New Wine in New Skins - Game Sound Technology and Player Interaction: Concepts and Developments - page 405

treats virtual 3D spaces as constructs analogous
to “real” space.

bonds between the player's body, sound, interface,
virtual object, and action.
As we can see, contrary to movies, the game
apparatus has one component that does not neces-
sarily have to be “hidden” or masked-the interface.
As such, this interface can be a candidate for sound
design as well. Through sound, the interface might
also gain significance and become more transpar-
ent as part of the gaming experience. For instance,
sound helps to transform the Wii Remote into
what it stands for in the gameworld, be it a gun,
a sword, a tennis bat, or a bow. Game interfaces
such as these constitute placeholder objects 22
for many kinds of meanings and functions and
are inherently ambiguous. They can-within the
constraints of their appearance and operation mo-
dality-be redefined through sound. The object in
its materiality and form integrates into its virtual
function. In terms of sound design, the physical
properties of the placeholder artefact are connected
with the more complex functionalities it offers.
The type of operation of the simulated object and
its functionality defines the sound: Sounds that
relate to the direct manipulation of objects are
normally used and are, furthermore, combined
with additional semiotic potential.
The term “schizophonic” can be used to de-
scribe such artefacts. Schizophonia is the term
coined by Schafer to denote the separation of
sound from their (natural) sources by means of
electroacoustics. For him this concept carries
only negative connotations (Schafer, 1977).
However, in my understanding, every interactive
physical artefact which disposes of some kind of
artificial, electroacoustic sound is schizophonic.
Schizophonia is thus an essential and exciting
aspect to consider when designing innovative
game interfaces with sound. 23
This also opens up a perspective from the in-
terface of a stationary computer or console game
to more experimental gaming artefacts, mobile
gaming and so on. Here, we enter an exciting
new field of theory and practice where sound has
enjoyed little attention thus far: The sonic enhance-

Sonic Manifestation of the
Systems Agency

This is perhaps the most abstract and general op-
portunity for intervention to contribute to aesthetic
innovation in game sound design, but nevertheless
touches an essential point: In a truly interactive
setting, the human player is not the only possible
agent. The system itself, and all its manifestations,
for example in the form of NPCs, are also agents
and thus can be candidates for designing sonic
manifestations of agency. I have mentioned the
abstraction of the computer as agent in the con-
dition of the breakdown of an interaction flow.
However, without breaking the magic circle of
immersion, sound can manifest a transformation or
a presence in the system. Combining this with the
idea of games that do not try to hide the apparatus
but instead make the game system the “opponent”
(or companion?), this is a very promising outlook.

Field of Action 3: the
schizophonic Game Interface

Last but not least, a neglected aspect is the sound
design of the artefacts the gamer uses. I have al-
ready mentioned the Wii Remote as an interface to
control the bow in The Legend of Zelda: Twilight
Princess (Nintendo, 2006). With ordinary mice,
joysticks and gamepads, the actual actions and
sounds of the interface on the one hand, and the
actions and sounds of the virtual world they con-
nect to on the other hand, already form a mutual
relationship, but this relationship is not subject
to design and the two dimensions are rather
juxtaposed than integrated. The Wii Remote is a
foreshadowing of what would be possible if game
controllers were allowed more input modes and
always had loudspeakers embedded. The sounds
of interaction partially emanate directly from the
controller in the player's hand, which tightens the