The core challenge of this section of the game is to avoid the shockwave, which is a design decision that has implications regarding the level geometry. These ludic functions of sound are unique to the medium of video games, and INSIDE provides a valuable case-study in combining multiple functions using the single core mechanic of persistently looping audio. The “musical suture” (Kamp, in: Ludomusicology: approaches to video game music, Equinox, Sheffield, 2016) created by continuously looping audio during death and respawn is also examined with regards to immersing the player within an evolving soundscape.Ĭollins ( 2008) posits that interactive games must ensure that the player hears sounds that provide feedback based on their actions, instruct them as to their objectives, and orientate them within the world of the game. The concept of spectromorphology proposed by Smalley (Organised Sound 2(2):107–126, 1997) is used to analyse the way in which musical cues can retain ludic functionality and promote immersion in the absence of diegetic sound design. This paper uses this aspect of the soundtrack as a case study, examining the effects of looping sound effects and abstract musical cues on player immersion, ludic functionality, and episodic engagement. Released on Microsoft Windows, Playstation 4, Xbox One, Nintendo Switch and iOS, 2016) features a gameplay section in which rhythmic audio cues loop continuously both during gameplay and after player death. The manner in which soundscapes evolve and change during gameplay can have many implications regarding player experience.
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