Sound in Games…Why the Neglect?
Sound design in games is usually given no more attention than a bullet point at the end of a review. Often, this bullet point incorrectly labeled as sound mainly focuses on the music of the game. While a good soundtrack (as well as graphics, gameplay, etc) will be applauded, the actual sounds of the game are often glossed over or even ignored. This particular phenomenon has some interesting implications for gaming and game design.
Traditional games rely on only two (sometimes three) senses. Sight, sound, and in the case of certain games, touch. With so few channels of communicating the actions of the game to the player, it is interesting how sound is given such little attention. Try this: start a game you are familiar with and play through a small area. Now reload that same area, and mute your television. Does the game feel the same? Silence is unnerving for many reasons. It often makes people feel confined, confused, or muddled. In the case of a game, silent gameplay seems unreal no matter how it grapically looks. This due to the feedback (or lack of, in the case of silence) that sound provides.
Sound is the sense primarily used to fill in what we cannot see. Without sound, things that don’t happen in our immediate area often go unnoticed. In a medium that lacks taste and smell, such as television, sound is the only “remote” sense we have. While graphics are often the focus when talking about a games presentation, a game’s sounds are often just as critical to a success.
One of my favorite examples of good sound usage is Half-Life 2. While a great game all-around, HL2 has some of the best sound design I’ve ever heard. The sounds of the combine soldiers are alien in a way that is very realistic. The radio chatter and feedback sounds are excellent. The sounds of gunfire and ricochet are very convincing; a good gunfight sounds exactly like a slightly more modern junktown shootout should sound. All of the sounds are directional; this informs us of things which we cannot see but are still relevant to the experience. This mirrors the purpose of sound in our real lives.
Most apparent (and boyishly appealing) to me in my first play through was the sound of the explosions. Instead of the typical roaring explosions you hear in most games, the sounds of fuel barrels, grenades, and gas canisters all have a convincing pop. The explosions have as strong percussiveness that seems very real. In addition to the sound of the explosion itself, an audio affect of temporary sound dampening is used if you are too close to something that explodes. This takes the explosions from mere action eye-candy to events that you don’t just see, you hear and experience.
With the impact good sound design can bring to a game, it is curious how it isn’t a bigger focus of game design and review. Game designers who utilize excellent sound design should be commended. As the graphic curve begins to flatten off, sound design may become more relevant. Until then, this under appreciated element of design will be seen as a nice little bonus but nothing to be expected.