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wider field of Human Computer Interaction
(HCI), research on sound is recognized as quite
neglected (Brewster, 1994; Frauenberger, 2007;
Hermann & Hunt, 2005; Kramer et al., 1997). One
conspicuous sign of the lack of a relevant body of
knowledge is the unavailability of clear guidelines
or best practices. Yet, this kind of support does
exist and is widely known with respect to the
visual modality (Kramer et al., 1997).
What is more, researchers in HCI often resort
to computer games as instruments to conduct stud-
ies on several aspects (Barr, 2008; A. Jørgensen,
2004) including those related to sound. Sound de-
sign in computer games is particularly interesting
because it supplies evidence of the pertinence of
multiple aspects of sound in interaction. To start
with, computer game sound matters to usability,
in the sense of “easing the use of the system
by providing specific information to the player
about states of the system” (K. Jørgensen, 2006,
p. 48). It can also work as support to gameplay
(K. Jørgensen, 2008). Additionally, sound is a
valuable component of overall game aesthetics
and affective perception. Furthermore, it may be
used to create and enhance emotional impact (Ek-
man, 2008) and contribute to immersion (Collins,
2008a; Grimshaw, 2007, 2008). Nevertheless, it
is important to be aware that interaction in HCI
and computer games are not the same: applica-
tions typically bracketted under the HCI label are
meant to be used , while games are meant to be
played (Barr, 2008; Sotamaa, 2009).
The relevance of computer games in HCI re-
search is also justified by a growing appreciation
for the concept of User Experience (Hassenzahl
& Roto, 2007; Hassenzahl & Tractinsky, 2006)
which emerged as an attempt to promote a ho-
listic interaction perspective beyond the more
traditional efforts, such as usability. Aspects as
efficiency or performance are no longer the sole
design concerns: Subjective appreciation mat-
ters and also influences the former concerns. Yet
again, the research has been much directed to
visual modality, leaving others, like sound, less
explored (Alves & Roque, 2009a).
The field that is acknowledged to be most
contributive to game sound-and to many other
aspects of game development, for that matter-is the
movie industry. In fact, practices on game sound
are strongly influenced by those from cinema. Still,
although this is understandable and legitimate to
some extent, it is crucial to understand that fun-
damental disparities exist between the two media
that both impose and propose distinct approaches.
It is exactly in this difference that we find most
prospective development. Ultimately, what is
needed is knowledge on how to compose sound
attending to game scenario specifics including
nonlinearity, dynamicity, and the need for vari-
ability (Collins, 2008a, 2008b).
The lack of guidance in sound design has
proven to be damaging. On the one hand, devel-
opers are discouraged from integrating sound in
their projects leading to unbalanced interfaces
when compared to our experiences in daily life
or even with other media. On the other hand,
and possibly more harmfully, when developers
venture into sound integration they have to resort
to their best judgment, not necessarily achieving
interesting results (Frauenberger, 2007). In turn,
all these circumstances, have contributed to us-
ers/players becoming accustomed to the factual
unimportance of sound, even developing some
negative associations to sound from which the
urge to the mute button is an emblematic example.
Muting is interesting as a transient state, not as
the defensive default.
Considering such a scenario and refocusing on
research and development, two modes of attack
seem to be imperative. One is sensitization. This
means getting more people aware of the low-level
appreciation that the audio component currently
has and countering this by proposing innovative
ways to explore sound potential. The other is to
deliver support to enable the implementation of
such ideas. This stretches from providing guidance
on the potential concepts that may allow tackling
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