https://gameontology.com/index.php?action=history&feed=atom&title=Aural_Output 2026-04-29T06:12:24Z Revision history for this page on the wiki MediaWiki 1.43.8 https://gameontology.com/index.php?title=Aural_Output&diff=18&oldid=prev 2008-12-18T20:45:03Z

<p>2 revision(s)</p> <p><b>New page</b></p><div>[[Category:Ontology]][[Category:Interface]]<br /> Aural output varies over its constituent &quot;wavelengths&quot; For example, many games make use of background music that helps set the mood of a game, but changes very little in response to the game state, other games (such as Halo [Howard, 2001]) use background music to more dynamically reflect the game state. In their use of sound effects, many games follow the same pattern of creating a sound field that mirrors the visual representation of the game world.<br /> <br /> There are also games available that focus on presenting the game state to the player exclusively through sound. An example of such games is Demor [Hulskamp and Dekker, 2004], a location-based 3D audiogame that places players in a three dimensional first person shooter where they must rely on their ears to guide them. Players perceive the game through a stereo headset and use that information to guide their walking and firing.<br /> <br /> ----<br /> ====Parent====<br /> *[[Sensory Output]]<br /> <br /> ----<br /> ====Children====<br /> None<br /> <br /> <br /> ----<br /> ====References====<br /> Howard, J. (2001). Halo: Combat Evolved. Microsoft, xbox edition.<br /> <br /> Hulskamp, A. and Dekker, J. (2004). Demor. Utrecht School of the Arts, location based edition.</div>

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