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dc.contributor.authorGrimshaw, Mark
dc.date.accessioned2008-08-20T14:03:12Z
dc.date.available2008-08-20T14:03:12Z
dc.date.issued2007
dc.identifier.citationIn: Mehdi, Q., Estraillier, P. and Eboueya, M. (eds.) Proceedings of CGAMES’2007. 11th International Conference on Computer Games: AI, Animation, Mobile, Educational and Serious Games, Université de La Rochelle, France, 21-23 November 2007
dc.identifier.isbn978-0-9549016-4-6
dc.identifier.urihttp://hdl.handle.net/2436/35995
dc.description.abstractOne of the aims of modern First-Person Shooter (FPS) design is to provide an immersive experience to the player. This paper examines the role of sound in enabling such immersion and argues that even in ‘realism’ FPS games, it may be achieved sonically through a focus on caricature rather than realism. The paper utilizes and develops previous work in which a conceptual framework for the design and analysis of run and gun FPS sound is developed and the notion of the relationship between player and FPS soundscape as an acoustic ecology is put forward (Grimshaw and Schott 2007a; Grimshaw and Schott 2007b). Some problems of sound practice and sound reproduction in the game are highlighted and a conceptual solution is proposed.
dc.language.isoen
dc.publisherUniversity of Wolverhampton, School of Computing and Information Technology
dc.subjectFirst-person shooter
dc.subjectSound
dc.subjectImmersion
dc.subjectRealism
dc.titleSound and Immersion in the First-Person Shooter
dc.title.alternativeProceedings of CGAMES’2007
dc.typeConference contribution
refterms.dateFOA2018-08-21T11:41:51Z
html.description.abstractOne of the aims of modern First-Person Shooter (FPS) design is to provide an immersive experience to the player. This paper examines the role of sound in enabling such immersion and argues that even in ‘realism’ FPS games, it may be achieved sonically through a focus on caricature rather than realism. The paper utilizes and develops previous work in which a conceptual framework for the design and analysis of run and gun FPS sound is developed and the notion of the relationship between player and FPS soundscape as an acoustic ecology is put forward (Grimshaw and Schott 2007a; Grimshaw and Schott 2007b). Some problems of sound practice and sound reproduction in the game are highlighted and a conceptual solution is proposed.


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