A Game of Musical Layers
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University of South Wales 2064869 A GAME OF MUSICAL LAYERS: AN INVESTIGATION INTO THE USE OF A VERTICAL LAYERING SOUNDTRACK AS AN INTEGRAL PART OF THE INFORMATION SYSTEM OF A VIDEO GAME WILL ASHTON A submission presented in partial fulfilment of the requirements of the University of South Wales for the degree of Master of Philosophy January 2015 Contents Abstract.............................................................................iv Definition of Vertical Layering..................................................v List of Figures......................................................................vi List of Tables......................................................................ix List of DVD Items..................................................................x Acknowledgements...............................................................xi 1 Introduction.................................................................... 1 2 Game Audio Theory...........................................................5 Hearing and Listening.....................................................6 The Diegesis................................................................9 Actions and Interactions................................................ 14 Structures.................................................................. 18 Information Systems....................................................22 Usability Function.......................................................30 3 Audio in Real-time Strategy Games.......................................33 Gameplay.................................................................34 Musical Soundtrack.....................................................41 4 Methodology.................................................................52 5 Level 1: A Basic Vertical Layering Soundtrack........................59 Design..................................................................... 59 Results.....................................................................73 n Feedback.................................................................82 Conclusion...............................................................85 6 Level 2: Vertical Layering with On/Off States.........................89 Design....................................................................89 Results.................................................................. 100 Feedback...............................................................110 Conclusion............................................................. 115 7 Level 3: Multi-dimensional Information..............................119 Design.................................................................. 119 Results.................................................................. 133 Feedback............................................................... 157 Conclusion............................................................. 161 8 Conclusion.................................................................. 165 Findings................................................................ 165 Reflections and Future Directions.................................. 171 Appendices Appendix 1: Level 1 Tutorial Transcript.................................175 Appendix 2: Level 2 Tutorial Transcript................................. 177 Appendix 3: Level 3 Tutorial Transcript................................. 180 Bibliography.................................................................. 184 in Abstract This thesis contributes to the field of game audio research by investigating the hypothesis that a vertical layering musical soundtrack can be used as an integral part of the information system of a video game. The concept of dynamically controlling music through multiple layers, as well as the idea that music can be used to convey information to players, are currently underexplored areas within game audio research. The analytical and information-rich genre of real-time strategy games is used to contextualise the research, although this research has wider relevance to other genres, as well as the field of game audio in general. The work presented here is supported by a discussion of the relevant knowledge base and an analysis of the audio in a selection of current real-time strategy games. In order to test the hypothesis, and highlight the strengths and weaknesses of the approach, this research employed a methodology that consisted of empirical user testing of three purpose-built game levels, featuring vertical layering soundtracks and in-built testing mechanics, in order to produce both quantitative results and qualitative feedback from a small group of research participants about the effectiveness of the information transfer achieved by these vertical layering soundtracks. As was shown throughout all three test levels, players appeared to be able to learn individual layers of a soundtrack, recognise them during gameplay and respond accordingly to the information they conveyed, while attending to other gameplay tasks. Based on the findings of the research, potential design considerations for the use of vertical layering soundtracks as a source of information have been put forward which could be used as a basis for further research within the topic. IV which stacks these layers on top of one another in perfect synchronization. Interactivity is achieved through the independent manipulation of the layers, enabling the overall track to change in accordance with the fluctuating state of the game." (Phillips, 2014: 194) List of Figures 3.1 Screenshot of StarCraft //............................................... ....34 3.2 StarCraft II worker and mineral resource................................35 3.3 A hero from Strife using a special ability................................36 3.4 A hero portrait from Dota 2................................................38 3.5 Fog of war in Dota 2........................................................41 3.6 Layout of Strife level........................................................46 5.1 Flame turrets defending the player's base in Level 1...................61 5.2 Start screen of Level 1......................................................62 5.3 Extract from Level 1 tutorial.............................................. 63 5.4 Level 1 prediction buttons.................................................65 5.5 Level 1 results screen.......................................................66 5.6 Level 1: extract from base layer.......................................... 67 5.7 Level 1: extract from layer 1..............................................68 5.8 Level 1: extract from layer 2..............................................68 5.9 Level 1: extract from layer 3...............................................69 5.10 Player performance over time in Level 1.............................. 80 5.11 Gameplay/musical information mismatch in Level 1................86 6.1 Micro-task in Level 2......................................................91 6.2 Level 2: extract from base layer..........................................95 6.3 Level 2: extract from layer 1..............................................95 6.4 Level 2: extract from layer 2..............................................95 6.5 Level 2: extract from layer 3..............................................96 VI 6.6 Level 2: extract from layer 4................................................97 6.7 Level 2: extract from layer 5................................................97 6.8 Original Fmod event set-up in Level 2....................................98 6.9 Correct predictions per layer in Level 2................................. 102 6.10 Correct predictions per layer in Level 2, including "one-way"..... 103 6.11 Player performance overtime in Level 2..............................106 6.12 Prediction performance and micro-task in Level 2.................. 107 6.13 First wave and overall performance in Level 2...................... 109 7.1 Macro-task of Level 3..................................................... 120 7.2 The three enemy types of Level 3....................................... 122 7.3 Prediction toggle buttons for Level 3.................................... 123 7.4 Level 3 tutorial music example buttons................................125 7.5 New models for Level 3.................................................. 126 7.6 Extract from the yellow enemy layer in Level 3...................... 127 7.7 Extract from the red enemy layer in Level 3..........................128 7.8 Extract from the brown enemy layer in Level 3...................... 128 7.9 Extract from the base layer in Level 3................................. 129 7.10 Extract from the calm layer in Level 3............................... 130 7.11 Extract from the danger layer in Level 3.............................130 7.12 Volume automation for Level 3 motivic layers..................... 132 7.13 Overall prediction success rate by category in Level 3............ 138 7.14 Predictions for small groups of enemies in Level 3................. 140 7.15 Predictions for large groups of enemies in Level 3..................141 7.16 Predictions for absent groups of enemies in Level 3............... 142 7.17 Player performance over time in Level 3............................. 143 VII 7.18 Micro- and macro-tasks in Level 3.................................... 145 7.19 Micro-task and overall prediction success in Level 3...............146 7.20 Macro-task and overall prediction success in Level 3.............. 147 7.21 Success of individual