Learning Outcomes

By the end of the lesson, you will be able to: -

• Identify the different contexts in which sound is used by games.

• Explain how sound can be used to communicate information and emotion.

• Articulate the use of sound design theories as they relate to games.

Question:Where would you expect to find sound in games?

Sound Elements

• Gameplay and mechanics

• Cutscenes and cinematics

• Menus and interfaces

• Title screens and credits

Music Sound Effects Voice

Sound Examples

Music Sound Effects Voice

Battle

Ambient

Radio Stations

Puzzle Solving

Environment

Character

Weapons

Navigation

Dialogue

Tutorial

Narration

Incidental

Sound Examples

Communication

• We have already established that the subjective quality of sound can be used to communicate with an audience.

• It can be used to illicit an emotional response in concert with other narrative elements.

• It can also be used to convey different types of information or messages to the player.

Interface Sounds

• A common use of informative audio is in user interfaces.

• The system needs to quickly communicate the results or status of user activity, often without the aid of visuals.

• The characteristics of the sound reflect the message that it is trying to communicate.

Sound Generation

• Using BFXR, create a set of informative sounds which represent the following system messages: -

• Log In, Log Out, Attention, Correct, Incorrect

• Export the complete sounds and challenge someone to identify the intended message of each one.

Context

• Our association with certain types of sounds can also add context to ideas, settings and narratives.

• For example, these kinds of sounds immediately communicate high-tech, futuristic or science fiction themes.

• They can also communicate ideas about brands; the startup sounds for the GameCube and PlayStation 3 tell you something about Nintendo and Sony respectively.

Music & Emotion

• Music is a powerful tool in evoking emotion from an audience.

• Listen to the three following themes; what do they tell you about the games they are from?

• Can you guess what kind of gameplay or narrative genre they possess? How do they make you feel? Why?

Game Gameplay Themes

FableExploration

Magic & SwordplayRoleplaying

FantasyAdventure

Good vs. Evil

Sim CityConstructionEconomicsSimulation

RealityProgress

Commerce

Gears of WarPoint-to-Point BattleHeavy LocomotionCover & Gunplay

Science FictionMilitaryLoss

Music Examples

Element Definition Emotion

Tempo The speed or pace Fast Tempo: Happiness, excitement or anger Slow Tempo: Sadness, serenity

Mode The type of scale Major Scale: Happiness, joy Minor Scale: Sadness

Loudness The amplitude or volume High Volume: Intensity, power, angerLow Volume: Relaxation, timidness

Melody The linear sequence of notes Complementing Harmonies: Relaxation, serenityClashing Harmonies: Excitement, unpleasantness

Rhythm The pattern or beatConsistent Rhythm: Happiness, peace

Irregular Rhythm: Amusement, uneasinessVaried Rhythm: Joy

Music Elements

Audio Signatures

• Narrative can be enhanced through signature audio; recurring sounds or musical themes which represent specific characters.

• The theme from Jaws and the Imperial March from Star Wars represent two well-known examples from film.

• They amplify and highlight character presence, communicating personality and intent.

Law & Order

• Law & Order is an American police procedural and legal drama.

• A sound known as ‘The Clang’ is played between scenes when the plot advances, giving the audience a sense of immediacy.

• It is composed of over a dozen different sounds, many of which are associated with them themes of the show including a judge’s gavel and a jail door closing.

Leitmotif

• Occasionally, variations on a theme will be used to represent a character, place or idea throughout a narrative.

• This is known as a leitmotif; it uses a recurrent musical phrase or melody, but alters characteristics such as mode or tempo as required by the story.

• LA Noire has an established theme which is then used to create a leitmotif associated with Cole Phelps’ character arc.

Sound Diegesis

• Sound used in games, film and television can be classified as being either diegetic or non-diegetic.

• This relates to the way sound is used within the narrative; diegesis translates to ‘narrator’ in Greek.

• Most games have combination of both diegetic and non-diegetic sounds.

Diegetic Sound

• Sound which is implied to exist within the game environment is diegetic.

• This encompasses actions such as gun shots, character voices or music from an evident source.

• Another way of thinking about diegetic sound is as actual sound; it must come from something happening on or off screen.

Non-Diegetic Sound

• Sound which exists outside of the game environment is non-diegetic.

• This includes suspenseful or dramatic music, a narrator’s commentary or sound cues without an evident source.

• Another way of thinking about non-diegetic sound is as commentary sound; it is used to enhance the audience experience.

Sound Diegesis

• Some games blur the line between diegetic and non-diegetic sound to create interesting and unpredictable narratives.

• In both The Stanley Parable and Bastion, the narrators describe what is happening but also react to player actions and influence the story.

Interactive Audio

• Film and television use linear audio; sound which has been specifically edited and synchronised so that the audience experiences it in exactly the same way every time it is heard.

• Many modern games make use of adaptive or interactive audio; sound which is reactive to player actions or other emergent elements.

• Software such as FMOD allows the characteristics of sound or music to be altered in real-time.

Adaptive Environments

• An audio designer can define the acoustic characteristics of an environment, as well as decide where different sounds will emit from.

• These characteristics will match the visuals; as the player moves toward or away from an object, its emitted sound will increase or decrease in volume. Similarly, a gunshot will generate more reverb in an enclosed space and less in an open space.

• BioShock Infinite - The First Five Minutes

Adaptive Music

• Musical elements can also be made reactive to player-driven events.

• Many games feature soundtracks which are partially non-linear in terms of structure, instrumentation or other characteristics.

• Shorter cues can also be used to accompany game mechanics; Gears of War features a prominent ‘gong’ phrase to signify the end of a battle.

Question:What are the advantages of interactive audio?

Advantages

• Increases the credibility and immersive qualities of game environments.

• Enhances the narrative and action by sharing greater parity with on-screen events.

• Potentially saves time and money by allowing samples to be reused; i.e. changing the pitch of a care engine.

Expectations

• The pairing of audio and visuals has great affect on the message or emotion that is conveyed to an audience.

• Music can either satisfy or defy our expectations, which are defined by generally accepted conventions.

• The choice of music in relation to visuals defines whether it is parallel or contrapuntal in nature.

Parallel Music

• Parallel Music is what we would expect to hear when viewing or playing a specific sequence.

• It underlines the emotion or mood evident in a scene.

• Call of Duty Advanced Warfare - Trailer

• The Elder Scrolls V: Skyrim - Trailer

Contrapuntal Music

• Contrapuntal Music purposefully opposes on-screen action to create a sense of juxtaposition or irony.

• Its use can completely change the mood or message of a scene. Silence can also be used to a similar effect.

• Dead Island - Announcement Trailer

• Fallout 3 - Teaser Trailer

Question:What effect does parallel or contrapuntal music have upon the previous examples?

Further Viewing

• The Sound Design of Battlefield 3

• The Sound Design of Borderlands 2

• The Music of Middle Earth: Shadow of Mordor