Relevant bibliographies by topics / Computer games Video games Sound

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Computer games Video games Sound'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 February 2022

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Journal articles on the topic "Computer games Video games Sound"

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Belmonte Avila, Juan F. "Push, Press, Become: Tactility Linked to Identity Configurations in Video Games." Senses, emotions and artefacts: relational approaches, no. 25 (January 15, 2020): 1–10. http://dx.doi.org/10.7238/d.v0i25.3163.

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Cultural Studies and Game Studies analyses of video games often pay attention to the rules that articulate these media texts, the computer code used to write these games, and the visual and aural components utilised to represent game worlds and, sometimes, tell stories. All of these elements have a definite impact on the ways ideology is produced and reproduced by video games and, yet, the tactile interactions required to play games are often forgotten. This article highlights the importance of tactility when analysing identity discourses present in video games and expands forms of understanding representation beyond visual and sound-based components.
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Robb, James, Tom Garner, Karen Collins, and Lennart E. Nacke. "The Impact of Health-Related User Interface Sounds on Player Experience." Simulation & Gaming 48, no. 3 (2017): 402–27. http://dx.doi.org/10.1177/1046878116688236.

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Background. Understanding how sound functions on informational and emotional levels within video games is critical to understanding player experience of games. User interface sounds, such as player-character health, are a pivotal component of gameplay across many video game genres, yet have not been studied in detail. Method. To address this research gap in user interface sounds, we present two studies: The first study examines the impact of the presence or absence of player-health sounds on player experience. The second study explores the impact of the types of sound used to indicate player health. We use mixed methods with qualitative and physiological measures. Results. Our results reveal that despite the presence of visual cues, sound is still important to game design for conveying health-related information and that the type of sound affects player experience.
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Fernandez-Luque, L., T. Tøllefsen, and E. Brox. "Healthy Gaming – Video Game Design to promote Health." Applied Clinical Informatics 02, no. 02 (2011): 128–42. http://dx.doi.org/10.4338/aci-2010-10-r-0060.

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Summary Background: There is an increasing interest in health games including simulation tools, games for specific conditions, persuasive games to promote a healthy life style or exergames where physical exercise is used to control the game. Objective: The objective of the article is to review current literature about available health games and the impact related to game design principles as well as some educational theory aspects. Methods: Literature from the big databases and known sites with games for health has been searched to find articles about games for health purposes. The focus has been on educational games, persuasive games and exergames as well as articles describing game design principles. Results: The medical objectives can either be a part of the game theme (intrinsic) or be totally dispatched (extrinsic), and particularly persuasive games seem to use extrinsic game design. Peer support is important, but there is only limited research on multiplayer health games. Evaluation of health games can be both medical and technical, and the focus will depend on the game purpose. Conclusion: There is still not enough evidence to conclude which design principles work for what purposes since most of the literature in health serious games does not specify design methodologies, but it seems that extrinsic methods work in persuasion. However, when designing health care games it is important to define both the target group and main objective, and then design a game accordingly using sound game design principles, but also utilizing design elements to enhance learning and persuasion. A collaboration with health professionals from an early design stage is necessary both to ensure that the content is valid and to have the game validated from a clinical viewpoint. Patients need to be involved, especially to improve usability. More research should be done on social aspects in health games, both related to learning and persuasion.
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Hambleton, Elizabeth. "Gray Areas." Journal of Sound and Music in Games 1, no. 1 (2020): 20–43. http://dx.doi.org/10.1525/jsmg.2020.1.1.20.

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“Navigable narratives” are a subgenre of narrative-based video games under the umbrella definition of “walking simulators.” While they are a subgenre of video games, analyzing their score or soundscape purely through a video game lens paints an incomplete picture because of their different artistic focus. Models like Elizabeth Medina-Gray's modular analysis are a useful start but insufficient on their own to understand this genre's sound. Rather, a participant's experience in a navigable narrative is often quite similar to that of a soundwalk, especially a virtual reality soundwalk; the game composer/audio designer creates an intricate soundscape through which the participant moves, and with the main focus on the story and gradual travel, the participant has more time and capacity than in a typical video game to build meaning from the soundwalk they perform. One of the major relationships navigable narratives have with soundwalks is the breakdown of diegesis in the soundscape the participant takes in, which is unlike most video games. To analyze the soundwalk and also the soundscape present in navigable narratives, I draw from R. Murray Schafer, Hildegard Westerkamp, and Janet Cardiff. In the opposite direction, in many ways navigable narratives are very much like “literary computer games,” or interactive narratives that may be analyzed via “ludostylistics” à la Janet Murray and Astrid Ensslin. A key element in many navigable narratives is the use of narrative time, as described by Alicyn Warren, rather than real time, which also sets navigable narratives apart from standard video games and especially from soundwalks. To explore these varied models and lenses, I demonstrate an analytical approach, using Leaving Lyndow (2017) as my primary case study. And so, between these analytical lenses of video game music theory, soundscape and soundwalk study, and ludostylistics applicable to literary computer games, I posit that the sound of navigable narratives is best understood through a synthesis of all three.
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Desainte-Catherine, Myriam, Gyorgy Kurtag, Sylvain Marchand, Catherine Semal, and Pierre Hanna. "Playing with sounds as playing video games." Computers in Entertainment 2, no. 2 (2004): 16. http://dx.doi.org/10.1145/1008213.1008239.

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Polcyn, Sylwia. "The evolution of free time throughout history. Video games as a modern leisure activity." Biuletyn Historii Wychowania, no. 38 (October 11, 2019): 187–200. http://dx.doi.org/10.14746/bhw.2018.38.12.

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Against the background of civilizational development, the 21st century appears as a time of great opportunities of self-development and general progress but also as a time of various new leisure activities. Thanks to the society’s prosperity, as a consequence of scientific and technological research as well as technological progress, our lives have been improving on a daily basis, evolving towards “excellence”. A similar evolution has taken place in terms of leisure activities that have been known since antiquity. Some of them have slipped into oblivion, giving way to more interesting and controversial forms of leisure, including computer games. Computer games have become a part of our society; the role they have played in the 21st century is immense. Both children and teenagers are involved in this sort of pastime on a daily basis. To many of them, a day without their favourite game or virtual hero is hard to imagine. When asked about computer games, most adolescents will flood you with information on the subject. To children and teenagers, games are a source of lively colours, sounds and great opportunities. They offer a world beyond a child’s common experience. Games make a child feel needed. Most of all, computer games are more attractive and more easily accessible than other leisure activities.
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Cornfeld, Li, Victoria Simon, and Jonathan Sterne. "Legitimating Media: Shakespeare’s Awkward Travels Through Video Games and Twitter." Communication, Culture and Critique 11, no. 3 (2018): 418–35. http://dx.doi.org/10.1093/ccc/tcy015.

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Abstract Since the 19th century, Shakespeare references have recurred with surprising consistency in experimental forms of media. This article considers the role of references to and adaptations of Shakespeare texts when a media form takes on a new valence for a set of users in a particular time and place. We consider two different moments at length: a commercial interactive game from 1984 that made novel use of cassettes and sound, and the production and reception of early Twitter adaptations of Shakespeare in 2010. By standing in for the aesthetic possibilities and limits of a changing media space, Shakespearean references and deviations from them serve a key role for artists and critics in debates over the legitimacy and significance of creative work in emergent media. Thus, cultural producers, critics and audiences thus use these sometimes-awkward appearances of Shakespeare as a means of describing their aesthetic potentials and limits.
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McGloin, Rory, and Marina Krcmar. "The Impact of Controller Naturalness on Spatial Presence, Gamer Enjoyment, and Perceived Realism in a Tennis Simulation Video Game." Presence: Teleoperators and Virtual Environments 20, no. 4 (2011): 309–24. http://dx.doi.org/10.1162/pres_a_00053.

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The introduction and popularity of the Nintendo Wii home console has brought attention to the natural mapping motion capturing controller. Using a sample that identified sports as their most frequently played video games, a mental models approach was used to test the impact that perceived controller naturalness (traditional controller vs. natural mapping motion capturing controller) had on perceptions of spatial presence, realism, and enjoyment. The results showed that perceived video game realism is a predictor of spatial presence and enjoyment. Furthermore, the results supported predictions that controller naturalness would influence perceived video game realism of graphics and sound. Future research should investigate whether or not these controllers lead to greater presence and enjoyment in different genres of games (e.g., first-person shooters). In addition, future research should consider whether or not these controllers have the ability to prime violent mental models.
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Böttcher, Niels, Héctor P. Martínez, and Stefania Serafin. "Procedural Audio in Computer Games Using Motion Controllers: An Evaluation on the Effect and Perception." International Journal of Computer Games Technology 2013 (2013): 1–16. http://dx.doi.org/10.1155/2013/371374.

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A study has been conducted into whether the use of procedural audio affects players in computer games using motion controllers. It was investigated whether or not (1) players perceive a difference between detailed and interactive procedural audio and prerecorded audio, (2) the use of procedural audio affects their motor-behavior, and (3) procedural audio affects their perception of control. Three experimental surveys were devised, two consisting of game sessions and the third consisting of watching videos of gameplay. A skiing game controlled by a Nintendo Wii balance board and a sword-fighting game controlled by a Wii remote were implemented with two versions of sound, one sample based and the other procedural based. The procedural models were designed using a perceptual approach and by alternative combinations of well-known synthesis techniques. The experimental results showed that, when being actively involved in playing or purely observing a video recording of a game, the majority of participants did not notice any difference in sound. Additionally, it was not possible to show that the use of procedural audio caused any consistent change in the motor behavior. In the skiing experiment, a portion of players perceived the control of the procedural version as being more sensitive.
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Sanchez, Diana R., and Markus Langer. "Video Game Pursuit (VGPu) Scale Development: Designing and Validating a Scale With Implications for Game-Based Learning and Assessment." Simulation & Gaming 51, no. 1 (2019): 55–86. http://dx.doi.org/10.1177/1046878119882710.

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Background. Recent research on game-based assessment and training demonstrates growing interest in how individual differences affect game-based outcomes. However, there is still a lack of clarity about the variables that affect important game-based outcomes and issues with measurement approaches regarding these variables (e.g., no validation of scales). This study develops a model where video game pursuit (VGPu) is measured as an antecedent to entering the gaming cycle. We propose that VGPu-related antecedents lead to a feedback loop where engaging in the game cycle affects game-related outcomes which again affect the antecedents of re-entering the game cycle. Moreover, we validate a measure of VGPu and provide construct as well as criterion validity evidence. Methods. Within three studies ( N = 716) we develop and validate the VGPu scale - a psychometrically sound measure of intentions to pursue video games. Using Amazon’s MTurk (Studies 1, 2), participants responded to the VGPu items and we conducted exploratory and confirmatory factor analyses showing that VGPu consists of a general latent VGPu factor with four subfactors (Intentional Game Play, Generalized Game Self-Efficacy, Enjoyment of Games, Prone to Game Immersion). In Study 3, students responded to the VGPu items, to items examining construct validity, and played three video games from different genres to assess criterion-related validity of game performance and game reactions. Results. Results demonstrate construct and criterion-related validity showing that VGPu correlates with other game-related scales and predicts game performance and game reactions. Discussion. The findings demonstrate the value of the VGPu scale for research and practice because pursuing video games seems to be an important variable for predicting how individuals perform and react to game-based activities. Finally, we discuss implications for future research and practice in the realm of game-based assessment and training.
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Dissertations / Theses on the topic "Computer games Video games Sound"

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Asplund, Ingeborg. "Songs of Transistor : A study of sound design in video games." Thesis, Södertörns högskola, Medieteknik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-32944.

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While there is a lot of research about other aspects of game design, there are fairly few studies about music and sound in video games. Since music and sound are components of next to all games, it is interesting to investigate how this aspect affects the perceived immersion of gamers. The aim of this study is to investigate how sound and music affect player sense of presence in a video game, Transistor [19], which was chosen due to its distinct and strongly emotional music and sound. Five video prototypes were made using gameplay and sound from the game. The videos presented different variations of the soundscape. These were tested by a web survey with questions from the PENS questionnaire [15], providing the users a seven point Likert scale by which they could rate their experience. The answers were analyzed with a mixed model regression and compared with an estimated image of which degree of immersion would be experience for each of the videos. The result of the study showed that the complete soundscape was significantly more immersive than all the other soundscapes, while silence was significantly less immersive than the other soundscapes. The conclusions were the more complete the soundscape is, the more immersive it is, and that even a small part of the total soundscape is more immersive than complete silence.
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Grimshaw, Mark Nicholas. "The Acoustic Ecology of the First-Person Shooter." The University of Waikato, 2007. http://hdl.handle.net/10289/2653.

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This thesis contributes to the field of Game Studies by presenting the hypothesis that the player(s) and soundscape(s) in the first-person shooter (FPS) game, and the relationships between them, may be construed as an acoustic ecology. It explores the idea that the single-player FPS game acoustic ecology has the basic components of player and soundscape and that the relationships between these two lead to the creation and perception of a variety of spaces within the game world constituting a significant contributing factor to player immersion in that world. Additionally, in a multiplayer FPS game, these individual acoustic ecologies form part of a larger acoustic ecology which may be explained through autopoietic principles. There has been little written on digital game sound (much less on FPS game sound) and so the research contained within this thesis is an important contribution to the Game Studies field. Furthermore, the elaboration of the hypothesis provides insight into the role of sound in the perception of a variety of spaces in the FPS game, and player immersion in those spaces, and this has significance not only for Game Studies but also for other disciplines such as virtual environment design and the study of real-world acoustic ecologies. A text-based methodology is employed in which literature from a range of disciplines is researched for concepts relevant to the hypothesis but, where necessary, new concepts will be devised. The aim of the methodology is to construct a conceptual framework which is used to explicate the hypothesis and which may, with future refinement, be used for the study of sound in digital game genres other than FPS.
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Bélteky, Markus. "Emotion in video game audio : Can sound effects be perceived to contain positive emotional content?" Thesis, Luleå tekniska universitet, Medier, ljudteknik och teater, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-74148.

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Sound is an important part of almost all media. In games, sounds are used to evoke intense emotions in players. Studies has showed that music on its own can induce emotions. Soundeffects is another type of sounds that appear in games. However, do they contribute to the emotional experience? Understanding this will help sound designers enhance scenes in future video games. In this study, 23 participants were asked to conduct a test divided into two part. In the first part they were tasked to listen to four sound effects of fire and choose attributes from a predetermined list that they thought suited. Among these physical attributes were two emotional attributes. In the second part, the subjects were tasked with choosing one of the fours sound effects for a scenario with a positive emotion and motivate their choice. The results show that no sound had neither positive nor negative as an emotional attribute. Of the four sounds, two showed significance that emotion alone was an attribute for the sound. The results from the second part showed that the subjects were divided in what motivated them to choose a sound. More than a third of the subjects based their choice only on if the sound matched the emotion of the scenario presented while slightly less than a third based it only on to fit the location. The last third based it on both emotion and location.
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Yan, Jingjing. "Gender and computer games / video games : girls’ perspective orientation." Thesis, Gotland University, Institutionen för humaniora och samhällsvetenskap, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hgo:diva-575.

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<p>The topic of this thesis is “Gender Differences in Computer games/ Video games Industry”. Due to rapid development in technology and popularization of computers all around the world, computer games have already become a kind of common entertainment. Because computer games were designed especially for boys at the very beginning, there are still some remaining barriers when training female game designers and expanding game markets among female players.This thesis is mainly based on two studies which have enormous contributions to gender issue in computer games area. A simple model is established by summarizing factors mentioned and discussed in those two books. The main purpose consists of two comparisons under Gender Differences: one comparison is between the current data with the previous one, in order to check whether there are any changes during the past 10 years. The other one compares the young people in two regions, Sweden and China, in computer games perspective.Model designing, test, questionnaire and interview methods are used in this paper aiming to collect and categorize the data, which facilitates to analyze the results of the comparisons. The results reflect that although computer becomes a familiar “friend” in modern daily life, there are not obvious changes of girls‟ perspectives in computer game industry. Certainly, there are some differences between the young people coming from two regions which will be expounded in the thesis.</p>
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Af, Malmborg Harald. "Evaluation of Car Engine Sound Design Methods in Video Games." Thesis, Luleå tekniska universitet, Institutionen för ekonomi, teknik, konst och samhälle, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-84627.

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Realistic interactions with sound objects in video games are a contributing factor to the overall immersion. Car engine sound design is an area where the auditory feedback from driving would have an impact on that immersion. For this study, three methods for designing car engine sounds are evaluated. A traditional method in the game sound industry is to use several sampled audio recordings for the reproduction of engine sounds, which is in this study represented as a sample-based model. The sample-based model is evaluated together with a model using granular synthesis in an in-game scenario. A less common method is to use physical modeling, which is in this study evaluated together with the other two models in a listening test. Results show the granular synthesis model to be the most realistic, and the physical model to be the least preferred.
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Van, den Doel Cornelis Pieter. "Sound synthesis for virtual reality and computer games." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0005/NQ38993.pdf.

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Tatt, Loong Hung. "Users' performance of accessible sound-only computer games." Thesis, Middlesex University, 2011. http://eprints.mdx.ac.uk/9211/.

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This work is conducted at two levels to meet the requirements of this research. The first objective is to develop a better understanding of how to design better sound-only games for a wide range of users. A new theoretical framework has been crafted to achieve this objective (Human Understanding Theory of Novel Games with Simplex, or the HUNGS theory). Such a theory aims to capture the current consensus about user requirements (as far as it is possible to do so) whilst understanding the principles and practices of interactive systems, namely the design of accessible sound-only games. The second objective is to understand better the psychology of intended users of such games. The importance of the present work is to test psychological concepts in the very different and very popular context of computer games. Implications found for users at work or working on serious tasks may not generalize to game players. To achieve the second requirement, a number of existing games were explored before a new game was designed (namely the Totally Lost game), using a range of methods. The Totally Lost game and different versions of the same game have been designed and evaluated based on user experiences.
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Tulloch, Rowan Christopher English Media &amp Performing Arts Faculty of Arts &amp Social Sciences UNSW. "Powerplay: video games, subjectivity and culture." Publisher:University of New South Wales. English, Media, & Performing Arts, 2009. http://handle.unsw.edu.au/1959.4/43519.

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This thesis examines single-player video gaming. It is an analysis of video game play: what it is, how it functions, and what it means. It is an account of how players learn to play. This is done through a set of close readings of significant video games and key academic texts. My focus is on the mechanisms and forces that shape gameplay practices. Building on the existing fields of ludology and media-studies video-game analysis, I outline a model of video game play as a cultural construction which builds upon the player's existing knowledge of real world and fictional objects, scenarios and conventions. I argue that the relationship between the video game player and the software is best understood as embodying a precise configuration of power. I demonstrate that the single-player video game is in fact what Michel Foucault terms a 'disciplinary apparatus'. It functions to shape players' subjectivities in order to have them behave in easily predicted and managed ways. To do this, video games reuse and repurpose conventions from existing media forms and everyday practices. By this mobilisation of familiar elements, which already have established practices of use, and by a careful process of surveillance, examination and the correction of play practices, video games encourage players to take on and perform the logics of the game system. This relationship between organic player and technological game, I suggest, is best understood through the theoretical figure of the 'Cyborg'. It is a point of intersection between human and computer logics. Far from the ludological assumption that play and culture are separate and that play is shaped entirely by rules, I show video game play to be produced by an array of complex cultural and technological forces that act upon the player. My model of video game play differs from others currently in circulation in that it foregrounds the role of culture in play, while not denying the technological specificity of the video gaming apparatus. My central focus on power and the construction of player subjectivities offers a way to move beyond the simplistic reliance on the notion that rules are the primary shaping mechanism of play that has, to date, dominated much of video game studies.
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Väisänen, Janne. "Sound as feedback on motionin active games : A sound preference experiment." Thesis, Linköpings universitet, Institutionen för datavetenskap, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-139155.

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This thesis is a pilot study on sound as feedback to motion in active video games. The subject addressed herein has been approached from a multidisciplinary perspective drawing from several fields as audio, film and computer science. The study was set up as a user experience study. Participants where exposed to two videos of identical gameplay, one with feedback sound turned on and a second with feedback sound turned off. Each video was followed by a questionnaire and the study was ended by a semi-structured interview. The main aim was to answer whether users preferred gameplay with feedback sound turned on or off. Results of main question were slightly in favour of sound scenario with feedback sound off even thou not statistically significant. The study also highlights several issues with implemented feedback sound (a secondary goal of the study). Main finding here was problem with perceiving sounds intended function. Even thou results can be somewhat discouraging one should see this study in the light of it being a pilot study. The main value and contribution of this study can be found in lessons learned for future implementations.
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Djordjevic, Jelena. "YOUNG MEN'S ATTITUDE TOWARDS COMPUTER- AND VIDEO GAMES. AN INTERVIEW STUDY ABOUT YOUNG MEN’S EXPERIENCES OF COMPUTER- AND VIDEO GAMES." Thesis, Malmö högskola, Fakulteten för hälsa och samhälle (HS), 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-26768.

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Kunskapen om TV- och datorspelmissbruk bland ungdomar är idag väldigt begränsad. Stillasittande/fysisk inaktivitet, som TV- och datorspel ofta innebär och som kan innebära negativa konsekvenser, blir allt vanligare. En semistrukturerad intervjustudie har genomförts på sju män i åldersgruppen 17-29 år i syfte att undersöka drivkrafterna bakom mäns spelbeteende i tonåren. Dessutom har information om spelmissbruk bland ungdomar inhämtats av fyra yrkesverksamma inom spelområdet. Detta samt kopplingar mellan TV- och datorspel och spel om pengar har gjorts p g a bristen på forskning om TV- och datorspel. De före detta spelmissbrukarna har kategoriserats som fritidsspelare och spelproblematiker (som lyckats sluta missbruka spel på egen hand), samt spelberoende, som fått avstå helt från spel för att få ett slut på sitt missbruk, medan övriga än idag kan spela i måttlig och ytterst liten mängd. Verklig och upplevd kontroll över sig själva och omgivningen har varit viktiga determinanter för informanternas spelmissbruk. Anledningarna till att de slutade/minskade på spelandet är att de i huvudsak tappade intresset för spel (dock inte helt), fick andra prioriteringar och/eller inte ville få återfall där de återgår till sitt gamla missbruksbeteende. Spelandet har haft en funktion som flykt från en problematisk livssituation, vilken med tiden endast förvärrats för de spelberoende parallellt med missbruket. Även upplevelsen av direkt, tillfällig tillfredsställelse har varit en stor drivkraft samtidigt som det har lett till spelmissbruket. Det tidsödande fritidsintresset fick konsekvenser på den psykiska och fysiska hälsan och beteendet, utvecklingen, relationer till närstående, familjesituationen, skolgången, den sociala etableringen samt den socioekonomiska situationen, vilket sammanfattningsvis ledde till att informanterna utvecklade en ohälsosam och ofta destruktiv livsstil.<br>The knowledge of computer- and video game abuse and addiction among young people is very limited today. The sedentary lifestyle and physical inactivity that computer- and video games often involve can have negative consequences, and are becoming more common. A semi-structured interview was conducted on seven men between the ages of 17-29 in order to examine the driving forces behind men’s gaming behavior in their adolescence. In addition, information about game abuse among young people was gathered from professionals in the area of computer- and video games. This and links between computer- and video games and gambling have been made due to the lack of research on video and computer games. The former video game addicts have been categorized as recreational players, game problematics (who by themselves managed to stop abusing games) and game addicts, who have completely abstained from gaming to put an end to their addiction, while the others still play moderately and very little today. Actual and perceived control over themselves and their environment has been important determinants for the player’s former addiction. The reason why they stopped/decreased the gaming is essentially because they lost interest in games (not completely though), got other priorities and/or did not want to relapse and return to old problematic behavior. Gaming as an escape from a problematic life situation was a common feature among the addicts. The situation for the game addicts only worsened with time along with their game abuse. Although the experience of direct, incidental satisfaction has been a major driving force, it simultaneously led to game abuse. The time-consuming leisure activity had consequences on the mental and physical health, behavior and social development, as well as on the relationships to relatives, family situation, school attendance, social establishment and socioeconomic situation. To sum up, the informants developed an unhealthy and often destructive lifestyle because of the game habits.
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Books on the topic "Computer games Video games Sound"

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1968-, Wasson Mike, ed. Fundamentals of audio and video programming for games. Microsoft Press, 2004.

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Dave, Raybould, ed. The game audio tutorial: A practical guide to sound and music for interactive games. Boston, 2011.

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Pro Tools 10 for game audio. Course Technology/Cengage Learning, 2012.

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Designing sound. MIT Press, 2010.

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Video games. Greenhaven Press, 2010.

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Hensler, Bill. Sex, lies, and video games. Addison-Wesley, 1996.

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Fox, Matt. The Video Games Guide. Boxtree Ltd, 2006.

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Henry, Jenkins, ed. Video Game Art. Assouline Publishing, 2005.

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Funk, Joe. Cool careers in video games. Scholastic, Inc., 2010.

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Creating music and sound for games. Thomson Course Technology, 2007.

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Book chapters on the topic "Computer games Video games Sound"

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Murray, Leo. "Sound in video games." In Sound Design Theory and Practice. Routledge, 2019. http://dx.doi.org/10.4324/9781315647517-9.

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Bryce, Jo, and Linda K. Kaye. "Computer and Video Games." In Media Psychology. Macmillan Education UK, 2011. http://dx.doi.org/10.1007/978-0-230-35720-4_7.

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Kerfs, Jeremy. "Adding Sound Effects, Music, and Video." In Beginning Android Tablet Games Programming. Apress, 2011. http://dx.doi.org/10.1007/978-1-4302-3853-9_4.

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Koenitz, Hartmut. "Narrative in Video Games." In Encyclopedia of Computer Graphics and Games. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-08234-9_154-1.

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Geronazzo, Michele. "Sound Spatialization." In Encyclopedia of Computer Graphics and Games. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-08234-9_250-1.

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González Sánchez, José L., Rosa M. Gil Iranzo, and Francisco L. Gutiérrez Vela. "Enriching Evaluation in Video Games." In Human-Computer Interaction – INTERACT 2011. Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-23768-3_72.

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Yee-King, Matthew, and Igor Dall’Avanzi. "Procedural Audio in Video Games." In Encyclopedia of Computer Graphics and Games. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-08234-9_271-1.

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Lederman, Jaci Lee. "STEM Learning Through Video Games." In Encyclopedia of Computer Graphics and Games. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-08234-9_328-1.

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Hannula, Rama, Aapo Nikkilä, and Kostas Stefanidis. "GameRecs: Video Games Group Recommendations." In Communications in Computer and Information Science. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-30278-8_49.

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Mukherjee, Souvik. "Machinic Stories: The Literature Machine, Technicity and the Computer Game." In Video Games and Storytelling. Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137525055_2.

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Conference papers on the topic "Computer games Video games Sound"

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Wang, Richert, and Vincent Olivieri. "Sound Design for Video Games." In SIGCSE '18: The 49th ACM Technical Symposium on Computer Science Education. ACM, 2018. http://dx.doi.org/10.1145/3159450.3159577.

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Ng, Patrick, and Keith Nesbitt. "Informative sound design in video games." In The 9th Australasian Conference. ACM Press, 2013. http://dx.doi.org/10.1145/2513002.2513015.

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Lloyd, D. Brandon, Nikunj Raghuvanshi, and Naga K. Govindaraju. "Sound synthesis for impact sounds in video games." In Symposium on Interactive 3D Graphics and Games. ACM Press, 2011. http://dx.doi.org/10.1145/1944745.1944755.

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Su, Feng, and Chris Joslin. "Procedural Sound Generation for Soft Bodies in Video Games." In MIG '19: Motion, Interaction and Games. ACM, 2019. http://dx.doi.org/10.1145/3359566.3360068.

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McPheron, Drew. "Video gaming accessibility." In 2015 Computer Games: AI, Animation, Mobile, Multimedia, Educational and Serious Games (CGAMES). IEEE, 2015. http://dx.doi.org/10.1109/cgames.2015.7272966.

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Marques, Bradley R. C., Stephen P. Levitt, and Ken J. Nixon. "Software visualisation through video games." In the South African Institute for Computer Scientists and Information Technologists Conference. ACM Press, 2012. http://dx.doi.org/10.1145/2389836.2389861.

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Krahenbuhl, Philipp. "Free Supervision from Video Games." In 2018 IEEE/CVF Conference on Computer Vision and Pattern Recognition (CVPR). IEEE, 2018. http://dx.doi.org/10.1109/cvpr.2018.00312.

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Bachelder, Steven, Rajesh Santhanam, Masaki Hayashi, and Masayuki Nakajima. "Engagement in Computer and Video Games." In 2013 International Conference on Cyberworlds (CW). IEEE, 2013. http://dx.doi.org/10.1109/cw.2013.77.

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Johnson, Daniel, and John Gardner. "Personality, motivation and video games." In the 22nd Conference of the Computer-Human Interaction Special Interest Group of Australia. ACM Press, 2010. http://dx.doi.org/10.1145/1952222.1952281.

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Sarsenbayeva, Zhanna, Benjamin Tag, Shu Yan, Vassilis Kostakos, and Jorge Goncalves. "Using Video Games to Regulate Emotions." In OzCHI '20: 32nd Australian Conference on Human-Computer-Interaction. ACM, 2020. http://dx.doi.org/10.1145/3441000.3441035.

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