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Sound in the Effect domain expresses activity in the game world. Sounds usually consists of a mix of one-shot sound events in the game world (either triggered by the player or by the game itself), such as the sound of an explosion, and continuous sound streams, such as the sound of a continuously
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Sound in the Affect domain expresses the setting (for example the emotional, social and/or cultural setting) of the game. Affect is often designed in such a way (using real time adaptation) that it reflects the emotional status of the game or that it anticipates upcoming events in the game.
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Sound in the Zone domain expresses the setting (for example the geographical, cultural and/or topological setting) of the game world. A zone can be understood as a different spatial setting that contains a finite number of visual and sound objects in the game environment (Stockburger, 2003,
48:. The first dimension makes a distinction between sound emanating from the fictional game world, such as the footsteps of a game character, and sound coming from outside the fictional game world, such as a musical score. Stockburger (2003) describes this distinction by using the terms
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burning fire. Sound of the Effect category often mimics the realistic behavior of sound in the real world. In many games it is the part of game audio that is dynamically processed using techniques such as real-time volume changes, panning, filtering and acoustics.
126:(Huiberts, 2010). Whitehead (n.d.) fuses several frameworks for game audio, amongst the IEZA framework. Conway (2010) used the framework for an analysis of digital football games. IEZA has been evaluated at the
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p. 6). It might be a whole level in a given game, or part of a set of zones constituting the level. Zone is often designed in such a way that it reflects the consequences of game play on a game's world.
67:, such as sounds synced to health and status bars, pop-up menus and the score display. Although sound in this domain often follows ICT interface sound design conventions (abstract iconic and non-iconic
248:Åsén, R. (2013). "Game Audio in Audio Games: Towards a Theory on the Roles and Functions of Sound in Audio Games." (Student paper). Högskolan Dalarna. Retrieved January 5, 2014 from
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and non-diegetic. The second dimension makes a distinction between sound related to the activity of the game on one hand, and sound related to the setting of the game on the other.
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The IEZA framework is featured in a book chapter by Ulf
Wilhelmsson and Jakob Wallén (2011). The authors combine IEZA with the model for the production of film sound by
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In: Copier, M. and
Raessens, J. Level Up, Digital Games Research Conference (PDF on CD-ROM). Utrecht, The Netherlands: Faculty of Arts, Utrecht University.
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71:), there are many games that intentionally try to blur the boundaries of Interface and Effect by mimicking the diegetic concept. In
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Sound in the
Interface domain expresses what is happening in the game. In many video games this is sound related to activity in the
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Adaptive Music
Systems Research Group under Jan IJzermans as a design resource in educational, academic and practical settings.
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In: Grimshaw, M. (2011). Game Sound
Technology and Player Interaction: Concepts and Developments. University of Bolton, UK.
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between 2003 and 2008, and it can be used for the analysis and synthesis (conceptual design) of sound in computer games.
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theory by Gibson (1977). The framework is also used as a conceptual framework for the functioning of
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If it’s in the game, it’s in the game. An analysis of the
Football Digital Game and its players
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In Shaw, R.E., & Bransford, J. (Eds.), Perceiving, acting and knowing. New Jersey: LEA.
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Four domains are formed by the two dimensions: Interface, Effect, Zone and Affect.
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Sound For interactive Games: Theoretical
Concepts and Implementation Practice
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Cudworth, Ann Latham (2014). "Virtual World Design", A K Peters/CRC Press.
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32:. It was developed by Sander Huiberts and Richard van Tol at the
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The IEZA framework uses two dimensions to describe sound in
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Captivating Sound: the Role of Audio for
Immersion in Games
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A Combined Model for the
Structuring of Computer Game Audio
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http://www.behance.net/gallery/Game-Audio-Rules/4772793
231:- Game Audio Paper. Retrieved February 5, 2013, from:
178:The game environment from an auditive perspective
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245:Doctoral thesis, University of Bedfordshire.
28:that describes the auditory environment of
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166:Huiberts, S. & Tol, R. van, (2008).
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223:http://icaudiodesign.wordpress.com/
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170:Retrieved December 1, 2008, from:
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168:IEZA: a framework for game audio
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183:Wilhelmsson, U. and Wallén, J.
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235:Leeds Metropolitan University
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128:Utrecht School of the Arts
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212:The theory of affordances
176:Stockburger, A. (2003).
73:Tony Hawk's Pro Skater 4
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270:The gamasutra article
217:Whitehead, I. (n.d).
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106:Applications of IEZA
275:High resolution PNG
210:Gibson, J. (1977).
286:2015-12-22 at the
238:Conway, S. (2010),
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