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Game Sound - An Introduction to the History, Theory, and Practice of Video Game Music and Sound Design (Paperback)
Loot Price: R961
Discovery Miles 9 610
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Game Sound - An Introduction to the History, Theory, and Practice of Video Game Music and Sound Design (Paperback)
Series: The MIT Press
Expected to ship within 9 - 15 working days
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An examination of the many complex aspects of game audio, from the
perspectives of both sound design and music composition. 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 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.
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