Rethinking game audio: from sound effects to player experience

When you read my blog, you probably notice that I use the fundamental terms “sound” and “sound design” in a slightly unconventional way. It is time to explain why I do so. This is probably the most personal post on my blog, where instead of exploring how sound affects video game players, I explain my attitude and professional values. I am a practicing sound designer, and my job is to make video games, not search for the ultimate truth, or explain specific phenomena (although I enjoy attempting that!). When thinking and writing about complex topics, I’ve learned to approach definitions pragmatically, prioritizing utility over accuracy. Consequently, I tend to accept definitions that help me make better games, even if they are questionable, inaccurate, incomplete, or borderline blasphemous to some people. I’ve realized that the definitions I use have a significant influence on my professional priorities, interests, ethics, and motivations. So, I’ve decided to elaborate on the most important ones in this post. <h1>Sound and soundwave</h1> The centuries-old thought experiment “<a href="https://en.wikipedia.org/wiki/If_a_tree_falls_in_a_forest" rel="noopener ugc nofollow" target="_blank">If a tree falls in a forest and no one is around to hear it, does it make a sound?</a>” still sparks debate. The answer ultimately depends on your definition of sound. <a href="https://uxdesign.cc/rethinking-game-audio-from-sound-effects-to-player-experience-413f40442a32">Read More</a>