Cuaderno
Entre la sensación y la contención. La multidimensionalidad de la escucha en <i>Inside</i>
Publicado 30.01.2021
Palabras clave
- Escucha,
- Diseño sonoro,
- Auricularización,
- Videojuegos,
- Jugabilidad
- Narrativa,
- Inside. ...Más
Resumen
El sonido constituye un elemento esencial en la concepción de los videojuegos como ludonarrativas y en su experiencia. Pese a compartir rasgos y funciones de otros relatos audiovisuales, el carácter no-lineal y dinámico del audio en los videojuegos le otorga un papel fundamental en el gameplay que va a hacer precisa una recepción activa para su desarrollo y superación porque, como subraya Collins, no es lo mismo escuchar que interactuar con el sonido. En este sentido, el presente texto tiene por objeto efectuar una conceptualización de la escucha en los videojuegos como un acto complejo y multidimensional. Tomando como referencia el diseño sonoro de Inside (Playdead, 2016), y su interacción con los restantes componentes del juego, se aborda una aproximación a la escucha y a su emplazamiento desde una perspectiva funcional y narrativa.
Citas
<p>Aarseth, E. (2001). Computer Games Studies, Year One. Game Studies. <em>The International Journal of Computer Game Research</em>, <em>1</em>(1). Recuperado de https://bit.ly/2IadFRy.<br>
Aghoro, N. (2019). Unespoken Adventures: On Sound, Story and Nonverbal Gameplay in <em>Journey</em> and <em>Inside</em>. En S. Pöhlmann (ed.), <em>Playing the Field: Video Games and American Studies</em> (pp. 259-274). Berlín, Boston: De Gruyter Oldenbourg. https://doi.org/10.1515/9783110659405-018.<br>
Andersen, M. (2016a). <em>Inside</em>: A Game That Listens. <em>Game Devenloper Conference</em>. Recuperado de https://www.youtube.com/watch?v=Dnd74MQMQ-E.<br>
Andersen, M. (2016b). Audio Design Deep Dive: Using a human skull to create the sounds of <em>Inside. Gamasutra. </em>Recuperado de https://bit.ly/2YGpIi2.<br>
Arjoranta, J. (2017). Narrative Tools for Games: Focalization, Granularity, and the Mode of Narration in Games. <em>Games and Culture,</em> <em>12</em>(7-8), 696-717. https://doi.org/10.1177/1555412015596271.<br>
Arnold, M. (2018). Inside the Loop: The Audio Functionality of Inside. <em>The Computer Games Journal</em>,7, 203-211. https://doi.org/10.1007/s40869-018-0071-x.<br>
Bailey, A. (2018). Authority of the Worm: Examining Parasitism Within <em>Inside</em> and <em>Upstream Colour</em>. <em>Metacritic Journal for Comparative Studies and Theory, 4</em>(2), 35-53.<br>
Biondi, S. (2017). El ensayo mudo. <em>Inside</em> y su reflexión sobre los temas del control y la libertad dentro y fuera de los videojuegos. <em>Revista Luthor, 32</em>(7), 31-43. <br>
Bordwell, D., Thompson, K. (1995). <em>El arte cinematográfico</em>. Barcelona: Paidós.<br>
Bridgett, R. (2005). Establishing an Aesthetic in Next Generation Sound Design. <em>Gamasutra</em>. Recuperado de https://bit.ly/3axcJTF.<br>
Bundgaard, P. F. (2010). Means of Meaning Making in Literary Art: Focalization, Mode of Narration, and Granularity. <em>Acta Linguistica Hafniensia,</em> <em>42</em>(1), 64-84. http://dx.doi.org/10.10.1080/03740463.2010.482316.<br>
Chatman, S. B. (1990). <em>Historia y discurso, la estructura narrativa en la novela y en el cine. </em>Taurus: Barcelona.<br>
Chion, M. (1993). <em>La audiovisión. Introducción a un análisis conjunto de la imagen y el sonido. </em>Barcelona: Paidós.<br>
Collins, K. (2007). An Introduction to the Participatory and Non-Linear Aspects of Video Games Audio. En J. Richardson y S. Hawkins (eds.), <em>Essays on Sound and Vision</em> (pp. 263‐298). Helsinki: Helsinki University Press.<br>
Collins, K. (2008). <em>Game Sound: An Introduction to the History, Theory, and Practice of Video Game Music and Sound Design</em>. Cambridge: The MIT Press.<br>
Collins, K. (2013). <em>Playing With Song. Theory of Interacting with Sound and Music in Video Games</em>. Cambridge: The MIT Press. <br>
Costello, B. M. (2019). Rhythms of Failure in Playdead’s <em>Inside</em>. En VV. AA., <em>Proceedings of DiGRAA 2019: What’s Next?</em> Recuperado de http://digraa.org/wp-content/uploads/2019/01/DIGRAA_2019_paper_34.pdf.<br>
Cuadrado Méndez, F. J. (2013). Los procesos de auricularización en el cine. <em>Revista Comunicación</em>, <em>11</em>(1), 24-39. <br>
Cuevas, E. (2001). Focalización en los relatos audiovisuales. <em>Trípodos, 11</em>, 123-136. <br>
Delalande, F. (1989). La terrase des audiences du clair de lune: essai d’analyse esthésique. <em>Analyse Musicale,</em> <em>16</em>, 75-84.<br>
Delalande, F. (1998). Music Analysis and Reception Behaviours: <em>Sommeil</em> by P. Henry. <em>Journal of New Music Research, 27</em>(1-2), 13-66.<br>
Delbouille, J. (2017). L’esthétique comme composante ludo-narrative d’un jeu. L’exemple d’<em>Inside</em>, <em>Art&Fact, 36</em>, 73-85. Recuperado de https://bit.ly/2Uijnqv.<br>
Friberg, J., Gärdenfors, D. (2004). Audio Games: New Perspectives on Game Audio. En VV. AA., <em>Proceedings of the ACM International Conference on Advances in Computer Entertainment Technology</em> (pp. 148-154). Singapur: ACM. Recuperado de https://bit.ly/31L47a9.<br>
Garcia, A. (2017). A Literature of Possibilities: Games, Agency, and Redefining Texts. <em>Journal of Adolescent & Adult Literacy</em>, <em>61</em>(3), 339-341.<br>
Genette, G. (1983). <em>Nouveau discours du récit</em>. París: Editions du Seuil.<br>
Green, M. C., Garst, J., Brock, T. C. (2004). The Power of Fiction: Determinants and Boundaries. En L. J. Shrum (ed.), <em>Blurring the lines: The psychology of entertainment media </em>(pp. 161-176). Mahwah: Lawrence Erlbaum Associates.<br>
Grimshaw, M. (2008). <em>The Acoustic Ecology of the First-person Shooter: The Player Experience of Sound in the First-person Shooter Computer Game</em>. Saarbrücken: VDM Verlag. 1 <br>
Grimshaw, M., Garner, T. (2015). <em>Sonic Virtuality. Sound as Emergent Perception</em>. Nueva York: Oxford University Press.<br>
Harrell, F., Zhu, J. (2009). Agency Play: Dimensions of Agency for Interactive Narrative Design. En VV. AA., <em>Intelligent Narrative Technologies II, Papers from the 2009 AAAI Spring Symposium, Technical Report SS-09-06 </em>(pp. 44-52). Stanford: AAAI. https://doi.org/10.24193/mjcst.2018.6.03.<br>
Huron, D. (2002). A six-component theory of auditory-evoked emotion. En <em>Proceedings</em> <em>of</em> <em>the</em> <em>Conference on Music Perception and Cognition </em>(pp. 673-676). Sydney, Adelaide: Causal Productions.<br>
Jensen, G. H. (2013). Making Sense of Play in Video Games: Ludus, Paidia, and Possibility Spaces. <em>Eludamos. Journal for Computer Game Culture,</em> <em>7</em>(1), 69-80.<br>
Johnson, L. (2017). Review of <em>Inside</em> in Challenging Texts Column: A Literature of Possibilities: Games, Agency, and Redefining Texts. <em>Journal of Adolescent & Adult Literacy, 61</em>(3), 340-341.<br>
Jørgensen, K. (2007). <em>‘What Are Those Grunts and Growls over There?’ Computer Game Audio and Player Action</em>. Tesis doctoral. Copenhague: Copenhagen University. Recuperado de https://kristinejorgensen.w.uib.no/files/2018/12/jorgensen-thesis.pdf.<br>
Jørgensen, K. (2010). Time for New Terminology? Diegetic and Non-Diegetic Sounds in Computer Games Revisited. En M. Grimshaw (ed.), <em>Game Sound Technology and Player Interaction: Concepts and Developments </em>(pp. 78-97). Nueva York: IGI Global.<br>
Jost, F. (2002). <em>El ojo-cámara. Entre film y novela.</em> Argentina: Catálogos.<br>
Juul, J. (2013). <em>The Art of Failure.</em> Cambridge: MIT Press.<br>
Kamp, M. (2016). Sutures and Peritexts: Music Beyond Gameplay and Diegesis. En M. Kamp, T. Summers, y M. Sweeney (eds.), <em>Ludomusicology: Approaches to video game music</em>. Sheffield: Equinoxl.<br>
LaBelle, B. (2010). <em>Acoustic Territories: Sound Culture and Everyday Life.</em> Nueva York, Londres: Continuum.<br>
Martín-Núñez, M., García-Catalán, S., Rodríguez-Serrano, A. (2016). Sí, la vida es muy rara. La culpa y el tiempo en <em>Life is Strange</em>.<em> Anàlisi. Quaderns de Comunicació i Cultura,</em> <em>54</em>, 1-14. http://dx.doi. org/10.7238/a.v0i54.2908.<br>
Nacke, L., Grimshaw, M. (2011). Player-game interaction through affective sound. En M. Grimshaw (ed.), <em>Game Sound Technology and Player Interaction: Concepts and Developments. </em>Hershey: IGI Global.<br>
Navarro-Remesal, V. (2019). Ser todo, ser nada. La subjetividad en el videojuego más allá del avatar. <em>Tropelías</em>. <em>Revista de teoría de la literatura y literatura comparada 31.</em> https://doi.org/10.26754/ojs_tropelias/tropelias.2019313178. <br>
Oldemburg, A. (2013). Sonic Mechanics: Audio as Gameplay. <em>Game Studies. The International Journal of Computer Game Research, 13</em>(1). Recuperado de http://gamestudies.org/1301/articles/oldenburg_sonic_mechanics.<br>
Parker, F. (2013). An Art World for Artgames.<em> Loading… The Journal of the Canadian Game Studies Association</em>, <em>7</em>(11), 41-60. Recuperado de https://bit.ly/3eRs0lu.<br>
Payri, B. (2010). <em>Recursos sonoros audiovisuales. </em>Recuperado de https://sonido.blogs.upv.es.<br>
Pérez Latorre, O. (2016). Indie or Mainstream? Tensions and Nuances between the Alternative and the Mainstream in Indie Games. <em>Anàlisi. Quaderns de Comunicació i Cultura,</em> <em>54</em>, 15-30. http://dx.doi.org/10.7238/a.v0i54.2818.<br>
Reay, E. (2020). Secrets, Stealth, and Survival: The Silent Child in the Video Games <em>Little Nightmares</em> and <em>Inside</em>. <em>Barnboken</em>,<em> 43</em>. https://doi.org/10.14811/clr.v43i0.475.<br>
Rodríguez-Bravo, Á. (1998). <em>La dimensión sonora del lenguaje audiovisual</em>. Barcelona: Paidós.<br>
Ruffino, P. (2013). Narratives of Independent Production in Video Game Culture. <em>Loading… The Journal of the Canadian Game Studies Association,</em> <em>7</em>(11), 106-121. Recuperado de https://bit.ly/3eRs0lu.<br>
Schaeffer, P. (1988). <em>Tratado de los objetos musicales</em>. Madrid: Alianza Música.<br>
Shinkle, E. (2005). Feel it. Don’t thik. The significance of affect in the study of digital games. DiGRA’05 - <em>Proceedings of the 2005 DiGRA International Conference: Changing Views: Worlds in Play.</em> Vancouver: DIGRA. Recuperado de https://bit.ly/39m1UEl. <br>
Sjöblom, B. (2015). Killing Digital Children: Design, Discourse, and Player Agency. En T. E. Mortensen, J. Linderoth, A. M. L. Brown (eds.), <em>The Dark Side of Game Play: Controversial Issues in Playful Environments </em>(pp. 67-80). Nueva York: Routledge.<br>
Sonnenschein, D. (2001). <em>Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema. </em>Saline: Michael Wiese Productions.<br>
Sood, S. (2002). Audience involvement and entertainment-education. <em>Communication Theory,</em> <em>12</em>(2): 153-172. https://doi.org/10.1111/j.1468-2885.2002.tb00264.x.<br>
Stockburger, A. (2003). <em>The Game Environment from an Auditive Perspective.</em> Recuperado de https://bit.ly/38w30LK.<br>
Tinwell, A., Grimshaw, M., Williams, A. (2010). Uncanny Behaviour in Survival Horror Games. <em>Journal of Gaming and Virtual Worlds</em>, <em>2</em>(1), 3-25. Recuperado de http://nordicworlds.net/2010/07/04/journal-of-gaming-and-virtual-world.<br>
Tuuri, K., Eerola, T. (2012). Formulating a Revised Taxonomy for Modes of Listening. <em>Journal of New Music Research, 41</em>(2), 137-152. https://doi.org/10.1080/09298215.2011.614951.<br>
Vella, D. (2015). <em>The Ludic Subject and the Ludic Self: Analyzing the ‘I-in-the-Gameworld’. </em>Copenhague: IT-Universitetet i København.<br>
You, S. (2019). On the Creative Innovation of the Game “Inside”. <em>Journal of Hubei Correspondence University, 18</em>. Recuperado de http://en.cnki.com.cn/Article_en/CJFDTotal-HBHS201918004.htm.</p>
Aghoro, N. (2019). Unespoken Adventures: On Sound, Story and Nonverbal Gameplay in <em>Journey</em> and <em>Inside</em>. En S. Pöhlmann (ed.), <em>Playing the Field: Video Games and American Studies</em> (pp. 259-274). Berlín, Boston: De Gruyter Oldenbourg. https://doi.org/10.1515/9783110659405-018.<br>
Andersen, M. (2016a). <em>Inside</em>: A Game That Listens. <em>Game Devenloper Conference</em>. Recuperado de https://www.youtube.com/watch?v=Dnd74MQMQ-E.<br>
Andersen, M. (2016b). Audio Design Deep Dive: Using a human skull to create the sounds of <em>Inside. Gamasutra. </em>Recuperado de https://bit.ly/2YGpIi2.<br>
Arjoranta, J. (2017). Narrative Tools for Games: Focalization, Granularity, and the Mode of Narration in Games. <em>Games and Culture,</em> <em>12</em>(7-8), 696-717. https://doi.org/10.1177/1555412015596271.<br>
Arnold, M. (2018). Inside the Loop: The Audio Functionality of Inside. <em>The Computer Games Journal</em>,7, 203-211. https://doi.org/10.1007/s40869-018-0071-x.<br>
Bailey, A. (2018). Authority of the Worm: Examining Parasitism Within <em>Inside</em> and <em>Upstream Colour</em>. <em>Metacritic Journal for Comparative Studies and Theory, 4</em>(2), 35-53.<br>
Biondi, S. (2017). El ensayo mudo. <em>Inside</em> y su reflexión sobre los temas del control y la libertad dentro y fuera de los videojuegos. <em>Revista Luthor, 32</em>(7), 31-43. <br>
Bordwell, D., Thompson, K. (1995). <em>El arte cinematográfico</em>. Barcelona: Paidós.<br>
Bridgett, R. (2005). Establishing an Aesthetic in Next Generation Sound Design. <em>Gamasutra</em>. Recuperado de https://bit.ly/3axcJTF.<br>
Bundgaard, P. F. (2010). Means of Meaning Making in Literary Art: Focalization, Mode of Narration, and Granularity. <em>Acta Linguistica Hafniensia,</em> <em>42</em>(1), 64-84. http://dx.doi.org/10.10.1080/03740463.2010.482316.<br>
Chatman, S. B. (1990). <em>Historia y discurso, la estructura narrativa en la novela y en el cine. </em>Taurus: Barcelona.<br>
Chion, M. (1993). <em>La audiovisión. Introducción a un análisis conjunto de la imagen y el sonido. </em>Barcelona: Paidós.<br>
Collins, K. (2007). An Introduction to the Participatory and Non-Linear Aspects of Video Games Audio. En J. Richardson y S. Hawkins (eds.), <em>Essays on Sound and Vision</em> (pp. 263‐298). Helsinki: Helsinki University Press.<br>
Collins, K. (2008). <em>Game Sound: An Introduction to the History, Theory, and Practice of Video Game Music and Sound Design</em>. Cambridge: The MIT Press.<br>
Collins, K. (2013). <em>Playing With Song. Theory of Interacting with Sound and Music in Video Games</em>. Cambridge: The MIT Press. <br>
Costello, B. M. (2019). Rhythms of Failure in Playdead’s <em>Inside</em>. En VV. AA., <em>Proceedings of DiGRAA 2019: What’s Next?</em> Recuperado de http://digraa.org/wp-content/uploads/2019/01/DIGRAA_2019_paper_34.pdf.<br>
Cuadrado Méndez, F. J. (2013). Los procesos de auricularización en el cine. <em>Revista Comunicación</em>, <em>11</em>(1), 24-39. <br>
Cuevas, E. (2001). Focalización en los relatos audiovisuales. <em>Trípodos, 11</em>, 123-136. <br>
Delalande, F. (1989). La terrase des audiences du clair de lune: essai d’analyse esthésique. <em>Analyse Musicale,</em> <em>16</em>, 75-84.<br>
Delalande, F. (1998). Music Analysis and Reception Behaviours: <em>Sommeil</em> by P. Henry. <em>Journal of New Music Research, 27</em>(1-2), 13-66.<br>
Delbouille, J. (2017). L’esthétique comme composante ludo-narrative d’un jeu. L’exemple d’<em>Inside</em>, <em>Art&Fact, 36</em>, 73-85. Recuperado de https://bit.ly/2Uijnqv.<br>
Friberg, J., Gärdenfors, D. (2004). Audio Games: New Perspectives on Game Audio. En VV. AA., <em>Proceedings of the ACM International Conference on Advances in Computer Entertainment Technology</em> (pp. 148-154). Singapur: ACM. Recuperado de https://bit.ly/31L47a9.<br>
Garcia, A. (2017). A Literature of Possibilities: Games, Agency, and Redefining Texts. <em>Journal of Adolescent & Adult Literacy</em>, <em>61</em>(3), 339-341.<br>
Genette, G. (1983). <em>Nouveau discours du récit</em>. París: Editions du Seuil.<br>
Green, M. C., Garst, J., Brock, T. C. (2004). The Power of Fiction: Determinants and Boundaries. En L. J. Shrum (ed.), <em>Blurring the lines: The psychology of entertainment media </em>(pp. 161-176). Mahwah: Lawrence Erlbaum Associates.<br>
Grimshaw, M. (2008). <em>The Acoustic Ecology of the First-person Shooter: The Player Experience of Sound in the First-person Shooter Computer Game</em>. Saarbrücken: VDM Verlag. 1 <br>
Grimshaw, M., Garner, T. (2015). <em>Sonic Virtuality. Sound as Emergent Perception</em>. Nueva York: Oxford University Press.<br>
Harrell, F., Zhu, J. (2009). Agency Play: Dimensions of Agency for Interactive Narrative Design. En VV. AA., <em>Intelligent Narrative Technologies II, Papers from the 2009 AAAI Spring Symposium, Technical Report SS-09-06 </em>(pp. 44-52). Stanford: AAAI. https://doi.org/10.24193/mjcst.2018.6.03.<br>
Huron, D. (2002). A six-component theory of auditory-evoked emotion. En <em>Proceedings</em> <em>of</em> <em>the</em> <em>Conference on Music Perception and Cognition </em>(pp. 673-676). Sydney, Adelaide: Causal Productions.<br>
Jensen, G. H. (2013). Making Sense of Play in Video Games: Ludus, Paidia, and Possibility Spaces. <em>Eludamos. Journal for Computer Game Culture,</em> <em>7</em>(1), 69-80.<br>
Johnson, L. (2017). Review of <em>Inside</em> in Challenging Texts Column: A Literature of Possibilities: Games, Agency, and Redefining Texts. <em>Journal of Adolescent & Adult Literacy, 61</em>(3), 340-341.<br>
Jørgensen, K. (2007). <em>‘What Are Those Grunts and Growls over There?’ Computer Game Audio and Player Action</em>. Tesis doctoral. Copenhague: Copenhagen University. Recuperado de https://kristinejorgensen.w.uib.no/files/2018/12/jorgensen-thesis.pdf.<br>
Jørgensen, K. (2010). Time for New Terminology? Diegetic and Non-Diegetic Sounds in Computer Games Revisited. En M. Grimshaw (ed.), <em>Game Sound Technology and Player Interaction: Concepts and Developments </em>(pp. 78-97). Nueva York: IGI Global.<br>
Jost, F. (2002). <em>El ojo-cámara. Entre film y novela.</em> Argentina: Catálogos.<br>
Juul, J. (2013). <em>The Art of Failure.</em> Cambridge: MIT Press.<br>
Kamp, M. (2016). Sutures and Peritexts: Music Beyond Gameplay and Diegesis. En M. Kamp, T. Summers, y M. Sweeney (eds.), <em>Ludomusicology: Approaches to video game music</em>. Sheffield: Equinoxl.<br>
LaBelle, B. (2010). <em>Acoustic Territories: Sound Culture and Everyday Life.</em> Nueva York, Londres: Continuum.<br>
Martín-Núñez, M., García-Catalán, S., Rodríguez-Serrano, A. (2016). Sí, la vida es muy rara. La culpa y el tiempo en <em>Life is Strange</em>.<em> Anàlisi. Quaderns de Comunicació i Cultura,</em> <em>54</em>, 1-14. http://dx.doi. org/10.7238/a.v0i54.2908.<br>
Nacke, L., Grimshaw, M. (2011). Player-game interaction through affective sound. En M. Grimshaw (ed.), <em>Game Sound Technology and Player Interaction: Concepts and Developments. </em>Hershey: IGI Global.<br>
Navarro-Remesal, V. (2019). Ser todo, ser nada. La subjetividad en el videojuego más allá del avatar. <em>Tropelías</em>. <em>Revista de teoría de la literatura y literatura comparada 31.</em> https://doi.org/10.26754/ojs_tropelias/tropelias.2019313178. <br>
Oldemburg, A. (2013). Sonic Mechanics: Audio as Gameplay. <em>Game Studies. The International Journal of Computer Game Research, 13</em>(1). Recuperado de http://gamestudies.org/1301/articles/oldenburg_sonic_mechanics.<br>
Parker, F. (2013). An Art World for Artgames.<em> Loading… The Journal of the Canadian Game Studies Association</em>, <em>7</em>(11), 41-60. Recuperado de https://bit.ly/3eRs0lu.<br>
Payri, B. (2010). <em>Recursos sonoros audiovisuales. </em>Recuperado de https://sonido.blogs.upv.es.<br>
Pérez Latorre, O. (2016). Indie or Mainstream? Tensions and Nuances between the Alternative and the Mainstream in Indie Games. <em>Anàlisi. Quaderns de Comunicació i Cultura,</em> <em>54</em>, 15-30. http://dx.doi.org/10.7238/a.v0i54.2818.<br>
Reay, E. (2020). Secrets, Stealth, and Survival: The Silent Child in the Video Games <em>Little Nightmares</em> and <em>Inside</em>. <em>Barnboken</em>,<em> 43</em>. https://doi.org/10.14811/clr.v43i0.475.<br>
Rodríguez-Bravo, Á. (1998). <em>La dimensión sonora del lenguaje audiovisual</em>. Barcelona: Paidós.<br>
Ruffino, P. (2013). Narratives of Independent Production in Video Game Culture. <em>Loading… The Journal of the Canadian Game Studies Association,</em> <em>7</em>(11), 106-121. Recuperado de https://bit.ly/3eRs0lu.<br>
Schaeffer, P. (1988). <em>Tratado de los objetos musicales</em>. Madrid: Alianza Música.<br>
Shinkle, E. (2005). Feel it. Don’t thik. The significance of affect in the study of digital games. DiGRA’05 - <em>Proceedings of the 2005 DiGRA International Conference: Changing Views: Worlds in Play.</em> Vancouver: DIGRA. Recuperado de https://bit.ly/39m1UEl. <br>
Sjöblom, B. (2015). Killing Digital Children: Design, Discourse, and Player Agency. En T. E. Mortensen, J. Linderoth, A. M. L. Brown (eds.), <em>The Dark Side of Game Play: Controversial Issues in Playful Environments </em>(pp. 67-80). Nueva York: Routledge.<br>
Sonnenschein, D. (2001). <em>Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema. </em>Saline: Michael Wiese Productions.<br>
Sood, S. (2002). Audience involvement and entertainment-education. <em>Communication Theory,</em> <em>12</em>(2): 153-172. https://doi.org/10.1111/j.1468-2885.2002.tb00264.x.<br>
Stockburger, A. (2003). <em>The Game Environment from an Auditive Perspective.</em> Recuperado de https://bit.ly/38w30LK.<br>
Tinwell, A., Grimshaw, M., Williams, A. (2010). Uncanny Behaviour in Survival Horror Games. <em>Journal of Gaming and Virtual Worlds</em>, <em>2</em>(1), 3-25. Recuperado de http://nordicworlds.net/2010/07/04/journal-of-gaming-and-virtual-world.<br>
Tuuri, K., Eerola, T. (2012). Formulating a Revised Taxonomy for Modes of Listening. <em>Journal of New Music Research, 41</em>(2), 137-152. https://doi.org/10.1080/09298215.2011.614951.<br>
Vella, D. (2015). <em>The Ludic Subject and the Ludic Self: Analyzing the ‘I-in-the-Gameworld’. </em>Copenhague: IT-Universitetet i København.<br>
You, S. (2019). On the Creative Innovation of the Game “Inside”. <em>Journal of Hubei Correspondence University, 18</em>. Recuperado de http://en.cnki.com.cn/Article_en/CJFDTotal-HBHS201918004.htm.</p>