roles and Functions of Sound in Audio Games"For those that are interested in reading my research, this URL links directly to the PDF:http://du.diva-portal.org/smash/get/div … TEXT03.pdfI want to personally thank all of you who answered my questions, as well as the whole AudioGames.net community for writing such interesting discussions in other forum threads.Even though the thesis took a bit different turn than I had first planned, you have all been a great inspiration for me to write it.Particularly, you were of great help in writing the "Section 3.1 - Conditions of the Game System & the Development Scene".I hope that by publishing it, I can finally give something back to the audio games community, and that it might contribute to further research and discussions into audio games.Anyway, thank you all once again, and I hope you like it!Best regards,Rickard ÅsénURL: http://forum.audiogames.net/viewtopic.php?pid=161192#p161192 ___ Audiogames-reflector mailing list Audiogames-reflector@sabahattin-gucukoglu.com http://sabahattin-gucukoglu.com/cgi-bin/mailman/listinfo/audiogames-reflector
