To see the other types of publications on this topic, follow the link: Sound design in games.
Dissertations / Theses on the topic 'Sound design in games'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Sound design in games.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
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.
Full textAbstract:
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.
2
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.
Full textAbstract:
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.
3
Hartman, Vile. "Spring and Plate Reverb Techniques In Games." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-12827.
Full textAbstract:
In games, reverb is used to convey the audial space of game environments. This thesis explores the possibilities of using spring and plate reverb, and if they enhance or detract from the experience compared to a realistic natural reverb. Under evaluation, a quantitative study with a secondary qualitative discussion was carried out where participants played a gameplay prototype that switched between using spring reverb, plate reverb and a realistic natural reverb. A survey was answered relating to the gameplay sequence, which was used to evaluate how players perceived the differences in the different reverbs. The conclusion shows that although spring and plate reverb have different associations and are perceived in a different way compared to a natural realistic reverb, a majority still preferred a natural reverb and felt that spring plate were overall more distracting to the game experience.
4
Kostrova, Marina, and Victoria Yuri-Andersson. "Designing with Sound to Reduce Motion Sickness in VR." Thesis, Uppsala universitet, Institutionen för speldesign, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-414404.
Full textAbstract:
Motion sickness has been a significant obstacle for the development of Virtual Reality technology since the beginning of its existence. Research has shown that audio can be used to reduce motion sickness in VR. It has also been proven that binaural ambisonic audio can enhance a player’s feelings of immersion and spatial presence, which is known to correlate negatively with motion sickness. This study aims to determine if the application of spatialized binaural ambisonic audio in VR environments can make users feel less motion sick, by enhancing the feeling of presence, compared to environments that utilize regular stereo sound. To validate our hypothesis, two versions of the same VR environment were created: one with binaural ambisonic audio, and another with regular stereo audio. The data was collected with surveys that included both motion sickness-related and experience-related questions. The results indicate that binaural ambisonic audio helped to reduce motion sickness compared to regular stereo audio, even though testers did not show any clear preference for one type of sound over another.Rörelsesjuka har utgjort ett allvarligt hinder för utveckling av virtual reality-teknologi (VR) från dess tidigaste utvecklingsfas. Forskning har visat att ljud kan användas för reducering av rörelsesjuka i VR. Det har också påvisats att binauralt ambisoniskt ljud kan förstärka spelarens känsla av immersion och spatial närvaro, som har en negativ korrelation med rörelsesjuka. Denna studies syfte är att avgöra om användning av spatialt binauralt ambisoniskt ljud i VR-miljö kan reducera användarens rörelsesjuka, genom att förstärka känslan av närvaro, till skillnad från miljöer där rådande stereoteknologi används. Hypotesen testades genom att två versioner av samma VR-miljö skapades: ett med binauralt ambisonisk ljud och ett med vedertaget stereoljud. Insamlad data genom ett frågeformulär inkluderade även frågor rörande rörelsesjuka och tidigare erfarenhet av VR. Resultatet indikerar att binauralt ambisoniskt ljud reducerar rörelsesjuka, till skillnad från stereoljud, trots att testpersonerna inte visade på en tydlig preferens för den ena eller den andra ljudtypen.
5
Sharp, Weston Taylor. ""LET THE FEAST OF FOOLS BEGIN, BATMAN!": THE TRADITIONAL AND GOTHIC CARNIVALESQUES IN THE SOUND DESIGN OF THE BATMAN: ARKHAM VIDEO GAMES." OpenSIUC, 2017. https://opensiuc.lib.siu.edu/theses/2141.
Full textAbstract:
This paper intends to study carnivalesque elements in the music and sound design of the Batman: Arkham video game franchise. This will be done by examining the ontology of the Batman mythos through the lens of carnivalesque social theory related to the European-American carnival as articulated by Bakhtin and Rabelais.Two expressions of the carnivalesque, the traditional and the Gothic, can be seen and heard in the Arkham video games. These two carnivalesques are essential to understanding both the games themselves and the Batman mythos as a whole. The music and sound design related to selected in-game locales and characters of the Arkham franchise will be studied and linked to the carnivalesque ontology of Batman as an American icon. This study will support the hypothesis that the European-American carnivalesque still plays a literal and figurative role in twenty-first century American society through such icons as Batman.
6
Savvateev, Anton. "Which compound-earcon's attributes may improve a player's performance in a search-oriented gameplay: rhythm vs timbre?" Thesis, Luleå tekniska universitet, Medier ljudteknik och upplevelseproduktion och teater, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-69003.
Full textAbstract:
Earcons are commonly used by sound designers in order to support visual cues in a game andto make a gaming experience more enjoyable. This study covers two earcons’ attributes: rhythm and timbre. Rhythm and timbre attributes were chosen according to the earcon sounddesign guidelines from the previous studies. An experiment in a form of a video game was conducted in order to research whether one of the conditions can increase a players’performance. A subject had to choose the correct key to the door in order to go to the next location. There were 3 different locations and there were totally 5 different own-designed earcons: 1 incorrect earcon in the both conditions and 2 different correct earcons in each condition. 20 subjects with various gaming experience from the Luleå University of Technology participated in the experiment. The subjects were randomly divided into two groups with different conditions: rhythm and timbre. The amount of wrong trials and completion time were analyzed for each condition and the results were given with the help of Mann-Whitney U-test and t-test calculations. The results of U-test showed that there was a significant difference between two groups in terms of the wrong trials amount. Group with rhythm condition showed better performance in terms of the wrong trials amount. The t-test showed a significant difference between the two groups in terms of completion time. Group with timbre condition showed better timing performance, although considering the analysis it did not increase their performance in terms of making correct choices. Further research might be recommended on comparing various earcon attributes in different ecologically valid scenarios.
7
Warden, James. "Senses, Perception, and Video Gaming: Design of a College for Video Game Design and Production." Cincinnati, Ohio : University of Cincinnati, 2005. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1116113863.
Full text
8
Lindström, Edvard, and Andréas Isaksson. "Hör-Ser-Gör : En utforskning inom ljudbaserade rörelsespel." Thesis, Blekinge Tekniska Högskola, Institutionen för teknik och estetik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-18284.
Full textAbstract:
Detta kandidatarbete handlar om utforskningen inom alternativa ljudspelsformer. Vi ville utforska vilken ny kunskap som kan hämtas från spelljudsteori när den applicerades i ett ljudbaserat rörelsespel. Vi försöker uppnå detta genom en iterativ och experimentell designprocess. Vi skapade två olika ljudbaserade spelprototyper där vi applicerade olika spelljudsteorier. Genom att designa prototyper och analysera dem, genom induktivt resonemang och deltagande observation, kunde vi observera att spelaren kunde använda icke-visuella gränssnitt i ett ljudbaserat rörelsespel. Som resultat presenterar vi processens mest avgörande designproblem. Utmaningen med att utveckla icke-visuella gränssnitten var att instruera spelaren i att använda dem genom icke-vokala ljud. Vi presenterar även ett nytt sätt att förstå akusmatiska ljud i icke-visuella ljudbaserade spel. Som avslutande del så diskuteras undersökningens relevans och framtida undersökningsområden föreslås.This bachelor thesis is about exploration within alternative forms of audio game. We wanted to explore what new knowledge could be extracted from game audio theory when it is applied to a movement based audio game. We aim to do this through an iterative and experimental design process. We created two different audio game prototypes where different game audio theories were applied. By designing prototypes and analyzing them, through inductive reasoning and participant observation, we could observe that players were able to use non-visual interfaces in an non-visual audio game. As our results we present the process’s most critical design problems. The challenge in creating these non-visual interfaces was instructing the player on how to use them through non-vocal audio. We also present a new way of understanding acousmatic sound in non-visual audio games. Lastly the study’s relevance is discussed and future research areas are suggested.
9
Eriksson, Oliver, and Philip Lindau. "Evaluating an adaptive music system in an adventure game environment." Thesis, Södertörns högskola, Institutionen för naturvetenskap, miljö och teknik, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-22821.
Full textAbstract:
Adaptiv musik ändras beroende av parametrar som ändras av händelser i spelet. Den här studien undersöker om ett adaptivt musik system är en förbättring i spelet A Story About My Uncle jämfört med statisk musik, om det är värt tidsinvesteringen som implementationen kräver. Data samlas in genom att ta in testare som spelar en introduktionsnivå i spelet två gånger, en gång med statisk musik och en gång med adaptiv musik. Spelarna svarar på en enkät efter varje genomspelning av nivåerna. Resultaten visar ingen signifikant skillnad mellan den statiska och adaptiva versionen när man undersöker spelarnas generella spelupplevelse, och upplevelse av musiken i nivåerna.
10
Orshammar, Viktor, and Christian Skarin. "Ljudlandskapet och det oönskade ljudet." Thesis, Blekinge Tekniska Högskola, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-12351.
Full textAbstract:
Detta kandidatarbete undersöker de egenskaper det fysiska ljudlandskapet kan bidra med för att forma en virtuell värld. Med begrepp och teorier från omfattande studier inom fenomenet soundscape, undersöker vi hur detta kan appliceras i ett digitalt spel. Genom audiell analys av vår vardagliga miljö i en liten svensk stad, kan vi fördjupa kunskapen om hur ljudlandskapet är uppbyggt och kan appliceras i ett digitalt medie. Med ljudläggningen av ett digitalt spel kan vi testa att applicera funktioner och begrepp hämtade från det fysiska ljudlandskapet.This bachelor thesis examines what the physical properties of the soundscape can contribute to form a virtual world. With concepts and theories from studies of soundscape, we examine how this can be applied in a digital game. Through a sound analysis of our everyday environment in a small Swedish town, we can improve our knowledge of how the soundscape is constructed and can be applied in a digital media. In the process of designing sounds to a digital game, we can test and apply the functions and concepts extracted from the physical soundscape.
11
Nuñez, Vasquez Victor Rennato. "El rol de la música incidental y el sound design en los videojuegos modernos (1996-2019)." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2021. http://hdl.handle.net/10757/655918.
Full textAbstract:
El presente trabajo de investigación tiene como finalidad explorar y entender el rol del sonido en los videojuegos lanzados al mercado entre 1996 a 2019, usando Resident Evil 7 (2017) como un estudio de caso.
Para un mejor análisis del apartado sonoro se ha dividido el estudio del sonido en dos partes: música incidental y sound design, teniendo presente, además, que la línea que divida música y efecto de sonido es cada vez menor. La primera parte del trabajo se centra en el rol de la música incidental en el videojuego; la forma en que el mismo, como medio audiovisual no-lineal e interactivo, necesita un acercamiento diferente al de otros medios lineales como el cine; y un análisis musical de la banda sonora de dos videojuegos de la saga Resident Evil con más de quince años de diferencia, con el fin de apreciar como ha evolucionado el rol de la música en el videojuego. La segunda parte del trabajo se centra en el rol del sound design en el videojuego; analizando la complejidad de este apartado; la forma en que la misma interactua con la música al punto de compenetrarse, viéndose el videojuego como medio interactivo, favorecido de esta interacción. La tercera parte del trabajo se centra en la relación que existe entre la implementación sonora, composición musical y sound design.
Se busca con el presente trabajo contribuir al estudio y entendimiento del sonido en el videojuego, y la relación de este apartado con sus principales características: interactividad y no-linealidad.The present research aims to explore and understand the role of sound in video games released on the market between 1996 to 2019, using Resident Evil 7 (2017) as a case study. For a better analysis of the audio section, the study of sound has been divided into two parts: incidental music and sound design, bearing in mind, in addition, that the line that divides music and sound effect is less and less. The first part of the work focuses on the role of incidental music in the video game; the way in which it, as a non-linear and interactive audiovisual medium, needs a different approach than other linear media such as cinema; and a musical analysis of the soundtrack of two video games in the Resident Evil saga more than fifteen years apart, in order to appreciate how the role of music in the video game has evolved. The second part of the work focuses on the role of sound design in the video game; analyzing the complexity of this section; the way in which it interacts with music to the point of interpenetrating, seeing the video game as an interactive medium, favored by this interaction. The third part of the work focuses on the relationship between sound implementation, musical composition, and sound design. This work seeks to contribute to the study and understanding of sound in the video game, and the relationship of this section with its main characteristics: interactivity and non-linearity.
Trabajo de investigación
12
Klang, Marcus. "Is there a connection between experienced realism, rate of fire and loop length on fully automatic rifles in a first-person shooter game in first-person?" Thesis, Luleå tekniska universitet, Medier ljudteknik och upplevelseproduktion och teater, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-64221.
Full textAbstract:
This thesis aims to test if there is a connection between modern day fully automatic rifles rate of fire, used loop length in implementation and experienced realism in a first-person shooter game in first-person, fired by the players own character. With a background consisting of papers, books and lectures/conferences given by experienced people and other experts in the game industry regarding first person shooter games, a listening test was conducted and carried out on a computer using headphones with both trained and untrained subjects since players can be both. A simple firing-range was constructed in Unreal Engine 4 (Epic Games, 2017) where the subjects could switch between two weapons with different rates of fire and three versions of each with different loop lengths, 4, 8 and 16. The sounds were divided into layers, e.g. body, mechanical and bottom, played back using looping as implementation. The subjects were also asked to rate the sounds regarding gameplay and preference to see if the results would differ between the three categories. The results showed a tendency to choose the longer loop for all categories, but only four comparisons gave a significant result when doing t-tests.
13
Kristal-Ern, Alfred. "Can sound be used to effectively direct players' attention in a visual gameplay oriented task?" Thesis, Luleå tekniska universitet, Medier ljudteknik och upplevelseproduktion och teater, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-63621.
Full textAbstract:
In this study, the understanding about multimodal perception from previous studies has been used to create a perceptually demanding visual search task inside a game. Also, a subtle multimodal cue was created to be in-directly informative about the visual search target’s location by attracting subjects’ attention. 20 subjects were divided equally among the experiments two conditions, one where the subjects had no access to the multimodal information and one where the subjects did have access to the multimodal information. The multimodal information conveyed to the subjects in this experiment was temporal synchrony between a visual light pulsating and a sound being modulated using level and low-pass filtering. Results showed that the subjects that were given the multimodal information improved more on the search task than the group without multimodal information, but the subjects in the multimodal group also perceived the pace of the task as higher. However, it is unclear exactly how the multimodal cue helped the subjects since the playing subjects did not seem to change their search movement pattern to favor the location of the search target, as was expected. Further, the difficulties and considerations of testing in a game environment is discussed and it is concluded that the gamer population is a very varied group which has big impacts on methodology of in-game experiments. To identify sub-groups, further research could study why different players use different search behaviors.
14
Liudkevich, Denis. "Návrh virtuálního síťového kolaborativního zvukového nástroje." Master's thesis, Vysoké učení technické v Brně. Fakulta elektrotechniky a komunikačních technologií, 2020. http://www.nusl.cz/ntk/nusl-413250.
Full textAbstract:
The aim of this work was to create an online platform for multi-user sound creation with original sound synthesis tools. The educational context of the application was also taken into account by hiding the controls of the sound parameters behind the subconsciously known physical phenomena and the game form of the application. A substantial part of the logic and all graphics of the instruments is written in the JavaScript programming language and its library p5.js. It is located on the client side and communicates with the Node.js-based server via a web socket. The audio part is on another server in the SuperCollider environment, it is transmitted via IceCast and communicates with the main OSC message server. The application contains 3 instruments for generating sounds and one effects module. Each instrument is designed for multiple users and requires their cooperation. Acceptable transmission speeds and minimum computational demands have been achieved by optimizing the instrument's internal algorithms, the way in which the graphic content is displayed and the appropriate routing of the individual sound modules. The sound is specific for each instrument. The instruments in the application are tuned and designed so that the user can both achieve interesting sound results himself and play his role as a whole with others. Methods such as granular synthesis, chaotic oscillators, string instrument modeling, filter combinations, and so on are used to generate sound. Great emphasis in the development of the application was placed on the separation of roles, simultaneous control of one instrument by several players and communication of users through playing the instruments and text expression - chat. An important part is also a block for displaying descriptive information.
15
Wallin, Emil. "Evaluation of Physically Inspired Models in Video Game Melee Weapon SFX." Thesis, Luleå tekniska universitet, Medier, ljudteknik och teater, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-78968.
Full textAbstract:
This study explored the possible impact to a game’s responsiveness and to players’ preferences by using a physically inspired model (real-time pitch and amplitude modulation) as a means of efficiently achieving responsive variation for melee weapon sound effects in a game using the in-engine audio features. A play test was created were 24 participants (12 with audio engineering backgrounds, 12 without), all with prior gaming experience, played through a game level where they would audition a non-variational implementation of a sword’s sound effects and a variational implementation with the same sound samples being modulated in real-time. The participants did not know what they were auditioning, and in a form filled out after the play test they assessed the differences in the level parts’ responsiveness and their preference. From this form no significant benefit or drawback was found to the game’s responsiveness, and no significance was found to the participants’ preference toward either sound effect implementation. The study’s conclusions are that these physically inspired models could be used as a mean of implementation for melee weapon sound effects if the sounds used or the game setting would suit this approach, or if this would be the artistic wish of the game developers.
16
Normell, Lukas, and Marcus Larsson. "Audionarratologi Inom Spel." Thesis, Blekinge Tekniska Högskola, Institutionen för teknik och estetik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-20392.
Full textAbstract:
I dagens samhälle blir underhållningen mer digital, det blir allt mer vanligt att lyssna på en ljudbok istället för att läsa själv. Eftersom spelindustrin är en av de populäraste formerna av underhållning idag ville vi undersöka hur man kan använda sig av audionarrotologi inom spel. Audionarratologi är läran och studien om ljudets funktion inom ett narrativ. Termen är ett paraplybegrepp från narratologi vilket är läran och studien om narrativ. Vi har använt oss audionarratologi för att se hur ljudet kan samverka med ett textbaserat solo-äventyrsspel, eftersom ljudeffekter vanligtvis inte är ett fokus i spel av denna genre. Vi har utvecklat ett textbaserat spel utan en visuell bild med fokus på text och ljud för att kunna utföra vår undersökning om ljudets roll i ett textbaserat spel. Vi har utfört en kvalitativ studie för att ta reda på vad som är det mest optimala sättet att använda sig av ljud för att förstärka narrativet i ett spel. Programmet som användes för utvecklandet av spelet var Twine. I vårt spel får spelare göra olika val för att kunna fortsätta berättelsen, undersökningen utfördes genom att respondenterna fick fylla i ett frågeformulär och svara på vad de tyckte om ljudet i spelet och hur det påverkade narrativet. Med hjälp av svaren har vi sedan dragit slutsatsen att en bra ljudmix och jämna mellanrum mellan ljud och röster stärker narrativetIn today's society where entertainment is becoming more digital, and it is becoming more common to listen to an audiobook instead of reading one yourself. The game media is one of the most popular forms of entertainment in today's society, we want to see how to make use of audionarrotolgy in video games. Audionarratology is the doctrine and study of the function of sound within a story and a narrative, the term is an umbrella concept from narratology which is the doctrine and study of narration. We've used audionarrotolgy to see how the sound can cooperate with a text-based solo adventure story game, because sound effects are usually not a focus in games of this genre. We have developed a text-based game without visual imagery and with a focus on text and sound, in order to perform research on the role of sound in a text-based game. We conducted a qualitative study to find out what the most optimal way to use sound to reinforce the story in a game. The program that was used to develop the game was Twine. The survey was conducted by respondents filling out a questionnaire and answering what they liked about the sound of the game and how it affected the story. With the help of the answers we have then made our own conclusions for how the sound can interact with the story. We came to the conclusion that having a good sound mix and even intervals for sounds and voices, would make the sound reinforce the narrative.
17
Nyberg, Oscar. "Does changing the frequency content of a reverb affect perceived emotion in a video-game?" Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-74656.
Full textAbstract:
Emotion is a large part of the experience when playing video-games, and sound design can strongly influence the emotional response in players. This study is about the effect reverb, which is part of the sound design, can have on a players perceived emotion. An experiment was conducted, where twenty subjects got to play a video-game level which included two churches. These were identical both visually and audibly, except for the frequency content in the reverb in each church. Results show that the subjects perceived different emotions depending on what reverb they heard.
18
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.
Full textAbstract:
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.
19
Åsén, Rickard. "Game Audio in Audio Games : Towards a Theory on the Roles and Functions of Sound in Audio Games." Thesis, Högskolan Dalarna, Ljud- och musikproduktion, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:du-13588.
Full textAbstract:
For the past few decades, researchers have increased our understanding of how sound functions within various audio–visual media formats. With a different focus in mind, this study aims to identify the roles and functions of sound in relation to the game form Audio Games, in order to explore the potential of sound when acting as an autonomous narrative form. Because this is still a relatively unexplored research field, the main purpose of this study is to help establish a theoretical ground and stimulate further research within the field of audio games. By adopting an interdisciplinary approach to the topic, this research relies on theoretical studies, examinations of audio games and contact with the audio game community. In order to reveal the roles of sound, the gathered data is analyzed according to both a contextual and a functional perspective. The research shows that a distinction between the terms ‘function’ and ‘role’ is important when analyzing sound in digital games. The analysis therefore results in the identification of two analytical levels that help define the functions and roles of an entity within a social context, named the Functional and the Interfunctional levels. In addition to successfully identifying three main roles of sound within audio games—each describing the relationship between sound and the entities game system, player and virtual environment—many other issues are also addressed. Consequently, and in accordance with its purpose, this study provides a broad foundation for further research of sound in both audio games and video games.
20
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.
Full text
21
Tatt, Loong Hung. "Users' performance of accessible sound-only computer games." Thesis, Middlesex University, 2011. http://eprints.mdx.ac.uk/9211/.
Full textAbstract:
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.
22
Zetterblom, Margareta. "Textile Sound Design." Doctoral thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-3588.
Full textAbstract:
The thesis aims at developing conceptual and methodological tools in order to adapt sound in a “designerly” way within the discipline textile design. Occupational groups working with sound are to a large extent problem driven. This implies knowledge regarding sound and sound design mostly focuses on defensive strategies, not creative possibilities. The ambition with this research project is to make suggestions how textile designers can work practically with textile sound design, in a more nuanced way. /br As a starting point the thesis describes commonly used methods and processes used in the design process within an industrial context, followed by a more thorough analyze of the textile design process. These studies constitute a foundation to make it possible to see in what way these methods and processes will be affected when sound is added as new design tool./br By studies of two sound design models, the first attempts to develop a vocabulary concerning how to describe sound affecting qualities or sound expression of a textile are presented. Research focusing on language issues, especially on the development of conceptual tools done at the research institute Cresson, provides descriptive concepts, “sound effects”, embracing the interaction between human and his sound environment. These concepts are followed by a model of how to describe a “sound object” in “itself” (not in relation to anything else), developed by Pierre Schaeffer./br The theoretical models have been applied on the outcome of an phenomenological study named Describe. A number of design examples are finally presented as methodological examples of different ways to work with textiles and sound./br Keywords: sound, design, textile design, sound effect, sound object.Thesis to be defended in public at 24 May 2011 at 13.00, at the Gallary floor 2, The Swedish School of Textiles, Bryggaregatan 17, Borås, for the degree of Philosophy.
23
Zetterblom, Margareta. "Textile sound design." Licentiate thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-3486.
Full textAbstract:
This thesis aims at developing conceptual and methodological tools in order toadapt sound within the textile design area. Occupational groups working with soundare to a large extent problem driven. Accordingly, textile designers working withsound- affecting properties of textiles concentrate on their dampening qualities. Theambition with this research project is to make suggestions how textile designers canwork practically with textile sound design, in a more nuanced way.The overall aim of the thesis is to develop a vocabulary to make textile designersable to express the sound affecting qualities of textiles in a language full of nuances.As a starting-point the thesis briefl y describes commonly used methods andprocesses used to describe the expressiveness of a design, followed by a morethoroughly analyze of the textile design process illustrated by a practical example.These studies constitute a foundation to make it possible to see in what way thesemethods and processes will be affected when sound is added as new design tool.By studies of two sound design models, the fi rst attempts to develop a vocabularyconcerning how to describe sound affecting qualities of a textile are developed.Research focusing on language issues, especially on the development of conceptualtools done at the research institute CRESSON, provides descriptive soundconcepts, “sound effects”, embracing the interaction between human and his soundenvironment. These concepts are followed by a model of how to describe just asound or “sound object” in “itself” (not in relation to anything else), developed byPierre Schaeffer. These theoretical models have been complemented with empiricalstudies in form of a survey, named LISTEN. Interviews were performed from aphenomenological perspective. A number of informants were asked to tell aboutthe sound environment and single sounds occurring at their working places. Theinterviews were interpreted from a phenomenographic perspective. A number ofdesign projects are fi nally presented as practical examples of different ways to workwith textiles and sound.The theoretical models provided by Schaeffer have been used to make the fi rstsystematic attempts to describe sound environments; sounds and textiles soundaffecting properties.Since the model presented by Schaeffer is developed to be used within musicalcomposition the concepts have to be additionally modifi ed to be a useful tool withinthe textile design area. The thesis presents just the fi rst attempts to use this model.The next step to take in the research project is to adjust the theoretical systems ofCRESSON and Schaeffer to suit the special area of textile design. The interactiveideas of a sound-affecting textile will also be a subject of further development.
24
Sorribes, Bernhard Pablo. "Lagerbaserade och förprocesserade ljud : En undersökning av hur två implementationsmetoder påverkar uppfattningen av distans av ljud i spel." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-13813.
Full textAbstract:
Undersökningens syfte var att jämföra två implementationsmetoder för ljud i spel. Dessa metoder är en lagerbaserad metod och en förrenderad metod. I den lagerbaserade metoden kombineras de olika ljudlager som ljudeffekten består av i realtid av spelmotorn, där den individuellt för varje lager applicerar volym- och filtreringskurvor över distans. I den förrenderade metoden har dessa ljudlager redan i förväg kombinerats ihop i en enda audiofil, d.v.s. att den enda behandlingen som sker i ljudmotorn är att volymen sänks över distans, på hela ljudeffekten. I bakgrunden beskrivs övergripande teorier kring perceptionen av ljud över distans och olika lyssningssätt. Även den lagerbaserade ljudmotorn Sound-O-Matic (Double Trouble Audio, 2016) beskrivs kort. Frågeställningen utvärderades genom en prototyp och en nätenkät. Prototypen bestod av ett spel med de två implementationsmetoderna, uppdelade i två versioner: Version A = Förrenderad metod Version B = Lagerbaserad metod Respondenterna spelade båda versionerna av ljudimplementationen och skulle i vardera Version gissa på avståndet och riktningen av gevärsskott som avfyrades runt dem. Resultaten tyder på att den förrenderade metoden i Version A med fördel kan användas i spel, då majoriteten av respondenterna föredrog den före Version B.
25
Wennebjörk, Turdell Johan. "Sound Fence." Thesis, Umeå universitet, Designhögskolan vid Umeå universitet, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-92054.
Full textAbstract:
To fence in pastures for sheep today is a major cost, especially because of the time required when using current methods. What takes most time is starting to fence off a new area, but to maintain a fence is also a continuous effort. The main function is to keep the sheep at the field.! ! By interviewing and observing sheep farmers on how they work with fence today and what their problems was, I got a better understanding of the problem. Also looking at a number of other things like the context, statistics on sheep farming, laws and competition mapping gave a wider image. But the most important part in my research occurred when I talked to experts about sheep behavior. The main characteristic is the flocking behavior which the final result is based on. ! By stressing a sheep with a sound as it is on its way out of the given area the sheep will, cos of flocking behavior, stop and move back to the other sheep.
26
Huiberts, Sander. "Captivating sound the role of audio for immersion in computer games." Thesis, University of Portsmouth, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.529027.
Full text
27
Lee, Chung. "Sound texture synthesis using an enhanced overlap-add approach /." View abstract or full-text, 2008. http://library.ust.hk/cgi/db/thesis.pl?CSED%202008%20LEE.
Full text
28
Jansson, Robin. "Silence in Adventure Games and Space." Thesis, Blekinge Tekniska Högskola, Sektionen för planering och mediedesign, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-5033.
Full textAbstract:
As video games have evolved, the focus on impressive graphics and surround-sound has become increasingly prominent. Stepping away from their roots, video games have toned down the interaction and put the cinematic parts of the experience on the forefront. However, some games stand outside the norm, taking down the sound-level to a minimum, even going as far as removing text entirely. In my essay, I explore the functions of silence, specifically in two works: the computer game Machinarium, and 2001: A Space Odyssey, the film, along with the novel. By analyzing these works, I highlight how silence can have widely different effects on how the users experience the work. Employing different techniques, the authors manipulate the experience, using visuals as well as audio to increase the sense of immersion and connectedness to the characters on screen. In my essay, the close ties between video games and film is central, and it discusses how the former has been influenced by the latter. Comparing the use of silence to techniques found in literature, I discover surprisingly many similarities to the narrative techniques used there. My research shows that video games employing silence can, even while being influenced by more cinematic media, still retain its core essentials and provide an experience that encourages exploration and imagination of the individual user.
29
Nykänen, Arne. "Methods for product sound design." Doctoral thesis, Luleå tekniska universitet, Drift, underhåll och akustik, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-26577.
Full textAbstract:
Product sound design has received much attention in recent years. This has created a need to develop and validate tools for developing product sound specifications. Elicitation of verbal attributes, identification of salient perceptual dimensions, modelling of perceptual dimensions as functions of psychoacoustic metrics and reliable auralisations are tools described in this thesis. Psychoacoustic metrics like loudness, sharpness and roughness, and combinations of such metrics into more sophisticated models like annoyance, pleasantness and powerfulness are commonly used for analysis and prediction of product sound quality. However, problems arise when sounds from several sources are analysed. The reason for this complication is assumed to be the human ability to separate sounds from different sources and consciously or unconsciously focus on some of them. The objective of this thesis was to develop and validate methods for product sound design applicable for sounds composed of several sources. The thesis is based on five papers. First, two case studies where psychoacoustic models were used to specify sound quality of saxophones and power windows in motor cars. Similar procedures were applied in these two studies which consisted of elicitation of verbal attributes, identification of most salient perceptual dimensions and modelling of perceptual dimensions as functions of psychoacoustic metrics. In the saxophone experiment, psychoacoustic models for prediction of prominent perceptual qualities were developed and validated. The power window experiment showed that subjects may judge only parts of the sound. Power window sound consists of the motor sound and the scratching of a window sliding over the seal. The motor sound was filtered out and models developed using motor sound alone showed good agreement with listening tests. This demonstrated the human ability to separate sound from different sources and pointed out the importance of handling auditory stream segregation in the product sound design process. In Paper III sound sketches (simple auralisations) was evaluated as a way to assess sounds composed of several sources. Auralisation allows control of the contributions of different sources to a sound at the listening position. This way, psychoacoustic analysis and listening tests may be carried out on the contributions from sources separately and as an ensemble. Sound sketches may also serve to specify a target sound for a product. In Papers IV and V, the precision of auralisations related to intended use was investigated. Auralisations were made by filtering engine sounds through binaural transfer functions from source locations to the listening position in a truck cabin. In Paper IV simplifications of auralisations of one source were compared to artificial head recordings. For idling sounds auralisations through binaural transfer functions with a resolution of 4 Hz or better, or smoothed with maximum 1/96 octave moving average filters were found to preserve perceived similarity to artificial head recordings. In Paper V the effect of simplifications of transfer functions on preference ratings of auralisations was examined. This is of interest in applications where audible differences may be acceptable as long as preference ratings are unaltered, e.g. when auralisations are used as rough sound sketches. At 500 rpm idle speed, a resolution of 32 Hz or better, or smoothing with maximum 1/24 octave moving average filters showed no significant alteration of subject preference ratings. These figures may serve as guide for required accuracy in auralisations used for evaluation of idling sounds in truck cabins. To conclude, psychoacoustic analysis of total sound may be used for prediction of perceived sound quality as long as the sound is generated by one source. When several sources generate sound, auditory stream segregation effects in combination with cognitive effects may deteriorate the results. Auralisation is a useful tool in such cases, since it makes it possible to analyse the effects of contributions from each source. It can also be used for making sound sketches which can serve as support in the design process.Godkänd; 2008; 20080925 (ysko)
30
Gharibpour, Sohrab. "Going beyond the Visual Domain : Improving the UX of Sonic Interaction." Thesis, Umeå universitet, Institutionen för informatik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-105050.
Full textAbstract:
Sonic Interaction is an area of Interaction Design which has the focus on the sound related interactive system designs. This area of interaction design has not been researched as much as visual interactive systems and because of this, sonic interactive systems are not as much developed and enhanced; This study tries to examine the possibility of improving and enhancing the sonic interactive systems by combining Embodied interaction with Sonic interaction. The main concern of this study is to combine the user’s head movements in a manner of embodiment with sonic interactive systems and explore the feasibility of improvement and enhancement of sonic interactive systems in combination with embodied interaction. For this reason, data from three experiments has been gathered and evaluated into the conclusions of this study.
31
FERREIRA, Nivia Barboza. "Design de emergência em games." Universidade Anhembi Morumbi, 2017. http://sitios.anhembi.br/tedesimplificado/handle/TEDE/1683.
Full textAbstract:
Submitted by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2018-08-20T19:01:00Z
No. of bitstreams: 1
449037.pdf: 5977234 bytes, checksum: 62769081b2ec075baad72bc603f714dd (MD5)Approved for entry into archive by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2018-08-20T20:25:35Z (GMT) No. of bitstreams: 1 449037.pdf: 5977234 bytes, checksum: 62769081b2ec075baad72bc603f714dd (MD5)
Approved for entry into archive by Patricia Figuti Venturini (pfiguti@anhembi.br) on 2018-08-20T20:27:25Z (GMT) No. of bitstreams: 1 449037.pdf: 5977234 bytes, checksum: 62769081b2ec075baad72bc603f714dd (MD5)
Made available in DSpace on 2018-08-21T13:38:05Z (GMT). No. of bitstreams: 1 449037.pdf: 5977234 bytes, checksum: 62769081b2ec075baad72bc603f714dd (MD5) Previous issue date: 2017-03-02
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
Games are propitious environments for the appearing of new behavior patterns (emergence). It’s necessary to comprehend the nature of these changes taking into account demands and their modifying potential on this process. To support this trajectory, concepts of emergence were presented back from classical sciences to contemporary studies which touch metadesign and game design. This dissertation aims to investigate the phenomenon of emergence in digital games, encompassing the utilization of projective resources that can increase the interactivity and potentiate this process. The research involves literature review, articulation of concepts of complex adaptive system (CAS), emergence incidence in game design and the analysis of three selected objects: Tibia, PokemonGO and The Sims. The perspectives of metadesign usage and artificial intelligence are highlighted as propeller resources of new behaviors. The context, phenomenon and tool relation is discussed concerning: complex adaptive systems, emergence and artificial intelligence. This dissertation concludes that the usage of methodologies which incorporate metadesign and the gamer as codesigner are more appropriate when dealing with the emergent character of games. Furthermore, the use of artificial intelligences expands the possibilities of interaction in the game, multiplying the number of active agents in the system.
Jogos são ambientes propícios ao surgimento de novos padrões de comportamento (emergência). Faz-se necessário compreender a natureza dessas mudanças observando-se as demandas e seu potencial modificador nesse processo. Para embasar esta trajetória foram apresentados conceitos de emergência desde as ciências clássicas até estudos contemporâneos que tangenciam o metadesign e o design de jogos. Esta dissertação tem o objetivo de investigar o fenômeno da emergência nos jogos digitais, abordando a utilização de recursos projetuais que possam aumentar a interatividade e potencializar esse processo. A pesquisa envolve revisão bibliográfica, articulação dos conceitos de sistemas complexos adaptativos (SCA), incidência de emergência no design de games e a análise de três objetos selecionados: Tibia, PokemonGo e The Sims. Destacam-se as perspectivas de uso de metadesign e inteligência artificial como recursos propulsores de novos comportamentos. Discute-se a relação contexto, fenômeno e ferramenta como: sistemas complexos adaptativos, emergência e inteligência artificial. Conclui-se que o uso de metodologias que incorporam metadesign e o jogador como codesigner são mais adequadas para lidar com o caráter emergente dos jogos. Além disso, o uso de inteligências artificiais amplia as possibilidades de interação no jogo, multiplicando a quantidade de agentes ativos no sistema.
32
Bränström, Niclas. "Minimalist design for children’s games." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22638.
Full textAbstract:
The aim of this report is to see whether the graphic design of a game influences children’s will to play games. I am especially looking at minimalist graphic design and how well it works for a game aimed at children age 7-9. Does the style of the game design have any impact at all concerning the children’s wish to play the game or is the game mechanic all that matters. The final results concluded that although the graphic design plays a part in the children’s willingness to play the game the game mechanics are by far the biggest factor in whether children will play the game or not.
33
Afram, Rabi. "Puzzle Design in Adventure Games." Thesis, Högskolan på Gotland, Institutionen för speldesign, teknik och lärande, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hgo:diva-1916.
Full textAbstract:
This thesis investigates the level of difficulty of puzzles in the adventure games and the implications thereof. The thesis contains an in-depth background, and a brief history about the genre. It brings up the main problem of the genre and looks into both the cause and effect that follows. To support this process, an analysis has been made of design documents and a survey was issued on the subject of adventure game puzzles.
34
Bergqvist, Emil. "Auditory displays : A study in effectiveness between binaural and stereo audio to support interface navigation." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-10072.
Full textAbstract:
This thesis analyses if the change of auditory feedback can improve the effectiveness of performance in the interaction with a non-visual system, or with a system used by individuals with visual impairment. Two prototypes were developed, one with binaural audio and the other with stereo audio. The interaction was evaluated in an experiment where 22 participants, divided into two groups, performed a number of interaction tasks. A post-interview were conducted together with the experiment. The result of the experiment displayed that there were no great difference between binaural audio and stereo regarding the speed and accuracy of the interaction. The post-interviews displayed interesting differences in the way participants visualized the virtual environment that affected the interaction. This opened up interesting questions for future studies.
35
Klimas, Matthew L. "Argent Sound Recordings: Multimodal Storytelling." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/795.
Full textAbstract:
ARGENT SOUND RECORDINGS explores the integration of visual, written and sonic elements to tell a story. "The Silver Bell," a fairy tale, is delivered through the internet providing users an opportunity to experience and interpret a constructed narrative under the guise of an independent record label website.
36
Franinović, Karmen. "Amplifying actions : towards enactive sound design." Thesis, University of Plymouth, 2013. http://hdl.handle.net/10026.1/1496.
Full textAbstract:
Recently, artists and designers have begun to use digital technologies in order to stimulate bodily interaction, while scientists keep revealing new findings about sensorimotor contingencies, changing the way in which we understand human knowledge. However, implicit knowledge generated in artistic projects can become difficult to transfer and scientific research frequently remains isolated due to specific disciplinary languages and methodologies. By mutually enriching holistic creative approaches and highly specific scientific ways of working, this doctoral dissertation aims to set the foundation for Enactive Sound Design. It is focused on sound that engages sensorimotor experience that has been neglected within the existing design practices. The premise is that such a foundation can be best developed if grounded in transdisciplinary methods that bring together scientific and design approaches. The methodology adopted to achieve this goal is practice-based and supported by theoretical research and project analysis. Three different methodologies were formulated and evaluated during this doctoral study, based on a convergence of existing methods from design, psychology and human-computer interaction. First, a basic design approach was used to engage in a reflective creation process and to extend the existing work on interaction gestalt through hands-on activities. Second, psychophysical experiments were carried out and adapted to suit the needed shift from reception-based tests to a performance-based quantitative evaluation. Last, a set of participatory workshops were developed and conducted, within which the enactive sound exercises were iteratively tested through direct and participatory observation, questionnaires and interviews. A foundation for Enactive Sound Design developed in this dissertation includes novel methods that have been generated by extensive explorations into the fertile ground between basic design education, psychophysical experiments and participatory design. Combining creative practices with traditional task analysis further developed this basic design approach. The results were a number of abstract sonic artefacts conceptualised as the experimental apparatuses that can allow psychologists to study enactive sound experience. Furthermore, a collaboration between designers and scientists on a psychophysical study produced a new methodology for the evaluation of sensorimotor performance with tangible sound interfaces.These performance experiments have revealed that sonic feedback can support enactive learning. Finally, participatory workshops resulted in a number of novel methods focused on a holistic perspective fostered through a subjective experience of self-producing sound. They indicated the influence that such an approach may have on both artists and scientists in the future. The role of designer, as a scientific collaborator within psychological research and as a facilitator of participatory workshops, has been evaluated. Thus, this dissertation recommends a number of collaborative methods and strategies that can help designers to understand and reflectively create enactive sound objects. It is hoped that the examples of successful collaborations between designers and scientists presented in this thesis will encourage further projects and connections between different disciplines, with the final goal of creating a more engaging and a more aware sonic future.
37
Miranda, Eduardo Reck. "Sound design : an artificial intelligence approach." Thesis, University of Edinburgh, 1995. http://hdl.handle.net/1842/20692.
Full textAbstract:
Modern computer technology enables the production of a virtually limitless variety of sounds by providing substantial access to the parameter settings of synthesis algorithms. However, the design of sounds using a synthesis algorithm is still accomplished in a very old-fashioned way: by feeding the algorithm with streams of numerical data. Furthermore, these numbers are usually worked out manually. For example, a composer who works with the Csound synthesis programming language must master Csound for implementing a synthesis algorithm and also specify all the input parameter values for the production of every single sound. Depending on the complexity of the algorithm, there might be cases where over a hundred parameters need to be specified for each sound event. In such a situation the imagination of the composer can easily become vulnerable to time-consuming, non-musical tasks. We argue that the power of the computer could also provide better ways for the composer to express his requests to the synthesis algorithm at hand and moreover, provide appropriate aid for the exploration of sonic ideas. To this end, we propose an Artificial Intelligence (AI) approach to sound design systems, which focuses on sound design as a knowledge-based kind of intelligent behaviour. We consider that sound design involves the explicit organisation, application and generation of knowledge. AI is aimed here at helping the composer to handle this knowledge by means of suitable knowledge representation and machine learning techniques.
38
Wöhrman, Sebastian, and Nael Ningalei. "The Impact of Sound on Player Experience - A literature study on how players experience the encounter with sound in horror-games." Thesis, Malmö universitet, Fakulteten för teknik och samhälle (TS), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-20142.
Full textAbstract:
Player decision modeling can provide useful guidance to understand player performance in games. This information is used to increase consideration of player characteristics from the user’s perspective and develop more user-centered video games. This paper presents an initial proposal of a factor such as sound that may be considered when developing games, to see if horror games are facing challenges related to sound aspects of the game. Through related work, experiments, interviews and observations this paper aims to answer how sound in horror-games changes our gameplay experience as well as what impact the absence of sound has on a horror-game. We also present the results of this field study and present some suggestions for future research.
39
Tenzer, Jennifer. "Exploration games for UML software design." Thesis, University of Edinburgh, 2006. http://hdl.handle.net/1842/862.
Full textAbstract:
The Unified Modeling Language (UML) has become the standard language for the design of object-oriented software systems over the past decade. Even though there exist various tools which claim to support design with UML, their functionality is usually focused on drawing UML diagrams and generating code from the UML model. The task of choosing a suitable design which fulfils the requirements still has to be accomplished by the human designer alone. The aim of this thesis is to develop concepts for UML design tools which assist the modeller in improving the system design and requirements incrementally. For this approach a variant of formal games called exploration games is introduced as underlying technique. Exploration games can be defined on the basis of incomplete and imprecise UML models as they occur frequently in practice. The designer repeatedly plays an exploration game to detect flaws or incompleteness in the design and its specification, which are both incorporated in the game definition. At any time the game definition can be incremented by the modeller which allows him to react to the discoveries made during a play and experiment with new design solutions. Exploration games can be applied to UML in different variants. For each variant must be specified how the UML diagrams are used to set up the game and how the semantic variation points of UML should be interpreted. Furthermore some parts of the game definition may not be contained in the UML model and have to be provided separately. The emphasis of this thesis is on game variants which make use of UML diagrams for modelling system behaviour, especially state machines and activity diagrams. A prototypical implementation demonstrates how the concepts developed in this thesis can be put into practice. The tool supports the user in defining, playing and incrementing a game. Moreover it can compute winning strategies for the players and may act as opponent of the modeller. As example a game variant based on UML state machines has been implemented. The architecture that has been chosen for the tool leaves room for extension by additional game variants and alternative algorithms.
40
Casarini, Marcel. "Arquitetura e level design nos games." Pontifícia Universidade Católica de São Paulo, 2014. https://tede2.pucsp.br/handle/handle/18158.
Full textAbstract:
Made available in DSpace on 2016-04-29T14:23:32Z (GMT). No. of bitstreams: 1
Marcel Casarini.pdf: 36381730 bytes, checksum: d8063dc57f4acd40b7afe9ffe3408a6f (MD5)
Previous issue date: 2014-09-22With virtual spaces becoming increasingly present in our daily lives, it is necessary to further understand the relationship that man to possess with this virtual space, as he understands it and how he can build it. As the massive use of games, these will be the object of analysis, since much of the virtual experience occurs in them. This research sought to establish the relationship between the factual and digital spaces in games in order to benefit the development levels of the game from the knowledge developed in architectural studies. The research is based on the thoughts of Mark Vitruvius, Martin Heidegger, Umberto Eco, Grant Hildebrand, Ernst Gombrich, Luís Carlos Petry, Nelson Brissac Peixoto and Lev Manovich, among others. The hypothesis of this study is that despite the differences between the factual and the virtual space, both can use the same concepts and methodology to be created, since they can also inhabited and are perceived similarly. Thus, in the first chapter of the research we tried to present a mimesis of the three-dimensional world in various media: painting, technical drawing and film, since they contributed to the understanding of the representation of virtual spaces. In the second chapter, we worked the relations of space for it actants with these environments and the relationship between user-architectural, who inhabits the factual space and the viewer-interactor, who inhabit the virtual environment, in addition to the concepts of navigable spaces, immersion and avatar, all important for reading the digital space and the development of their relationship to the factual space. Finally, in the third chapter, we performed a case study of the game "The Last of Us" from architectural concepts and design level and in relation to conceptual and methodological development part. Soon after, it was discussed directly the relationship between architecture and level design, and this time with the focus on the form of the creation of spaces, and how this is understood by the person who inhabits it. In the last part of the paper discussed the concept of architectural level design, which presents some ways of thinking about architecture and its relationship with the level design. From this conceptualization, we propose a development methodology architecture design level
Arquitetura e Level Design nos Games Com os espaços virtuais tornando-se cada vez mais presentes no nosso cotidiano, faz-se necessário um estudo mais aprofundado para entender a relação que o homem possuí para com este espaço virtual, como ele o entende e como ele pode construir. Como o uso massivo de games, estes serão o objeto de análise, pois boa parte da vivência virtual se dá nos mesmos. Nesta pesquisa buscou-se estabelecer a relação entre os espaços fáticos e digitais nos games com o intuito de beneficiar o desenvolvimento de níveis dos jogos a partir do conhecimento desenvolvido em estudos de arquitetura. A pesquisa tem como base os pensamentos de Marcos Vitrúvio, Martin Heidegger, Umberto Eco, Grant Hildebrand, Ernst Gombrich, Luís Carlos Petry, Nelson Brissac Peixoto e Lev Manovich, dentre outros. A hipótese desta pesquisa é que apesar das diferenças entre o espaço fático e o virtual, ambos podem utilizar os mesmos conceitos e metodologia para serem criados, uma vez que também podem são percebidos e habitados de forma semelhante. Desta forma, no primeiro capítulo da pesquisa buscou-se apresentar uma mimese do mundo tridimensional em diversos suportes: na pintura, no desenho técnico e cinema, já que eles contribuíram para o entendimento da representação dos espaços virtuais. No segundo capítulo trabalhou-se as relações dos actantes do espaço para com estes ambientes e a relação entre o usuário-arquitetônico, aquele que habita o espaço fático e o espectador-interator, aquele que habita o ambiente virtual, além dos conceitos de espaço navegável, imersão e avatar, todos importantes para a leitura do espaço digital e para a elaboração de sua relação para com o espaço fático. Por fim, no terceiro capítulo, realizou-se um estudo de caso do jogo The Last of Us a partir de conceitos arquitetônicos e de design de nível e em relação à parte conceitual e metodológica de desenvolvimento. Logo após, discutiu-se diretamente a relação entre arquitetura e design de nível e, desta vez com o foco na forma de criação dos espaços, e em como este é compreendido pelo sujeito que o habita. Na última parte do trabalho discutiu-se o conceito de projeto de arquitetura de nível, onde são apresentados alguns modos de se pensar arquitetura e suas relações com o design de nível. A partir desta conceituação é proposta uma metodologia de desenvolvimento de projeto de arquitetura de nível.
41
Bates, M. I. "Student participation in serious games design." Thesis, Nottingham Trent University, 2011. http://irep.ntu.ac.uk/id/eprint/271/.
Full textAbstract:
Serious games can be defined simply as games with an educational intent. These games are regularly positioned within a curriculum as simple teaching agents and often lack meaningful participation from learners in their development. In 1992, Roger Hart proposed a model for the roles children play in participatory projects with adults. ‘Hart’s Ladder’ presents eight levels of children’s participation moving from tokenistic manipulation of children at the base of this ladder to ‘citizenship’ at the top where children can initiate and share activities with adults. This research contributes to knowledge on methods of integrating serious games into formal educational settings by investigating how children, as participants, can work with their educators, as facilitators, to create serious games for use by their peers. Exploratory field studies have worked with secondary school children (11-16 years) to evaluate the hypothesis that higher levels of participation of children in making serious games will produce more effective educational artefacts. Educational artefacts are context specific to each study but encompass the product and accreditation of the process by participants, facilitators and all stakeholders involved. Experimental work has investigated methods of facilitating a participatory serious games design project led by children with adults in a supportive role at level eight of Hart’s Ladder. Results are compared with a design project led by adults who inform and assign specific roles to children (level four) and finally a revised design project led by adults who share decisions with children (level six). The participatory design approach is also applied to a serious games design project with adult offenders (considered students of an educational probation programme) to evaluate its scalability to a wider demographic of learner. The research concludes that simply increasing the participation of students in making serious games does not consistently produce more effective educational artefacts. Rather, the positioning of learners and adults as ‘design partners’ at level six of Hart’s Ladder produces a more engaging and productive design process together with a more functional and client-sensitive serious game product.
42
Areizaga, Ander. "Programming learning games : Identification of game design patterns in programming learning games." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-17230.
Full textAbstract:
There is a high demand for program developers, but the dropouts from computer science courses are also high and course enrolments keep decreasing. In order to overcome that situation, several studies have found serious games as good tools for education in programming learning. As an outcome from such research, several game solutions for programming learning have appeared, each of them using a different approach. Some of these games are only used in the research field where others are published in commercial stores. The problem with commercial games is that they do not offer a clear map of the different programming concepts. This dissertation addresses this problem and analyses which fundamental programming concepts that are represented in commercial games for programming learning. The study also identifies game design patterns used to represent these concepts. The result of this study shows topics that are represented more commonly in commercial games and what game design patterns are used for that. This thesis identifies a set of game design patterns in the 20 commercial games that were analysed. A description as well as some examples of the games where it is found is included for each of these patterns. As a conclusion, this research shows that from the list of the determined fundamental programming topics only a few of them are greatly represented in commercial games where the others have nearly no representation. This shows potential spots for future research in games for programming teaching.
43
Tiger, Guillaume. "Synthèse sonore d'ambiances urbaines pour les applications vidéoludiques." Thesis, Paris, CNAM, 2014. http://www.theses.fr/2015CNAM0968/document.
Full textAbstract:
Suite à un état de l'art détaillant la création et l'utilisation de l'espace sonore dans divers environnements urbains virtuels (soundmaps, jeux vidéo, réalité augmentée), il s'agira de déterminer une méthodologie et des techniques de conception pour les espaces sonores urbains virtuels du point de vue de l'immersion, de l'interface et de la dramaturgie.ces développements se feront dans le cadre du projet terra dynamica, tendant vers une utilisation plurielle de la ville virtuelle (sécurité et sureté, transports de surface, aménagement de l'urbanisme, services de proximité et citoyens, jeux). le principal objectif du doctorat sera de déterminer des réponses informatiques concrètes à la problématique suivante : comment, en fonction de leur utilisation anticipée, les espaces sonores urbains virtuels doivent-ils être structurés et avec quels contenus?la formalisation informatique des solutions étayées au fil du doctorat et la création du contenu sonore illustrant le projet seront basés sur l'analyse de données scientifiques provenant de domaines variés tels que la psychologie de la perception, l'architecture et l'urbanisme, l'acoustique, la recherche esthétique (musicale) ainsi que sur l'observation et le recueil de données audio-visuelles du territoire urbain, de manière à rendre compte tant de la richesse du concept d'espace sonore que de la multiplicité de ses déclinaisons dans le cadre de la ville virtuelleIn video gaming and interactive media, the making of complex sound ambiences relies heavily on the allowed memory and computational resources. So a compromise solution is necessary regarding the choice of audio material and its treatment in order to reach immersive and credible real-time ambiences. Alternatively, the use of procedural audio techniques, i.e. the generation of audio content relatively to the data provided by the virtual scene, has increased in recent years. Procedural methodologies seem appropriate to sonify complex environments such as virtual cities.In this thesis we specifically focus on the creation of interactive urban sound ambiences. Our analysis of these ambiences is based on the Soundscape theory and on a state of art on game oriented urban interactive applications. We infer that the virtual urban soundscape is made of several perceptive auditory grounds including a background. As a first contribution we define the morphological and narrative properties of such a background. We then consider the urban background sound as a texture and propose, as a second contribution, to pinpoint, specify and prototype a granular synthesis tool dedicated to interactive urban sound backgrounds.The synthesizer prototype is created using the visual programming language Pure Data. On the basis of our state of the art, we include an urban ambiences recording methodology to feed the granular synthesis. Finally, two validation steps regarding the prototype are described: the integration to the virtual city simulation Terra Dynamica on the one side and a perceptive listening comparison test on the other
44
Daregård, Thörnqvist Adam, and Oskar Aronsson. "The Sound of Learning : Supporting the learning in games with Auditory Icons and Earcons." Thesis, Blekinge Tekniska Högskola, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-16498.
Full textAbstract:
The purpose of the survey is to answer the following question: How is the learning process in digital games affected by an informative sound design? The survey analyzes the adaptation of sound design in digital games for optimized learning regarding the digital environment's responses to the actor's interaction. The work investigates actors' decisions in a digital environment and the changes in decision after a change in sound design. The study resulted in a reinforced perception when auditory icons occurred in a non-representative environment, these interactions were recorded and recalled to a greater extent in relation to remaining auditory methods. Analysis of Kolb's learning patterns in a digital environment enhanced by informative sound design was documented in the following steps: observation of interaction, reflection on interaction, implementation of hypothesis on a similar interaction, reflection on differences and similarities of varying results of interaction.Undersökningens syfte är att besvara följande frågeställning: Hur påverkas inlärningsprocessen i digitala spel med hjälp av en informativ ljuddesign?Undersökningen analyserar anpassning av ljuddesign i digitala spel för en optimerad inlärning gällande den digitala miljöns reaktioner till aktörers interaktion. Arbetet undersöker aktörers beslut i en digital miljö och förändringarna i beslut efter en förändring i ljuddesign.Undersökningen resulterade i en förstärkt uppfattningsförmåga då Auditory Icons uppstod i en icke-representativ miljö, dessa interaktioner registrerades och återkallas i en större omfattning i förhållande till resterande auditiva metoder.Analys av Kolb’s inlärningsmönster i en digital miljö stärkt av informativ ljuddesign dokumenterades i följande steg: observation av interaktion, reflektion över interaktion, implementation av hypotes på en liknande interaktion, reflektion över skillnader och likheter av varierande resultat av interaktion.
45
Zagal, José Pablo. "Supporting learning about games." Atlanta, Ga. : Georgia Institute of Technology, 2008. http://hdl.handle.net/1853/24814.
Full textAbstract:
Thesis (Ph.D.)--Computing, Georgia Institute of Technology, 2008.Committee Chair: Bruckman, Amy; Committee Member: Guzdial, Mark; Committee Member: Juul, Jesper; Committee Member: Kolodner, Janet; Committee Member: Mateas, Michael.
46
Hansson, Aneer Sebastian, and Douglas Gidlöf. "Social Insecurity & Games : Games for self-reflection." Thesis, Blekinge Tekniska Högskola, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-14650.
Full textAbstract:
This is a study of how games can be used to encourage self-reflection. The study uses Everyday-Social Anxiety to establish a base point from which to make a game. During the study a game was developed using the research found. The game uses mechanics in order to link the player to the games protagonist. This link is then used in an attempt to encourage the player to self-reflect. Known design methods are used as guidelines of how the study and game is made. These methods originate from both game design and design of informative systems (such as servers). Some psychology sources are used in order to gather an understanding of what Social Anxiety is and how it affects people, the focus however, lies on the subject of Media technology and game development. The study concludes with results and a discussion. In the discussion the entirety of the study is motivate and reflected over by the authors. The results are specifically presented in a conclusion, presenting what was done, and what the study led to.LIVET.exe
47
Novais, Ana Maria Teixeira Duarte de Sousa. "Play sound system." Master's thesis, Universidade de Lisboa. Faculdade de Arquitetura, 2015. http://hdl.handle.net/10400.5/12449.
Full textAbstract:
Dissertação apresentada na Universidade de Lisboa - Faculdade de Arquitetura, para obtenção do grau de Mestre em Design de Produto.A consciência da importância de espaços públicos dedicados a crianças no seu desenvolvimento integral, tem vindo a crescer desde os finais do século XIX. Esta importância aumenta quando nos deparamos com algumas transformações na nossa sociedade como a redução do tamanho das famílias e a diminuição dos espaços domésticos para brincar, entre outras. Paralelamente, há um crescimento do mercado de brinquedos e equipamentos lúdico-pedagógicos de teor científico. Assim, na presente dissertação, pretende-se projectar um sistema de equipamentos urbanos lúdicos para o público infantil que englobe música e os benefícios desta, com o objectivo de associar o conhecimento a uma actividade lúdica, facilitar a aprendizagem e, ao mesmo tempo, promover o exercício físico e o desenvolvimento social. Sendo uma dissertação de teor prático, recorrer-se-á a uma metodologia mista. Primeiramente não intervencionista de observação directa, recolha e organização da literatura e numa segunda fase, intervencionista, a investigação activa, que consiste no projecto do sistema que será confrontada com diversos especialistas. Teve-se como objectivo projectar um sistema que leve à interacção com a música contribuindo para uma melhor relação entre as crianças e o conhecimento facilitando-lhes a aprendizagem. Assim esperamos contribuir para um maior conhecimento nas áreas do design de equipamentos infantis e criar um sistema passível de ser divulgado e comercializado mais tarde.
ABSTRACT: The awareness of the importance of public spaces dedicated to children in their full development has been growing since the late nineteenth century. This importance increases when we face with some changes in our society such as the reducing size of families and domestic space to play, among other. In parallel, there is also a growth of recreational and educational toys and equipment for scientific content market. Thus, in the present work, we intend to design an urban recreational equipment system for children that embraces music and its benefits in order to link knowledge to a recreational activity, facilitate learning and, at the same time, promoting exercise and social development. Being a practical dissertation, it will be applied a mixed methodology. First non-interventional of direct observation, gathering and organizing literature. In a second stage an interventional one through active interventional research, which consists in the designing of the system that will be confronted with different experts. The objective is to lead to the interaction with music contributing to a better relationship between children and knowledge and facilitating their learning. We hope to collaborate for a better knowledge in children equipment design area and create a system that can be marketed later.
48
Justin, Rodriguez. "Visually sound : an exploration of design + music /." Click here to view, 2009. http://digitalcommons.calpoly.edu/artsp/20.
Full textAbstract:
Thesis (B.F.A.)--California Polytechnic State University, 2009.Project advisor: Charmaine Martinez . Title from PDF title page; viewed on Jan. 21, 2010. Includes bibliographical references. Also available on microfiche.
49
FERRANTI, MARCELO PEDRUZZI. "SOUND AS A PROJECT TOOL IN DESIGN." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2018. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=35590@1.
Full textAbstract:
PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROA pesquisa propõe uma série de métodos e princípios para explorar o som em um processo projetual de design. Questões relativas aos aspectos sonoros parecem ser negligenciadas durante o processo projetual de design. Como poderia um designer, mesmo sem um treinamento formal acerca do som, utilizar o som em seus projetos de uma forma construtiva, intencional e objetiva? Para responder a essa pergunta, investigamos o impacto das mudanças sofridas pelas paisagens sonoras nas últimas décadas, ocasionadas pela industrialização e mecanização da sociedade. O impacto e a percepção dessas sonoridades pelo indivíduo também são discutidos, utilizando-se, para isso, os conhecimentos provenientes da acústica, psico-acústica e os mecanismos atencionais. Mapeamos, também, o estado da arte, evolução e aplicação desses sons em diferentes campos do saber, tais como a interação homem-computador, sonic interaction design, cinema e a musicologia, com a finalidade de obtermos um recorte teórico acerca do som que seja pertinente ao campo do design. Como resultado dessa exploração, propomos um conjunto de princípios norteadores e de métodos exploratórios sonoros para prototipar o som para o design. Por fim, aplicações e desdobramentos futuros em relação ao uso desses princípios e métodos são sugeridos.
This research proposes a number of methods and principles to explore the sound in a design process. Issues related to sound aspects seems to be neglected during the design process. So, how could a designer, even without a formal sound or musical training, use sound in the projects in a constructive, intentional and objective way? In order to answer this question, we investigated the impact of changes in sound landscapes in the last decades, caused by the industrialization and mechanization of society, which made it possible to dissociate the sound from its emitter, allowing the former one to be manipulated, examined and dissected. The impact and perception of sounds by individuals are also discussed. To do so, the knowledge coming from acoustics, psychoacoustics and attentional mechanisms are used. We also mapped the state of the art, evolution and, application of these sounds in different fields of knowledge, such as human-computer interaction, sonic interaction design, cinema, and musicology, with the purpose of obtaining a relevant contribution to the design field. As a result of this exploration, we propose a set of guiding principles and exploratory methods for sounds as audible affordances for design. Finally, future applications and studies in relation to the use of these principles and methods are suggested.
50
Lehecka, Kurt S. "Aural Design: Merging of Sound and Space." University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1491313819383138.
Full text