How Might Music Contribute to the Construction of Character Identity in Video Games ?
JACK DRUMMOND-JOY
In modern day discussions of queer character identity in the world of video games , an important distinction has been made between games that have queer themes , and what Edmond Y . Chang refers to as “ Queergaming ” ( 2017 ). Surface level representation no longer suffices , and showing the player transgender or same-sex attracted characters is not a strong enough example of character identity . Instead , many queer game designers and theorists are imploring for more games to envelop the player in queer experiences ; to put them in the shoes of these queer characters and immerse their senses into a virtual queer life . Sound design , is , therefore , crucial to this immersion and representation , and the ways in which game designers and composers ‘ queer ’ the horror genre , lead to video game experiences that go further than surface level representation ; going as far as to effectively ‘ queer ’ the player themselves .
The Fulbright Company ’ s 2015 “ Gone Home ” presents us with one example of a queer approach to the horror genre . The player is challenged with exploring protagonist Kaitlin ’ s childhood home , which she has found abandoned during one stormy night . Everything about the game ’ s design inspires horror ; the creaking floorboards and sudden thunderous crashes , along with dark and ominous corridors and even striking visuals such as a bathtub stained with an ominous red liquid , which , as merrit k accurately surmises ; “ there ’ s no way you ’ re assuming it ’ s anything other than blood ” ( 2017 , p . 146 ).
Figure 1 : example of the ostensibly horrific visuals of Gone Home ’
The game ’ s narrativeis told through “ epistolary architecture ” ( Reynolds , 2014 ), where in exploring the house , you come across letters , postcards , magazines , and other literary cues , the first one being a note attached to the front door from Sam , Kaitlin ’ s sister , branding the ominous message “ I ’ m sorry I can ’ t be there to see you , but it is impossible .” The game has the innate and immediate potential to be something horrifying . There is , however , one element of the game ’ s design that pulls the game out of the completely horrific ; the music . Chris Remo ’ s score begins in C major and comprises of plucked guitar , light synth sounds and electric piano textures . Sometimes , whenthe player reads a particularly important letter , or interacts with a significant object , Sam ( Kaitlin ’ s runaway sister ) narrates part of a story , that eventually reveals the reason for her absence . These snippets of Sam ’ s “ Journal ” are always accompanied by Remo ’ s soft soundtrack , as they underscore stories of Sam ’ s time at school , in which she discusses meeting and falling in love with her female classmate , Lonnie .
SCHOOL OF THE ARTS 2021 / 2022
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