AARHUS UNIVERSITY / JANUARY 2015
INTERACTION AND IMMERSION
An examination on the influence of audio on interaction and immersion in videogames, through an analysis of Limbo (2010) & Journey (2012).
Because of the interactive qualities, video games has always had the ability to immerse people like no other similar media. Audios role is an import but often underestimates contributor, to the players interaction and perception of the media. Through an analysis of the two video games, Limbo (2010) and Journey (2012), this study examines how audio influences the interactive qualities of video games and how this contributes to the player’s immersion. The analysis will build upon Karen Collins theory about dynamic audio, which is put together with Axel Stockburgers categorization of video game audio in five different types on sound objects. In addition to this, the study will argue why the filmic categorization of sound in diegetic and nondiegetic sounds isn’t suited for video games, because of the players direct interaction and influence on the media, and how different genres of video games has different interactive ways of implementing audio. This leads to the conclusion that the audio influences the interactive qualities of video games, depending on settings provided by the particular genre. Different video games, uses the audio in different interactive ways. The player’s immersion is also, to some degree, effected by the audios interactive qualities, especially in relation to the synchronization of input and the audiovisuals and sounds ability to make a perceptual realism.
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National film school of Denmark
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Interaction & Immersion in Video games
Hey, I’m Mads.
I am a generalist sound designer from Denmark, specialised in game audio, with a passion for technical design and pipeline development.
I’m a full-time employee at Omnigame in Copenhagen, where I design, compose and implement sound and music.
When I’m not working I like to spend time with my family and friends, go to the gym and care for my plants.
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