A Combined Model for the Structuring of Computer Game Audio - Game Sound Technology and Player Interaction: Concepts and Developments - page 130

ENDNOtEs Ambulatory Listening: listening by moving

around and using sound as part of the navigation
within the environment.
Aperture Listening: successive scanning of
the audio stimuli.
Combined Model for the Structuring Com-
puter Game Audio: The model suggested in this
chapter that combines the IEZA-framework with
Murch's conceptual model.
IEZA-Framework: A framework suggested
by Sander Huiberts and Richard van Tol 2008. The
IEZA-framework distinguishes between sounds
that belong to: the Interface (I), the Effects (E), the
Zone (Z) and the Affects (A) in a computer game.
Murch's Conceptual Model: A model for
the production of film sound put forth by sound
designer Walter Murch 1998. The conceptual
framework spans from encoded sound (language)
to embodied sound (music). It also suggests that
in order to obtain density and clarity of a sound
mix the sound designer should limit the amount
of sound layers to five separate layers.
Snapshot Listening: Fixating a point and
then shifting to some other point momentarily by
filtering out all other sound sources.

1

In action movies there has been, and still is,
a tendency to equate loud with good (Thom,
1999). Violent explosions, big loud weap-
ons and roars of wild engines fill the sonic
environment in far too many action movies
produced in the last two decades.

2

The interested reader is referred to a good
textbook on acoustics and psychoacoustics
such as Howard and Angus (1996).

3

The original article on the IEZA-framework
has been criticized for not considering previ-
ous work (Ekman, 2008; White, 2008).

4

Which is of course the case also with the
original IEZA-framework and Murch's
conceptual model but the level of detail is
significantly higher in the combined model.

5

Of course further research into this would
be necessary to put forth more solid cogni-
tive ground for these primitives but we do
believe that they fill their purpose for our
combined model.

6

As Loftus &Loftus (1983) have shown, play-
ers may occasionally try to talk to the system
in acts of personification of the system.