The author analyses a series of discourses surrounding these terms, and their role in the maintenance of a subcultural gamer identity in the face of newly emergent markets of more mainstream players.
The paper offers an investigation into terms like “dudebro”, “bro shooter” and “bro gaming”, which entered regular usage on English-language gaming websites in around 2011. Why are people listening to videogame music, one that is designed for an interactive medium, in a linear medium (such as a CD, an audio file, or a re-interpretation)? In what ways does the game experience and the music create associations that affect the audience at a personal level? How did game music become this consumable object and what is its value for consuming audiences? How does the consumption of OSTs affect future game music composition and what is the role of the audience in this? And what does this mean for the shelf-life and marketability of videogames? This media migration generates questions regarding its effects and the motivations why people listen to videogame music outside of the game, and the ramifications of this consumption at the personal, social, and game industry levels.
At the heart of this study is the intention to demonstrate that videogame music has become a very important part of a videogame’s concept, design, and marketing it not only plays a significant role within the game, it has also transcended the medium and is enjoyed by audiences beyond the game. This dissertation proposes a three-part consumption model that describes these different motivators and the interactions between these imperatives. This study seeks to present the motivators behind the consumption of videogame soundtracks outside of the gameplay environment.
0 kommentar(er)
