Cinematic sound design for players
Research output: Chapter in Book/Report/Conference proceeding › Chapter (peer-reviewed) › peer-review
This chapter broadly examines the nature of cinematic aesthetic as it relates to video game sound. The influence of cinema is noticeable throughout the history of video games and continues to present day. That said, games are not films and the central position of this chapter is that the requirement for interactivity in video games requires sound designers to utilise bespoke approaches if they wish to successfully evoke a cinematic aesthetic. Throughout the chapter we explore the meaning of a cinematic aesthetic with regards to musical composition/scoring, implementation (including adaptive scoring and procedural generation) and audio processing (covering various environmental modelling and spatialisation techniques). We also take a look at how contemporary film theory is drawing upon various psychological and philosophical perspectives to reinvent our understanding of cinematic. Whilst the cinematic game sound ‘toolkit’ is certainly wide-ranging and cinematic is itself a concept in flux, this chapter concludes that the fundamental aim of cinematic game sound remains constant – to evoke an intense, meaningful and lingering emotional experience for the player.
|Title of host publication||Foundations of Sound Design|
|Publication status||Accepted for publication - 1 May 2018|