Guidelines for Sound Design in Computer Games - Game Sound Technology and Player Interaction: Concepts and Developments - page 379

rEFErENcEs using sound associated to events as an input to

control them; ensuring coherence in the use of
sound; integrating the player's context in the sonic
composition, including in multi-player games;
exploring resonance as a instrument to achieve
a binding between the player and the designed
intent; and the use of entrainment as a model to
create a dynamism of resonance states according
to the emotional script.
We also presented a report on a brief design
case where those guidelines were exercised and
conducted by a team of game developers with no
prior experience in sound design. We registered
some uneasiness on the part of designers to work
with the acoustic field as well as they do with the
visual field: Fighting the visual bias that leads to
sound merely being an extension of visual rep-
resentations becomes a primary task. Difficulties
also arise with quality audio sampling and with
communicating sonic design ideas or intentions
when compared to drawing visual renderings on
paper.
In further research we intend to augment and
refine the set of design guidelines and to build
a significant understanding of their application.
Particularly, we will be considering how to en-
hance the approach to dynamic composition of
soundscapes in computer games, with special
relevance to designing the experience with non-
musical layers of sound.

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AcKNOWLEDGMENt

We thank the Master's students involved in the
design exercise here presented: João Pinheiro,
Lara Silva, Nuno Lourenço, Pedro Almeida, and
Sandra Mendes.
This research is partially supported by FCT,
Fundação para a Ciência e a Tecnologia, grant
SFRH/PROTEC/49757/2009.

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method for integrating non-speech audio into
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