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Figure 3. The structure of the combined model of computer game audio (without the addition of specific
sounds)
•
The functionality of the sounds in com-
puter games
analyze computer game audio, and a number of
analyses showing the benefits of this are provided.
Through the use of this model, a sound designer
will be able to clearly understand how different
kinds of games emphasize different parts of the
audio due to the genre and gameplay principles.
This chapter is structured as follows:
We first present the two models for game audio
that we have tried to combine, starting with the
IEZA-framework for computer game audio and
proceeding to Murch's conceptual model for film
sound. This is followed by a presentation of the
combined model, how it is structured and what
kind of problems it can solve. In order to provide
a more theoretical approach to the complexity of
computer game audio, a discussion concerned
with playing computer games and listening to
the sounds, which is sustained by a case study,
follows. We then provide 3 exemplifying analyses
of existing computer games,
F.E.A.R.
(Monolith
Productions, 2005),
Warcraft III
(Blizzard Enter-
•
The relative loudness between sounds and
•
The dominant frequency range of all the
different sounds.
We also try to establish a consistent communi-
cable terminology for the analysis and production
of computer game audio.
The suggested model (Figure 3) combines
Huiberts and van Tol's (2008) IEZA-framework
(Figure 1) with Murch's (1998) conceptual model
(Figure 2).
This combined model may be used to plan
the sonic environment of computer games in a
complete and balanced way, that is, balanced
in relation to the sound spectrum available and
complete in relation to the visual component of
the game. The model constitutes a tool that pro-
vides a sonic richness and avoids “the logjam of
sounds” (Murch, 1998). It may also be used to
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