Let's mix it up: interviews exploring the practical and technical challenges of interactive mixing in games

Game audio has come a long way since the simple electronic beeps of the early 1970s, when significant technical constraints governed the scope of creative possibilities. Recent years have witnessed technological advancements on an unprecedented scale; no sooner is one technology introduced than it is superseded by another, boasting a range of new refinements and enhanced performance

Experimental Approaches to the Composition of Interactive Video Game Music

This project explores experimental approaches and strategies to the composition of interactive music for the medium of video games. Whilst music in video games has not enjoyed the technological progress that other aspects of the software have received, budgets expand and incomes from releases grow. Music is now arguably less interactive than it was in the 1990’s, and whilst graphics occupy large amounts of resources and development time, audio does not garner the same attention. This portfolio develops strategies and audio engines, creating music using the techniques of aleatoric composition, real-time remixing of existing work, and generative synthesisers. The project created music for three ‘open-form’ games : an example of the racing genre (Kart Racing Pro); an arena-based first-person shooter (Counter-Strike : Source); and a real-time strategy title (0 A.D.). These games represent a cross-section of ‘sandbox’- type games on the market, as well as all being examples of games with open-ended or open-source code

Virtual Reality Games for Motor Rehabilitation

This paper presents a fuzzy logic based method to track user satisfaction without the need for devices to monitor users physiological conditions. User satisfaction is the key to any product’s acceptance; computer applications and video games provide a unique opportunity to provide a tailored environment for each user to better suit their needs. We have implemented a non-adaptive fuzzy logic model of emotion, based on the emotional component of the Fuzzy Logic Adaptive Model of Emotion (FLAME) proposed by El-Nasr, to estimate player emotion in UnrealTournament 2004. In this paper we describe the implementation of this system and present the results of one of several play tests. Our research contradicts the current literature that suggests physiological measurements are needed. We show that it is possible to use a software only method to estimate user emotion

An analysis of persistent non-player characters in the first-person gaming genre 1998-2007: a case for the fusion of mechanics and diegetics

This paper describes the results of an analysis of persistent non-player characters (PNPCs) in the first-person gaming genre 1998-2007. Assessing the role, function, gameplay significance and representational characteristics of these critical important gameplay objects from over 34 major releases provides an important set of baseline data within which to situate further research. This kind of extensive, genre-wide analysis is under-represented in game studies, yet it represents a hugely important process in forming clear and robust illustrations of the medium to support understanding. Thus, I offer a fragment of this illustration, demonstrating that many of the cultural and diegetic qualities of PNPCs are a product of a self-assembling set of archetypes formed from gameplay requirements

Affective games:a multimodal classification system

Affective gaming is a relatively new field of research that exploits human emotions to influence gameplay for an enhanced player experience. Changes in player’s psychology reflect on their behaviour and physiology, hence recognition of such variation is a core element in affective games. Complementary sources of affect offer more reliable recognition, especially in contexts where one modality is partial or unavailable. As a multimodal recognition system, affect-aware games are subject to the practical difficulties met by traditional trained classifiers. In addition, inherited game-related challenges in terms of data collection and performance arise while attempting to sustain an acceptable level of immersion. Most existing scenarios employ sensors that offer limited freedom of movement resulting in less realistic experiences. Recent advances now offer technology that allows players to communicate more freely and naturally with the game, and furthermore, control it without the use of input devices. However, the affective game industry is still in its infancy and definitely needs to catch up with the current life-like level of adaptation provided by graphics and animation

Heavy Hero or Digital Dummy? Multimodal Player–Avatar Relations in Final Fantasy 7

This article analyses the player-avatar relation in Final Fantasy 7, drawing on multimodality theory to analyse textual structures both in the game and in the discourse of player-interviews and fan writing. It argues that the avatar is a two-part structure, partly designed in conventional narrative terms as a protagonist of popular narrative, and partly as a vehicle for interactive game-play. The former structure is replete with the traditions and designs of Japanese popular narrative, oral formulaic narrative and contemporary superhero narratives; and is presented to the player as an offer act – a declarative narrative statement. The latter is a construct of evolving attributes and economies characteristic of roleplaying games; and is presented to the player as a demand act – a rule-based command. Though these two functions separate out in the grammar of player and fan discourse, it is their integration which provides the pleasure of gameplay and narrative engagement

Plug-in to fear: game biosensors and negative physiological responses to music

The games industry is beginning to embark on an ambitious journey into the world of biometric gaming in search of more exciting and immersive gaming experiences. Whether or not biometric game technologies hold the key to unlock the “ultimate gaming experience” hinges not only on technological advancements alone but also on the game industry’s understanding of physiological responses to stimuli of different kinds, and its ability to interpret physiological data in terms of indicative meaning. With reference to horror genre games and music in particular, this article reviews some of the scientific literature relating to specific physiological responses induced by “fearful” or “unpleasant” musical stimuli, and considers some of the challenges facing the games industry in its quest for the ultimate “plugged-in” experience

Advertising and Word-of-Mouth Effects on Pre-launch Consumer Interest and Initial Sales of Experience Products

This study examines how consumers' interest in a new experience product develops as a result of advertising and word-of-mouth activities during the pre-launch period. The empirical settings are the U.S. motion picture and video game industries. The focal variables include weekly ad spend, blog volume, online search volume during pre-launch periods, opening-week sales, and product characteristics. We treat pre-launch search volume of keywords as a measure of pre-launch consumer interest in the related product. To identify probable persistent effects among the pre-launch time-series variables, we apply a vector autoregressive modeling approach. We find that blog postings have permanent, trend-setting effects on pre-launch consumer interest in a new product, while advertising has only temporary effects. In the U.S. motion picture industry, the four-week cumulative elasticity of pre-launch consumer interest is 0.187 to advertising and 0.635 to blog postings. In the U.S. video game industry, the elasticities are 0.093 and 1.306, respectively. We also find long-run co-evolution between blog and search volume, which suggests that consumers' interest in the upcoming product cannot grow without bounds for a given level of blog volume