PLAY ALONG: VIDEO GAME MUSIC AS METAPHOR ... - CiteSeerX

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ACKNOWLEDGMENTS I thank Jane Douglas and Donald Ault for their tireless investment in this project; the Graduate Game Studies group for moral support; and, most importantly, my wife for her patience and cookies. iv
TABLE OF CONTENTS page ACKNOWLEDGMENTS ................................................................................................. iv LIST OF FIGURES ........................................................................................................... vi LIST OF OBJECTS ......................................................................................................... viii ABSTRACT....................................................................................................................... ix CHAPTER 1 STUDYING <strong>VIDEO</strong> <strong>GAME</strong>S .....................................................................................1 Introduction...................................................................................................................1 Context..........................................................................................................................5 2 FRAMEWORK ..........................................................................................................12 Immersion, Engagement, and Flow............................................................................12 A Linguistics Model ...................................................................................................16 Game Genre and Music ..............................................................................................20 3 FORMS.......................................................................................................................23 Ancestral Forms..........................................................................................................23 Perspectives on Animation and Causality ..................................................................31 Examples.....................................................................................................................34 Super Mario Brothers..........................................................................................35 Legend of Zelda: Ocarina of Time ......................................................................41 Silent Hill.............................................................................................................45 4 CONCLUSION...........................................................................................................54 LIST OF REFERENCES...................................................................................................55 BIOGRAPHICAL SKETCH .............................................................................................60 v
Page 1 and 2: PLAY ALONG: VIDEO GAME MUSIC AS MET
Page 3: To Stacy—partner, friend, lover,
Page 7 and 8: 17 Silence vs. “danger music” i
Page 9 and 10: Abstract of Thesis Presented to the
Page 11 and 12: CHAPTER 1 STUDYING VIDEO GAMES As r
Page 13 and 14: 3 music correspond more or less to
Page 15 and 16: 5 through sound. My argument deals
Page 17 and 18: 7 new vocabulary or one derived fro
Page 19 and 20: 9 associational hierarchy, and he n
Page 21 and 22: 11 Cool Boarders 2, Alien Trilogy,
Page 23 and 24: object qua object. In schematic ter
Page 25 and 26: 15 player must memorize and play sp
Page 27 and 28: 17 interplay of these two forces. I
Page 29 and 30: 19 attempting to locate the transfe
Page 31 and 32: 21 different ways”), and one way
Page 33 and 34: CHAPTER 3 FORMS Ancestral Forms Sin
Page 35 and 36: 25 relies on metaphoric and metonym
Page 37 and 38: in a different sense. Cartoon music
Page 39 and 40: Object 1. Sound clip from Skeleton
Page 41 and 42: 31 Object 2. Sound clip of cigarett
Page 43 and 44: Michotte demonstrated that “when
Page 45 and 46: as archetypal or foundational insta
Page 47 and 48: 37 Object 4. Sound clip of Super Ma
Page 49 and 50: 39 B. Figure 9. Excerpt from arrang
Page 51 and 52: 41 the music as motivation. The mus
Page 53 and 54: melody fragment unlocks an animatio
Page 55 and 56:
Silent Hill 45 So far, the two game
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47 otherwise normal to a blood-soak
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49 These moments from the opening s
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51 Object 15. Sound clip to accompa
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53 the game, and because it merges
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LIST OF REFERENCES Aarseth, Espen.
Page 67 and 68:
Konami. Silent Hill. (Playstation).
Page 69 and 70:
Ward, Paul. “Videogames as Remedi
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PLAY ALONG: VIDEO GAME MUSIC AS METAPHOR ... - CiteSeerX

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