Sound Game Research Articles

Contributions Created on Spaces of Collective Virtual Intelligence and Their Projection in Video Game Sound Design

En la sociedad digital actual, las interacciones generadas por los usuarios de espacios virtuales colaborativos en internet transforman el diseño audiovisual de productos digitales de gran presupuesto como las producciones de videojuegos catalogadas AAA. Las comunidades virtuales de fans de un producto digital notorio, registran una gran relevancia por su presencia en la red, debido a la influencia progresiva de las contribuciones generadas por sus usuarios. Estas comunidades fandom son instauradas como espacios virtuales colaborativos en el que sus usuarios comparten conocimientos y experiencias sobre un tema o producto audiovisual de interés. La presente investigación se encuentra focalizada en el estudio de la comunidad virtual de fans del videojuego procedural titulado No Man´s Sky en 2016, y cómo se proyectan las contribuciones de la wiki fandom en las actualizaciones oficiales publicadas hasta febrero de 2024. Utilizando una metodología científica asentada en el análisis de contenido de las interacciones de usuarios registrados, se propone un estudio exploratorio compuesto por una etnografía virtual que identifica los contenidos generados en materia de audio desde la comunidad virtual que han suscitado modificaciones en la producción de las actualizaciones del videojuego analizado, estableciendo así una correlación efectiva con la evolución tecnológica del título en cuestión.

World of sounds (Seslerin Dünyası): A mobile auditory training game for children with cochlear implants

ObjectivesThe aim of this study is to develop a mobile auditory training application based on gaming for children aged 3–5 years using cochlear implants and to evaluate its usability. Methods4 games were developed in the scope of the application World of Sounds; the crucible sound for auditory awareness, mole hunting for auditory discrimination, find the sound for auditory recognition, and choo-choo for auditory comprehension. The prototype was applied to 20 children with normal hearing and 20 children with cochlear implants, all of whom were aged 3–5. The participants were asked to fill out the Game Evaluation Form for Children. Moreover, 40 parents were included in the study, and the Evaluation Form for the Application was applied. ResultsAccording to the form, at least 80% of children using cochlear implants, and all children in the healthy group, responded well to the usability factors. All factors were obtained as highly useable by parents of the children using cochlear implants. The results indicated that in the healthy group, the usefulness and motivation factors were above moderate, and the other factors were highly useable. In the mole-hunting game, there was no significant difference between the groups in the easy level of the first sub-section (p > 0.05). There was a significant difference between the groups in terms of the other sub-sections of the mole-hunting game and all sub-sections of the crucible sound, find the sound, and the choo-choo games (p < 0.05). While there was no correlation between duration of cochlear implant use and ADSI scores and the third sub-section of the crucible sound game (p > 0.05); a correlation was found in the other sub-sections of crucible sound and all sub-sections of the mole hunting, find the sound, and Choo-Choo games (p < 0.05). ConclusionIt is thought that the application World of Sounds can serve as an accessible option to support traditional auditory rehabilitation for children with cochlear implants.

The politics of credit in remix of Japanese popular culture: Between “an 80's Japanese disco floor” and “this remix is worthy of the actual game”

In this article, we examine songs that reuse decades-old Japanese media, in which the Japaneseness is both important and attenuated. While there is clear desire for and pleasure in the Japaneseness of source materials in vaporwave (electronic music featuring manipulated sounds and images from the 1980s and 1990s) and future funk (which commonly samples 1980s Japanese music and speeds it up), actual sources matter primarily as a signifier of Japaneseness. Conversely, game sounds (songs that sample or mimic 1990s and 2000s video game music) and chiptunes (songs made with 1980s and 1990s video game hardware) have a direct relationship with either specific video games or material hardware that highlights a direct tie to transnationally distributed culture. Overall, these ways of engaging with Japanese media have significant implications for theorizing cross-cultural exchange.

ПСИХОЛОГИЧЕСКИ ОБОСНОВАННЫЙ И ЭКОНОМИЧЕСКИ ЭФФЕКТИВНЫЙ ГЕЙМДИЗАЙН: МЕТОДИКА РАЗРАБОТКИ МОБИЛЬНЫХ ИГР С ФОКУСОМ НА РАССЛАБЛЕНИЕ

The article is devoted to the development of a methodology for creating psychologically sound and cost-effective relaxing mobile games. The article emphasizes the need to create games that correspond to the player’s psychotype, which will ensure the economic efficiency and relevance of the project by retaining users, effectively attracting them and reproducing an exciting gameplay. The need to take into account the factors of the psychological impact of game elements on the player is noted, among which the most significant are design, motivation for the game, plot, game mechanics and others. The existence of connections between the player’s involvement in in-game processes, his immersion and response to neuromarketing, applied strategies and tricks to stimulate sales within the game is determined. The need for indirect influence on the consumer and abandonment of aggressive in-game sales strategies is highlighted, due to their negative impact on the degree of player immersion and relaxation. Some existing game mechanics aimed at engaging and relaxing users of mobile games are revealed. The leading role of such user-oriented mobile game design principles is clarified, such as: a clear understanding of the aspirations, characteristics and psychotype of players; organization of user-oriented development of plot and design, game mechanics; testing the gaming experience and collecting feedback; implementation of unobtrusive monetization strategies that exclude aggressive sales promotion; continuous improvement of the game with a focus on taking into account current user requests, trends and updating the target audience. The scientific novelty of the research is associated with the proposal of a methodology for developing relaxing games based on psychologically sound game design practices. The significance of the theoretical results of the work lies in determining the player’s motivation, describing ways to control the user’s attention, analyzing the psychotypes of players, and clarifying the game mechanics used in relaxing, cost-effective games. The practical significance of the study is determined by the prospects for applying the findings and methodology in the practice of developing mobile games that meet the principles of relaxation and sales promotion.

A Video Game for Entrepreneurship Learning in Ecuador: Development Study.

Games have been a part of human life since ancient times and are taught to children and adults who want to simultaneously have fun and learn. Nevertheless, in the third decade of this century, technology invites us to consider using video games to learn topics such as entrepreneurship. However, developing a serious game (SG) is difficult because everyone who forms part of the game development team requires adequate learning resources to acquire the necessary information and improve their game development skills. This work aimed to detail the experience gained in developing ATIC (Aprende, Trabaja, Innova, Conquista [learn, work, innovate, conquer]), an SG proposed for teaching and learning entrepreneurship. To develop a videogame, first, we established a game development team formed by professors, professionals, and students who have different roles in this project. Scrum was adopted as a project management method. To create concept art for the video game, designers collected ideas from various games, known as "getting references." In contrast, narratology considers the life of a recent university graduate immersed in real life, considering locations, characteristics, and representative characters from an essential city of Ecuador. In a Unity 3D video game in ATIC, the life of a university student who graduates and ventures into a world full of opportunities, barriers, and risks, where the player needs to make decisions, is simulated. The art of this video game, including sounds and music, is based on the landscape and characteristics of and characters from Cuenca, Ecuador. The game aims to teach entrepreneurs the mechanisms and processes to form their businesses. Thus, we developed the following elements of an SG: (1) world, (2) objects, (3) agents, and (4) events. The narrative, mechanics, and art of video games are relevant. However, project management tools such as leaderboards and appointments are crucial to influencing individuals' decision to continue to play, or not play, an SG. Developing a serious video game is not an easy task. It was essential to consider many factors, such as the video game audience, needs of learning, context, similarities with the real world, narrative, game mechanics, game art, and game sounds. However, overall, the primary purpose of a serious video game is to transmit knowledge in a fun way and to give adequate and timely feedback to the gamer. Finally, nothing is possible if the members of game development team are not satisfied with the project and not clear about their roles.

Introduction

In the introduction to this Special Issue of the Journal of Sound and Music in Games, the guest editors outline the history and significance of the Japanese role-playing game Final Fantasy VII. They situate the game within the history of technological developments in both home gaming systems and the World Wide Web, exploring the musical importance of the game. The editors also provide an overview of the Special Issue’s contents and highlight the broader issues that are explored in the contributions contained therein.

How Does Constructive Feedback in an Educational Game Sound to Children?

Educational games are effective tools for children, as they naturally increase their motivation and engagement. While previous studies have revealed the varying influences of different types of feedback in education, there has been a lack of attention to the design of constructive feedback in educational games. This study involves a 2 (peer and adult voice) × 3 (verification, encouragement, and elaboration type) factorial design to observe how different voices and types of feedback affect children’s performance, retention, inquisitiveness, impressions, and emotional reactions while playing a math game designed for preschoolers called MathSoup. The significance of the different types of feedback was analyzed through a two-way analysis of variance (ANOVA), chi-squared tests, and observation during the game sessions. This study also discusses the implications and insights driven by children’s reactions to certain types of feedback and how they perceive game characters.

Corrigendum

Correction| January 01 2023 Corrigendum Journal of Sound and Music in Games (2023) 4 (1): 91. https://doi.org/10.1525/jsmg.2023.4.1.91 Connected Content Errata: Kill the Orchestra: On Music, Mods, and Immersion in The Elder Scrolls on the Nexus Mods Platform Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Corrigendum. Journal of Sound and Music in Games 1 January 2023; 4 (1): 91. doi: https://doi.org/10.1525/jsmg.2023.4.1.91 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentJournal of Sound and Music in Games Search Corrigendum to: Joana Freitas; Kill the Orchestra: On Music, Mods, and Immersion in The Elder Scrolls on the Nexus Mods Platform. Journal of Sound and Music in Games 1 April 2021; 2 (2): 22–41. doi: https://doi.org/10.1525/jsmg.2021.2.2.22 The author would like to make the following addition: This article was made with the support of CESEM – Centro de Estudos de Sociologia e Estética Musical – NOVA FCSH, UIDB/00693/2020 with the financial support of FCT, I.P. through National funds and I'm currently being funded by the Portuguese public agency for science and education Fundação para a Ciência e Tecnologia (FCT) with a PhD Studentship referenced as SFRH/BD/139120/2018. View Original Article You do not currently have access to this content.

Corrigendum

Correction| January 01 2023 Corrigendum Journal of Sound and Music in Games (2023) 4 (1): 92. https://doi.org/10.1525/jsmg.2023.4.1.92 Connected Content Errata: A (Silent) Game of Words: Notes on Jeremy Soule’s Accusations and the Elder Scrolls Online Community Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Corrigendum. Journal of Sound and Music in Games 1 January 2023; 4 (1): 92. doi: https://doi.org/10.1525/jsmg.2023.4.1.92 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentJournal of Sound and Music in Games Search Corrigendum to: Joana Freitas; A (Silent) Game of Words: Notes on Jeremy Soule's Accusations and the Elder Scrolls Online Community. Journal of Sound and Music in Games 1 January 2022; 3 (1): 50–59. doi: https://doi.org/10.1525/jsmg.2022.3.1.50 The author would like to make the following addition: This article was made with the support of CESEM – Centro de Estudos de Sociologia e Estética Musical – NOVA FCSH, UIDB/00693/2020 with the financial support of FCT, I.P. through National funds and I'm currently being funded by the Portuguese public agency for science and education Fundação para a Ciência e Tecnologia (FCT) with a PhD Studentship referenced as SFRH/BD/139120/2018. View Original Article You do not currently have access to this content.

Political Humor in Abdur Arsyad's Stand-up Comedy

The study aimed to identify types of political humor in Abdur Arsyad’s stand-up comedy by applying the Script-Based Semantic Theory of Humor (SSTH) and describing the language games to support humor. This research is a qualitative descriptive study. The data consisted of Abdur Arsyad’s stand-up comedy video published on Youtube. The data method collection used listening and note-taking techniques. The result showed that political humor in Abdur Arsyad’s stand-up comedy can be classified into (1) humor to criticize political figures and political groups, and (2) humor that describes bad conditions in society: political repression, education, corruption, and social inequality. Two language games are used, namely sound games and meaning games.

Välikatsaus pelimusiikin tutkimuksen moniäänisyyteen

Abstract&#x0D; As videogames are being increasingly recognized as a prominent cultural force, there is also a growing interest in the study of video game music within academia. Published in 2021, The Cambridge Companion to Video Game Music is the most recent milestone in establishing video game music research as a credible field of research. The book situates itself naturally on the same continuum with the founding of the Ludomusicology Research Group in 2011 and the launch of the Journal of Sound and Music in Games in 2020. With twenty-four chapters and over four hundred pages, the Companion is probably the largest and most comprehensive collection on game music studies so far. The overarching ethos of the editors Melanie Fritsch and Tim Summers could be described as a warm welcome to a plurality of views on videogame music and indeed, the diversity of perspectives is perhaps the most notable feature of the book: The chapters, divided into six sections each with an overall introduction, discuss a multitude of themes such as chiptune and the early history of videogame music, creation of videogame music, analytical approaches and psychological perspectives, questions relating to culture and identity and finally also game music beyond the context of gaming. Moreover, the list of writers includes not only researchers from a variety of backgrounds, but also people working within the game music industry. As a flipside to the plurality, several chapters appear more like overviews of the theme or suggestions for an approach rather than fully developed perspectives on videogame music. Especially some essential issues pointed out throughout the chapters, such as the concept of interactivity and centrality of player's perspective, would merit further and integrative theoretical discussion. Likewise certain broad themes, such as aesthetics and philosophy of videogame music, empirical research, and personal uses and functions of videogame music, are left to lesser regard. Despite this, the Companion is valuable as an approachable and comprehensive overview of videogame music studies that could prove insightful to not only those interested in the subject but, due to its inclusive and open approach, also to music researchers more broadly.

Motion and sound games model for improving cognition of early childhood

The early childhood stage is a phase that holds important basic development holistically, covering affective, psychomotor, and especially cognitive domains. This development will be able to be effectively reached with an appropriate learning process in kindergartens. This study aims to reveal a relevant approach to learning using motion and sound games in improving early childhood cognitive development. The method used in this study is Research and Development (RD) from Borg and Gall, involving 124 early childhoods and kindergarten teachers in the city of Cimahi, Indonesia, selected through convenience sampling. The instruments employed are questionnaires, observation notes, interviews, and desk evaluations (expert and practitioner judgment). The data are descriptively calculated through a t-test with p0.000 in order to reveal the learning model for improving children’s cognition through motion and sound. The results of this study show that the motion and sound–based models consist of design planning, learning process, and evaluation that are able to be implemented well and can be categorized as a model that is able to develop early childhood cognition, but it still needs to be innovated and continue to be creative again in more affordable learning steps for children. Studies with the related topics are expected to relate basic potentials and social skill optimization. It is also recommended that this study contributes to the development of learning in Indonesia

Review: The Cambridge Companion to Video Game Music, edited by Melanie Fritsch and Tim Summers

Book Review| July 01 2022 Review: The Cambridge Companion to Video Game Music, edited by Melanie Fritsch and Tim Summers Review of The Cambridge Companion to Video Game Music, Edited by Melanie Fritsch and Tim Summers ( Cambridge University Press, 2021, 372 pp, $29.99). Julianne Grasso Julianne Grasso Julianne Grasso is an assistant professor of music theory at Florida State University. Grasso specializes in theoretical approaches to video game music, with additional research interests in music cognition and public music theory. Her recent publications include a colloquy essay, “On Canons as Music and Muse,” in the inaugural issue of the Journal of Sound and Music in Games (February 2020) and “Music in the Time of Video Games: Spelunking Final Fantasy IV” in Music in the Role-Playing Game: Heroes & Harmonies, edited by William Gibbons and Steven Reale (Routledge, 2019). Search for other works by this author on: This Site PubMed Google Scholar Journal of Sound and Music in Games (2022) 3 (2-3): 150–153. https://doi.org/10.1525/jsmg.2022.3.2-3.150 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Julianne Grasso; Review: The Cambridge Companion to Video Game Music, edited by Melanie Fritsch and Tim Summers. Journal of Sound and Music in Games 1 July 2022; 3 (2-3): 150–153. doi: https://doi.org/10.1525/jsmg.2022.3.2-3.150 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentJournal of Sound and Music in Games Search Keywords: education, ludomusicology, review, introduction, overview, reference Video game music finally receives the “Cambridge” treatment with The Cambridge Companion to Video Game Music, a far-reaching volume of twenty-four chapters spanning a commendable breadth of topics and approaches. While we have moved beyond the need for legitimizing the field (for the most part), such a volume certainly marks a milestone; alongside this very journal, the Cambridge Companion provides a central resource for scholars, students, and enthusiasts to get an overall sense of the field, its areas of interest, its subjects of study, and its organizing principles. It is on that note that I do not use the term “commendable” lightly, as editors Melanie Fritsch and Tim Summers have collected an impressive array of authors to provide many different sorts of insights into video game music. Indeed, these perspectives go beyond scholarly “ludomusicology” to include practitioner and industry perspectives that bolster this volume’s applicability and usefulness as a reference... You do not currently have access to this content.

Is there any (artificial) intelligence in gaming?

Keywords Artificial Intelligance(AI), video games, gaming experience, ethically sound games, inclusive games

How Does Constructive Feedback in an Educational Game Sound To Children?

How Does Constructive Feedback in an Educational Game Sound To Children?

Review of The Legend of Zelda: Ocarina of Time

Review| October 01 2021 Review of The Legend of Zelda: Ocarina of Time: A Game Music Companion by Tim Summers (Intellect, 2021, 314 pp, $113.50) Sarah Pozderac-Chenevey Sarah Pozderac-Chenevey Search for other works by this author on: This Site PubMed Google Scholar Journal of Sound and Music in Games (2021) 2 (4): 55–57. https://doi.org/10.1525/jsmg.2021.2.4.55 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Share Icon Share Facebook Twitter LinkedIn Email Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Sarah Pozderac-Chenevey; Review of The Legend of Zelda: Ocarina of Time: A Game Music Companion by Tim Summers (Intellect, 2021, 314 pp, $113.50). Journal of Sound and Music in Games 1 October 2021; 2 (4): 55–57. doi: https://doi.org/10.1525/jsmg.2021.2.4.55 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search nav search search input Search input auto suggest search filter All ContentJournal of Sound and Music in Games Search Keywords: ambient music, earcon, Koji Kondo, Nintendo 64, world music The Legend of Zelda: Ocarina of Time (1998; hereafter OoT) is a frequent source of examples for ludomusicological concepts, and for good reasons: in addition to using music in a variety of ways, it was and is an extremely popular video game. Tim Summers acknowledges the importance of both aspects in the introduction to his new monograph, The Legend of Zelda: Ocarina of Time: A Game Music Companion. He also confronts the topic of canon formation at the outset, stating that he “is not interested in claiming that the game’s composer, Koji Kondo, is a ‘genius’, nor that Ocarina of Time has some quality of ‘greatness’. The study is instead motivated by Ocarina of Time’s popularity and the game’s novel use of music rather than belief in its quality in any universal sense” (2). Summers sets... © 2021 by The Regents of the University of California2021 You do not currently have access to this content.

Ludomusicology

In the past two decades, the study of video game music has come into its own and gained acceptance in the academic community. This subdiscipline, now commonly referred as ludomusicology, is still attempting basic questions concerning how it can be researched. This article aims to present the current situation and to reflect about some of the main lines of research related to the music of video games and their culture, a field of ongoing research that has received little attention in Hispanophone academia up to the present time. This article was originally published in Anuario Musical 75 (2020): 181–99 and has been translated for the Journal of Sound and Music in Games. https://doi.org/10.3989/anuariomusical.2020.75.09

Wewnątrztekstowe gry językowe w powieści "Rzeczy uprzyjemniające". Utopia Tamary Bołdak-Janowskiej

This article is devoted to language games in the Polish contemporary novel Pleasant things. Utopia by T. Bołdak-Janowska. The subject of the analysis are in-text games: narrative (themes and threads), graphic, sound, lexical and semantic (repetitions of themes and lexemes, antonyms, semantic neologisms) and word-formation (word-formation neologisms), as well as autocreation games of the narrator (knowledge / ignorance). The study indicates that in the analyzed novel language games play a significant role: they determine the multifaceted and attractive character of a work based on a world presented by the narrator's uninhibited imagination. Narrative games, exemplified by the theme of counting, indicate the complexity of human fate – the runner of history – and his entanglement in a number of interpersonal relationships, as well as the historical process itself, which is subject to constant changes, both locally and globally, independent of the will of the individual. Graphic games are based on modern language fashion, functioning especially in the environment of the youth. Sound games are based on the technique of threading referring to Bolero by Maurice Ravel. Lexical-semantic games, being a tool for describing added meanings, connotated according to a known (or – more often – created by the narrator) language, take the reader into a utopian world and at the same time – relatively perfect, i.e., dependent on the point of view of the speaker I-women.

Estetika Sebagai Motivasi Pelisanan dalam Mabebasan di Bali

Research on aesthetics as a motivation for memorizing the oral of mabebasan in Bali uses a qualitative approach. Data collection uses the methods of reading and listening to parwa, kakawin, kidung, and geguritan when mabebasan activity takes place. Mabebasan is a traditional sound art that functions to accompany ceremonies and also as entertainment. The method of analysis was carried out with a qualitative conceptual using descriptive-analytic techniques based on the working stages of the semiotic theory which correlates with the theory of needs motivation. The result of the analysis is presented using informal method with systematic and structured explanations as well as the formal method. The result of the research provide the answer that aesthetics in the form of sound game, word game, meaning game, language style (stylistics/ alamkara), and art sound are the motivators for oral (mabebasan). The existence of stylistics / alamkara is sung with melodious and chanting rhythms as well as the value causing the memorization of the oral in mabebasan.

Paronymic relations in the Russian proverbs with anthroponyms (structural aspect)

The subject of this research is the paronymic relations in paremiological units (proverbs and sayings) with anthroponyms as the structural-semantic component. The goal of this article consists in the analysis of structural specificity of paronyms in the Russian paremiological units, including anthroponyms and their functions performed in the text. The research material contains the Russian proverbs and sayings, selected through the method of continuous sampling from the Large dictionary of Russian Proverbs edited by V. M. Mokienko and the book &amp;ldquo;Russian Proverbs and Sayings&amp;rdquo; edited by V. P. Anikin. The analysis employs 145 paremiological units &amp;ndash; proverbs and sayings. The relevance of this work is defined by the fact that the problem of paronymy in the Russian folklore texts, namely in paroemias, which provide quite an extensive description of paronymic relations, has not received a sufficient scientific coverage. The author applies the method of linguistic description for compartmentalization of paronymic units in proverbs and sayings, as well as structural-semantic method for clarification of the structural, semantic and functional peculiarities of paronyms as a part of paroemias. The novelty of this research lies in the attempt of a three-level (phonetic, morphological and syntactic) structural classification of paronyms in the Russian paronyms with anthroponyms. In the Russian proverbs and sayings, the author indicates the process of paronymic convergence of anthroponyms with other components of paroemias. This process in paroemias is represented by paronymic attraction, paronomasia, and paronymic sound game. Paronymic convergence of the proper names in the Russian proverbs carries out pragmatic functions - mnemonic, satirical, and expressive. The acquired results broaden the scientific representations of paronymy in the folklore texts, and can be used in teaching general linguistics, stylistics and lexicology in the university.