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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. We found that audio games enriched their genre to catch up with video games. Hence, they use the plat- life through creativity, play, and social exchange. Those core form to criticize existing audio games, to discuss current devel- concepts were influenced by peripheral concepts like, inter opments, and to team up or recruit people for designing new alia, aesthetics & enjoyability, accessibility, or the availability audio games. To the best of our knowledge, audiogames.net of audio games. We show how they relate to each other and is the only community of its kind – both in terms of size and discuss design implications. of its members’ sophisticated interests – and therefore pro- vides a unique opportunity to learn from the lived and engaged CCS Concepts expertise of audio game veterans. •Applied computing ! Computer games; •Human- centered computing ! HCI theory, concepts and models; Besides this attention from gamers and (semi-)professionals, audio games have also attracted researchers in Human- Computer Interaction (HCI). A number of studies have been Author Keywords conducted during about the last twenty years that investigated Audio Games; Expert Interviews; Grounded Theory. audio games from a scientific perspective. When looking at this literature, it soon becomes evident that most studies that INTRODUCTION collected empirical data involved sighted or visually impaired Audio games are fascinating technological artifacts. They can people to evaluate novel prototypes and audio games. That be played and enjoyed by sighted people and by people with is, after the HCI researchers have proposed a new concept or visual impairments alike. They are particularly appealing to application, people with often no prior experience in audio the blind, of course, given that this user group most of the games were asked for their feedback. times cannot turn to mainstream computer games when in the The present paper, in contrast, makes two adjustments to this mood for gaming. Thus, audio games have attracted a strong common and respectable approach. For one thing, we engaged fan base (on the Internet) that plays, enjoys, and discusses with participants prior to product design and development. audio games. We cite the biggest audio games online platform For another, we recruited very experienced audio gamers and audiogames.net [4] to find a definition for the genre of audio audio game designers to learn from them, instead of asking games for this paper: people, who are new to audio games to test a prototype game. Hence, the objective of this research is to add the perspectives Permission to make digital or hard copies of all or part of this work for personal or of experienced audio gamers to the audio games literature. classroom use is granted without fee provided that copies are not made or distributed for profit or commercial advantage and that copies bear this notice and the full citation We recruited a mix between practiced audio game developers, on the first page. Copyrights for components of this work owned by others than ACM that is, people who actually do the coding, and audio games must be honored. Abstracting with credit is permitted. To copy otherwise, or republish, to post on servers or to redistribute to lists, requires prior specific permission and/or a designers, in a broader sense – people who thought a lot about fee. Request permissions from [email protected]. CHI PLAY ’19, October 22–25, 2019, Barcelona, Spain. 1The audio games community often refers to video games as main- Copyright © 2019 Association of Computing Machinery. ACM ISBN 978-1-4503-6688-5/19/10 ...$15.00. stream games. http://dx.doi.org/10.1145/3311350.3347182 253 Paper Session 4: Gustatory and Other Sensations CHI PLAY'19, October 22–25, 2019, Barcelona, Spain audio games, the underlying development and design process, of low vision, their proposed strategies were to “replace visu- and who collaborated intensely with developers, for example, als with audio” (among more fine grained recommendations), by writing game plots, doing voice acting or extensive bug to “replace visuals with haptics” and to “enhance visuals”. (beta) testing. They were all active members of audiogames.net, Furthermore, Garcia and Neris [12] derived audio game guide- the biggest audio games online community. In this way, we lines from the literature, from playing audio games themselves, seek to make this relevant and knowledgeable group of users and from an observational user study with two participants. To heard. some extent, we [33] took an opposite approach to the above described work around (positively framed) design recommen- We chose grounded theory methods to unpack and concep- dation. Based on an analysis of audio games made by sighted tualize their experiences in a structured way. This approach students in an interaction design class, we derived (negatively gave emergence to an analytic framework, which captures the framed) design anti rules, that is, synthesized design concepts, core of the audio game experience (play, creativity, social ex- which are likely to lead to bad audio games (e.g., “Use Excru- change), direct influencing variables (accessibility, metatools, ciatingly Painful Sounds” or “Do Not Use Sound Fitting the aesthetics & enjoyability), and peripheral influencing factors Ingame Context!” [33]). that had an impact on the overall system of audio game expe- riences (availability, innovation, mainstream industry, broad Tools for creating audio games: There are also research appeal). We offer those different categories as design lenses to projects that described tools for designing audio games. For ex- be applied when designing new audio games, tools to support ample, a software editor for creating node-based audio games their development, or when conducting further investigations [28] and a concept for a map-based editor implemented as a into how people play and design audio games. web application [35] have been published recently. TAGDK, on the contrary, was a proof of concept for a tangible audio game RELATED WORK editor [34], that is, the designers could manipulate physical Audio games as tools: One of the first papers on audio games bricks for creating games. Older tools, like the Blastbay Game dates back to 1999. Sánchez et al. [25] investigated the poten- Toolkit (BGT) [30] provided audio game developers with little tial of audio games for supporting learning and mental map experience in programming a tool for creating games. Unfor- generation in blind school children. This work and related tunately, developers’ support has stopped and the software is follow-up research [24, 18, 7] focused on learning processes outdated (we’ll pick this up later in the interviews). mediated by audio games. Hence, the games per se and the underlying design processes were delineated as black boxes, Even though much of the work described above is considered and there were no audio gamers involved in the studies. with designing audio games, there is – to the best of our knowledge – (almost) no documentation or reflection of the Audio games in focus: Other researchers have directed their processes, that researchers engaged in when designing their focus towards audio games themselves rather than using them games. The only information that we found stemmed from a as a tool. This includes work of German researchers Röber and developer’s blog, outside of academia. Here, the developers Masuch [21, 22], Nordic researchers Liljedahl [17], Friberg of Papa Sangre I and II [9, 10] captured key events during the [11], Gärdenfors [13] and Targett [31] or Rovithis et al. [23]. design of their price-winning and widely acknowledged audio nd Röber and Masuch [21, 22] wrote about the composition of au- games (e.g., 2 best iOS game in 2013 [19]). dible sequences, which they grouped into “speech, music, and Moreover, to some surprise, none of the papers includes audio natural or artificial sounds” [21, p. 2], sonification techniques gamers as either advisors or participants. In addition, not every and strategies as well as interaction techniques. Furthermore, study included visually impaired people. With the present they created prototypes to explore 3D audio, however, they contribution, we make one step towards closing this important did not include any audio gamers in their studies.
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