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Binaural and Ambisonic Sound as the Future Standard of Digital Games

100%
Farkaš T.
Acta Ludologica
|
2018
|
vol. 1
|
issue 2
34-46
EN
The author of this study suggests an idea that the auditive element of digital games is soon going to be one of the most important factors influencing their overall success, popularity, and originality. He analyses the phenomenon of binaural and ambisonic sound, its evolution and uses in the context of modern audio-visual work, primarily focusing on games. The auditive component and its increasingly important role are analyzed in connection with the graphic design of games, virtual reality, as well as the popularity of specific games. This paper also focuses on audio-games, the use of binaural sound (which was first used on a large scale in Hellblade: Senua’s Sacrifice) and various hybrid digital games, which are balancing between classic games and audio-games. Argumentation is based on an assumption that binaural sound is the way to ambisonic sound, which (within the context of the immersive and interactive character of digital games) predestines the new standard and shows an entirely new way of creating and using digital games at the same time. All of this is reflected in the context of the graphic design of digital games and their future.
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Dźwięk przestrzenny jako ekwiwalent misyjnego i komercyjnego modelu artystycznych produkcji audialnych

84%
Łastowiecki J.
Media – Kultura – Komunikacja Społeczna
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2014
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issue 10/1
62-78
EN
The aim of the article is to show the functioning of artistic audio forms – in the commercial and mission medium. The developing and lucrative production of audiobooks using the artificial head (binaural sound) and virtualization of the radio rama in productions of Polish Radio Theatre (Dolby Pro Logic 2) are the different images of convergence culture. Experimental audiobooks and radio spectacles using the Dolby surround system are not only a sign of growing artistic offers for audiophiles. First of all, it is an attempt to promote creative ideas in the more attractive and convergence-marked formula of the new canon in media. The permeation of meanings coming from traditional and modern media has a new aspect which has attracted the attention of audiophiles. Surround sound and the “artificial head” effect are not only the instruments of new audio literature. The article attempts to show how experimental sound forms are derived from the syncretism of modern media and how they produce an autonomous art form which does not copy other forms such as film, theatre or television. To what extent is the freedom of creativity to reflect itself seen in productions of audiobooks and to what extent is this found in the adaptation and direction of radio dramas of Polish Radio? Each of these two proposals shows the different functions of artistic factors and promotes the alternative popularization of audio productions.
3
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Understanding Auditory Space in Digital Games for Visually Impaired People

84%
Farkaš T.
Acta Ludologica
|
2024
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vol. 7
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issue 1
136-150
EN
The article seeks to establish a foundational framework for comprehending crucial definitions and concepts related to auditory space in digital gaming, particularly focusing on audio games designed for visually impaired individuals (VI), often devoid of graphical interfaces. While existing studies often emphasize players’ interactions with interfaces and the acquisition of real-life skills, this text explores audio games through the lens of entertainment and immersion. Numerous studies indicate a demand among visually impaired players for more intricate and challenging games, incorporating elements usually used in standard digital gaming experiences. By combining definitions from both audio and traditional digital games, this article broadens the scope of sound design considerations, encompassing various aspects and classifications. It presents several auditory dimensions, consolidating them into a comprehensive dimension called attenuation, putting their roles within a game’s context. The author is a sound designer currently working on an audio game; therefore, many of the presented definitions are also a guide that will represent some of his own considerations while working on this game. These include not only the use of binaural or ambisonic sound but also understanding the ways and means of how to work with (3D) space in the context of audio and its possible functions.
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