Time for New Terminology? - Game Sound Technology and Player Interaction: Concepts and Developments - page 94

understand how game sound and gameworlds
differ from other media. It is, however, important
to emphasize the fact that spatiality in computer
games operates on very different premises than in
film, for instance, and that we talk about a differ-
ent relationship between sound and environment
compared to the traditional separation between
diegetic and non-diegetic. A crucial difference
is that gameworlds are different constructs from
traditional fictional worlds and this must be taken
into consideration when discussing the origin of
sounds and other features.
It is important to note that the model presented
here is not limited to the study of game sound but
that it may be used to analyze all interface-related
features of a computer game. However, sound is
particularly interesting because of its seamless
integration and its ability to remain non-intrusive
even when it tends to break with the conventions
of the gameworld. It should also be mentioned
that the framework is supposed to work as a tool
to help us better understand how game sound and
other game features operate, and as such, it will
always be subject to modification.

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AcKNOWLEDGMENt

Thanks to Jesper Juul, Matthew Weise, Mark
Grimshaw and the anonymous review committee
for comments.

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rEFErENcEs

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Aarseth, E. (2008). A hollow world: World of
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