Information Technology Reference
In-Depth Information
ADDItIONAL rEADINGs
Perron, B. (2004). Sign of a threat: The effects
of warning systems in survival horror games. In
Proceedings of the Fourth International COSIGN
(Computational Semiotics for Games and New
Media) 2004 Conference .
Barbara, S. C. (2003). Hearing in three dimen-
sions. The Journal of the Acoustical Society of
America , 113 (4), 2200-2200.
Bridgett, R. (2008). Post-production sound: A
new production model for interactive media.
Soundtrack , 1 (1), 29-39. doi:10.1386/st.1.1.29_1
Perron, B. (2005a). A cognitive psychological ap-
proach to gameplay emotions. In Proceedings of
the Second International DiGRA (Digital Games
Research Association) 2005 Conference .
Calvert, S. L., & Scott, M. C. (1989). Sound effects
for children's temporal integration of fast-paced
television content. Journal of Broadcasting &
Electronic Media , 33 (3), 233-246.
Perron, B. (2005b). Coming to play at frightening
yourself: Welcome to the world of horror video
games. In Proceeding of the Aesthetics of Play
conference .
Gärdenfors, D. (2003). Designing sound-based
computer games. Computer Creativity , 14 (2),
111-114.
Plutchik, R. (1984). Emotions: A general psy-
choevolutionary theory . Hillsdale, NJ: Erlbaum.
Grimshaw, M. (2009). The audio uncanny valley:
Sound, fear and the horror game. In Proceedings
of the Audio Mostly 2009 Conference .
Roux-Girard, G. (2011). Listening to fear: A
study of sound in horror computer games . In
Grimshaw, M. (Ed.), Game sound technology and
player interaction: Concepts and developments .
Hershey, PA: IGI Global.
Houlihan, K. (2003). Sound design: The expres-
sive power of music, voice, and sound effects in
cinema. Journal of Media Practice , 4 (1), 69-69.
doi:10.1386/jmpr.4.1.69/0
Serafin, S. (2004). Sound design to enhance
presence in photorealistic virtual reality. In Pro-
ceedings of the 2004 International Conference
on Auditory Display .
Izard, C. E. (2009). Emotion theory and research:
Highlights, unanswered questions, and emerging
issues. Annual Review of Psychology , 60 (1), 1-25.
doi:10.1146/annurev.psych.60.110707.163539
Silent Hill 2 . (2001). Konami.
Wilhelmsson, U., & Wallén, J. (2011). A com-
bined model for the structuring of game audio . In
Grimshaw, M. (Ed.), Game sound technology and
player interaction: Concepts and developments .
Hershey: IGI Global.
Jennett, C., & Cox, A. L. (2008). Measuring and
defining the experience of immersion in games. In-
ternational Journal of Human-Computer Studies ,
66 (9), 641-661. doi:10.1016/j.ijhcs.2008.04.004
Jones, K. (2004). Fear of emotions. Sim-
ulation & Gaming , 35 (4), 454-460.
doi:10.1177/1046878104269893
Wolfson, S., & Case, G. (2000). The effects of
sound and colour on responses to a computer
game. Interacting with Computers , 13 , 183-192.
doi:10.1016/S0953-5438(00)00037-0
Jørgensen, K. (2007). On transdiegetic sounds in
computer games. Northern Lights: Film & Media
Studies Yearbook , 5 (1), 105-117. doi:10.1386/
nl.5.1.105_1
Zillman, D. (1991). The logic of suspense and
mystery . In Bryant, J., & Zillman, D. (Eds.),
Responding to the screen: Reception and reaction
processes (pp. 281-303). Hillsdale, NJ: Lawrence
Erlbaum Associates.
Search WWH ::




Custom Search