Immersion and Presence Through Sound — simple analysis of a 2D Space Shooter’s noise
The sounds of our lives add context and emotion to every experience by calling our attention to an event, giving texture to the gravity of each situation. There are sounds that confirm what eyes are perceiving, and others that sound from a direction out of our field of view. This notion of a background noise, from noises out of our sight, has an abstract, subjective ability to ignite an emotion, of security or uncertainty, amusement or terror, accomplishment or failure. In video game design, sound immerses the user into the spatial and metaphysical game space.
Even the same audio clip can mean two things to the player; the player won’t have the same face when they see an enemy die, as when their player explodes. Confirming with audio what the eyes perceive is the most basic combination of senses that create a deeper state of immersion into digital experiences. Adjusting the player’s explosion sound through volume or pitch could enhance the feedback over the same visual animation, and with a bit of panning, the sound originates in the spatial game space.
The fastest implementation through sound that set a huge tone to any experience is the background noise or music. If music is designed as an spatial element, the sound even pulls the player deeper into the fictional world. In the case of the prototype 2D Space Shooter, the example comes with a loop of an out-of-space, atmospheric psych-trance song. The fast rhythm of over 140 beats per minute, quickly sets the player alert and prepared for action; the background synthesizers provoke the sci-fi feeling of the music, with the high notes that allure into high speed. This audio loop lasts 13 seconds and yet most gamers could go on for much longer playing the game, since the audio they are learning to change is the feedback they receive from input. The loop sounds the same in both Left and Right channels and has no spatial reference in the field of view which makes it a metaphysical element. Metaphysical noises often provide a great, quick entry into a historical era; instead of classical music that takes us 500 years ago, the example’s sci-fi loop creates the futuristic atmosphere of the game.
Whenever the player shoots a laser, the player expects the explosion sound to follow along; the separation and frequency between these two sounds declares the auricular rhythm of shooting accuracy. If every laser is followed by an explosion sound, the player is not missing any shot. Same as if the player is shooting five times for every enemy hit, the audio feedback can tell the player how efficient the shooting is. This rhythmical cycle of audio effects being played on top of the visual interaction creates immersion.
