Ludic audio and player performance

In my post about <a href="https://uxdesign.cc/ludic-and-narrative-sound-in-games-3fc52dbbfee1" rel="noopener" target="_blank">ludic and narrative sound in games</a>, I defined the ludic function of audio as the sound’s ability to help players overcome challenges and achieve their goals. If you’ve read my blog, you might know that I’m really into this topic. That’s why I’m super excited to start a series of three(?) articles on how audio can enhance player performance in gameplay tasks. In the first part, I describe a few methods to support the players in challenging gameplay situations. Disclaimer: This article might seem like it’s trying to apply <a href="https://en.wikipedia.org/wiki/Perceptual_load_theory" rel="noopener ugc nofollow" target="_blank">Perceptual load theory</a> to video game audio. This idea crossed my mind when I started writing, but I soon realized I do not have the expertise to reconcile all the confusing and conflicting research I found. So even though I borrow the basic concepts from the theory (such as cognitive load and perceptual load), most of my conclusions are based on my own experience and a few studies I mention in the text. As usual, I try to be open about my thought process, so if anything here rubs you the wrong way, don’t be afraid to challenge me in the comments or elsewhere. To tackle the complex topic of using sound to improve player performance, I started by thinking about the types of gameplay challenges that players face in video games. At some point, I realized that most of these challenges fall into three categories: cognitive, perceptual, and mixed. <a href="https://uxdesign.cc/ludic-audio-and-player-performance-part-1-comprehensive-and-indicative-sounds-5113611076dc">Website</a>