New Wine in New Skins - Game Sound Technology and Player Interaction: Concepts and Developments - page 409

These are all very general and pretentious
statements, easy to say and hard to do. My take on
this is that we as game (sound) designers should
consider such approaches, watch and listen (again)
to experimental films and artworks, and to our
everyday soundscapes, and that we should never
stop searching for a sonic aesthetic that emerges
from the procedural quality of interactive com-
puter games.
To sum it all up, in order to advance in this
direction, all we have to do is… play!

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AcKNOWLEDGMENt

Bridgett, R. (2006). Audible words, pt. 2: Updat-
ing the state of critical writing in game sound.
Gamasutra. Retrieved February 6, 2009, from
http://www.gamasutra.com/features/20060831/
audio_03.shtml

I wish to thank Graeme Coleman for his great
support in editing this article and his valuable
feedback. I also would like to thank the team at
the Game Design department of the Zurich Uni-
versity of the Arts for providing an environment
that enables playful experiments with games, and
our students for the inspiration they provide with
their ideas, questions and products.

Bridgett, R. (2007a). Designing a next-gen game
for sound. Gamasutra. Retrieved February 13,
2009, from http://www.gamasutra.com/view/
feature/2321/designing_a_nextgen_game_for_
sound.php

Bridgett, R. (2007b). Interactive ambience. Game
Developer Magazine . Retrieved May 8, 2009, from
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tion_april07.jpg

rEFErENcEs

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Bridgett, R. (2009a). The future of game audio: Is
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Chion, M. (1998). Le son . Paris: Nathan.