ABSTRACT
Expertise in sound design for games is still a privilege of senior designers. The broad community of independent game developers remains mostly challenged by small budgets and lack of know-how, while trying to integrate sound in their games.
The empowerment of a broad community of developers, by making practical guidance available, could improve the quality of their productions and unleash a massive creative potential, with results in the form of innovative sound design ideas and further development of the body of knowledge.
Here we present the argument that there are favorable conditions for a collective authoring of a pattern language in sound design, to be achieved with the inventory, translation or resynthesis of current practice and academic know-how, in a format that is addressable by experts and non-experts alike.
Learning from the effects such a methodology had in other domains where similar concerns were observed, we present a seminal pattern collection with the purpose of illustrating its feasibility and spark the interest of the broad community of sound design.
References
- }}Alexander, C. 1979. The timeless way of building. Oxford University Press, NY.Google Scholar
- }}Alexander, C., Ishikawa, S., Silverstein, M., Jacobson, M., Fiksdahl-King, I., and Angel, S. 1977. A pattern language: Towns, buildings, construction. Oxford University Press, NY.Google Scholar
- }}Alves, V. and Roque, L. 2009. A proposal of soundscape design guidelines for user experience enrichment. In Audio Mostly 2009, 27--32.Google Scholar
- }}Alves, V. and Roque, L. 2011. Guidelines for sound design in computer games. In Game sound technology and player interaction: Concepts and developments, M. Grimshaw, Ed. IGI Global.Google Scholar
- }}Augoyard, J.-F. and Torgue, H. 2005. Sonic Experience: A Guide to Everyday Sounds. McGill-Queens University Press.Google Scholar
- }}Bethesda Game Studios. 2006. The Elder Scrolls IV: Oblivion.Google Scholar
- }}Björk, S. and Holopainen, J. 2004. Patterns in Game Design. Charles River Media, Inc., Rockland, MA, USA.Google Scholar
- }}Black Box. 2008. Need for Speed: Undercover.Google Scholar
- }}Borchers, J. 2001. A pattern approach to interaction design. John Wiley Sons, NY. Google Scholar
Digital Library
- }}Erl, T. 2009. SOA Design Patterns. Prentice Hall PTR, Upper Saddle River/US. Google Scholar
Digital Library
- }}Frauenberger, C. 2009. Auditory Display Design. PhD thesis. Queen Mary University.Google Scholar
- }}Gamma, E., Helm, R., Johnson, R., and Vlissides, J. 1995. Design patterns: Elements of reusable object-oriented software. Addison Wesley, Reading, MA. Google Scholar
Digital Library
- }}Gilliam, T. and Jones. T. 1975. Monty Python and the Holy Grail.Google Scholar
- }}Guerrilla Games. 2009. Killzone 2.Google Scholar
- }}Holowka, A. 2009. Aquaria Piano Jam - Alec Holowka's Watershed Soundtrack Release, 'Sound Current' interview by Jeriaska. http://www.gamesetwatch.com/2009/11/sound_current_aquaria_piano_ja.php.Google Scholar
- }}Irrational Games and 2K Marin. 2007. BioShock.Google Scholar
- }}Jackson, B. 2008. Assassin's Creed. http://mixonline.com/game_audio/features/audio_assassins_creed.Google Scholar
- }}Kojima Productions. 2008. Metal Gear Solid 4: Guns of the Patriots.Google Scholar
- }}Konami Digital Entertainment and Double Helix Games. 2008. Silent Hill Homecoming.Google Scholar
- }}Kunert, T. 2009. User-Centered Interaction Design Patterns for Interactive Digital Television Applications. Springer-Verlag, London. Google Scholar
Digital Library
- }}Leeds, J. 2001. The Power of Sound. Healing Arts Press, Vermont.Google Scholar
- }}Looking Glass Studios and Ion Storm Inc. 1998--2004. Thief (series).Google Scholar
- }}Marks, A. and Novak, J. 2008. Game Development Essentials: Game Audio Development. Delmar Cengage Learning, Florence/US. Google Scholar
Digital Library
- }}Namco. 1980. Pac-Man.Google Scholar
- }}Naughty Dog. 2009. Uncharted 2: Among Thieves.Google Scholar
- }}Nintendo EAD. 2006. The Legend of Zelda: Twilight Princess.Google Scholar
- }}Pajitnov, A. and Gerasimov, V. 1984. Tetris.Google Scholar
- }}Peck, N. 2001. Beyond the library: Applying film postproduction techniques to game sound design - lecture. In Game Developers Conference 2001.Google Scholar
- }}Peck, N. 2007. CoFesta/TGS (September 2007).Google Scholar
- }}Pyramid. 2007. Patapon.Google Scholar
- }}Pyro Studios. 1999. Commandos: Beyond the Call of Duty.Google Scholar
- }}Rockstar San Diego and Rockstar North. 2010. Red Dead Redemption.Google Scholar
- }}Smaragdis, P. 2009. User guided audio selection from complex sound mixtures. In 22nd ACM Symposium on User Interface Software and Technology, 89--92. Google Scholar
Digital Library
- }}Smaragdis, P. and Mysore, G. 2009. User guided sound selection, http://web.media.mit.edu/~paris/Paris_Smaragdis/Paris_Audio_Demos_files/user-guide.mov.Google Scholar
- }}Sonnenschein, D. 2001. Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema. Michael Wiese Productions, Seattle/US.Google Scholar
- }}Sucker Punch Productions. 2009. inFamous.Google Scholar
- }}Team Ico. 2005. Shadow of the Colossus.Google Scholar
- }}Ubisoft Montreal. 2007. Assassin's Creed.Google Scholar
- }}Ubisoft Montreal. 2007. Far Cry 2.Google Scholar
- }}UESP. 2010. Oblivion:NPCs, http://www.uesp.net/wiki/Oblivion:NPCs.Google Scholar
- }}Viers, R. 2008. The sound effects bible. Michael Wiese Productions, Seattle/US.Google Scholar
- }}Vlissides, J. 1997. Patterns: The top ten misconceptions. Object Magazine, 7(11) (March 1997).Google Scholar
Index Terms
A pattern language for sound design in games

Valter Alves
Licinio Roque


Comments