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Chapter 18
New Wine in New Skins:
Sketching the Future of
Game Sound Design
Daniel Hug
Zurich University of the Arts, Switzerland
AbstrAct
With the disappearance of technological constraints and their often predetermining impact upon design,
computer game sound has the opportunity to develop into many innovative and unique aesthetic direc-
tions. This article reflects upon related discourse and design practice, which seems strongly influenced
by mainstream Hollywood film and by a striving for naturalism and the simulation of “reality.” It is
proposed that this constitutes an unnecessary limitation to the development and maturation of game
sound. Interestingly, a closer understanding of aesthetic innovations of film sound, in particular in rela-
tion to what can be termed “liberation of the soundtrack,” can indicate thus far unexploited potential
for game sound. Combined with recent innovations in creative practice and technology, they serve as
inspiration to propose new directions for game sound design, taking into account the inherent qualities
of the interactive medium and the technological and aesthetic possibilities associated with it.
INtrODUctION: tHE crEAtIVE
DEAD-END IN GAME sOUND
DEsIGN
which, having matured significantly over the last
two decades, in many ways still seems to live with
its parents, Mrs. Film Sound and Mr. Realism.
This manifests itself in both game design practice
and technological developments, as well as in the
discourse that permeates it all. At present, like a
child, the game sound has a limited horizon and
is oriented very much to its “parents”.
Growing up and maturing is usually associated
with acquiring independence from one's parents
and leaving the family home, to follow one's
own, autonomous destiny. This archetypal human
narrative could well be applied to game sound,
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