An Acoustic Communication Framework for Game Sound: Fidelity, Verisimilitude, Ecology

An Acoustic Communication Framework for Game Sound: Fidelity, Verisimilitude, Ecology

Milena Droumeva (Simon Fraser University, Canada)
DOI: 10.4018/978-1-61692-828-5.ch007
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Abstract

This chapter explores how notions of fidelity and verisimilitude manifest historically both as global cultural conventions of media and technology, as well as more specifically as design goals in the production of sound in games. By exploring these two perspectives on acoustic realism through the acoustic communication framework with its focus on patterns of listening over time, acoustic communities, and ecology, I hope to offer a model for future theorizing and exploration of game sound and a lens for in-depth analysis of specific game titles. As a novel contribution, this chapter offers a set of listening modes that are derived from and describe attentional stances towards historically diverse game soundscapes in the hopes that we may use these to not only identify but also evaluate the relationship between gaming and culture.
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The Acoustic Communication Model: Background And Relevance To Game Sound

The concept of acoustic communication articulated by Truax (2001) is a framework that attempts to bring multi-disciplinary perspectives into the study of sound reception as well as sound production and that provides a structure for analyzing and understanding the role of sound in contemporary culture, in media, and in technology. Its roots lie in the tradition of acoustic ecology that was the basis of Schafer's work in the late 1960s and 1970s: work that is already referenced by several authors (Grimshaw, 2008; Hug, 2011). The following history helps contextualize and focus the particular perspective that acoustic communication has taken on.

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