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Table 2. An attempt at linking attentional and listening positions with game functions and examples of
game sound
Attentional
Position
Game
Functions
Listening
Position
Examples from
Gameplay
Reference
Frames
Analytical Lis-
tening (Truax,
2001)
Listening-in-
search (Truax,
2001)
Semantic Listen-
ing (Chion,
1994)
Causal Listening
(Chion, 1994)
Functional,
Semantic and
Critical Modes
of Listening
(Tuuri, Mut-
sonen, & Pirho-
nen, 2007)
Alerts: notifica-
tions, warnings,
confirmation
and rejection
Interface sounds
Action-Oriented
Functions
Foreground
Trans-diegetic
Media Listening
(Truax, 2001)
Navigational
Listening (Grim-
shaw & Schott,
2007)
Causal & Empa-
thetic Modes of
Listening (Tuuri,
Mutsonen, &
Pirhonen, 2007)
Orienting Func-
tions
Identifying
Functions
Contextual
sound effects
Auditory icons
Earcons
Mid Ground
Diegetic
Background Lis-
tening (Truax,
2001)
Reduced Listen-
ing (Chion,
1994)
Reflexive
& Connota-
tive Modes of
Listening (Tuuri,
Mutsonen, &
Pirhonen, 2007)
Atmospheric
Functions
Control-related
functions
Musical score
Environmental
soundscape
Background
Extra-diegetic
and states of diegesis (Chion, 1994; Grimshaw,
2008; Huiberts & van Tol, 2008; Jørgensen,
2006). As a side note, Jørgensen's (2011) newest
work in this topic brings an important critique of
the very usefulness of discussing game sound in
terms of diegesis given that sound in games needs
to function on many different levels besides a
descriptive/immersive one and such levels may
be non-diegetic according to film theory's defini-
tion of diegesis, and yet function as diegetic cues
within a game's soundtrack. As another limitation
of diegesis, I will argue in the last section of this
chapter that it fails to recognize sounds outside
the gameworld which may very much be part of
the experience of play: the acoustic soundscape
of group play, the arcade environment or online
audio conferencing such as
Teamspeak
.
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