The Following List of Over 100 Iphone/Ipad Applications Are the Ones That Have Been Found to Work Well with Voiceover
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Game Audio in Audio Games Towards a Theory on the Roles and Functions of Sound in Audio Games
Dalarna University College Sound and Music Production 180 ECTS Credits Bachelor Programme Bachelor Degree Thesis Game Audio in Audio Games Towards a Theory on the Roles and Functions of Sound in Audio Games Written by Rickard Åsén Supervisor: Johnny Wingstedt Course coordinator: Toivo Burlin Examiner: Jacob Derkert Publishing year: 2013 B A C H E L O R D E G R E E T HESIS G A M E A U D I O I N A U D I O G AMES Abstract For the past few decades, researchers have increased our understanding of how sound functions within various audio–visual media formats. With a different focus in mind, this study aims to identify the roles and functions of sound in relation to the game form Audio Games, in order to explore the potential of sound when acting as an autonomous narrative form. Because this is still a relatively unexplored research field, the main purpose of this study is to help establish a theoretical ground and stimulate further research within the field of audio games. By adopting an interdisciplinary approach to the topic, this research relies on theoretical studies, examinations of audio games and contact with the audio game community. In order to reveal the roles of sound, the gathered data is analyzed according to both a contextual and a functional perspective. The research shows that a distinction between the terms ‘function’ and ‘role’ is important when analyzing sound in digital games. The analysis therefore results in the identification of two analytical levels that help define the functions and roles of an entity within a social context, named the Functional and the Interfunctional levels. -
A Survey on Sound-Based Games
JOURNAL OF INFORMATION SYSTEMS & OPERATIONS MANAGEMENT A SURVEY ON SOUND-BASED GAMES Diana-Elena BELMEGA 1* Costin-Anton BOIANGIU 2 ABSTRACT This paper aims to explore the realm of sound-based games and to discover this field originality, challenges and advancements. Fully discovering and enjoying a sound-based game does not mean only to pay attention to the various sounds that “surrounds” the player, but to try to construct in player’s imagination the world that generated them. This is a world where imagination, music composition, sound generation, imaginative plots and a lot of modern technologies intersect. In recent years, a consistent list of titles from all the game territories (action, adventure, survival thriller, stealth thriller, mystery, horror, psychological, first-person shooter, and puzzle-based adventure) have emerged. The paper at hand tried to make a novelty-based selection of the representative games and will try to understand their main concept, and their contributions to the genre. KEYWORDS: Sound-Based Games, Sense Substitution, Binaural Audio, Sonic Landscape, Soundscape, VR Headset, Doppler Effect. 1. INTRODUCTION 1.1. About sound-based games While having sound in a game is common nowadays, when referring to sound-based games, one means that these games put an emphasis on the sound and use it as one of the main mechanisms of the game. One example is using sound intensity to guide the player towards its source in a dark environment. 1.2. Action game As explained in the book Fundamentals of Game Design, by Ernest Adams, an action game is a game in which the player’s physical skills and coordination are tested [1]. -
December 2018 History Marketing Experience Criticism Psychology Social Aspects Future Editorial Journal Board Orientation
Acta Ludologica Faculty of Mass Media Communication Vol. 1, No.2Vol. Theory Education Design Development Research December 2018 History Marketing Experience Criticism Psychology Social Aspects Future Editorial Journal Board Orientation Editor-In-Chief Acta Ludologica is a scientific journal in the field of digital Zdenko Mago games. The journal contains professional scientific reflec- tions on digital games; it also offers academic discourses on games, especially media and digital competencies, cre- Deputy Managing Editors ation, design, marketing, research, development, psycho- Zuzana Bučková Martin Solík logy, sociology, history and the future of digital games and game studies. Indexing Process and Technical Editor Zuzana Bučková Acta Ludologica is a double-blind peer reviewed jour- nal published twice a year. It focuses on theoretical stud- ies, theoretical and empirical studies, research results and Technical Editors their implementation into practice, as well as professional Nikola Kaňuková Miroslav Kapec publication reviews. English Editor Michael Valek Distribution Lenka Ďurišová Online Content Manager Johny Domanský Acta Ludologica Vol. 1, No. 2, December 2018 Advisory Board Masayuki Uemura Peter A. Bruck Publisher Malgorzata Luszczak Faculty of Mass Media Communication Juraj Malíček University of SS. Cyril and Methodius in Trnava Jaroslav Světlík Námestie Jozefa Herdu 2 917 01 Trnava Editorial Team SLOVAK REPUBLIC Anna Hurajová Michal Kabát IČO: 360 789 13 Monika Porubanová Price: 1,99 € Hana Pravdová Published twice a year. Illustrations Filip Streďanský ISSN 2585-8599 e-ISSN 2585-9218 Graphic Production Coordinator & Cover EV 5620/18 Martin Klementis Martin Graca ACTA LUDOLOGICA Editorial Contents Slovakia on the Game Studies’ Map GAME Slovakia has never been very affable to grounds, originating from our region. -
Audio Screen: Unsighted Game Mechanics for Mobile Devices
Audio Screen: Unsighted Game Mechanics for Mobile Devices Jonathon Brammer A thesis submitted in partial fulfillment of the requirements for the degree of Master of Science in Computer Science & Software Engineering University of Washington 2016 Committee: William Erdly Min Chen Kelvin Sung Program Authorized to Offer Degree: Computing and Software Systems – Bothell © Copyright 2016 Jonathon Brammer University of Washington Abstract Audio Screen: Unsighted Game Mechanics for Mobile Devices Jonathon Brammer Chair of the Supervisory Committee: William Erdly, Ph.D., Associate Professor Computing and Software Systems Historically, most video games lean primarily on visual communication, making them inaccessible to the blind. Non-sighted gaming is beginning to gain some momentum, particularly with the proliferation of mobile devices, whose multiple sensor inputs allow for the exploration of inventive control schemes. The arrival of built-in 3D audio support on iOS also represents a significant opportunity to easily explore audio-only gaming on the mobile platform. This study tests two variations on a paradigm for aurally representing a 2D screen in a virtual 3D audio world, as well as the effects of three input control schemes and a game mechanic called “auto- lock.” Users take on the simple task of finding and selecting stationary targets on the screen. The resulting data support the hypothesis that the “Flat” environment permits higher accuracy than the “Curved” environment, and also shows improvements in speed as well as subjective metrics -
Papa Sangre Andrew Hugill and Panos Amelides
Comp. by: K.VENKATESAN Stage: Proof Chapter No.: 17 Title Name: EmmersonandLandy Date:30/9/15 Time:12:11:24 Page Number: 355 17 Audio-only computer games: Papa Sangre andrew hugill and panos amelides Introduction This chapter addresses the important question of the role of the audience in electroacoustic music by considering a genre in which user agency is paramount: audio-only games. While the primary intention of audio-only games is not necessarily musical, an understanding of the active role of the gamer in relation to the audible environment offers many valuable insights to aid analysis of the burgeoning field of interactive electroacoustic music. Indeed, the distinction between what is intentionally ‘musical’ and what is not becomes blurred when users take time during gameplay actively to enjoy the sonic experience, and even to become creative within that virtual world. This is a recurring phenomenon in all forms of gaming, but audio- only games offer a distinctively acousmatic experience that equates to an act of composition. Central to this is the construction of narrative using a set of sonic materials that may be interactively mixed and remixed, usually within a spatial field. This is typically common both to gaming and to interactive electroacoustic music, but is also an important aspect of much fixed media electroacoustic music in which narrative is increasingly being rehabilitated as a primary driver of experience. Electroacoustic music there- fore has much to learn from an analytical understanding of how gaming goes about enabling the user to construct a narrative path. This is sometimes, even if tacitly, acknowledged by electroacoustic musicians and it may well be the case that recent developments in interactive music have been condi- tioned by the gaming experience that forms a key part of digital culture. -
Unpacking the Audio Game Experience:Lessons Learned From
Paper Session 4: Gustatory and Other Sensations CHI PLAY'19, October 22–25, 2019, Barcelona, Spain Unpacking the Audio Game Experience: Lessons Learned from Game Veterans Michael Urbanek Florian Güldenpfennig TU Wien New Design University Vienna, Austria St. Pölten, Austria [email protected] fl[email protected] ABSTRACT “Audio Games, as opposed to video games are com- People with or without visual impairments play and enjoy au- puter games who’s [sic] main output is sound rather than dio games. While this genre of computer games has attracted graphics. Using sound, games can have dimensions of a strong fan base and some attention in HCI, little research has atmosphere, and possibilities for gameplay that don’t been dedicated to the people who actually play audio games exist with visuals alone, as well as providing games far in their daily life. There is a pressing need to capture the more accessible to people with all levels of sight.” viewpoints of authentic or expert players, designers and de- From a design and development perspective, audio games velopers to advance audio game design. Thus, we give voice clearly lack sophistication compared to conventional video to seven game veterans of sound-based gaming, i.e., people games1, which turned into a billion dollar industry. For this rea- who each have more than a decade of profound experience in son, audiogames.net also serves as a meeting point for gamers, playing or designing audio games. We conducted a total of 14 amateur developers, and (semi-)professionals, who are not just interviews and employed grounded theory methods to unpack interested in playing, but also in advancing audio games as a their experiences. -
The Following List of Over 100 Iphone/Ipad Applications Are the Ones That Have Been Found to Work Well with Voiceover
Page 1 of 15 The following list of over 100 iPhone/iPad applications are the ones that have been found to work well with VoiceOver. There are similar applications listed, as there are particular features in certain applications that stand out. Where the name of the application is a bit vague as to its function, there is a brief description (after all, you can use the link to read more about any particular application listed). No free or paid applications are identified as the state of an application can change. The categories into which the applications are sorted is how iTunes categorizes the applications. Have fun. 1. Books Audible: • http://itunes.apple.com/au/app/audible/id379693831?mt=8 Blio - KNFB Reading Technology eBook reader: • http://itunes.apple.com/au/app/blio/id409370678?mt=8 BookMark - Great book marking app for listening to audiobooks and podcasts: • http://itunes.apple.com/au/app/bookmark/id326290323?mt=8 DaisyWorm: • http://itunes.apple.com/au/app/daisyworm/id383777731?mt=8 iBooks: • http://itunes.apple.com/au/app/ibooks/id364709193?mt=8 InDaisy: • http://itunes.apple.com/au/app/indaisy/id377597460?mt=8 VOD (Voice Of Daisy): • http://itunes.apple.com/au/app/vod/id335608379?mt=8 2. Business Australia Post Mobile: • http://itunes.apple.com/au/app/australia-post-mobile/id380897313?mt=8 Page 2 of 15 Dragon Dictation: • http://itunes.apple.com/au/app/dragon-dictation/id341446764?mt=8 Dragon Search: • http://itunes.apple.com/au/app/dragon-search/id341452950?mt=8 Outlook Mail Pro: • http://itunes.apple.com/au/app/outlook-mail-pro/id434458848?mt=8 3. -
Audio Only Computer Games – Papa Sangre
Audio only computer games – Papa Sangre Andrew Hugill Panos Amelides Director of Creative Computing Faculty of Science & Technology School of Humanities and Cultural Department of Creative Technology Industries Bournemouth University Bath Spa University Email: [email protected] Email: [email protected] Abstract This article attempts to analyse the audio-only game Papa Sangre. It discusses the background to the analysis and the history of of audio-only games, before concentrating upon Papa Sangre itself. It locates the game within the survival horror genre and explores how the gameplay operates from both a technical and player's point of view. It then locates the analysis within a field of film and game sound analysis, considering how audio-only games differ from videogames. It outlines several theoretical approaches to the typology of videogame sound, before proposing a hybrid approach that is more appropriate to audio-only games. It applies this to the sound world of Papa Sangre and analyses some captured gameplay. The essay concludes by suggesting a relationship between Papa Sangre and musical performance and composition. Keywords audio, gaming, analysis, music 1 1. Background A preliminary study for this article was first published by Andrew Hugill on the OREMA (Online Repository for Electroacoustic Music Analysis) website on January 30th 2012, under the title ‘Towards an analysis of Papa Sangre, an audio- only game for the iPhone/iPad’. The article was written in response to discussions that took place during the first symposium of the AHRC-funded project New Multimedia Tools for Electroacoustic Music Analysis. One of the project leaders, Leigh Landy, expressed the view that the playing of computer games could produce an algorithmic electroacoustic musical composition, regardless of the intentions of the player. -
Mobile Audio Games Accessibility Evaluation for Users Who Are Blind
See discussions, stats, and author profiles for this publication at: https://www.researchgate.net/publication/317183103 Mobile Audio Games Accessibility Evaluation for Users Who Are Blind Conference Paper · May 2017 DOI: 10.1007/978-3-319-58703-5_18 CITATIONS READS 0 425 6 authors, including: Maria C. C. Araújo Agebson Façanha Universidade Federal do Ceará 8 PUBLICATIONS 9 CITATIONS 11 PUBLICATIONS 22 CITATIONS SEE PROFILE SEE PROFILE Ticianne Darin Jaime Sánchez Universidade Federal do Ceará University of Chile 27 PUBLICATIONS 37 CITATIONS 501 PUBLICATIONS 2,400 CITATIONS SEE PROFILE SEE PROFILE Some of the authors of this publication are also working on these related projects: Virtual Worlds for Social Inclusion, MUVIS View project Relatos e Experimentos no ensino de Computação, Sistemas e Mídias Digitais View project All content following this page was uploaded by Windson Viana on 09 November 2017. The user has requested enhancement of the downloaded file. [Draft Version] Mobile Audio Games Accessibility Evaluation for Users Who Are Blind Maria C. C. Araujo´ 1, Agebson R. Fac¸anha1 Ticianne G. R. Darin1, Jaime Sanchez´ 2, Rossana M. C. Andrade1?, and Windson Viana1 1 Federal University of Ceara, Graduate Program in Computer Science, Brazil, [email protected],[email protected], [email protected], [email protected], [email protected] 2 University of Chile, Department of Computer Science, Chile [email protected] Abstract. Digital games have become increasingly popular for both entertain- ment and education purposes. However, making these games universal and ac- cessible poses a challenge for interface designers and game developers, since they are usually unfamiliar with the peculiarities of gamers who are blind.