The Implementation of Acoustic in the Game Design - Insight from the Recently Popular “Onmyoji” Phenomenon in China

Abstract

Phone game player always have trouble to involve the new game. It is difficult to quickly immersed in a game, this makes the game makers spend a lot of methods and strategies on the background of the game, lead the players into the game. Traditional control methods including gesture and touch sometimes cannot help players very well, so sound control then plays a essential role in game control. As an interactive product that can give people different modality (such as nervous, happy and exciting), game must give people multiple sensory experience. There are 2 reasons for this. First, human’s sensory system can transmit all kinds of sensory. Any miss of sensory will make people aware the unnatural element around the atmosphere and then affect the immersion experience within the interaction of game. Second, to keep the game continuing, the basic requirement is to keep awaking state about player, and multiple sensory system stimulations can promote the awaking state of player. So even the game itself does not have sound, the customer needs and characteristics of game decide game will not stay on visual stimulation stage. As a result, the sound interpose to game is a inevitable result, it can help player to get abundant and happy experience, meanwhile, the sound can satisfy the customer experience. If we use Yin-yang master as an instance, a lot of Japanese comic original sound together attract comic fans this special group. The acoustic sound in the game let people feel comic joy during the game playing. This paper analyzes the sound in the role of game entertainment, popular use in China games phenomenon to explore the cartoon reality origin in game design methods and the application value. This article analyze the function of sound about game, and take a Chinese fashionable phone game yin-yang master as a instance to research acoustic comic sound’s function and value in game design.