《辐射3》充分利用了剧情音乐和非剧情音乐。除了游戏角色的手腕上安装的一种叫作“Pip-boy 3000”的小计算机，游戏世界中到处是播放音乐和其他无线电台节目的无线广播。当玩家打开角色的“Pip-boy 3000”时，他们就必须小心无线信号会使NPC发现角色的所在。当广播功能被打开，游戏世界就充满非剧情背景音乐。
Video Game Music: Player Immersion
by Gina Zdanowicz
Music has always been an important part of entertainment media. As gaming continues to evolve, game music is more heavily relied upon to integrate with the games visuals, to set the scene, and to evoke players’ emotions. Game music should affect the gameplay, and the gameplay should affect the music. The player’s actions influence the interactivity and evolution of the music, just as the music influences the player’s decisions during game play. This combination immerses the player deeper into the gaming experience.
One of the biggest challenges in creating music for video games is in understanding the limits of the game audio engines while trying to provide a seamless interactive experience.
Techniques such as varying tempo, genre, instrumentation and musical notes can set the perfect mood for each area of the game and tell the player exactly what emotions they should feel in those areas.
A layered score is a technique that has several streams with different instruments on each. Those streams should be composed so they are strong on their own and work well with the games visuals, but also be able to be mixed together with the other streams to evolve the music as the game play changes.
Music that builds to a crescendo can signal to the player there is danger just ahead. A boss battle may require more intense music with several layers of instruments and heavy percussion. After the boss is defeated, the music slows down in tempo and the instrumentation thins out, signaling to the player that the danger is no longer imminent.
Super Mario Brothers utilized increased tempo to signal to the player that time is running out, which evokes a sense of urgency to complete the level before running out of time. Dead Space 2 uses ambient soundscapes and a large orchestra to create an eerie, yet larger than life feeling. A small string quartet was used in the game to contrast the large orchestra and to portray the vulnerability of the main character.
Both music and visuals must be well thought out and tightly integrated to create a cohesive and ambient environment. A game’s pace is just as important as the musical build up that allows the player time to feel safe in order to deliver the next tense moment with impact.
When you take a look at how far music in gaming has come, it speaks volumes to its importance in the game industry. Music is no longer just set in the background of the game. Rhythm genre game titles such as Rock Band and Guitar Hero offer a twist on standard game play and offer music as the game.
In Part I of this article, lead audio designer Gina Zdanowicz discusses how video game music enhances a player’s gameplay experience. In Part II, she offers examples of diegetic and non-diegetic music in games.
A technique that is becoming more popular in games is diegetic music. Diegetic music refers to music that originates from within the game world. It’s always nice when a game score can incorporate epic music in the game world, but in real life when you are walking around in a park or on a beach, you don’t hear any music unless you have your headphones on. Diegetic music, although coming from an object within the game, can still set the mood of the environment.
Let’s take a look at some games that use diegetic music to enhance the player’s immersion into the game world.
Fallout 3 makes great use of diegetic and non-diegetic music. Characters in the game have wrist-mounted computers called the Pip-boy 3000, as well as radios scattered around the game world which play music and other broadcasts from in-game radio stations. If the player has their Pip-boy 3000 turned on, they have to be careful of the radio alerting NPC’s to their presence. When the radio function is turned off, non-diegetic background music is played through the game world.
Bioshock also uses a combination of diegetic and non-diegetic music, as well as no music, to set the mood. In the game’s opening scene, the player escapes from the plane wreckage to a lighthouse set on a small rocky island. The lack of music in this scene hints to the player the feelings of a desperate struggle to survive. After the player enters the lighthouse, music starts to fade into the scene. The music is coming from downstairs, which provokes the player to follow the music down the flight of stairs to find the radio in a bathysphere. The music plays two roles in this example: It gives the player a reason to move forward in the game, as well as sets the mood.
The use of diegetic music in Bioshock really underscores the dying city when the player enters a room with a scratchy, 60’s-era record playing. Diegetic music, which is used in place of orchestral background music, can be heard from around corners or can be muffled by doors.
Left 4 Dead allows a player to turn on a jukebox, which will attract a zombie horde. During this attack, instead of non-diegetic music playing, the jukebox music continues to play even if the jukebox is out of visual range.
Grand Theft Auto is, while cliché, a good example of diegetic music. Car radios broadcast different stations and songs that the player can choose to tune into while driving the vehicles in the game. After all, who doesn’t love riding in a car with the music pumping?
A diegetic switch is a technique which can be used to continue the diegetic music throughout the game. The music starts off as a diegetic broadcast from a radio or other source within the game, and as the scene changes, the music switches to a non-diegetic version of the same song and continues to play in that environment.
The Legend of Zelda: Ocarina of Time starts with the diegetic version of Saria’s as it directs the player through the lost woods maze. As the song grows louder, the player is aware that they are moving forward in the right direction. If they player goes off course, the song’s volume decreases, alerting the player to change direction. After the player learns the song, it becomes non-diegetic music in that environment.
As video games evolve, game music must also evolve, allowing for a cohesive integration for a seamless visual and aural experience, which will deeply immerse the player into the game world and keep them there until they press the pause button.(source:gamedesignaspect)