A distinguishing feature of video games is their interactivity; and sound plays an important role in this: a players 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 Sound has 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.
#1319921 in eBooks 2011-02-15 2011-02-15File Name: B004FGLXRO
Review
3 of 3 people found the following review helpful. Loving this bookBy DenverPhotographerI just started reading this book today and so far I would have to say it is the best book for photographers I have come across. The creative arts are surrounded by a number of "authorities" who seem to specialize in creating lies that work to the detriment of the artist... In the first three chapters Susan punches holes in several of these lies. For example the well promoted lie that doing commercial work pollutes your own work. Susan call this belief "nonsense" and she is right. Subscribe to that belief and you will starve. As much as art critics love to talk about the hardship of some dead artist (whose work is NOW worth a fortune). economic hardship does not foster creativity. It hampers it.One of my pet peeves of late is the mantra pushed by the numerous consultants to photographers and some art buyers that "you can only shoot one thing" and that if you do shoot more than that you should only show one style and subject matter in your portfolio. Most photographers strongly reject that notion knowing it will cost them a lot of business and opportunities for creative fulfillment. But the pundits continue to preach it... to the detriment of many photographers. The truth is the market is such that very few photographers who limit themselves will do well as a result. Susan shines the light of truth on this and states "the successful contemporary photographer needs the ability to work in and for multiple outlets."hearing someone else say what I know (and I believe any professional photographer knows) to be true is correct had the effect of lifting a large weight from my shoulders....And the best part is something I discovered that I always thought I had. Susan talks about the need to separate your commercial work from your own creative work and to be as dedicated to doing your own creative work as the commercial. I always thought that I had my own vision and style. but I found myself grabbing my camera and going into one of the most photographed landmarks in the city. And I discovered something interesting... I was looking at it in a whole new way. shooting angles no one else had done before. It was as if I had discovered a whole new way of looking at things... MINE. I realized at that moment that I had been seeing what I created through what I thought to be the eyes of my prospective clients and in doing so was cheating myself out of the best reward for doing the work.I highly recommend this book. It validates what you know is true and helps you to navigate the lies and confusions that have entered into and muddied up the waters in our industry0 of 0 people found the following review helpful. Good so farBy Kathleen LarsenOnly as far as chapter three but a good book so far.0 of 0 people found the following review helpful. A great book that was full of exactly what I expectedBy Ray K.A great book that was full of exactly what I expected. There are tips about how to navigate setting up a photo business that come from the business AND artist angle and that is really helpful.Read it twice and there are things I will continue to get out of this book for quite a while.
