Information Technology Reference
In-Depth Information
Chapter 6
A Combined Model
for the Structuring of
Computer Game Audio
Ulf Wilhelmsson
University of Skövde, Sweden
Jacob Wallén
Freelance Game Audio Designer, Sweden
AbstrAct
This chapter presents a model for the structuring of computer game audio building on the IEZA-framework
(Huiberts & van Tol, 2008), Murch's (1998) conceptual model for the production of film sound, and
the affordance theory put forth by Gibson (1977/1986). This model makes it possible to plan the audio
layering of computer games in terms of the relationship between encoded and embodied sounds, cog-
nitive load, the functionality of the sounds in computer games, the relative loudness between sounds,
and the dominant frequency range of all the different sounds. The chapter uses the combined model to
provide exemplifying analyses of three computer games—F.E.A.R., Warcraft III, and Legend of Zelda—.
Furthermore, the chapter shows how a sound designer can use the suggested model as a production
toolset to structure computer game audio from a game design document.
INtrODUctION
of functional models, such as Sander Huiberts
and Richard van Tol's (2008) IEZA-framework
(Figure 1), are available. The IEZA-framework
is also discussed in Droumeva (2011).
In this chapter, we use the IEZA-framework
in combination with Walter Murch's (1998) con-
ceptual model for film sound (Figure 2). Why
combine these two different areas, that is, a
model concerned with computer game audio and
another with film sound? As Huiberts and van Tol
(2008) have noted, film sound is a “field of
knowledge that is closely related to game audio”
Computer game audio is an often neglected area
when analyzing and producing computer games
(Cancellaro, 2006; Childs, 2007; Marks 2001).
The same seems to be the case when analyzing or
producing movies (Murch, 1998; Thom, 1999;).
There is a general lack of functional models, for
the analysis as well as the production of computer
game audio, even though some good examples
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