![]() ![]() In the same year as her the landmark publication, Game Sound, offered a systematic understanding of game music. Karen Collins’ work has set the wheels in motion in 2008 with an edited collection. In line with the auditory turn, the past few years have seen an explosion of studies of sound and music in games. Far from merely accompanying a game, the auditory elements bring life into the game interface. Sound has, of course, always been a crucial aspect of gaming audio-visuals. It is also in line with an “Auditory Turn” in the humanities and social sciences, providing an alternative sensory approach to a notable visual dominance in the humanities and in media and cultural studies (Herzogenrath, 2017). The tendency, however, is not only in response to the industry. For example, Rob Hubbard, most famous for his work on the Commodore 64 system, has been recognized with an honorary degree by Abertay University in Dundee, Scotland (Wawro, 2016). Simultaneously, the study of music and audio in games is gaining interest in game studies. Several conferences have been established on the roles of music and sound in video games, such as the industry-focused GameSoundCon, first initiated in Los Angeles in 2009, and Game Music Connect, that has taken place annually between 2013-15 in London. There is a growing recognition of the role of music in games by the gaming industry, game fans, and journalists. & Marco Benoît Carbone (London College of Communication)Ĭover image: Rez HD (UGA/Q? Entertainment 2008) Hillegonda C Rietveld (London South Bank University) ![]()
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