Abstrakt
The paper aims to outline features of video games’ sounds. In order to do that, the author presents the main thesis of ludomusicology and a theory of film music. The first part of the paper deals with a brief introduction concerning the characteristic of two important aspects of video games’ sounds: reactive and anticipating sounds. In the second part of the paper, the author explores the issue of facultative dialogues and adaptive sounds, as well as diegetic and non-diegetic sources of sound. The author examines the hypothesis that using sounds in video games determines gameplay and impacts players immersion.
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CYTOWANE GRY WIDEO:
Brothers: A Tale of Two Sons [gra wieloplatformowa], Starbreeze Studios, 2013
Dead Space [gra wieloplatformowa], EA Redwood Shores, 2008
Donkey Kong [gra wieloplatformowa], Nintendo, 1981
God of War [PS4], SIE Santa Monica Studio, 2018
Grand Theft Auto: San Andreas [gra wieloplatformowa], Rockstar North, 2004
Limbo [gra wieloplatformowa], Playdead, Double Eleven, 2010
Red Dead Redemption II [gra wieloplatformowa], Rockstar Games, 2018
Super Mario Bros. [NES], Nintendo, 1985
Wiedźmin 3: Dziki Gon [gra wieloplatformowa], CD Projekt RED, 2015
Licencja
Prawa autorskie (c) 2020 Joanna Pigulak
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Utwór dostępny jest na licencji Creative Commons Uznanie autorstwa 4.0 Międzynarodowe.