Class notes：
1. Functions of Game Audio
Anchoring
Game audio helps anchor the player in the game world.
Informing
Sound provides important information and feedback to the player.
Branding / Identity
Game audio helps create a unique identity for a game.
2. Categories of Game Audio
Sound
Sound effects are non-musical audio elements used to support gameplay and immersion.
* Ambience: Background environmental sounds that create atmosphere
* UI / UX: Interface sounds that give feedback for player actions
* SFX: Gameplay-related sound effects such as weapons, movement, and interactions
* Silence: The intentional absence of sound to create tension or emphasis
Music
Music supports mood, emotion, and narrative in games.
* Diegetic Music: Music that exists within the game world and can be heard by characters
* Non-diegetic Music: Background music heard only by the player
* Custom Music: Music specifically composed for the game
* Licensed Music: Pre-existing music used with permission or licensing
Speech
Speech includes all forms of spoken audio in games.
* Voice Over (VO): Narration or instructional speech
* Dialogue: Spoken conversations between characters
* Group Chat: Player voice communication in multiplayer games
3. Audio for Non-Linear Media
Non-linear media refers to experiences where events do not follow a fixed sequence. Audio changes based on user actions, system states, or environmental variables. This is commonly used in video games, VR, interactive installations, and immersive media.
Key Concepts
Interactive
Audio responds directly to user input.
For example, sounds triggered by pressing a button, opening a door, or choosing a dialogue option. The listener has active control over how and when sounds occur.
Reactive
Audio responds to events within the system or environment, rather than direct user commands.
For example, music intensifying when enemies appear or ambient sounds changing when entering a new area.
Adaptive
Audio adjusts over time based on gameplay conditions, emotional tone, or narrative progression.
For example, background music gradually becoming darker as resources run low or danger increases.
Dynamic
Audio is constantly changing and layered, often combining interactive, reactive, and adaptive elements.
Sounds may be mixed in real time, altered in volume, pitch, or intensity to create a living, responsive soundscape.
* Interactive → responds to player actions
* Reactive → responds to in-game events
* Adaptive → evolves with context and progression
* Dynamic → continuously changes in real time
We listened to the audio of two games, which are Unpacking and Inside,Unpacking
The audio design of Unpacking is extremely restrained yet highly emotional. The game features almost no traditional background music, instead relying on subtle environmental sounds and object-based sound effects as its primary audio elements. Each sound produced when placing an object varies slightly depending on material, weight, and surroundings, allowing players to form an emotional connection with the space on a subconscious level.
For my GDD, the most valuable insight from Unpacking is how it uses non-linear, interactive sound design to support storytelling. Sound is no longer a passive background element, but an active narrative tool. Through repetition and variation in object sounds, the game gradually reveals the character’s life journey and emotional state, providing an important reference for designing environmental audio and player feedback.
INSIDE
In contrast, INSIDE employs a far more oppressive and tension-driven audio design. The game makes extensive use of low-frequency sounds, environmental noise, and unstable audio layers to create a persistent sense of unease. The boundary between music and sound effects is intentionally blurred, with audio responding reactively and adaptively to changes in the environment and player state.
INSIDE demonstrates how sound can be used to shape both spatial perception and psychological experience. Audio not only reinforces the game’s world-building, but also guides player behavior and emotional pacing. For the sound section of my GDD, this approach to conveying danger and uncertainty through a dynamic audio system provides a strong foundation for building an immersive environment.
Overall Reflection for GDD Sound Design
By examining both Unpacking and INSIDE, I have come to understand that audio in games serves a purpose far beyond being “pleasant to hear.” It is a core component of narrative, emotion, and interaction design. Unpacking highlights how sound can carry emotional meaning through interaction and detail, while INSIDE showcases the power of dynamic and reactive audio in creating an oppressive atmosphere. Together, these contrasting approaches offer clear and complementary references for structuring the sound system in my GDD.