A classification of audio-based games in terms of sonic gameplay and the introduction of the audio-role-playing-game: Kronos

Rovithis, Emmanouel

doi:10.1145/2371456.2371483

Cited by 12 publications

(8 citation statements)

References 2 publications

(2 reference statements)

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“…This is a clear divergence from the functionality-driven approach adopted in audio-based gaming (e.g. Rovithis 2012;Friberg and Gärdenfors 2004). Notably, also previous research within locative sound (e.g.…”

Section: Sound-based Gameplaymentioning

confidence: 86%

“That’s not a secure area”– physical-digital sound links in commercial locative games

Ekman

2014

ToDIGRA

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Pervasive games break the boundary between digital and physical to make use of elements in the real world as part of the game. One form of pervasive games are locative mobile games, which utilize physical movement as game control. To facilitate eyes-free interaction during play, these games benefit from exploring sound-based content. However, it is currently unclear what type of sound-based interaction is feasible to the general audience. Another consideration is which sound design strategies best support the goal of situated experiences, and how to design sound that supports game experiences drawing upon location-awareness, and intermixing virtual content with physical reality.A first generation of locative mobile games is already commercially available. The present contribution analyzes seven commercially available locative games (Ingress; Shadow Cities; Zombies, Run!; Inception the App; The Dark Knight Rises Z+; CodeRunner) and summarizes the sound design strategies employed to contextualize game content in real-world. Comparison to current themes in contextualized audio research indicates similarities but also challenges some assumptions regarding audio-heavy gameplay. The findings illustrate the need for simplicity regarding audio challenges, but generally confirm the view of audio-based gameplay as a facilitator of mobility. Sound is also centrally involved in shaping contextualized experiences, forging links between the physical and digital world, and indexing game content to context through functionality, verbal references, spatialization, and remediation. The article discusses two complementary strategies to systematically manipulate the physical-digital relationship, and to promote strongly situated experiences.

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Section: Sound-based Gameplaymentioning

confidence: 86%

“That’s not a secure area”– physical-digital sound links in commercial locative games

Ekman

2014

ToDIGRA

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“…Thus, until recently, the development of accessible games has often been a cottage industry of committed grassroots advocates and interested academics, often separate from the production of mainstream commercial games (Rovithis, 2012). Some accessible games developers looked at the issue of control and how to provide access to a range of games, at least in principle.…”

Section: The Rise Of (In)accessible Gamesmentioning

confidence: 99%

Future design of accessibility in games: A design vocabulary

Cairns

Power

Barlet³

et al. 2019

International Journal of Human-Computer Studies

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Games represent one of the most significant cultural artefacts of this century. They are a massive force in economies around the world and are enjoyed by millions of players worldwide. With their cultural significance firmly in place, it is important to ensure that all people can participate in and play games in order to feel included in our wider society. For people with disabilities, games in particular provide a cultural outlet where they can be included with everyone else, and enabled to do things on an even footing with their non-disabled peers. However, this only happens if we create the necessary design environments that provide inclusive opportunities to game alongside the rest of the player base. Guidelines have been successful in raising awareness of accessibility in games and still function well for evaluating finished games. However, they are not the generative design thinking tools that developers need. Further in being divided to address specific disabilities, they are not capturing the diversity of needs of players with disabilities and the personalised and idiosyncratic adaptations that they make in order to play. We therefore propose developing a vocabulary and language of game accessibility which is no longer about whether someone can perceive or operate

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“…Audio-based games are common both among serious games and among games only for entertainment. However, they differ greatly in design, gameplay, and functionality [52,53]. In particular, there are many examples of such games that have been developed for people with visual impairments and that can be played entirely without a graphical user interface [54,55].…”

Section: Games For Training and Special Support And Audio-based Gamesmentioning

confidence: 99%

The Effects of Musical Experience and Hearing Loss on Solving an Audio-Based Gaming Task

Hansen

Hiraga

2017

Applied Sciences

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Abstract:We conducted an experiment using a purposefully designed audio-based game called the Music Puzzle with Japanese university students with different levels of hearing acuity and experience with music in order to determine the effects of these factors on solving such games. A group of hearing-impaired students (n = 12) was compared with two hearing control groups with the additional characteristic of having high (n = 12) or low (n = 12) engagement in musical activities. The game was played with three sound sets or modes; speech, music, and a mix of the two. The results showed that people with hearing loss had longer processing times for sounds when playing the game. Solving the game task in the speech mode was found particularly difficult for the group with hearing loss, and while they found the game difficult in general, they expressed a fondness for the game and a preference for music. Participants with less musical experience showed difficulties in playing the game with musical material. We were able to explain the impacts of hearing acuity and musical experience; furthermore, we can promote this kind of tool as a viable way to train hearing by focused listening to sound, particularly with music.

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A classification of audio-based games in terms of sonic gameplay and the introduction of the audio-role-playing-game: Kronos

Cited by 12 publications

References 2 publications

“That’s not a secure area”– physical-digital sound links in commercial locative games

“That’s not a secure area”– physical-digital sound links in commercial locative games

Future design of accessibility in games: A design vocabulary

The Effects of Musical Experience and Hearing Loss on Solving an Audio-Based Gaming Task

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