AUDIOVISUAL STRATEGIES IN INTERACTIVE FMV PROJECTS FOR THE 3DO INTERACTIVE MULTIPLAYER PLATFORM
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Published:
Jul 15, 2026
Abstract
The article examines audiovisual strategies in interactive Full-Motion Video (FMV) projects developed for the 3DO Interactive Multiplayer plat-form. Based on a comparative analysis of twelve representative cases reproduced us-ing the Opera (libretro core) emulator, the study employs frame-by- frame video anal-ysis (Avidemux, FFmpeg) and authorial chronometry to investigate the interaction between cinematic language, interactive mechanics, and the console’s hardware limitations. Three archetypal strategies of audiovisual experience organization are identi-fied: action reflexivity, interactive drama, and spatial immersion. The type of interac-tivity determines the transformation of montage into an interface event, while sound design assumes a key navigational function. Hardware constraints (Cinepak codec and CD-ROM capacity) are interpreted as productive formative factors that generate the “digital patina” effect and aesthetic reduction. The findings demonstrate that 3DO FMV projects form a coherent system of adapting traditional cinematic language to a digital interactive environment. Prospects for further research include a comparative analysis of FMV aesthetics on the 3DO platform and other 1990s multimedia systems.
How to Cite
Poberailo, O., & Rybalko, S. (2026). AUDIOVISUAL STRATEGIES IN INTERACTIVE FMV PROJECTS FOR THE 3DO INTERACTIVE MULTIPLAYER PLATFORM. Baltic Journal of Legal and Social Sciences, (2), 251-261. https://doi.org/10.30525/2592-8813-2026-2-29
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Keywords
interactive cinema, Full-Motion Video (FMV), 3DO Interactive Multiplayer, audiovisual strategies, interactive narrative.
References
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2. Bogost, I., & Montfort, N. (2009). Platform studies: Frequently questioned answers. Proceedings of the Digital Arts and Culture Conference. https://escholarship.org/uc/item/01r0k9br
3. Bordwell, D. (1985). Narration in the fiction film. University of Wisconsin Press. https://uwpress.wisc.edu/books/0623.htm
4. Bordwell, D. (1997). On the history of film style. Harvard University Press. https://books.google.com/books/about/On_the_History_of_Film_Style.html?id=DezHd2nJLScC
5. Brain Dead 13 [Video game]. (1995). ReadySoft. https://www.mobygames.com/game/3do/brain-dead-13
6. Chion, M. (1994). Audio-vision: Sound on screen. Columbia University Press. https://pzacad.pitzer.edu/~mma/teaching/ms52/readings/audio-vision3-13.pdf
7. Collins, K. (2008). Game sound: An introduction to the history, theory, and practice of video game music and sound design. MIT Press. https://direct.mit.edu/books/monograph/2460/Game-SoundAn-Introduction-to-the-History-Theory
8. Demirbaş, Y. (2021). Ludonarrative dissonance in Black Mirror: Bandersnatch. In D. Denizel, D. E. Şansal, & T. Tetik (Eds.), Multidisciplinary perspectives on narrative aesthetics in video games (pp. 215–238). Peter Lang. https://doi.org/10.3726/b18052
9. Dragon’s Lair [Video game]. (1994). ReadySoft. https://www.mobygames.com/game/3do/dragons-lair
10. Galloway, A. R. (2006). Gaming: Essays on algorithmic culture. University of Minnesota Press. https://www.upress.umn.edu/book-division/books/gaming
11. Jankowski, F. (2020). Fikcja interaktywności: Filmy partycypacyjne i ich ograniczenia [The fiction of interactivity: Participatory films and their limitations]. Panoptikum, (24), 45–55. https://doi.org/10.26881/pan.2020.24.01 [in polish]
12. Järvinen, A. (2002). Gran Stylissimo: The audiovisual elements and styles in computer and video games. Computer Games and Digital Cultures Conference Proceedings. DiGRA. https://doi.org/10.26503/dl.v2002i1.19
13. Jenkins, H. (2004). Game design as narrative architecture. In N. Wardrip-Fruin & P. Harrigan (Eds.), First person: New media as story, performance, and game (pp. 118–130). MIT Press. https://web.mit.edu/~21fms/People/henry3/games&narrative.html
14. Kent, S. L. (2001). The ultimate history of video games. Prima Publishing. https://books.google.com.ua/books?id=PTrcTeAqeaEC
15. Killing Time [Video game]. (1995). Studio 3DO; The 3DO Company. https://www.mobygames.com/game/3do/killing-time
16. Mad Dog McCree [Video game]. (1994). American Laser Games; Crystal Dynamics. https://www.mobygames.com/game/3do/mad-dog-mccree
17. Manovich, L. (2001). The language of new media. MIT Press. https://mitpress.mit.edu/9780262632553/the-language-of-new-media/
18. Metz, C. (1974). Film language: A semiotics of the cinema. University of Chicago Press. https://press.uchicago.edu/ucp/books/book/chicago/F/bo3645302.html
19. Myst [Video game]. (1995). Microcabin; Panasonic. https://www.mobygames.com/game/3do/myst
20. Night Trap [Video game]. (1992). Digital Pictures; Virgin Games. https://www.mobygames.com/game/3do/night-trap
21. O’Holleran, J. (2010). Blood code: The history and future of video game censorship. Journal on Telecommunications and High Technology Law, 8, 571–612. http://www.jthtl.org/content/articles/V8I2/JTHTLv8i2_OHolleran.PDF
22. Plumbers Don’t Wear Ties [Video game]. (1994). United Pictures; Kirin Entertainment. https://www.mobygames.com/game/3do/plumbers-dont-wear-ties
23. Psychic Detective [Video game]. (1995). Colossal Pictures; Electronic Arts. https://www.mobygames.com/game/3do/psychic-detective
24. Ryan, M.-L. (2001). Narrative as virtual reality: Immersion and interactivity in literature and electronic media. Johns Hopkins University Press. https://dl.acm.org/doi/10.5555/600034
25. The Daedalus Encounter [Video game]. (1995). Mechadeus; Panasonic. https://www.mobygames.com/game/3do/the-daedalus-encounter
26. The Horde [Video game]. (1994). Toys for Bob; Crystal Dynamics. https://www.mobygames.com/game/3do/the-horde
27. Therrien, C., Aycock, J., & Reinhard, A. (2019). A tale of two CDs: Archaeological analysis of
full-motion video formats in two PC Engine/TurboGrafx-16 games. Open Archaeology, 5(1), 350–364. https://doi.org/10.1515/opar-2019-0022
28. Therrien, C., Poremba, C., & Ray, J.-C. (2020). From dead-end to cutting edge: Using FMV design patterns to jumpstart a video revival. Game Studies, 20(4). https://gamestudies.org/2004/articles/therrienporembaray
29. van de Ven, I. (2024). It’s not a game! Rules of notice and hermeneutics of suspicion in contemporary FMV games. Games and Culture, 19(2), 158–177. https://doi.org/10.1177/15554120231161180
30. Veale, K. (2012). “Interactive cinema” is an oxymoron, but may not always be. Game Studies, 12(1). http://gamestudies.org/1201/articles/veale
31. Wing Commander III: Heart of the Tiger [Video game]. (1995). Origin Systems; Electronic Arts. https://www.mobygames.com/game/3do/wing-commander-iii-heart-of-the-tiger
32. Wolf, M. J. P. (Ed.). (2008). The video game explosion: A history from PONG to PlayStation and beyond. Greenwood Press. https://archive.org/details/videogameexplosi0000unse
33. Zackariasson, P., & Wilson, T. L. (Eds.). (2012). The video game industry: Formation, present state, and future. Routledge. https://archive.21global.ucsb.edu/research/media-culture/library/video-game-industry-formation-present-state-and-future
34. Opera (libretro core) [Computer software]. (n.d.). Libretro. https://github.com/libretro/opera-libretro