Abstract: "The paper describes the process of building a new database of sound effects recordings for computer games
and the first version of such product. Ways of applying signal processors for postproduction is described, as
well as differences in audio edition for films and games. Some aspects of using sounds in games are also
mentioned as well as the first version of the list of possible tags of the audio files in the database. Both the
language of the tags and the datatabse will be substanially enlarged."
Abstract: "It has been well-noted that contemporary digital games tend to design for a relatively high skill
threshold engineered to appease a well-entrenched and digitally literate audience (Hayes, 2005).
Such design practices, however, serve to disenfranchise new and novice players wanting to learn
to play. This novice-expert divide is a significant barrier to entry for individuals wanting to play
digital games, and given that digital games are seeing increased use in pedagogical contexts
(Akilli, 2007; Becker, 2007; Nieborg, 2011; Shelton, Satwicz, & Caswell, 2011; Ulicsak, 2010),
such skill-based barriers further complicate the seamless incorporation of digital games into the
classroom. In an effort to explore how we might bridge the gap between new and weathered
players, I created three tutorials for World of Warcraft (2004) in an attempt to improve the
existing tutorials for newer entrants to the game. These new tutorials offered different modalities
of instruction, as well as instructional strategies in assisting newer players. Tutorials were
designed using the Structured Sound Functions (SSF) model of instructional design, following
the Attentional Control Theory of Multimedia Learning (ACTML). The tutorials were then
analyzed for their effects on play outcomes, player engagement, and player motivations using the
Dick and Carey (2011) three-stage model of formative evaluation. This work thus makes two
important contributions. First, this research conducts a much-needed in-depth study of game
tutorials, which is an area yet to be well-charted in the disciplines of either education or games
studies. Secondly, by analyzing the results of the formative evaluation, I conclude that players
react favorably to a faded or "just-in-time" instructional strategy-an approach to player
scaffolding which showed significantly increased motivation for play, engagement, and play
mastery among novice participants. Implications for game design and future research are
disc