- List of Common Acronyms Found in the <i>Handbook</i>
- List of Software Found in the <i>Handbook</i>
- List of Games Found in the <i>Handbook</i>
- List of Contributors
- About the Companion Website
- Spatial Reconfiguration in Interactive Video Art
- Navigating Sound: Locative and Translocational Approaches to Interactive Audio
- Defining Sound Toys: Play as Composition
- Thinking More Dynamically about Using Sound to Enhance Learning from Instructional Technologies
- Acoustic Scenography and Interactive Audio: Sound Design for Built Environments
- The Unanswered Question of Musical Meaning: A Cross-domain Approach
- How Can Interactive Music be Used in Virtual Worlds Like <i>World of Warcraft</i>?
- Sound and the Videoludic Experience
- Designing a Game for Music: Integrated Design Approaches for Ludic Music and Interactivity
- Worlds of Music: Strategies for Creating Music-based Experiences in Videogames
- Embodied Virtual Acoustic Ecologies of Computer Games
- A Cognitive Approach to the Emotional Function of Game Sound
- The Sound of Being There: Presence and Interactive Audio in Immersive Virtual Reality
- Sonic Interactions in Multimodal Environments: An Overview
- Musical Interaction for Health Improvement
- Engagement, Immersion and Presence: The Role of Audio Interactivity in Location-aware Sound Design
- Multisensory Musicality in <i>Dance Central</i>
- Interactivity and Liveness in Electroacoustic Concert Music
- Skill in Interactive Digital Music Systems
- Gesture in the Design of Interactive Sound Models
- Virtual Musicians and Machine Learning
- Musical Behavior and Amergence in Technoetic and Media Arts
- Flow of Creative Interaction with Digital Music Notations
- Blurring Boundaries: Trends and Implications in Audio Production Software Developments
- Delivering Interactive Experiences through the Emotional Adaptation of Automatically Composed Music
- A Review of Interactive Sound in Computer Games: Can Sound Affect the Motoric Behavior of a Player?
- Interactive Spectral Processing of Musical Audio
- Let’s Mix it Up: Interviews Exploring the Practical and Technical Challenges of Interactive Mixing in Games
- Our Interactive Audio Future
- For the Love of Chiptune
- Procedural Audio Theory and Practice
- Live Electronic Preparation: Interactive Timbral Practice
- New Tools for Interactive Audio, and What Good they Do
Abstract and Keywords
The chapter examines the emotional power or nonmusical sound in games, and addresses the way sound effects are used to shape the overall game experience. In the majority of games, sound is used together with other game elements, and often its role is greatest as an unconscious affective modifier. Drawing on theories from cognitive psychology, psychoacoustics, and the neuroscience of emotion, the chapter offers a comprehensive explanation of the cognitive processes that determine the emotional quality of game sound. It traces the way the brain employs audio information in multimodal perception, how sound guides reasoning in narrative comprehension and goal-driven action, and how affective reactions triggered by associative reasoning come to influence the emotional outcome of gaming.
Inger Ekman earned her M.Sc. in computer science from the University of Tampere in 2003. Since then, she has worked at teaching and researching the experiential aspects of gaming and interactive media at University of Tampere and Aalto University. Currently, she is pursuing a doctoral degree on game sound. Her research interests combine design practice and UX research with theoretic approaches grounded in psychoacoustics and emotion theory. She has published on game experience in journals such as Gaming and Virtual Worlds, Simulation & Gaming, Computer & Graphics, in books, and numerous conference proceedings.
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