Game Sound An Introduction to the History, Theory, and Practice of Video Game Music and Sound Design

ISBN-10: 026203378X
ISBN-13: 9780262033787
Edition: 2008
Authors: Karen Collins
List price: $36.00 Buy it from $15.61
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Description: A distinguishing feature of video games is their interactivity, and sound plays an important role in this: a player's actions can trigger dialogue, sound effects, ambient sound, and music. And yet game sound has been neglected in the growing  More...

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Book details

List price: $36.00
Copyright year: 2008
Publisher: MIT Press
Publication date: 8/8/2008
Binding: Hardcover
Pages: 216
Size: 8.00" wide x 9.00" long x 1.00" tall
Weight: 1.430
Language: English

A distinguishing feature of video games is their interactivity, and sound plays an important role in this: a player's actions can trigger dialogue, sound effects, ambient sound, and music. And yet game sound has been neglected in the growing literature on game studies. This book fills that gap, introducing readers to the many complex aspects of game audio, from its development in early games to theoretical discussions of immersion and realism. In Game Sound,Karen Collins draws on a range of sources--including composers, sound designers, voice-over actors and other industry professionals, Internet articles, fan sites, industry conferences, magazines, patent documents, and, of course, the games themselves--to offer a broad overview of the history, theory, and production practice of video game audio. Game Soundhas two underlying themes: how and why games are different from or similar to film or other linear audiovisual media; and technology and the constraints it has placed on the production of game audio. Collins focuses first on the historical development of game audio, from penny arcades through the rise of home games and the recent rapid developments in the industry. She then examines the production process for a contemporary game at a large game company, discussing the roles of composers, sound designers, voice talent, and audio programmers; considers the growing presence of licensed intellectual property (particularly popular music and films) in games; and explores the function of audio in games in theoretical terms. Finally, she discusses the difficulties posed by nonlinearity and interactivity for the composer of game music.

Karen Collins is Canada Research Chair in Interactive Audio at the University of Waterloo. She is the author of Game Sound: An Introduction to the History, Theory, and Practice of Video Game Music and Sound Design (MIT Press).

Preface
Introduction
Games Are Not Films! But . . .
Push Start Button: The Rise of Video Games
Invaders in Our Homes: The Birth of Home Consoles
"Well It Needs Sound": The Birth of Personal Computers
Conclusion
Insert Quarter to Continue: 16-Bit and the Death of the Arcade
Nintendo and Sega: The Home Console Wars
Personal Computers Get Musical
MIDI and the Creation of iMUSE
Amiga and the MOD Format
Conclusion
Press Reset: Video Game Music Comes of Age
Home Console Audio Matures
Other Platforms: Rhythm-Action, Handhelds, and Online Games
Conclusion
Game Audio Today: Technology, Process, and Aesthetic
The Process of Taking a Game to Market
The Audio Production Process
The Pre-Production Stage
The Production Stage
The Post-Production Stage
Conclusion
Synergy in Game Audio: Film, Popular Music, and Intellectual Property
Popular Music and Video Games
The Impact of Popular Music on Games, and of Games on Popular Music
Conclusion
Gameplay, Genre, and the Functions of Game Audio
Degrees of Player Interactivity in Dynamic Audio
The Functions of Game Audio
Immersion and the Construction of the "Real"
Conclusion
Compositional Approaches to Dynamic Game Music
Nonlinearity in Games
Ten Approaches to Variability in Game Music
Conclusion
Conclusion
Notes
Glossary
References
Index

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