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// 2007/12/17 00:30 / 62.161.153.119 [http://www.createdigitalmusic.com/images/stories/2006/oct/octal.jpg] !Game Enviroments (sound/music) !!!!(revision initiated on nov.30 2007 - alejo duque) The fisrt video games where like silent films, just in 1972 the game Pong introduced sound and in 1978 Space Invaders included the first soundtrack. Sound Effects where used before Space Invaders appeared but none used sound for creating film-like atmospheric tension that developed according to the different moments of the game. Sounds where used for aumenting the thrill of the gaming experience. Is also important to mention the fact that sound accelerated in an interactive manner according to the amount of invaders on the screen and their proximity to ground level. Since theres nothing better than playing it, here is an online demo: http://www.spaceinvaders.de/ Crucial moments to consider: !!1952 Noughts and Crosses runs on a cambrige computer called the Electronic Delay Storage Automatic Calculator. !!1958 (add image) Tennis for Two, created by William Higginbotham whom also was part of the group that build the first atomic bomb !!1972 "In 1972, Pong the first video game which includes sound comes onto the market." Pong, was basically a simulation of ping pong, debuted as the first game to feature sound, the "sonar-blip" of the ball hitting the paddles." !!1977 Second generation consoles appear (atari 2600) this ones had a microprocessor that allowed the use of game cartidges. !!1978 "Space Invaders hits arcades with its menacing, paranoia-inducing soundtrack. It is an example of simple, effective sound design; the thumping audio track actually accelerates in tempo as the enemy invaders draw nearer– and move faster. The following year Asteroids– another arcade game– employs a similar sound technique to achieve the same results. At the beginning of the 80's PacMan makes its debut. The game boasts many memorable sound and music elements" !!1989 Pac-Man (dash-board) This game use music in between levels, like scenes from a movie. !!1985 Tetris and Super Mario Bros. "Most early games did not feature continuous musical soundtracks due to the memory and sound output limitations of early arcade and home gaming machines; melodies could be composed of no more than a few lines of synthesized notes with monaural (non-stereo) sound and little or no harmony, so any attempt to create a sustainable soundtrack was an exercise in excruciating repetition--some games of the mid-80s fell prey to just this sort of trap: "Audio, especially game audio, is a powerful weapon. When used properly, it has the power to involve, immerse, elevate, and reward. It has the power to excite. It can make an artificial world appear to be deeper, older, and much more complex and complete than it actually is. But when misused, audio reveals its most awesome and deadly power--the power to annoy." taken from Eric Pidkameny's Leves of Sound. Music has developed enormously in the history of video games, its been based on the use of cinematic strategies but evolved into a new dimension determined by the complexities that interactivity could offer. This is something we can see in Super Mario Bros. Music evolves as hardware allows and games begin to include specific sound leitmotivs for different characters that appear in the games. Its the times of the explosion of the games console market. theres high offer and a myriad of bad quality games so the whole systems suffers a big crash some companies go bankrupt and other just close. !!1993 Myst - DOOM and the advent of violent video games. In myst and based on computer sound cards we can really appreciate how the notion of interactive game music was not just sounds that reacted to a particular state of a plawer or space, but that could evolve and announce new levels of the game. In year 2000 there was a remake of Myst that included Weather effects like thunderstorms and sunsets/sunrises were added. This version didn't sold well at the time cause the home PC's where not really ready for rendering it all smoothly. (Myst example) Midi sound files played a crucial role in the history of computer games, the sound-card syhthethizer offered the sound and music designers to go beyond the primitive beeps. !!1995 Sony releases the 32-bit PlayStation, "the 24-channel sound chip provides CD-quality stereo sound and has built-in support for digital effects such as reverb and looping." Gamespot Midi sounds in video games are part of a cult that dedicated to keep track of a collection of midi files that are in the range of the commodore64 to the wii plus all sort of arcade games: http://www.vgmusic.com/ producerincluded sountracks that the player could select beforehand so to serve as background for his/hers gaming experience, Wipe-Out offered tracks from famous electronic music producers like: Underworld, Future Sound of London, The Prodigy, and The Chemical Brothers. !!2000 Sony releases PlayStation 2. "Along with the 128-bit Emotion Engine CPU, the system boasts 48 channels of sound plus 2MB of dedicated sound memory." With the ability to play DVDs and link to the Internet, the PlayStation 2 quickly became one of the most sought-after game consoles. (network link) From back then til' today one cannot avoid to make reference to the sounds of explosions or machine guns in the most recent FPS (First Person Shooter) games: [http://grandhoteldeparis.com.nyud.net/unreal/pics/utlogo.jpg] (example) A big contrast to the text based, imaginary Moo (MUD - Multi User Dungeon) based on personal experience using lamdamoo towards a "global theather" performance directed by adrianne wortzel back in 1997 after the polar circuit in Tornio, Finland. Doing such historical revision makes sense to me if done in the scope of an anarcheological recall of media that can help trace the development of the use of sound, from Pong to the DS to the sound of electroplanktum (http://en.wikipedia.org/wiki/Electroplankton here the video: http://video.google.com/videoplay?docid=4439496341187280535&sourceid=docidfeed&hl=undefined) Is also crucial to locate in such timeline the origins and uses of speech synthethizers. A good exmple of technological simplification could be the sample audio track of lsdj for the gameboy. "LSDJ Little Sound Dj, tool of choice for amateur & professional musicians and composers!": http://mp3death.us/tute/lesson01.php listing of synths available in Second Life to buy with real money: http://shop.onrez.com/search/?SearchString=synth&SearchIn=items_all_items&x=0&y=0 !!Extended Mode: -streamlab http://www.streamlab.info -PacManhattan -> to play in the 1st life (natural sounds and ambient) -fijuu >> 3d engine to demo, mix between game and video as in vj -playsh >> silent coding game in the style of the Moo. A follow up --> http://www.streamlab.info.nyud.net/wikini/StreamWars -fluxus and al-jazari >> from dave griffiths scheme code to live-code realtime music and visual representations -Ludic Society >> the third life LIFE-CODING (xxxxx) !!Emulators ps2onlinux: http://www.pcsx2.net/ DOSmultiplatform: http://dosbox.sourceforge.net Dreamcast on linux: http://www.lxdream.org/news/ +all the NES (nintendo emulators around) !!references http://gamestudies.org/ http://playsh.org/wiki/InspirationalProjects http://www.sterneck.net/musik/bey-immediatism/index.php [interview to a game developer] Play Along - An Approach to Videogame Music by Zach Whalen --> http://www.gamestudies.org/0401/whalen/ Levels of Sound: http://www.vgmusic.com/information/vgpaper2.html !!Video Games net.radio http://ftp.emulationzone.org:26038/ !!and, not to forget! -dig for the link to that SL clone for musicians >> U2 in SL: http://www.u2insl.com/ (video): http://www.youtube.com/watch?v=Mro9Qzv--k8 >> REZ http://www.youtube.com/watch?v=lp89LjiYAcA&feature=related !Español El uso de la localizacion exacta de sonidos (lease fuentes sonoras) y su movimiento en el espacio es algo relativamente reciente no solo en el area de la composicion acustica, el cine o los juegos de video. Dicho interes se ha desarrollado de la mano con los avances tecnologicos en el campo de la computacion. Es decir, el area de la electroacustica no ha estado al margen del desarrollo de software particularmente de la arena de uno de los vectores que hala con mayor vigor el del desarrollo de hardware. Me refiero a la industria de los video juegos. Sin hacer un recuento detallado o historico de dicho orden cronologico pero si con el animo de poder sobre imponer la linea de tiempo del cine con la de los video juegos y la de la electroacustica para asi tal vez descubrir los puntos de cruce de dichas practicas. |
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