Sound Design at Edinburgh Napier University

Category: Video games

  • The Fast and the Sonorous: Vehicle Sound Design Insights from Codemasters’ Jethro Dunn

    Jethro Dunn, Senior Audio Designer at Codemasters, has contributed to a range of projects, from tactical military shooters to arcade racing games. During his lecture, he shared how vehicle sound effects are shaped by technical constraints, creative objectives, and genre-specific requirements—whether simulating the weight of an armoured convoy or signalling damage in a playful kart racer.

    Drawing on titles such as Operation Flashpoint: Red River and F1 Race Stars, Dunn focused on practical techniques for crafting immersive vehicle soundscapes, managing acoustics, and enhancing player feedback.

    Jethro Dunn

    Streamlining Vehicle Audio in Tactical Shooters

    In Operation Flashpoint: Dragon Rising and Red River, vehicles like jeeps and APCs required sound design that balanced realism with hardware limitations. Early designs utilised layered loops for engines, transmissions, and mechanical effects, but this approach led to unnecessary system overhead.

    “We were wasting more memory managing complex sound events than on the actual audio data, so we had to rethink how we structured vehicle sounds.” — Jethro Dunn

    The team restructured vehicle audio into smaller, independent elements. Engine and exhaust sounds were separated to enhance spatial realism, and mechanical “sweeteners” were introduced at low acceleration to add life and responsiveness during slower movements.

    Shaping Player Perspective: Interior and Exterior Vehicle Sound

    When players moved inside a vehicle, soundscapes shifted to reflect enclosed acoustics. Manual adjustments ensured consistent transitions between interior and exterior perspectives, with positional tweaks placing engine noise appropriately whether driving, seated as a passenger, or operating a turret.

    Conveying Distance: Designing Distant and Ultra-Distant Vehicle Sounds

    Vehicle sounds were deliberately simplified at distance, becoming ambient rumbles to reflect real-world acoustic behaviour. For ultra-distant scenarios, low-frequency layers simulated convoys heard kilometres away, enhancing environmental awareness without cluttering the soundscape.

    Practical Choices: Avoiding Granular Synthesis

    Dunn noted that granular synthesis, commonly used in racing games for dynamic engine sounds, was intentionally avoided for military vehicles.

    “We didn’t use granular synthesis for these vehicles because we didn’t have the recordings, and we didn’t need that level of complexity.”

    Adding Mechanical Detail: Transmission Whine and Brake Squeals

    To enhance realism, layers such as transmission whine and brake squeals were incorporated, helping players interpret vehicle behaviour and reinforcing the mechanical character of military vehicles.

    Communicating Through Sound: Feedback in Arcade Racing

    In F1 Race Stars, sound effects prioritised clear communication over realism.

    “In arcade racing, players need to hear when something’s wrong before they even look at the screen.”

    Exaggerated mechanical noises signalled damage, while distinct cues marked repairs or performance drops—providing immediate, intuitive feedback in a fast-paced environment.

    Recording Challenges and Creative Solutions

    Capturing vehicle audio involved logistical challenges, from limited access to military hardware to managing motorsport recordings.

    “You can’t ask a military driver to do ten perfect laps for recording—you get what you get.”

    For smaller projects, Dunn recorded toy cars in controlled environments—demonstrating adaptability across varying project scopes.

    Reflections on Vehicle Sound Design

    Jethro Dunn’s lecture demonstrated how vehicle sound effects are shaped by technical awareness, efficient workflows, and responsiveness to gameplay needs. From spatial realism through engine and exhaust separation to mechanical sweeteners and clear gameplay cues, his approach highlights the practical decisions that define vehicle sound design across both realistic and stylised game environments.

  • Playing Along: When Music Is Part of the Game World

    “We talk about music that originates from within the diegesis — and not from some non-diegetic player outside of it.”
    — Axel Berndt

    In a guest lecture on game audio, Dr.-Ing. Axel Berndt examined the role of diegetic music — music that exists within a game’s fictional world and can be heard, performed, or even disrupted by its characters. This kind of music, Berndt argued, is not background or emotional subtext. It is part of the world itself.

    Berndt, is a member of the Center of Music and Film Informatics within the Detmold University of Music, working at the intersection of sound design, musical interaction, and adaptive systems. His lecture brought together commercial examples, music-theoretic distinctions, and design considerations to illustrate how music behaves differently when it belongs to the world rather than framing it from outside.

    Dr. -Ing. Axel Berndt

    Inside the World: What Makes Music Diegetic

    Diegetic music refers to music that originates within the game’s diegesis — its fictional environment. Berndt described it as everything “within this world”: sounds that characters can hear and react to, including wind, speech, and music performed or played through in-world devices.

    “If someone switches the radio on, triggers the music box, sings a song, or plays an instrument… their music is also diegetic.”

    Examples included a street musician in The Patrician, a pipe player at a party, and the bard at the start of Conquest of the Longbow. In Doom 3, a gaming machine plays music within the scene; in Oceanarium, a robot performs in a clearly defined virtual space. These are not aesthetic flourishes — they anchor music in the logic of the world.

    Berndt contrasted this with non-diegetic music, which accompanies a scene without being part of it — such as a film score swelling during a battle. “There is no orchestra sitting on an asteroid during the space battle,” he remarked, highlighting the artificiality of non-diegetic scoring in game environments that otherwise strive for realism.

    Sound That Can Be Interrupted

    Once music is part of the world, it becomes subject to physical space, interruption, and interaction.

    “The simplest type of interaction may be to switch a radio on and off, but there is much more possible.”

    Berndt categorised musical interactions as either destructive — disrupting a performance — or constructive, where player input enriches or alters the musical output. In Monkey Island 3, players must stop their crew from singing an extended shanty by choosing responses that are woven into the rhyme scheme. Each interruption is musical and interactive.

    “The sequential order of verses and interludes is arranged according to the multiple choice decisions the player makes.”

    Such scenes turn performance into a mechanic. Music is not a layer applied to gameplay — it is the gameplay.

    When Music Isn’t Polished — And Why That Matters

    Berndt emphasised that diegetic music should not always sound flawless. Live performance in reality includes irregularities: tuning fluctuations, missed notes, imperfect timing. Simulating this can enhance believability.

    “Fluctuations of intonation, rhythmic asynchrony, wrong notes — these things simply happen in life situations. Including them brings a gain of authenticity.”

    He cited the harmonica player in Gabriel Knight, whose wavering tone subtly reinforces the impression of a street musician with limited technical control. Imperfection isn’t failure — it is context-aware design.

    Berndt also warned against repetitive loops that expose the limits of a system. When the player leaves and re-enters a scene, and the same music starts again from the beginning, the world appears frozen. “We reached the end of the world,” he said. “There is nothing more to come.”

    To counter this, he advocated techniques such as generative variation, asynchronous playback, and music that continues even when not audible — preserving the impression of an autonomous, living environment.

    Games Where Music Is the Environment

    Berndt’s second category of diegetic music is visualised music — where players engage not just with music in the scene, but with music as the environment itself. This includes rhythm games like Guitar Hero, Dance Dance Revolution, and Crypt of the Necrodancer, where music structures time, space, and action.

    “What we actually interact with is music itself. The visuals are just a transformation — an interface that eases our visually coined interaction techniques.”

    In Audiosurf, players import their own tracks and race through colour-coded lanes shaped by the waveform. In Rez, players shoot targets that trigger rhythmic events. These games represent a shift from music as accompaniment to music as system.

    “The diegesis is the domain of musical possibilities. The visual layer follows the routines of the music.”

    Berndt emphasised that this kind of interaction demands careful timing, expressive range, and sometimes even simplification to make musical gameplay accessible.

    From Instruments to Systems

    Not all music-based interaction takes the form of traditional games. Electroplankton allowed Nintendo DS users to create sound patterns through direct manipulation — drawing curves, arranging nodes, or triggering plankton-like agents.

    “Interestingly, all these concepts don’t really need introduction. Give it to the players, let them try it out, and they will soon find out by themselves how it works.”

    Berndt distinguished between note-level interaction (e.g. triggering individual sounds, as in Donkey Konga) and structural interaction, where players influence arrangement, progression, or generative systems. Both approaches are valid, but they ask different things of the player — and of the designer.

    Designing with Music in Mind

    Berndt’s lecture underscored a recurring principle: if music is situated in the world, it should behave accordingly. It must continue when out of frame, shift based on player presence, and reflect changes in the environment. When music is visualised or systematised, it should offer feedback and form, not simply decoration.

    “Music as part of the world has to be interactive, too.”

    This is not a stylistic preference — it is a design commitment. When music is embedded in the rules of the world, it becomes not only more believable, but more meaningful. It can reflect character, reinforce consequence, and establish rhythm within both narrative and mechanics.

    Berndt’s examples — from Monkey Island to Rez, from ambient performance to interactive music toys — show how music can operate on multiple levels at once: as texture, mechanic, and presence. His lecture made clear that diegetic music in games is not a solved problem or a historical curiosity. It remains a rich site for experimentation and design.

  • David Chan on Game Audio: When It Is Done Right, No One Will Notice

    Game audio is an invisible practice, when executed well, players barely notice it. Yet, it is fundamental in shaping an engaging experience. In an insightful online guest lecture, David Chan, Audio Director at Hinterland Games, explored the philosophy and craft of video game sound design. Drawing from a career spanning over 37 titles, including Mass Effect, Knights of the Old Republic, and Splinter Cell, he detailed how sound can enhance immersion, create emotional impact, and bring virtual worlds to life.

    David Chan

    The Philosophy of Sound Design

    Chan described sound design as performing two essential roles: creating an illusion and reinforcing reality. He linked this to historical examples, such as stage performances that used wooden blocks to mimic galloping horses or metal sheets to simulate thunder. The same principles apply to games, where sound designers must craft worlds that feel authentic, even when they do not exist in reality.

    A clear example comes from Red Dead Redemption, where audio designers carefully reconstructed the sonic environment of the Old West. The ambient sound of the game—horses neighing, conversations on the streets, distant gunfire—contributes to a sense of time and place. Chan explained how these elements reinforce reality, ensuring that the world feels lived-in. He noted that the game’s soundtrack, inspired by spaghetti westerns, further supports this atmosphere, seamlessly integrating music with environmental sounds.

    How Sound Shapes a Scene

    One of the most striking examples Chan presented was how sound can completely change the mood of a scene. He demonstrated this by stripping the original audio from a video clip and replacing it with two different soundscapes:

    • The first version used subtle ambient sounds like birds chirping and distant city noise, creating a neutral, everyday setting.
    • The second version replaced these with an ominous drone and eerie music, transforming the same footage into something foreboding and tense.

    This exercise highlighted how sound designers influence perception and steer player emotions without altering the visuals.

    A more extreme example of this approach comes from Splinter Cell, where Chan and his team had to create the illusion of a prison riot without actually animating one. Due to technical limitations, they could not show hundreds of rioting prisoners on-screen. Instead, they relied on audio cues—distant shouting, the clanging of metal doors, and muffled alarms—to make players believe chaos was unfolding nearby. As the player moved into enclosed spaces, the soundscape changed, becoming quieter and more muffled, reinforcing the illusion that the riot was occurring just out of sight.

    Designing Sound for Fictional Worlds

    One of the key challenges in game audio is developing sounds for fantasy and science fiction worlds. Chan spoke at length about Star Wars: The Old Republic, a game set in the Star Wars universe but in an era not explored in the films.

    He explained that while they aimed to remain faithful to the franchise’s iconic sounds, many of the game’s effects were newly created. For instance, the game introduced new droids that needed to sound as if they belonged in Star Wars, without directly copying R2-D2’s beeps and whistles. The sound team designed robotic sounds that felt authentic to the universe but were built from scratch.

    Another challenge was designing energy weapons for the game’s melee combat—something rarely seen in the Star Wars films. The team had to develop a sound signature that fit within the established audio landscape while remaining distinct from traditional blaster sounds. Chan saw it as a success when players assumed the game had simply reused sounds from the films, when in reality, much of the audio was entirely new.

    In Prey, Chan tackled a different challenge: designing sounds for organic weapons. Unlike traditional sci-fi firearms, these weapons were hybrids of living creatures and technology. One example was a grenade-like alien that the player had to rip apart before throwing. To make this sound believable, the team blended:

    • Wet, organic textures to give the impression of tearing flesh.
    • Squelching and bubbling effects to suggest the creature was still alive.
    • Mechanical clicks and pings to remind the player that it was still a weapon.

    This careful layering of sounds helped create an unsettling but intuitive experience for players.

    Building a Scene with Sound

    Chan provided a detailed breakdown of his sound design process using a scene from Prototype. He demonstrated how game audio is constructed layer by layer:

    1. Environmental Ambience – The first layer consisted of background sounds such as distant city noise, wind, and subtle echoes, setting the foundation for the world.
    2. Character Actions – Next, footsteps, breathing, and interactions with the environment were added to reinforce the character’s presence.
    3. Emotional Elements – Music and additional sound cues were introduced to enhance tension, guiding the player’s emotions.
    4. Final Mix – Once all elements were combined, the scene felt alive and convincing, despite being constructed entirely from separate sound sources.

    This method is essential in games, where every sound must be placed with intention. Unlike film, where microphones capture real-world sounds during production, game soundscapes are built from scratch.

    The Risks of Distracting Sound Design

    While sound design enhances immersion, poorly implemented audio can have the opposite effect. Chan discussed how reusing sounds from other games can break immersion. He pointed to Team Fortress 2, which reused audio effects from Half-Life, making the soundscape feel out of place.

    He also shared humorous examples, such as a reimagined Super Mario Bros. scene where realistic voice acting was added to Mario’s jumps, falls, and collisions. The exaggerated grunts and pain sounds turned the classic game into something unintentionally comedic, showing how audio choices can completely shift a game’s tone.

    Another example came from The Elder Scrolls IV: Oblivion, where a voice line was accidentally repeated in the same conversation. These small mistakes, while often unintentional, can pull players out of the experience and serve as a reminder that they are in a game.

    The Human Side of Game Audio

    Chan also discussed the role of voice acting in game sound. He played outtakes from recording sessions, showing how voice actors experiment with different tones and deliveries. He noted that good voice performances must match the world—whether it is gritty realism in Watch Dogs or over-the-top fantasy in Jade Empire.

    He also shared a humorous example from MDK2, where an alien species communicated by expelling gas—a creative but comedic take on alien speech design. While some sounds need to be grounded in reality, others allow for creative and exaggerated approaches.

    Final Thoughts

    David Chan’s lecture provided an insightful look at the complexities of game audio, from crafting subtle background sounds to designing entire worlds through sound alone. His key message was clear: Great game audio should be felt, not noticed.

    When done well, it deepens the player’s immersion, enhances emotions, and makes virtual worlds more believable. Whether creating the ambience of the Old West, the tension of a sci-fi battle, or the chaos of an unseen riot, the principles he shared continue to shape the way game audio is approached today.

  • Ben Minto’s Guest Lecture: The Complexity and Craft of Runtime Sound Design in Video Games

    Ben Minto, Audio Director at DICE in Sweden, recently delivered an engaging guest lecture on the intricate world of runtime video game sound design. With a career spanning over 15 years in game audio, including work on Star Wars Battlefront and Battlefield 4, Minto shared insights into the evolution of interactive sound, the technical and creative challenges of implementing audio in real time, and the balance between realism and stylisation in modern video games. His talk provided fascinating insights into the process of creating dynamic, responsive soundscapes, where audio is not just a background element but a crucial part of gameplay and player immersion.

    Ben Minto

    From Simple Playback to Dynamic Sound Design

    Minto reflected on how game audio has evolved from its early days, where sound was handled using two basic types: one-shot sounds and looping sounds. Previously, sound was mapped directly to game events, meaning a door opening would always trigger the same sound effect. Over time, game audio has moved towards a more interactive, system-driven approach, where runtime parameters influence how sounds are played.

    Instead of a single “door opening” sound, modern games now generate variations based on factors such as who opened the door, how quickly it was moved, and whether it had been used recently. This shift extends to more complex systems like weapons, explosions, and vehicles, where sounds are constructed from multiple component layers, ensuring they react dynamically to gameplay conditions.

    Case Study: The Explosion System in Battlefield 4

    Minto detailed how Battlefield 4 moved away from pre-recorded explosion sounds and instead dynamically constructed them from multiple elements. The explosion system in the game considers various factors, including the initial crack, the main body of the explosion, reflections and echoes based on the surrounding environment, and additional sounds caused by debris. The way an explosion sounds is also influenced by the player’s distance from the event, with close-up explosions featuring sharper, high-energy transients and distant ones creating a rolling, thunderous effect.

    The environmental setting also plays a key role, with explosions in urban environments producing sharp, slapback echoes while those in forests have a more diffuse, drawn-out reverb. Destruction layers add further realism by introducing the appropriate material sounds, such as metal debris, shattered glass, or splintering wood, depending on what has been damaged. By using this method, Battlefield 4 ensures that no two explosions sound exactly the same, making each in-game encounter feel distinct and grounded in its environment.

    Field Recording and “Embracing the Dirt”

    Minto emphasised the importance of authentic field recording in capturing believable soundscapes. The team at DICE combines high-fidelity recordings with those made using everyday devices like smartphones and handheld recorders. This approach, which he refers to as “embracing the dirt,” acknowledges that imperfections in sound recordings often add to their authenticity.

    For example, explosions recorded with professional microphones provide clean, detailed transients, while those captured with handheld recorders or consumer devices introduce compression, clipping, and saturation, mimicking how explosions might sound on news footage or personal recordings. This method was particularly effective in Battlefield 4, where the audio aesthetic was influenced by real-world military footage captured on handheld cameras.

    Dynamic Range and Player Experience: “War Tapes” Mode

    Minto also discussed the HDR (High Dynamic Range) audio system used in Battlefield 4, which dynamically prioritises important sounds. In fast-paced combat, players rely on audio cues to stay aware of their surroundings. The HDR system ensures that critical sounds like gunfire and footsteps are emphasised while background noise is adjusted in real time to prevent clutter.

    The team also implemented player-adjustable sound profiles, including the “War Tapes” mode, which heavily compresses and saturates the sound for a raw, documentary-like aesthetic. Other modes were tailored for home cinema systems and standard TV speakers, allowing players to adjust the dynamic range based on their listening environment.

    The Role of Foley in Game Audio

    Unlike traditional Foley in film, where sounds are added in post-production, game Foley must be implemented as modular elements that adapt to in-game actions. The sound design approach varies depending on the project. For Mirror’s Edge, Foley was recorded in a highly controlled studio environment, resulting in clean, precise sounds. In contrast, Battlefield used a more organic approach, recording footsteps and clothing movements outdoors to capture the natural imperfections of real-world sound.

    DICE’s Foley system separates different elements into multiple layers, including upper body fabric movement, torso and equipment rustling, boot sounds, and surface interactions such as gravel, snow, or metal. By combining these layers in real time, the system creates a responsive, realistic movement system that changes based on the character’s actions and surroundings.

    The Future of Game Audio

    Minto concluded by discussing the future of runtime sound design, highlighting advancements in procedural sound synthesis, frequency-based mixing, and AI-assisted adaptive soundtracks. He emphasised the importance of collaboration across disciplines, noting that sound designers must work closely with animators, programmers, and level designers to create truly immersive audio experiences.

    One of his key takeaways was the importance of curiosity and adaptability in game sound design. Aspiring sound designers should experiment with different recording techniques, explore procedural sound methods, and challenge traditional workflows to push the medium forward.

    Conclusion

    Ben Minto’s lecture provided a detailed look into the evolving world of video game sound, highlighting the technical expertise and creative problem-solving required to craft dynamic and immersive audio experiences. His insights underscored that sound is not just an add-on to games but a fundamental part of storytelling, player immersion, and emotional engagement. As game worlds become increasingly complex and interactive, sound will continue to shape the way players experience and engage with virtual environments.

  • Sounds Like a Combo: Jed Miclot’s Killer Approach to Game Audio

    Jed Miclot, Senior Sound Designer at Double Helix Games (now part of Amazon Game Studios), delivered an insightful online guest lecture on the sound design of Killer Instinct for Xbox One. In this engaging session, he provided a detailed breakdown of his creative and technical approach to crafting the game’s dynamic and immersive audio experience.

    Jed Miclot

    From Film to Games: Miclot’s Journey into Sound Design

    Miclot began by sharing his professional background, highlighting his transition from film post-production to video game sound design. Having worked on Harry Potter and other film projects, he eventually shifted his focus to interactive media, drawn by the challenge of designing sound for dynamic gameplay scenarios.

    Building a Unique Sonic Identity for Killer Instinct

    One of the core themes of the lecture was the importance of creating a distinct audio identity for each character in Killer Instinct. Miclot explained how he designed unique sound palettes that reflected each fighter’s personality, abilities, and fighting style.

    Jago, the Tibetan monk fighter, features martial arts-inspired sonic elements that reflect his disciplined yet powerful combat style. His movements are accompanied by crisp martial arts strikes, recorded using real wooden staffs, hand-to-hand impacts, and air displacement effects to simulate the speed of his attacks. To heighten realism, Miclot layered subtle breathing effects and controlled exhalations, making each attack feel deliberate and refined.

    Glacius, an alien composed of ice, required frozen textures and resonant impacts to capture his otherworldly nature. To achieve this, Miclot recorded frozen fabric being twisted and broken, ice cubes cracking in water, and glass-like resonance using contact microphones on frozen metal objects. His attacks, which involve ice shards and liquid nitrogen-inspired transformations, were enhanced by recording icicles being shattered and the sound of dry ice sublimating.

    For Sabrewulf, the werewolf, a blend of organic growls and Foley elements such as breaking wood and cloth ripping emphasized his primal nature. Miclot layered real wolf growls, lion roars, and bear vocalizations, processed to create a hybrid beast-like voice. His claw attacks were enhanced using recordings of splintering wood and ripping fabric, simulating the forceful tearing of his enemies.

    Spinal, the skeletal pirate, was brought to life through creaking bones and wooden textures to enhance his eerie presence. Miclot recorded old wooden floorboards creaking, bones knocking together, and rattling chains to create an undead, cursed aesthetic. Spinal’s vocalizations were constructed using manipulated human screams, whispery ghostly echoes, and reversed percussion elements.

    Foley Recording and Creative Sound Sourcing

    Miclot’s approach to Foley embraced experimentation with physical objects and environmental interactions to craft a rich and immersive soundscape. To enhance the weight and impact of heavy-footed characters like Sabrewulf, he recorded the sound of pumpkins being smashed, allowing the mix of soft pulp and hard shell impacts to produce a visceral quality that made movements feel raw and animalistic. For Glacius, Miclot soaked an old pair of jeans in water and froze them, manipulating the fabric once solid to capture the crisp crackling of frozen textures. This method proved so effective in simulating ice fractures that it even led to confusion among coworkers when they discovered frozen jeans in the office freezer.

    To enhance the eerie atmosphere of Spinal’s stage, Miclot recorded his girlfriend’s snoring while she was unwell, capturing deep, guttural breaths that he later pitched down to resemble an eerie, spectral presence. He also manipulated the sound of air shifting in a toilet bowl, producing unsettling moaning effects that contributed to the ghostly ambiance of Spinal’s environment.

    For Orchid’s electrical attacks, Miclot recorded a real Tesla coil generating powerful electrical discharges, using its raw, high-voltage arcs to provide an authentic crackling intensity. He controlled the coil’s amplitude and rate of sparks in real time, capturing variations that could be used dynamically during combat sequences. Similarly, for Sadira’s web-based attacks, he needed a sound that conveyed both elasticity and tension. Stretching duct tape across a long surface and peeling it at different speeds allowed him to mimic the sticky, sinewy strands wrapping around enemies, creating a uniquely organic yet unnerving sound.

    Innovative Sound Techniques: Layering and Positional Audio

    A key aspect of Killer Instinct’s audio design was its innovative approach to impact sounds. Rather than relying on a single, static sound effect, Miclot designed each impact to be dynamic and multi-layered, enhancing spatial awareness and immersion. When a character is slammed to the ground, the sound is composed of multiple elements, including positional slapback echoes that create a sense of depth and space.

    Miclot demonstrated how this system worked using Orchid’s backflip slam, a move where the character is thrown to the ground with a heavy impact. Instead of a single sound event, the slam triggered seven different sound layers, including a shockwave layer, multiple slapback echoes, and a low-frequency boom that played through the subwoofer to reinforce the force of the impact.

    For Glacius’s ice-based attacks, different layers of sound simulated the fracturing and shifting of frozen structures. When Glacius smashes an enemy with an ice attack, multiple sound components activate: an initial impact recorded using frozen jeans snapping, a delayed crackling sound simulating stress fractures in the ice, and a distant slapback echo mimicking sound reflections off frozen surfaces.

    This dynamic approach was also applied to environmental destruction. When objects in the stage break, multiple sound layers are triggered based on how close the player is to the destruction. If debris falls in the background, the slapback echoes adjust dynamically, making it feel as though the sound is traveling across the space. Miclot’s use of adaptive layering and positional audio ensured that every attack felt spatially alive, adjusting dynamically whether a character was fighting in a confined, echo-heavy environment or an open battlefield.

    Adaptive Music: Enhancing Gameplay Feedback

    Miclot also discussed the role of Killer Instinct’s dynamic music system, which was designed in collaboration with composer Mick Gordon. Unlike traditional game scores that loop continuously, Killer Instinct’s soundtrack adapts to player actions. The music shifts intensity when a player achieves a high combo streak, providing real-time feedback on gameplay performance. A granular processing effect momentarily distorts the music when a combo breaker is performed, reinforcing the action’s impact. If players stop fighting for six seconds, the music transitions to classic themes from the original Killer Instinct soundtrack. During an ultra combo, each successful hit triggers a sequence of musical notes tied to the character’s theme, turning the final blows into a rhythmic spectacle.

    Final Reflections

    Miclot’s guest lecture provided an in-depth look at the intricacies of fighting game sound design. His work on Killer Instinct showcased how experimental Foley, creative recording techniques, and adaptive audio implementation can enhance a game’s engagement. By sharing practical insights and demonstrating the thought process behind each sound, his lecture offered valuable knowledge for those looking to push the boundaries of game audio design.

  • Stepping to the Beat: Benoit Tigeot’s Journey in Dance Game Sound Design

    Benoit Tigeot delivered an engaging online lecture on his experiences working on the Just Dance series and the intricacies of sound design in dance video games. His talk provided an in-depth look at the challenges and creative processes involved in crafting immersive audio for an interactive, music-driven game.

    BenoitTigeot

    From Live Sound to Game Development

    Benoit’s journey into sound design began with work on live shows, concerts, and exhibitions, which provided him with a strong foundation in audio engineering. After completing his studies in France, he gained experience in television production, animation dubbing, and studio recording before transitioning into video game audio. His background in live and recorded sound gave him a unique perspective when he joined Ubisoft to work on Just Dance.

    Adapting to Game Audio

    Despite having no prior experience in game audio, Benoit quickly adapted to the demands of interactive sound design. He worked on multiple Just Dance titles, learning how to integrate music and sound effects into gameplay while ensuring high-quality production standards. The fast-paced development cycle required him to balance creativity with efficiency, as each version of Just Dance was produced in a matter of months.

    The Sound Design Workflow

    Benoit outlined the workflow for sound design in Just Dance, highlighting key stages such as:

    • Track Preparation: Receiving licensed music, ensuring audio quality, and making necessary edits, including removing inappropriate language. For example, in Black Eyed Peas’ songs, multiple words were edited out using backward reverb and other subtle audio modifications to keep the track family-friendly while maintaining its musicality.
    • Marker Placement: Adding timing markers to synchronise choreography, animations, and gameplay elements. Benoit emphasised the importance of precision, as even a millisecond difference could impact the timing of dance moves and scoring.
    • Sound Effects (SFX) Design: Creating introductory and concluding sound effects for each song, as well as UI and gameplay sounds. In Just Dance Japan, additional sound effects were incorporated at the beginning and end of tracks to enhance the user experience. The sound team also created unique effects for different dance modes, such as battle mode, where transitional audio had to blend seamlessly between competing tracks. Over 150 different SFX variations were tested to find the right balance between energy and smooth musical transitions.
    • Integration and Testing: Implementing audio into Ubisoft’s proprietary engine, collaborating with developers and artists, and ensuring synchronisation across multiple platforms. Benoit described how the team used text-based scripting in Sublime Text to adjust pitch, loop points, and volume, allowing for quick iteration and adjustments across the game. He also discussed how the team recorded crowd reactions and player feedback sounds in a dedicated studio space to ensure an immersive experience.

    Challenges in Dance Game Audio

    Working on Just Dance presented unique challenges, including:

    • Multi-platform Development: Adapting audio for different consoles and ensuring consistency across devices.
    • Cross-Studio Collaboration: Coordinating with teams worldwide, including those in France, India, and the UK.
    • Real-time Testing: Evaluating sound integration in a dynamic, open-plan workspace filled with music and dance rehearsals. Benoit noted that sound designers had to contend with a noisy environment, making it difficult to hear and refine subtle audio details.
    • Genre Adaptability: Designing sound for a wide range of musical styles while maintaining a cohesive experience. He explained how the team had to ensure that different styles—ranging from electronic dance music to country—had consistent and engaging audio treatments without overwhelming players with excessive effects.

    Reflections on Sound Design in Just Dance

    Benoit’s lecture provided a valuable look at the evolution of Just Dance’s audio technology. He discussed the transition to a new game engine, which improved workflow efficiency and allowed for greater creative flexibility. His work on developing in-game sound effects, enhancing music transitions, and refining player feedback mechanisms contributed significantly to the game’s audio experience. For instance, in Just Dance’s battle mode, the team spent weeks fine-tuning SFX to ensure that energy levels were maintained across song transitions without jarring interruptions. Additionally, subtle effects such as footstep sounds, applause, and even costume rustling were layered in to enhance immersion.

    For aspiring sound designers, Benoit’s talk underscored the importance of adaptability, collaboration, and technical proficiency. His ability to bridge creative and technical aspects of sound design made him a key contributor to one of Ubisoft’s most successful franchises. He also highlighted how working in a rhythm-based game required constant iteration, as any mistake in beat markers or mixing could significantly impact the player’s experience. The balance between technical precision and creative storytelling through sound remains an essential aspect of game audio development.

    Benoit’s lecture offered a fascinating glimpse into the behind-the-scenes work that brings rhythm-based games to life. His experiences serve as an inspiration for those interested in audio design for interactive media, highlighting the rewarding challenges of working in the field of game sound.

  • Bumpers, Bells, and Beats: The Dynamic World of Interactive Audio with David Thiel

    The world of game audio presents unique challenges and opportunities, and few individuals have navigated this space with as much depth and insight as David Thiel. In an online guest lecture, Thiel shared his extensive experience in interactive audio, covering its evolution, principles, and creative approaches. With a career spanning over four decades, his work has influenced interactive entertainment, from early arcade machines to modern gaming environments.

    David Thiel

    Interactive Audio vs Linear Audio

    Thiel began by distinguishing between interactive audio—used in games—and linear audio, which is typical of film and television. Unlike linear audio, where sounds are meticulously timed to match fixed visuals, game audio must be dynamic. It adapts in real-time based on player interactions, requiring a more flexible and responsive approach to composition and sound design.

    One key challenge he highlighted is unpredictability. In a film, every sound effect and piece of music is placed with precise timing. In contrast, game audio must account for numerous possibilities—players might trigger events in different sequences or at varying speeds. This means that game sound designers must think beyond static cues, ensuring that every sound conveys meaning while enhancing immersion. Thiel illustrated this with an analogy: Imagine posting a movie where you know which events will occur but have no idea when or in what order they will happen. He then expanded on this by explaining how game audio is akin to composing for an orchestra where each instrument plays independently based on player input, making real-time adaptation essential.

    Making Game Audio Meaningful

    One of Thiel’s core principles is that game audio should always provide useful information to the player. Sounds should not just be aesthetically pleasing but should also enhance gameplay. For example, when a player fires a weapon in a game, the sound can communicate crucial details such as the type of gun, whether it is running out of ammunition, or if the shot has hit a target. He elaborated on this concept by breaking down the sound design process for firearms: A shotgun blast should feel weighty and reverberate differently in an open space versus a confined corridor, while an energy weapon should have an otherworldly charge-up sound. Additionally, missed shots and ricochets can provide players with subtle cues about their accuracy, reinforcing the importance of audio feedback.

    Another fundamental aspect is variation. If a game reuses the same audio sample repeatedly, players may quickly lose their sense of engagement. Thiel demonstrated how game audio can introduce subtle variations based on contextual factors, such as the shooter’s position, the remaining ammunition in a weapon, or environmental influences. He provided an example from Borderlands 2, where he spent over 1,000 hours playing and noted how the game’s procedural gun system extended to audio, ensuring that weapons sounded unique based on their make and function. Each gun has a different reload sound sequence, creating deeper immersion and ensuring that players can distinguish between weapons purely through audio cues.

    Additionally, Thiel discussed the importance of environmental sounds in enhancing game immersion. He explained how in Winter Games (1985), all sound effects were synthesised in real-time, yet they managed to convey the distinct feel of ice skating. By manipulating pitch and timbre, the sound team created convincing audio cues that responded dynamically to skater movements.

    The Role of Music in Interactive Audio

    Music in games also requires a different approach compared to linear media. Thiel recounted his early experiences in the 1980s, where hardware constraints required music to be generated in real-time using algorithms. Though modern hardware allows for pre-recorded music with high production values, he highlighted the benefits of runtime-generated music, such as the ability to synchronise musical cues dynamically with gameplay.

    A particularly engaging example was his work on pinball machines. In Monday Night Football pinball, musical motifs and drum beats were triggered by player actions, enhancing gameplay feedback. When the player scored a goal, a celebratory fanfare played, rising in pitch with each successive goal, reinforcing the excitement. Similarly, synchronised drum fills were used when the ball passed through a spinner, making player actions musically rewarding. Another notable example was from Torpedo Alley, where a cowbell sound layer was introduced when players entered a time-limited game mode, ensuring they knew they had a short window to act. The cowbell was musically integrated, but also acted as a warning that the mode would soon expire, influencing player behaviour.

    Thiel also explored how interactive music could adapt to player performance. He referenced a pinball machine where successfully hitting targets would cause the background music to shift in pitch, making victories more rewarding. Each successive successful shot raised the key of the soundtrack, creating a musical escalation that heightened player excitement.

    Challenges in Speech and Sound Effects

    Thiel also touched on the complexities of speech and sound effects in games. While modern storage capacities allow for extensive voice recordings, game dialogue must be carefully managed to maintain clarity and engagement. He shared insights into ‘speech wrangling’—the process of organising, editing, and integrating thousands of voice clips in a way that is useful to game developers.

    Sound effects, meanwhile, are not simply lifted from libraries but are often layered and modified to enhance realism. Thiel illustrated this with an explosion sound effect: Rather than using a single sample, he combined elements such as a low-end impact, a sharp transient, and a synthesised decay to create a more impactful and informative effect. He also explained how the iconic sound of the Ark of the Covenant in the Indiana Jones pinball machine was created using a manipulated orchestral harp sound called ‘Psycho Drone’—an example of how concept sometimes takes precedence over traditional realism in sound design.

    Additionally, Thiel described how synchronised sound cues could be used to communicate time-sensitive objectives. In a pinball machine, for example, the sound of a looping crowd chant helped signal an urgent task. Players needed to hit a specific target before the chant faded, using sound as a direct gameplay indicator.

    Mixing and Mastering for Different Environments

    A crucial part of game audio design is ensuring that sounds are balanced correctly in different playback environments. Thiel noted the differences between public spaces (such as arcades or casinos) and private listening setups (home gaming, mobile devices). In noisy public settings, audio cues must be clear and loud, often using aggressive mixing techniques such as ducking (reducing background volume when key sounds play). In contrast, home environments allow for more subtle layering, offering richer detail and depth.

    The Passion Behind Game Audio

    Thiel concluded his talk with reflections on the industry’s approach to audio. Despite the immense progress in gaming technology, he observed that audio still receives a smaller share of development resources compared to graphics. However, for those passionate about sound, game audio remains a deeply rewarding field that requires creativity, problem-solving, and technical expertise.

    This lecture provided a fascinating exploration of interactive audio, offering both historical perspectives and practical insights. Whether you are an aspiring game audio designer or simply interested in the intricacies of interactive sound, Thiel’s knowledge and experience shed light on the challenges and artistry of game audio creation.

     

  • The Sound Design of Fantastical Elements: Insights from Brad Meyer

    The world of video games is filled with sounds that transport players to new dimensions, from the roar of mythical creatures to the hum of futuristic technology. Behind these sounds are dedicated professionals like Brad Meyer, Audio Director at Sucker Punch Productions, who delivered an engaging guest lecture on fantasy sound design.

    Brad Meyer

    With extensive experience in the industry, Meyer has worked on a variety of games, including Jurassic Park, Spider-Man: Web of Shadows, and Infamous: Second Son. Throughout his talk, he offered invaluable insights into the creative process of designing sounds for fantastical worlds, emphasising grounding fantasy in reality to create more relatable and engaging audio experiences.

    Bringing the Fantastic to Life Through Sound

    Fantasy in games is often associated with dragons, magic, and mythical landscapes. However, as Meyer pointed out, fantasy sound design extends beyond these stereotypes, encompassing anything that is imagined and does not exist in the real world. Even games with realistic settings use elements of fantasy, whether in the form of futuristic interfaces, enhanced environments, or supernatural abilities.

    Meyer stressed the importance of using real-world sounds as the foundation for fantastical audio effects. By incorporating recognisable sonic elements, such as animal calls, mechanical noises, or environmental recordings, designers create sounds that feel authentic while still supporting the game’s imaginative elements.

    For instance, in Jurassic Park 3: The DNA Factor, Meyer and his team used a mix of bird calls, walrus vocalisations, and cat growls to construct dinosaur sounds that felt realistic despite the fact that no one knows what dinosaurs actually sounded like. Similarly, in Spider-Man: Web of Shadows, he layered compressed air bursts and rope creaks to create the sensation of Spidey’s web-slinging.

    The Process of Crafting Unique Sounds

    Throughout the lecture, Meyer shared several examples of how he and his team develop sounds through experimentation, layering, and creative thinking.

    • Using Unconventional Materials – While designing the sound of Frogger’s tongue, Meyer found inspiration in party whistles, using their retracting motion to simulate the flick of a frog’s tongue. By varying the speed and intensity of the whistle, different versions of the sound were created to match in-game actions.
    • Inventing New Recording Techniques – To create the sound of moving concrete debris in Infamous: Second Son, Meyer built a tumbling machine by filling a padded rubbish bin with rocks and rolling it around. The method allowed for recording a continuous shifting effect, which was later manipulated to fit different gameplay sequences.
    • Manipulating Sound Through Processing – In Infamous, neon powers were designed using fluorescent tube recordings, which were then modified with spectral filters to create a futuristic energy effect. By applying different reverb and pitch-shifting techniques, the sound was given a more otherworldly quality.
    • Blending Organic and Synthetic Sounds – The sound of a dragon’s wings in a fantasy game may be created by layering recordings of bird wing flaps, slowed-down flag waving, and subtle jet engine noise to provide depth and power. Time-stretching and low-pass filters can be applied to emphasise the size of the creature.
    • Recording and Modifying Everyday Objects – To mimic the sound of a robotic exosuit, designers may record hydraulic lifts, servo motors, and mechanical gears, then process them using granular synthesis and distortion effects to enhance their sci-fi aesthetic.
    • Creating Footsteps for Different Surfaces – Footsteps on gravel may be created by recording boots on loose stones, while icy terrain can be simulated by crushing cornstarch or frozen lettuce to create crisp crunching sounds. Layering multiple recordings at different distances can provide more depth and realism.
    • Using Water for Unusual Effects – To produce eerie, otherworldly sounds, designers can use hydrophones to record underwater gurgling, later modifying the pitch and layering additional elements. This technique has been used for deep-sea creatures, alien environments, and magical spells.
    • Layering Human and Animal Sounds – To create monstrous growls or supernatural voices, sound designers often blend human vocalisations with recordings of animals such as tigers, wolves, and pigs. Adjusting the pitch and applying formant shifting can transform these elements into something unrecognisable yet believable.
    • Using Foley Techniques for Impact Sounds – Sword clashes may be recorded using real metal objects, but layering them with additional materials such as celery snaps or baseball bat impacts adds weight and crunch. Similarly, explosions often incorporate recordings of firecrackers, fireworks, and even slowed-down balloon pops to create the necessary sonic texture.

    The Importance of Collaboration and Experimentation

    Meyer highlighted that sound design is a process of constant learning and experimentation. He encouraged students and professionals alike to embrace failure, as each unsuccessful attempt teaches valuable lessons that contribute to better sound design in the future.

    Additionally, he emphasised the importance of community in the sound design industry. Engaging with other professionals, sharing techniques, and attending meetups can lead to fresh ideas and innovation. In Seattle, where Meyer is based, game audio professionals regularly gather to discuss their work, reinforcing the value of collaboration.

    Guidance for Aspiring Sound Designers

    1. Ground fantasy sound design in reality – Using real-world recordings makes fantastical sounds more relatable and engaging.
    2. Experiment with unconventional sources – Anything from household objects to wildlife recordings can become the basis for unique sound effects.
    3. Keep an organised sound library – Effective cataloguing of sounds ensures efficiency in future projects.
    4. Do not be afraid to fail – Trial and error is part of the creative process.
    5. Engage with the sound design community – Collaboration and networking can lead to new opportunities and insights.

    Meyer’s talk provided a fascinating look into the art and science of crafting compelling audio for games. Whether designing the roar of a dragon or the hum of a futuristic machine, the secret lies in finding inspiration in the real world and shaping it into something new.

    For those interested in pursuing sound design, his advice is clear: stay curious, experiment fearlessly, and never stop learning.

     

  • Exploring Game Audio: Insights from Aaron Marks’ Lecture

    Game audio is an intricate blend of creativity and technical proficiency, shaping immersive player experiences. In his lecture, Aaron Marks, a seasoned expert in game audio, shared valuable insights into the evolving landscape of sound design, audio programming, and the industry’s expectations from professionals. His talk covered various aspects of game audio, from creating soundscapes to collaborating with developers, and even the business side of the industry.

    Aaron Marks

    Aaron Marks is an accomplished game audio professional with decades of experience in sound design, music composition, and field recording. He is the author of The Complete Guide to Game Audio, a widely respected book used by aspiring and professional game audio designers. Additionally, he has authored Game Audio Development, providing in-depth insights into the technical and creative aspects of interactive sound design. Marks has contributed to numerous games, including NASCAR Heat 4, Ring of Elysium, Ghost in the Shell: First Assault Online, Red Orchestra 2: Heroes of Stalingrad, and Tom Clancy’s EndWar, showcasing his expertise in sound design, field recording, and composition across various genres.

    The Role of Audio in Video Games

    Aaron Marks emphasised the vital role that audio plays in gaming, from the immersive quality of sound effects to the emotional impact of music. Unlike film, where audio is linear and carefully timed, game audio must be adaptive and dynamic, responding to player actions in real-time.

    Marks, who teaches at the Art Institute in San Diego, structures his course to equip students with practical skills in sound editing, implementation, and understanding the development pipeline. He noted that students must leave the course with tangible skills that make them attractive to game developers, including familiarity with middleware like Wwise and FMOD.

    The Challenge of Keeping Up with Technology

    One of the most common concerns among aspiring game audio professionals is staying up to date with the ever-evolving technology. Marks reassured his audience that instead of trying to master every new tool, they should focus on understanding fundamental audio principles and adapt when needed.

    Rather than memorising every function of a software update, he suggested familiarising oneself with tutorials and getting hands-on experience only when required. This approach helps sound designers stay efficient and not be overwhelmed by constant technological changes.

    The Growing Demand for Audio Programmers

    One key takeaway was the increasing demand for audio programmers. Marks recounted a conversation with an audio director at a leading game developer who was actively seeking an audio programmer even while having numerous sound designers available.

    This highlights the importance of programming knowledge in game audio. While not mandatory, having skills in scripting languages such as C# or Python can significantly enhance one’s employability, especially for small development teams where technical implementation is crucial.

    Design Examples

    For footsteps in different environments, record footsteps on various surfaces such as wood, gravel, concrete, and wet ground using a high-quality field recorder. Enhance realism by layering different recordings, such as separate heel and toe impacts, and adjusting the pitch and volume dynamically to avoid repetition. Use parametric EQ to fine-tune the frequency response and add slight randomisation in playback through Wwise or FMOD to make each step feel unique.

    For gunfire effects, combine multiple elements, such as mechanical clicks (captured using metallic objects), muzzle blasts (recorded from actual firearms if possible), and reverb tails (captured from different distances). Use layering techniques to create depth, adjusting low-end frequencies for power and adding a subtle distortion effect to enhance realism. Implement gunfire effects using multiple variations and pitch shifting to prevent repetitive audio patterns.

    For ambient soundscapes, capture field recordings in locations that match the intended game environment, such as forests, cities, or caves. Use stereo imaging and reverb to simulate realistic depth and distance, adjusting based on proximity cues in the game engine. Add movement by using modulated panning and volume automation to create a sense of a living, breathing world.

    For dynamic music transitions, compose music in layers that can be triggered dynamically in response to in-game events. Use tools like Wwise or FMOD to create seamless crossfades between different musical moods, such as shifting from calm exploration music to an intense combat theme. Implement adaptive musical stingers that introduce new elements based on enemy encounters, player health, or location changes.

    For procedural sound effects, instead of using static audio files, generate sounds through synthesis and procedural techniques. For example, generate wind and rain using noise-based synthesis with modulated filters to create natural variation. Use physics-based procedural sound engines to dynamically generate impact sounds based on object weight, speed, and material type.

    Final Thoughts

    Aaron Marks’ lecture provided a comprehensive look into the world of game audio, covering both technical and business aspects. Whether it’s creating dynamic soundscapes, recording weapons in the field, or optimising casino game audio, the industry offers a wide range of opportunities for those willing to explore. For those looking to break into game audio, the key takeaway is to stay adaptable, build strong relationships, and continuously refine your craft. The world of interactive audio is ever-changing, but with passion and persistence, a rewarding career awaits.

     

  • Understanding Game Sound: Fidelity, Verisimilitude, and Acoustic Ecology

    Dr. Milena Droumeva, an expert in game sound, acoustic ecology, and digital media, is an Associate Professor at Simon Fraser University. She researches sound studies, interaction design, and immersive audio environments. In an online guest lecture, Dr Droumeva explored how sound shapes experiences across various media, particularly in video games.

    Dr Milena Droumeva

    The Role of Sound in Games

    Game sound serves multiple functions, including:

    • Informational: Providing feedback through alerts, warnings, and reward sounds.
    • Affective: Setting the emotional tone of the game through music and sound effects.
    • Communicative: Enhancing storytelling and narrative engagement.
    • Spatial: Creating a sense of atmosphere and immersion.

    All game sounds interact dynamically, making each playthrough unique. Unlike traditional media, where sound is fixed, game sound reacts in real time to player input, enhancing immersion and believability in virtual environments.

    Fidelity vs. Verisimilitude: Two Paths to Realism

    Fidelity in game sound refers to how accurately in-game audio replicates real-world sounds. Technological advancements have drastically improved fidelity, moving from simple 8-bit chiptunes to highly detailed soundscapes with 3D spatial audio. For example, modern first-person shooter (FPS) games utilise high-fidelity sound to replicate gunfire, environmental acoustics, and movement sounds with great precision.

    While fidelity focuses on realism, verisimilitude concerns itself with believability within the game world. Not all games aim for strict realism—fantasy RPGs like Final Fantasy or Zelda prioritise creating an immersive, internally consistent soundscape rather than mimicking real-world sounds. Iconic game sound effects, such as Mario’s jump sound or Zelda’s treasure chest chime, are less about real-world accuracy and more about maintaining an established, recognisable aesthetic.

    The Evolution of Game Sound

    The history of game sound can be divided into key phases:

    1. Early Video Games: Minimalist, synthesised melodies with limited sound effects.
    2. 16-bit Era: Polyphonic MIDI compositions and richer audio textures.
    3. Modern Gaming: High-fidelity digital audio, dynamic soundscapes, and adaptive audio engines.
    4. 3D & VR Sound Design: Spatial audio and immersive environmental effects that enhance realism.

    Games have evolved from simple beeps and loops to intricate, cinematic experiences where soundscapes enhance gameplay and narrative depth. Today’s games feature dynamic audio that responds to player actions, creating immersive environments that rival film and television in complexity and emotional impact.

    Acoustic Ecology and Game Soundscapes

    Acoustic ecology, a concept introduced by Professor Barry Truax, views sound as part of an interconnected system where the environment and listener influence one another. In games, this means understanding how various sound elements—background music, ambient noise, dialogue, and sound effects—interact to create a cohesive soundscape.

    For instance:

    • FPS games use environmental reverb and echo to simulate realistic spaces.
    • RPGs incorporate thematic soundtracks to create a sense of place.
    • Arcade games employ catchy, repetitive melodies designed to grab attention in noisy environments.

    The balance of sound in a game environment is crucial. Overloading a soundscape with too many auditory elements can create clutter, while strategic use of silence can heighten suspense and impact.

    The Future of Game Sound

    Despite technological advancements, game sound design still faces challenges. Audio design often receives less investment compared to visual graphics, and many game developers rely on conventional sound design approaches rather than exploring new, experimental techniques. However, the rise of AI-generated sound, real-time adaptive audio, and VR-driven spatial audio suggest that the future of game sound will continue to push the boundaries of immersion and interactivity.

    Conclusion

    Game sound is a rich field that bridges technology, culture, and player experience. Understanding it through the lenses of fidelity, verisimilitude, and acoustic ecology offers a more nuanced perspective on how sound functions within interactive media. Next time you play a game, take a moment to listen—what role does sound play in your immersion? How does it shape the way you experience the game world? For those interested in exploring game sound further, consider experimenting with muting visuals or audio during gameplay to analyse how different sound elements contribute to the overall experience. The world of game audio is vast, and there’s always more to discover!