Friday, April 11, 2014

Guest Blogger!

 Cameron Kalmbach will be guest blogging for me today. You can find his blog, about player choice within role-playing games here: http://rpgplayerchoice.blogspot.com/

 I would like to talk today about how music in video games elicits emotions in the player. Playing a video game is (or should be) an immersive experience; it is different from watching a movie or a play, both of which normally include a musical score, because you the player have direct control over the proceedings in front of you. In this way, games which use music successfully use it in a way that contributes to the player's overall level of immersion and maintaining of “flow” which according to Whalen  in his essay is described as “self-consciousness dissapear[ing], perceptions of time becom[ing] distorted, and concentration becom[ing] so intense that the game...completely absorbs us” (Whalen, 2004). This is what a great musical score can do for the player.  Another big way in which music is being used in games to elicit emotion and response if through the use of “diagetic music”, that is, music that originates from the game world itself instead of pre-recorded orchestral tracks. One game which comes to my mind that does this incredibly well is Bioshock. In the game, you are trapped in a dying underwater metropolis during the late 1950s, and once in awhile you will walk into a room and hear a scratchy old record playing a classic croon; it sets the mood effectively and leads the player to explore the expansive levels, using the diagetic music to guide them. Using this type of music can also greatly improve player immersion. In Bioshock, you may hear music playing distantly around a corner, or muffled through a doorway, and especially using surround sound headphones, you can hear the direction in which things are coming from; effectively putting you in the shoes of the on-screen character. Music is a strong way to cause emotional response in an audience, especially in a video game, where the player has invested their time into their character and the setting.

Resources: 

Whalen, Z. (2004, November). Play along - an approach to video game music. Game Studies4(1). 

               Retrieved April 11, 2014, from http://www.gamestudies.org/0401/whalen/

Zdanowicz, G. (2012, October 31). Game design aspect of the month: Video game music: Player 

               immersion. In IGDA. Retrieved April 11, 2014, from http://newsletter.igda.org/2012/10/31/game-

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