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Sound Und Sound Design in First Person Shooter: Theorie Und Praktische Umsetzung Mit Hilfe Der Cryengine 3

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Sound Und Sound Design in First Person Shooter: Theorie Und Praktische Umsetzung Mit Hilfe Der Cryengine 3 Sound und Sound Design in First Person Shooter: Theorie und praktische Umsetzung mit Hilfe der CryENGINE 3 Bachelorarbeit im Studiengang Audiovisuelle Medien vorgelegt von Tobias Schiedhelm Matr.-Nr.: 20855 am 13. Februar 2013 an der Hochschule der Medien Stuttgart Erstprüfer: Prof. Oliver Curdt Zweitprüfer: Prof. Dipl.-Ing. Uwe Schulz Eidesstattliche Versicherung II Eidesstattliche Versicherung Name: Schiedhelm Vorname: Tobias Matrikel-Nr.:20855 Studiengang: Audiovisuelle Medien Hiermit versichere ich, Tobias Schiedhelm, an Eides statt, dass ich die vorliegende Ba- chelorarbeit mit dem Titel „Sound und Sound Design in First Person Shooter: Theorie und praktische Umsetzung mit Hilfe der CryENGINE 3“ selbständig und ohne fremde Hilfe verfasst und keine anderen als die angegebenen Hilfsmittel benutzt habe. Die Stel- len der Arbeit, die dem Wortlaut oder dem Sinne nach anderen Werken entnommen wurden, sind in jedem Fall unter Angabe der Quelle kenntlich gemacht. Die Arbeit ist noch nicht veröffentlicht oder in anderer Form als Prüfungsleistung vorgelegt worden. Ich habe die Bedeutung der eidesstattlichen Versicherung und die prüfungsrechtlichen Folgen (§26 Abs. 2 Bachelor-SPO (6 Semester) der HdM) sowie die strafrechtlichen Folgen (gem. § 156 StGB) einer unrichtigen oder unvollständigen eidesstattlichen Ver- sicherung zur Kenntnis genommen. Heilbronn, den 13.03.2013 Ort, Datum Unterschrift Kurzfassung / Abstract III Kurzfassung / Abstract Computerspiele stellen ein enormes Unterhaltungsmedium dar. Sogenannte „Gamer“ findet man inzwischen in allen Altersgruppen, über alle sozialen Schichten und alle Bil- dungsniveaus hinweg. Viele First-Person-Shooter (FPS) zählen dabei zu den meistver- kauften Spielen. Allerdings stand im Rahmen der Spieleproduktion lange Zeit lediglich das Visuelle im Vordergrund. Auch in der gängigen Fachliteratur existieren mehrheit- lich Studien zum visuellen Design, wohingegen sich nur wenige Autoren mit dem Sound Design in Computerspielen beschäftigen. Bei der Spieleproduktion hingegen wurde inzwischen das Potenzial des Akustischen erkannt, da ein optimales Sound De- sign zur Authentizität der „virtuellen Realität“ beiträgt, dem Spieler Feedback gibt und Emotionen transportieren kann. Das Ziel der Bachelorarbeit besteht darin, das Potenzial und die Besonderheiten des Sound Designs in FPS anhand von praktischen Sound- Beispielen mit Hilfe der CryENGINGE 3 aufzuzeigen. Die Besonderheiten liegen dabei hauptsächlich in der Interaktivität und Nonlinearität des Mediums und der daraus resul- tierenden dynamischen Tonarbeit. Computer games depict an enormous entertainment medium. So-called “gamers” can be found in all age groups regardless of socioeconomic and educational backgrounds. Many first person shooters also known as “FPS” are amongst the top-selling games worldwide. In the beginning of the computer game phenomenon, the primary focus of game development mostly concentrated on visuals. There are multiple studies on visual design in relevant specialist literature, whereas sound design seemed to be less empha- sized among authors. Meanwhile, game developers have not only recognized the poten- tial behind acoustics but also acknowledged that combining ideal sound design can cre- ate more of an authentic “virtual reality” therefore giving the player communicative feedback such as demonstrating lifelike emotions. The purpose of this bachelor thesis is to demonstrate the potential and characteristics of sound design within FPS game types especially when used in combination with practical sound-examples such as CryEN- GINE 3. Overall, the peculiarities lie primarily in the interactivity and nonlinearity of the medium therefore resulting in dynamic sound work. Inhaltsverzeichnis IV Inhaltsverzeichnis Eidesstattliche Versicherung ........................................................................................ II Kurzfassung / Abstract ................................................................................................. III Inhaltsverzeichnis ......................................................................................................... IV 1 Einleitung ............................................................................................................. 1 2 Das Computerspiel-Genre „First Person Shooter“ .......................................... 4 2.1 Das Medium Computerspiel .................................................................................. 4 2.2 Computerspielen als Unterhaltung ........................................................................ 5 2.3 Die Nutzung von Computerspielen ....................................................................... 8 2.4 Das Genre der First Person Shooter (FPS) ............................................................ 9 2.4.1 Genreaufteilung ..................................................................................................... 9 2.4.2 FPS nach dem Kategorisierungsschema nach Klimmt (2001) ............................ 11 2.4.3 Kritik am Genre unter Berücksichtigung des Gewaltbegriffs ............................. 12 3 Sound Design in First-Person-Shooter (FPS) .................................................. 15 3.1 Sound, Sound Design und Sound Designer ......................................................... 15 3.1.1 Definition Sound ................................................................................................. 16 3.1.2 Sound in verschiedenen Fachdisziplinen ............................................................. 16 3.2 Definition Sound Design ..................................................................................... 17 3.2.1 Sound Designer: Die Entwicklung eines neuen Arbeitsfelds .............................. 18 3.3 Psychoakustik: Die Wirkung von Sound in Computerspielen ............................ 19 3.4 Sound in Computerspielen: Ein kurzer historischer Abriss ................................ 21 3.5 Besonderheiten des Sounds in Computerspielen: Interaktivität und Nonlinearität ........................................................................................................ 24 3.5.1 Wiederkehrende Sounds ...................................................................................... 25 3.5.2 Loops ................................................................................................................... 26 3.5.3 Dynamischer Ton ................................................................................................ 28 4 Die CryENGINE 3 ............................................................................................. 30 4.1 Die Geschichte von Crytek .................................................................................. 30 4.2 Das Sound Event System der CryENGINE 3 ...................................................... 31 4.2.1 FMOD-Designer .................................................................................................. 31 4.2.2 Integrierte Audio Spezial-Effekte ........................................................................ 33 4.3 Der Sandbox Editor ............................................................................................. 34 4.4 Area Objects ........................................................................................................ 34 Inhaltsverzeichnis V 4.5 Entities ................................................................................................................. 35 4.5.1 AmbientVolume .................................................................................................. 35 4.5.2 MusicEndTheme .................................................................................................. 35 4.5.3 MusicLogicTrigger .............................................................................................. 35 4.5.4 MusicMoodSelector ............................................................................................ 36 4.5.5 MusicPlayPattern ................................................................................................. 36 4.5.6 MusicStinger ........................................................................................................ 36 4.5.7 MusicThemeSelector ........................................................................................... 36 4.5.8 RandomSoundVolume ........................................................................................ 36 4.5.9 ReverbVolume ..................................................................................................... 36 4.5.10 SoundEventSpot .................................................................................................. 36 4.5.11 SoundMoodVolume ............................................................................................ 37 4.5.12 SoundSpot ............................................................................................................ 37 4.6 Flow Graph .......................................................................................................... 37 4.7 LUA Skripte und C++ ......................................................................................... 37 5 Sound Design: Umsetzung am Beispiel der CryENGINE 3 .......................... 38 5.1 Raumklang ........................................................................................................... 38 5.1.1 Erstellen eines Reverb Presets ............................................................................. 39 5.2 Atmo (AmbientVolume) ....................................................................................
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