To reach a convincing definition of cinematic sound it makes sense to employ a bit of divide and conquer. This section therefore begins with a very brief look at sound, specifically at a couple of issues with terminology. Next is a quick overview of some of the more generalized definitions of cinematic. Here the termâs alternative and developing meanings in film, television and video games are outlined. Finally we bring the two halves together to introduce the meaning of cinematic sound and consider its relevance to contemporary video games.
1.2.1. Defining âSoundâ
As is often the case in the more creative disciplines, flexible terminology tends to be favored over that which is precise and consistent. When professionals discuss sound, they may be referring to speech, musical timbres, aesthetics or just music in general. They may also be describing the most stubbornly elusive of auditory elements, one so difficult to pin down it is often referred to as ânon-music, non-speech sound.â Other possible monikers include âenvironmental sound,â âfoley,â âambient soundâ and âsound effects.â For better clarity, this chapter brings together these various elements under âaudioâ as an umbrella term. The extensive range of auditory content types is acknowledged in section 2 where the intention is to provide a broad overview of how the notion of cinematic quality relates to the various aspects of sound design. While there is certainly much overlap between the various types of cinematic sound, this chapter does exclude speech. The main reason for this is that speech, while admittedly containing acoustic, timbral features, is commonly more associated with language than sound. This also frees up some space to explore musical and audio aspects of cinematic sound in greater depth.
1.2.2. What Do We Mean by âCinematicâ?
As you might expect, one of the broadest and most widely accepted meanings of âcinematicâ is as a quality derived from cinema (Ebrahimian 2004). The term âqualityâ can of course encompass seemingly any aspect of an artifact. In film, this could extend to elements such as narrative, acting (even qualities of the actors themselves), dialogue, cinematography, environment/setting, visual effects and of course, musical scoring and sound design. Facilitated by rapidly increasing budgets, a great deal of contemporary television and video games have revealed their cinematic aspirations. A prominent example of the former would undoubtedly be the fantasy serial drama, Game of Thrones (Benioff and Weiss 2011âpresent). A review by Mills (2013) identifies several broader cinematic qualities relating to television that include: experimentation, greater use of special effects, cutting-edge computer-generated imagery, originality, richer audiovisual textures and more lingering scenes that encourage an audience to reflect and consider the meaning of the work. Referring back to Game of Thrones, Millsâ interpretation of cinematic television certainly rings true. From its almost photorealistic environment rendering to its pushing of boundaries, the series continues to epitomize the meaning of cinematic in television (Alexander 2017; Epstein 2016).
Within the video game industry, the term âcinematicâ has been acknowledged to the extent that it has essentially become a genre (or at least, type of game) in its own right (Abdou 2015). Examples of âcinematic gamesâ include Red Dead Redemption (Martin et al. 2010), Alan Wake (Ranki et al. 2010) and L.A. Noire (McNamara et al. 2011). Such games are often described in similar terms to Millsâ (2013) cinematic qualities of television. The opening scene of Alan Wake for example, is a lingering aerial shot, while L.A. Noireâs development experimented with Motion Scan technology as a means of rendering highly detailed character facial animations (see Chandler 2017). However, as Newman (2013) observes, âcinematicâ has also become synonymous with âexpensive,â and games development often plays a delicate balancing act between budget, player-expectation and cinematic quality. As the known budget increases, so does the playerâs expectation. However, meeting such expectation by increasing the cinematic quality puts increased strain on the budget. In terms of musical scoring for instance, â[once] the consumer demand is high enough, developers of big-budget games will have to use live orchestras to remain competitiveâ (Newman 2013, p. 157).
In terms of video gamesâ history, the definition of cinematics has certainly changed over the years. Throughout the fifth generation of video games consoles (roughly 1993 to 2001, beginning with the lesser-known Fujitsu FM Towns Marty and including the much more well-known Sony PlayStation, Sega Saturn and Nintendo 64 consoles), cinematics typically referred to noninteractive âcutscenes.â These cutscenes would characteristically be scripted and linear, primarily serving as a means of churning out exposition and progressing the narrative. During the 1990s, games utilized cinematics for various functions. As Salen and Zimmerman (2004) state, such functions include: rhythm and pacing (a means of continuing the gameâs narrative while also facilitating brief moments of relief from the game play), player reward, âgame play catapultâ (moving the player into a new situation quickly without breaking narrative continuity), scene/mood setting, and as a way of presenting the consequences of a playerâs actions/choices. Making use of the fifth generationâs uptake of optical disks, cinematics were usually full motion videos (such as Command & Conquer [Sperry et al. 1995]) or pre-rendered computer-generated graphics (Final Fantasy VII [Kitase et al. 1997]). Push forward to the sixth console generation (Sony PlayStation 2, Microsoft Xbox and Nintendo Game Cube) and pioneering games such as Half-Life (Lombardi et al. 1998) began to respond to criticisms that were being raised against noninteractive cutscene cinematics. The primary problem of noninteractive cinematics was instigated by communities of more experienced players who did not require cutscenes in order to feel situated and comfortable within the game world and, instead, perceived such cinematics as both distractors and delayers of game play (Salen and Zimmerman 2004). The response to this complaint appeared in pioneering games such as Half-life. In this particular game, scripted dialogue and character animations provided the cinematic functions but player-control was retained and the cinematic itself was integrated into the diegetic and interactive game world.
As we shall observe later in this chapter, the above tension between interactivity and cinematic quality is one of the most significant issues for video game sound designers to consider.
1.2.3. Cinematic Sound in Film and Video Games
From the above we can observe that a cinematic aesthetic is synonymous with rich atmosphere, narrative exposition, experimentation, boundary pushing, high production costs and, overall, a finely crafted and controlled presentation. These points can be broadly carried over to inform cinematic sound design. For many games industry professionals, cinematic sound design typically refers to measures of fidelity. Such measures include high sample rates and resolution depths, implementation of a wide range of digital signal processing tools, and careful attention to postproduction. Cinematic video game sound is also expected to be realistic, vivid and dynamic in terms of spatialization, timbre and loudness (Newman 2013). For composer Bryce Jacobs (2017), cinematics relates heavily to the use of surround sound, echoing a commonplace assertion that cinematic sound is derived from the mechanical reproduction of sound within a theater that encircles the audience by way of multiple loudspeakers. Jacobs also refers to cinematics with regard to musical arrangement, asserting that the use of large ensembles (particularly those employing orchestral and/or choral elements) are akin to a cinematic score. Ultimately, cinematic game sound is generally expected to reflect the craft and financial investment of cinema (Bridgett 2007). We shall return to these points in greater detail in the next section of this chapter.