Araştırma Makalesi
BibTex RIS Kaynak Göster

Video Oyunlarında Tatmin Unsurlarının Sinematik Görsel-İşitsel Elementlere Uygulanması: Ludomüzikoloji, Diegesis ve Akış Teorisi Üzerinden Disiplinlerarası Bir Analiz

Yıl 2025, Sayı: 71, 23 - 44, 24.11.2025
https://doi.org/10.47998/ikad.1669165

Öz

Bu makale, ludomüzikoloji, Diegesis (Anlatı) ve Flow (Akış) teorilerini kullanıp film ile video oyunları arasındaki benzerlikleri ve farkları inceleyerek film müziği analizine yönelik teorik çerçeveyi genişletmeyi amaçlamaktadır. Anlatı ve ludomüzikal prensipler aracılığıyla kısa animasyon filmi Calculated Movements ve video oyunu Space Invaders incelenerek, her iki etkileşimli ve etkileşimsiz medya türündeki ses ve müzik rolü araştırılmaktadır. Araştırma, oyun tatmin öğelerini ve Flow Teorisi ile bu kavramları Factual Conversation filmine uygulayarak, etkileşim ve ludomüzikal öğelerin kullanıcı deneyimini nasıl etkilediğini ortaya koymaktadır. Makale, görsel-işitsel medya ve ludomüzikoloji arasındaki ilişkiye dair yeni bilgiler sunarak, ses ve müziğin her iki medya türünde de nasıl sürükleyicilik ve anlatıyı güçlendirdiği konusundaki anlayışı geliştirmektedir.

Kaynakça

  • Araújo-de-Oliveira, P., de Paula Costa, L. C., Corrêa, A. G. D., & de Deus Lopes, R. (2015). Virtual stage: An immersive musical game for people with visual impairment. In Proceedings of the 2015 14th Brazilian Symposium on Computer Games and Digital Entertainment (SBGames). https://doi.org/10.1109/SBGames.2015.26
  • Björk, S., & Holopainen, J. (2005). Patterns in game design. Charles River Media.
  • Boltz, M., Schulkind, M., & Kantra, S. (1991). Effects of background music on the remembering of filmed events. Memory & Cognition, 19, 593–606. https://doi.org/10.3758/BF03197116
  • Cage, J. (1990). Autobiographical statement. John Cage Official Website. http://johncage.org/autobiographical_statement.html
  • Chang, J., & Lee, D. (2022). Changes in user experience and satisfaction as media technology evolves: The reciprocal relationship between video games and video game-related media. Technological Forecasting & Social Change, 174, 121219. https://doi.org/10.1016/j.techfore.2021.121219
  • Chen, J. (2007). Flow in games (and everything else). Communications of the ACM, 50(4), 31–34. https://www.jenovachen.com/flowingames/p31-chen.pdf
  • Chen, H. (2021). Polishing and fitting game music and sound effects to improve player immersion (Master's thesis, Northeastern University). Graduate School of the College of Arts, Media and Design.
  • Chion, M. (1994). Audio-vision: Sound on screen. Columbia University Press.
  • Collins, K. (2008). Game sound: An introduction to the history, theory, and practice of video game music and sound design. MIT Press.
  • Csikszentmihalyi, M. (1990). Flow: The psychology of optimal experience. Harper & Row.
  • DeRoss, A. (2020). Sonic rhetoric and meaning making in video game sound design (Master's thesis, Nova Southeastern University). NSUWorks. https://nsuworks.nova.edu/hcas_etd_all/20
  • Dobson, T. (1994). The film work of Norman McLaren (Doctoral thesis, University of Canterbury). University of Canterbury.
  • Dowd, A. M. (2009). Communication, consumption and manipulation: The body as language in the films of Jan Švankmajer (Master’s thesis). University of South Florida. USF Tampa Graduate Theses and Dissertations. https://digitalcommons.usf.edu/etd/1941
  • Deterding, S., Dixon, D., Khaled, R., & Nacke, L. (2011). From game design elements to gamefulness: Defining "gamification." In MindTrek Proceedings of the 15th International Academic MindTrek Conference: Envisioning future media environments (pp. 9–15). https://doi.org/10.1145/2181037.2181040
  • Gorbman, C. (1980). Narrative film music. Yale French Studies, 60, 184. https://doi.org/10.2307/2930011
  • Harris, M., Husbands, L., & Taberham, P. (Eds.). (2019). Experimental animation: From analogue to digital. Routledge.
  • Haehn, L., Schlittmeier, S. J., & Böffel, C. (2024). Exploring the impact of ambient and character sounds on player experience in video games. Applied Sciences, 14(2), 583. https://doi.org/10.3390/app14020583
  • Kamp, M. (2010). Ludic music in video games (Master’s thesis). Utrecht University. https://studenttheses.uu.nl/handle/20.500.12932/5537
  • Kamp, M. (2016). Video game music and play. In T. Summers (Ed.), Ludomusicology: Approaches to video game music. Equinox Publishing Ltd.
  • Klimmt, C., Blake, C., Hefner, D., Vorderer, P. A., & Roth, C. (2009). Player performance, satisfaction, and video game enjoyment. In S. Natkin & J. Dupire (Eds.), Entertainment computing: Proceedings of the 8th International Conference on Entertainment Computing (ICEC 2009) (pp. 1–12). Lecture Notes in Computer Science, No. 5709. Springer-Verlag.
  • Klimmt, C., Possler, D., May, N., Auge, H., Wanjek, L., & Wolf, A.-L. (2019). Effects of soundtrack music on the video game experience. Media Psychology, 22, 689–713. https://doi.org/10.1080/15213269.2019.1644589
  • Mc Glynn, J. D. (2023). The “Cinematic Promise” of video game music: Stylistic convergence, current-generation remakes, and the case of Final Fantasy VII. Journal of Sound and Music in Games, 4(4), 108–138. https://doi.org/10.1525/jsmg.2023.4.4.108
  • Mollaghan, A. (2011). “An experiment in pure design:” The minimalist aesthetic in the line films of Norman McLaren. Animation Studies, 6. The Peer-reviewed Open Access Online Journal for Animation History and Theory. https://oldjournal.animationstudies.org/category/volume-6/
  • Munday, R. (2007). Music in video games. In J. Sexton (Ed.), Music, sound and multimedia: From the live to the virtual (pp. 51–67). Edinburgh University Press. https://doi.org/10.3366/edinburgh/9780748625338.003.0004
  • Levy, L. M. (2015). The effects of background music on video game play performance, behavior, and experience in extraverts and introverts (Doctoral dissertation). Georgia Institute of Technology, Atlanta, GA, USA.
  • Nacke, L. E., & Lindley, C. A. (2008). Flow and immersion in first-person shooters: Measuring the player’s gameplay experience. Proceedings of the 2008 Conference on Future Play: Research, Play, Share, 81–88. https://doi.org/10.1145/1496984.1496998
  • Nacke, L. E., Grimshaw, M. N., & Lindley, C. A. (2010). More than a feeling: Measurement of sonic user experience and psychophysiology in a first-person shooter game. Interacting with Computers, 22(4), 336–343. https://doi.org/10.1016/j.intcom.2010.04.005
  • Pasinski, A. (2014). Possible benefits of playing music video games (Doctoral thesis, University of Nevada, Las Vegas). UNLV Theses, Dissertations, Professional Papers, and Capstones, 2287. https://doi.org/10.34917/7048606
  • Rawat, V. S., Aryan, A., Anisa, A., Singh, A. K., Ansari, Z., & Karmakar, A. (2024). Psychological effects of background music in video games: Enhancing concentration and experience. International Journal of Research Publication and Reviews, 5(7), 3204–3208. ISSN 2582-7421. Retrieved from www.ijrpr.com
  • Ribeiro, G., Rogers, K., Altmeyer, M., Terkildsen, T., & Nacke, L. E. (2020). Game atmosphere: Effects of audiovisual thematic cohesion on player experience and psychophysiology. In Proceedings of the Annual Symposium on Computer-Human Interaction in Play (pp. 107–119). Ottawa, ON, Canada: Association for Computing Machinery. https://doi.org/10.1145/3411764.3417807
  • Reale, S. (2014). Transcribing musical world; or, is L.A. Noire a music game? In K. J. Donnelly, N. Lerner, & W. Gibbons (Eds.), Music in video games: Studying play (p. 77). Routledge.
  • Sanders, T. A., & Cairns, P. (2010). Time perception, immersion, and music in video games. In Proceedings of HCI 2010 (pp. 160–167). Dundee, UK.
  • Soderman, B. (2021). Against flow: Video games and the flowing subject. The MIT Press. https://doi.org/10.7551/mitpress/12831.001.0001
  • Üstün, C. (2023). Animation in video games: a classification study based on game mechanics. Motif Akademi Halkbilimi Dergisi, 16(43), 1395–1406. https://doi.org/10.12981/mahder.1258045
  • Van Elferen, I. (2020). Ludomusicology and the new drastic. Journal of Sound and Music in Games, 1(1), 103–112. https://doi.org/10.1525/jsmg.2020.1.1.103
  • Varela, D. (2024). Developing an adaptive music system for video games: Enhancing immersion and engagement through interactive music (Master's thesis, Oporto University). Advisor: Gilberto Bernardes.
  • Wang, R. (2022). The research on the relationship between music and player interaction in video games: A case study of the RPG genre. The International Conference on Interdisciplinary Humanities and Communication Studies. https://doi.org/10.54254/2753-7064/4/20220871
  • Whalen, Z. (2004). Play along - An approach to videogame music. Game Studies, 4(1). http://gamestudies.org/0401/whalen/
  • Wharton, A., & Collins, K. (2011). Subjective measures of the influence of music customization on the video game play experience: A pilot study. Game Studies, 11. https://gamestudies.org/1102/articles/wharton_collins
  • Wilson, B. R. (2006). Animated music: The development and use of the optical soundtrack as a musical instrument (Master's thesis, California State University, Long Beach). California State University, Long Beach.
  • Xiong, R. (2023). The use of game elements in Hollywood science fiction films, taking Ready Player One and Free Guy as examples. The International Conference on Interdisciplinary Humanities and Communication Studies, 3, 20220398. https://doi.org/10.54254/2753-7064/3/20220398
  • Zhang, J., & Fu, X. (2015). The influence of the background music of video games on immersion. Journal of Psychology & Psychotherapy, 5, 1000191. https://doi.org/10.4172/2161-0487.1000191

Applying Video Game Satisfaction Elements to Cinematic Audio-Visuals: A Cross-Disciplinary Analysis through Ludomusicology, Diegesis and Flow Theory

Yıl 2025, Sayı: 71, 23 - 44, 24.11.2025
https://doi.org/10.47998/ikad.1669165

Öz

This article expands the theoretical framework for film music analysis by examining the similarities and differences between film and video games through the lenses of ludomusicology, diegesis, and Flow theory. By analyzing the short animated film Calculated Movements and the video game Space Invaders through narrative (diegesis) and ludomusical principles, the study investigates the role of sound and music in both interactive and non-interactive media forms. The research also applies Flow theory to the film Factual Conversation, exploring elements of game satisfaction and revealing how interaction and ludomusical components shape the user experience. Ultimately, the article contributes new insights into the relationship between audiovisual media and ludomusicology, enhancing the understanding of how sound and music reinforce immersion and narrative in both media types.

Kaynakça

  • Araújo-de-Oliveira, P., de Paula Costa, L. C., Corrêa, A. G. D., & de Deus Lopes, R. (2015). Virtual stage: An immersive musical game for people with visual impairment. In Proceedings of the 2015 14th Brazilian Symposium on Computer Games and Digital Entertainment (SBGames). https://doi.org/10.1109/SBGames.2015.26
  • Björk, S., & Holopainen, J. (2005). Patterns in game design. Charles River Media.
  • Boltz, M., Schulkind, M., & Kantra, S. (1991). Effects of background music on the remembering of filmed events. Memory & Cognition, 19, 593–606. https://doi.org/10.3758/BF03197116
  • Cage, J. (1990). Autobiographical statement. John Cage Official Website. http://johncage.org/autobiographical_statement.html
  • Chang, J., & Lee, D. (2022). Changes in user experience and satisfaction as media technology evolves: The reciprocal relationship between video games and video game-related media. Technological Forecasting & Social Change, 174, 121219. https://doi.org/10.1016/j.techfore.2021.121219
  • Chen, J. (2007). Flow in games (and everything else). Communications of the ACM, 50(4), 31–34. https://www.jenovachen.com/flowingames/p31-chen.pdf
  • Chen, H. (2021). Polishing and fitting game music and sound effects to improve player immersion (Master's thesis, Northeastern University). Graduate School of the College of Arts, Media and Design.
  • Chion, M. (1994). Audio-vision: Sound on screen. Columbia University Press.
  • Collins, K. (2008). Game sound: An introduction to the history, theory, and practice of video game music and sound design. MIT Press.
  • Csikszentmihalyi, M. (1990). Flow: The psychology of optimal experience. Harper & Row.
  • DeRoss, A. (2020). Sonic rhetoric and meaning making in video game sound design (Master's thesis, Nova Southeastern University). NSUWorks. https://nsuworks.nova.edu/hcas_etd_all/20
  • Dobson, T. (1994). The film work of Norman McLaren (Doctoral thesis, University of Canterbury). University of Canterbury.
  • Dowd, A. M. (2009). Communication, consumption and manipulation: The body as language in the films of Jan Švankmajer (Master’s thesis). University of South Florida. USF Tampa Graduate Theses and Dissertations. https://digitalcommons.usf.edu/etd/1941
  • Deterding, S., Dixon, D., Khaled, R., & Nacke, L. (2011). From game design elements to gamefulness: Defining "gamification." In MindTrek Proceedings of the 15th International Academic MindTrek Conference: Envisioning future media environments (pp. 9–15). https://doi.org/10.1145/2181037.2181040
  • Gorbman, C. (1980). Narrative film music. Yale French Studies, 60, 184. https://doi.org/10.2307/2930011
  • Harris, M., Husbands, L., & Taberham, P. (Eds.). (2019). Experimental animation: From analogue to digital. Routledge.
  • Haehn, L., Schlittmeier, S. J., & Böffel, C. (2024). Exploring the impact of ambient and character sounds on player experience in video games. Applied Sciences, 14(2), 583. https://doi.org/10.3390/app14020583
  • Kamp, M. (2010). Ludic music in video games (Master’s thesis). Utrecht University. https://studenttheses.uu.nl/handle/20.500.12932/5537
  • Kamp, M. (2016). Video game music and play. In T. Summers (Ed.), Ludomusicology: Approaches to video game music. Equinox Publishing Ltd.
  • Klimmt, C., Blake, C., Hefner, D., Vorderer, P. A., & Roth, C. (2009). Player performance, satisfaction, and video game enjoyment. In S. Natkin & J. Dupire (Eds.), Entertainment computing: Proceedings of the 8th International Conference on Entertainment Computing (ICEC 2009) (pp. 1–12). Lecture Notes in Computer Science, No. 5709. Springer-Verlag.
  • Klimmt, C., Possler, D., May, N., Auge, H., Wanjek, L., & Wolf, A.-L. (2019). Effects of soundtrack music on the video game experience. Media Psychology, 22, 689–713. https://doi.org/10.1080/15213269.2019.1644589
  • Mc Glynn, J. D. (2023). The “Cinematic Promise” of video game music: Stylistic convergence, current-generation remakes, and the case of Final Fantasy VII. Journal of Sound and Music in Games, 4(4), 108–138. https://doi.org/10.1525/jsmg.2023.4.4.108
  • Mollaghan, A. (2011). “An experiment in pure design:” The minimalist aesthetic in the line films of Norman McLaren. Animation Studies, 6. The Peer-reviewed Open Access Online Journal for Animation History and Theory. https://oldjournal.animationstudies.org/category/volume-6/
  • Munday, R. (2007). Music in video games. In J. Sexton (Ed.), Music, sound and multimedia: From the live to the virtual (pp. 51–67). Edinburgh University Press. https://doi.org/10.3366/edinburgh/9780748625338.003.0004
  • Levy, L. M. (2015). The effects of background music on video game play performance, behavior, and experience in extraverts and introverts (Doctoral dissertation). Georgia Institute of Technology, Atlanta, GA, USA.
  • Nacke, L. E., & Lindley, C. A. (2008). Flow and immersion in first-person shooters: Measuring the player’s gameplay experience. Proceedings of the 2008 Conference on Future Play: Research, Play, Share, 81–88. https://doi.org/10.1145/1496984.1496998
  • Nacke, L. E., Grimshaw, M. N., & Lindley, C. A. (2010). More than a feeling: Measurement of sonic user experience and psychophysiology in a first-person shooter game. Interacting with Computers, 22(4), 336–343. https://doi.org/10.1016/j.intcom.2010.04.005
  • Pasinski, A. (2014). Possible benefits of playing music video games (Doctoral thesis, University of Nevada, Las Vegas). UNLV Theses, Dissertations, Professional Papers, and Capstones, 2287. https://doi.org/10.34917/7048606
  • Rawat, V. S., Aryan, A., Anisa, A., Singh, A. K., Ansari, Z., & Karmakar, A. (2024). Psychological effects of background music in video games: Enhancing concentration and experience. International Journal of Research Publication and Reviews, 5(7), 3204–3208. ISSN 2582-7421. Retrieved from www.ijrpr.com
  • Ribeiro, G., Rogers, K., Altmeyer, M., Terkildsen, T., & Nacke, L. E. (2020). Game atmosphere: Effects of audiovisual thematic cohesion on player experience and psychophysiology. In Proceedings of the Annual Symposium on Computer-Human Interaction in Play (pp. 107–119). Ottawa, ON, Canada: Association for Computing Machinery. https://doi.org/10.1145/3411764.3417807
  • Reale, S. (2014). Transcribing musical world; or, is L.A. Noire a music game? In K. J. Donnelly, N. Lerner, & W. Gibbons (Eds.), Music in video games: Studying play (p. 77). Routledge.
  • Sanders, T. A., & Cairns, P. (2010). Time perception, immersion, and music in video games. In Proceedings of HCI 2010 (pp. 160–167). Dundee, UK.
  • Soderman, B. (2021). Against flow: Video games and the flowing subject. The MIT Press. https://doi.org/10.7551/mitpress/12831.001.0001
  • Üstün, C. (2023). Animation in video games: a classification study based on game mechanics. Motif Akademi Halkbilimi Dergisi, 16(43), 1395–1406. https://doi.org/10.12981/mahder.1258045
  • Van Elferen, I. (2020). Ludomusicology and the new drastic. Journal of Sound and Music in Games, 1(1), 103–112. https://doi.org/10.1525/jsmg.2020.1.1.103
  • Varela, D. (2024). Developing an adaptive music system for video games: Enhancing immersion and engagement through interactive music (Master's thesis, Oporto University). Advisor: Gilberto Bernardes.
  • Wang, R. (2022). The research on the relationship between music and player interaction in video games: A case study of the RPG genre. The International Conference on Interdisciplinary Humanities and Communication Studies. https://doi.org/10.54254/2753-7064/4/20220871
  • Whalen, Z. (2004). Play along - An approach to videogame music. Game Studies, 4(1). http://gamestudies.org/0401/whalen/
  • Wharton, A., & Collins, K. (2011). Subjective measures of the influence of music customization on the video game play experience: A pilot study. Game Studies, 11. https://gamestudies.org/1102/articles/wharton_collins
  • Wilson, B. R. (2006). Animated music: The development and use of the optical soundtrack as a musical instrument (Master's thesis, California State University, Long Beach). California State University, Long Beach.
  • Xiong, R. (2023). The use of game elements in Hollywood science fiction films, taking Ready Player One and Free Guy as examples. The International Conference on Interdisciplinary Humanities and Communication Studies, 3, 20220398. https://doi.org/10.54254/2753-7064/3/20220398
  • Zhang, J., & Fu, X. (2015). The influence of the background music of video games on immersion. Journal of Psychology & Psychotherapy, 5, 1000191. https://doi.org/10.4172/2161-0487.1000191
Toplam 42 adet kaynakça vardır.

Ayrıntılar

Birincil Dil İngilizce
Konular İletişim Teknolojisi ve Dijital Medya Çalışmaları, Sinema Kuramları
Bölüm Araştırma Makalesi
Yazarlar

Ersin Ertan 0000-0002-0348-9089

Yayımlanma Tarihi 24 Kasım 2025
Gönderilme Tarihi 2 Nisan 2025
Kabul Tarihi 14 Ekim 2025
Yayımlandığı Sayı Yıl 2025 Sayı: 71

Kaynak Göster

APA Ertan, E. (2025). Applying Video Game Satisfaction Elements to Cinematic Audio-Visuals: A Cross-Disciplinary Analysis through Ludomusicology, Diegesis and Flow Theory. İletişim Kuram ve Araştırma Dergisi(71), 23-44. https://doi.org/10.47998/ikad.1669165