This week’s lecture was delivered by composer and game audio designer Dave Milln and focused on how sound shapes the player’s experience in games. The lecture emphasised that audio is not a secondary or decorative element, but a core system that is equally important as gameplay and narrative.
Functions of Game Audio
Game audio serves three core functions that work together to support player experience.
- Anchoring
Sound effects firmly anchor players in the game world by creating a sense of space and reality.
For example, environmental sound effects can help enhance the realism of the game.
- Informing
Sound is usually used as an alternative UI interface to convey important game information.
For instance, the sound of a heartbeat can be used to indicate that the health points are too low, thereby guiding the player’s attention without relying on visual elements.
- Branding / Identity
Some sounds can be associated with a game.
For instance, Mario’s jumping sound effect enables players to immediately recognize it just by the sound
Categories of Game Audio
Game audio can be classified into several categories, and each category plays a different role in the gaming experience.
- Ambience
Background environmental sounds that define space and atmosphere. - SFX
Sound effects linked to actions, objects, or events. - UI / UX Audio
Audio feedback related to menus, interactions, and system responses. - Silence
Deliberately create a silent atmosphere to enhance the sense of tension or focus the player’s attention.
Non-linear Audio
- Interactive
For example, the sound triggered when picking up an item or opening a door. - Reactive
For example, when the enemy spots the player and starts to chase. - Adaptive
For example, increase the music volume when the player’s health points are low. - Dynamic
For example, lower the volume of the background music during the conversation.
Implications for My Horror Game
This lecture influenced my approach to sound effect design in horror game projects.
I plan to prioritize environmental sound effects over continuously playing music, use distant sound effects to guide players rather than complex interface prompts, and enhance the presence of enemies through patrol sound effects rather than sudden scares.
At certain specific moments, I would deliberately create silence to enhance the atmosphere of tension and unease.
I have also produced a short demo prototype video that includes implemented audio elements. The video can be viewed via the following link: GAMEPLAY SYSTEMS PROTOTYPING