by Ben Burgess
Video games are still a fledgling medium. They only truly came into existence with the release of the Atari in 1977, and achieved a more widespread appeal with the release of the NES in 1983. This means that research on video games is also in its infancy. This paper is written with the intent to help further the development of this research, by providing insights into how soundtracks in games could be better utilized to create more enjoyable gaming experiences.
The notion of escapism often comes to mind when attempting to understand the appeal of video games. It would not be unexpected for many to cite this idea as the main draw to video games if prompted, and they wouldn’t be wrong. Visiting research fellow at Essex University Dr. Andy Przybylski, in an article published by the Association for Psychological science, references this idea stating that “… I was heartened by the findings which showed that people were not running away from themselves but running towards their ideals. They are not escaping to nowhere they are escaping to somewhere” (Getting the The Heart of The Appeal of Videogames). Though escapism can mean different things to different people. Some people may want to escape to a world that challenges them more. While others may want a more relaxing world. Escapism isn’t useful as a design descriptor in this sense. When determining where to place design emphasis, there exists a need for more specificity. Designers need to be able to examine base-level characteristics of game appeal that, when catered to, increase game enjoyment across the board.
While players may not have the same place in mind for their escape, their mode of transportation remains the same. In a paper published by Dr. Christou of the University of Cyprus, “…a positive correlation was found between immersion and appeal. This means that high appeal for a game leads to high immersion, or vice versa. This effect is larger than typical and is demonstrated over both amount of playtime, and over game played” (99). Given the evidence of this positive correlation, we know that players either believe immersive games to be enjoyable, that the perception of a game as appealing leads to a deeper sense of immersion, or that there exists a feedback loop between the two. Given the extraordinary success of titles such as Undertale, Braid, Fez, and other independently developed games that received little to no initial advertising to sway the player’s initial perception of game appeal, we can have a reasonable degree of confidence that option two is unlikely. Given the scope of this paper, it does not matter which of the two remaining relationships are true, as both point to the idea of immersion enhancing player enjoyment in some fashion.
Understanding immersion enhances player enjoyment is fine, but there needs to exist a specific definition of what immersion itself is. Fortunately, such a definition has already been laid out. Winifred Phillips, an award-winning video game composer, discusses such characteristics her book “A Composer’s Guide to Game Music”. She posits that the main characteristics of immersion, as described by American writer and game designer Allen Varney, are “intense focus, loss of self, distorted time sense, effortless action” (35). Creating this feeling of effortless action largely stems from control schemes and general game responsiveness, but these other characteristics can be significantly impacted by music.
So then how does music play into the promotion of intense focus? Phillips covers this as well, stating that “…when listening to exciting music that we find enjoyable, our focus becomes sharper and our mood improves, leading to better intellectual performance” (42). While her initial thoughts seem like the answer to the question, she further posits that “Many of the positive effects described above are dependent on peppy and cheerful classical styles, whereas the artistic style and atmosphere of many games would clash sharply with such a musical approach” (42). Her proposed solution to this problem, is to add “A hint of optimism, coupled with an undercurrent of energy and purposeful resolve” (42) to music that would otherwise be slow and somber. It may well be that music hybridized as such would not be as emotionally impactful as music without said glimmer of hope, but the focus of soundtrack design should remain on promoting player focus, so as to keep them immersed in any gameplay that may remain after a somber moment in the game.
Loss of self is less direct. In a study conducted by Soutter et al, there was “… greater character identification correlating with higher levels of flow” (1035). They also found that the more similar the in-game character was to the player’s real-world self, the worse the state of flow that participants reported. (1036). These findings may be somewhat counter-intuitive, as one might believe it easier to become engaged with a foreign environment acting as oneself rather than as a character. A player would know how they as a person would respond to certain experiences more intimately than any character they try to play as. The findings are in line with our definition of immersion though, as it would be difficult to experience loss of self when acting as one’s self.
Music’s role in this would be to help define the aspects of character personality in tandem with other aspects of storytelling. In Olteteanu’s “Understanding Music Theory: Meaning, Self-Consciousness, and Emotional Expressiveness” he posits that “Musical associations, since they depend on memories, evoke emotion” (62). With this knowledge a better understanding of the impact of music on character association can be formed. If music does indeed rely on memory in its evoking of emotion, then designing soundtracks in a more classical style should more powerfully associate emotions, as more people will have associated more memories with that particular design philosophy. A particularly upbeat track may remind them of the better parts of their life; maybe they remember little things like time they won a particularly close game, or maybe they remember life changing events like marriage. Somber tracks may remind them of times they experienced loss in their life; events like the moving away from old friends as a child, or even the death of someone close to them. This would mean that music played with a particular character in a game would create a set of expectations for character behavior based on player memory of their own behavior in similar situations. Should a particularly sad piece play at the introduction of a character who does not act according to player expectation that character will feel alien and wrong, as the player will be unable to relate positively to behavior they deem unacceptable. The use of music as a tool to further understanding of in-game character behavior is a valuable one, as understanding is key to immersing a player in something outside themselves.
Music plays a relatively simple role in the distortion of player time sense. Phillips refers to the findings of a few different studies, which posit that many different design elements of music that impact the perception of time. Time feels like it moves more slowly when music is in a major key, is particularly loud, has an upbeat tempo, or is simple in rhythm and faster when in a minor key or if the song is complex in rhythm (39). Tempo is important in game design as it is another means of elucidating the feel of an in-game world. The tempo of soundtracks should match the style of a game’s gameplay mechanics. Games like Stardew Valley and Warhammer: Vermintide 2 take advantage of this feeling of time distortion doing just this. Stardew Valley’s soundtrack has songs with simple rhythms with upbeat tempos that convey a feeling of laziness to the player that is fitting for a game about becoming a farmer to escape a hectic lifestyle in the city. Warhammer: Vermintide 2’s soundtrack is interspersed with both complex and simple rhythms. During particularly hectic fights, more complex songs kick in, creating a feeling of frenzy that is appropriate given the amount of player action that occurs in these moments. When the action slows, the rhythm becomes simpler, the frantic drumline fades, and the player is given some relief from the tension, as they gather useful items or move closer to their objective.
Having come up with the base criteria for the application of game soundtracks, an examination of specific games would be helpful in providing a better understanding of music’s impact on player immersion. As put forth by Wintory in an interview with Laura of the New York Times, music is at its best when it plays a role in storytelling (Parker). Bastion, a critically acclaimed story-driven RPG published by SuperGiant Games, fits this bill. The game has achieved great renown for its story, which is bolstered in no small part by its soundtrack.
The central conceit of Bastion is that you play as a boy whose every action is narrated after the “calamity”. Said event has wiped out nearly everyone. The game opens on a bird’s eye view of your character lying in their bed, on a platform suspended in thin air, in what appears to be a void. The kid looks tough, with some kind of cog crest on his back and one gauntleted hand. There is no music. There exists only ominous wind, pounding base, and tremulating electronic noise. It is unsettling. Upon player input, music begins to play. The song is upbeat, consisting primarily of guitar and a fast drumline, but interspersed with strange screw noises. The rapid drum line encourages a sense of marching forward, that while exciting, elicits something that is akin to a need to move, resulting in player tension, as it feels as though the player is being pushed forward. Stopping somehow feels wrong.
Given the world being as unwelcome and unfamiliar as it is, the music style makes sense. Not only are the visual elements of the game telling the player that something has gone awry, the cold open affirms this, the shattered environment affirms this. When the kid gets up and starts walking, the soundtrack picks up, asserting its emotional influence on the player. The emotional influence of the soundtrack is an articulation of the protagonist’s own feelings towards the game environment. In linking player input to this articulation of protagonist perspective, the game deftly encourages player immersion, as there exists an immediate, moment-to-moment understanding of character feel. The player loses themselves more easily because they better know who it is they are playing as.
This link remains present throughout the game. In a segment in the wilds of the game, referred to by the narrator as “so raw, even the calamity couldn’t cook it,” Slinger’s Song plays. Darren Korb, the composer of the soundtrack, breaks down the track, saying “[He] was looking to make something more frontiersy for this piece… [He] tried to include something that made it feel a little “nasty,” whether it’s contrasting rhythmic parts, or 3 over 4 bass, or distorted ukulele” (Hamilton). The song is unpleasant and tense with a wild west feel to it that evokes memories of gunslingers walking into a bar and stirring up trouble. The kid is fittingly a frontier man in this context, hacking and slashing his way through the level, fighting the intractable wildlife. Plants mutated by the calamity spit poison gas, needles, and other hazards at the kid. Grotesque one-eyed spike balls swarm the player, exploding upon contact. The player’s screen becomes dirty and hazy and their sound is muffled when accidentally entering one of the many poison clouds being flung about, while the kid coughs through the pain. All the while, they are bombarded with these contrasting rhythms, distorted instrumentals, this “nasty” music. They feel uncomfortable, unnerved, unwelcome. In this moment player and character feelings are in alignment, and it is this alignment of feeling that allows the player to better relate to the struggles of the protagonist, to better immerse themselves in the in-game world.
It is the consistency with which the soundtrack maintains this player character link that grants the climax of the game its emotional gravitas. Players can become more invested, more immersed, in a game when character and player perspective align. The in-game character does not exist, so in this alignment, loss of self is achieved, immersion is enhanced, and enjoyment is heightened.
A game without a narrative focus lends itself to a different design philosophy. In Super Mario Odyssey, the story is only superficially present. The game follows the old formula. Bowser kidnaps Peach. Mario chases Bowser. Mario defeats Bowser and rescues peach. Because of this, focusing design efforts towards the promotion of a player character link is silly. These kinds of games are played without regard for the story. Immersion remains the focus, but with loss of self being in the background, the promotion of player focus becomes the primary concern.
In practice, this means consistency in the thematic elements of the soundtrack that correspond appropriately to in-game environments most important. The Jurassic level is great because the music fits. A sweeping orchestral arrangement combined with a grand view of a great green island evokes memories of the Jurassic Park scores and sets a lively mood. It is pleasant, exciting, and in no way tense. Seeing as the player is just running around the level collecting items and having a good time, it is fitting, and promotes a focus on gameplay elements, while also evoking a sense of wonder in the player.
The game continues its crafting of thematically appropriate songs in other worlds as well. In the Lake kingdom, a harp plays quickly and peacefully while backing instruments hold notes with a bit of distortion that make the player feel as though they are in or near water, and the pace is slowed when submerged in game. Metro kingdom is an appropriately lively piece, with an upbeat jazzy sound whose styling fits in with the myriad happenings within the city. The fight with bowser amongst the clouds is backed by an orchestral piece that is complemented by an electric guitar. The two contrasting elements mapping to the majesty of the environment and Bowser’s lack thereof. Odyssey’s soundtrack works because the elements of each track correspond to the visual elements of the game, and thusly do not detract from player focus.
In conclusion, soundtracks and the games they service are at their best when promoting player immersion. Player immersion takes on a different emphasis depending on gameplay style. When a game is focused on storytelling, the soundtrack should take part, adding emotional emphasis, bridging player-character understanding, and making environments feel livelier. When a game is focused on gameplay, the soundtrack should be designed to match in-game environments, and in doing so, should avoid drawing player focus away from the game by making environments feel out of place. Soundtracks are an excellent world-building tool that can add to the sense of player involvement in game worlds; they make the player feel like a part of something greater than themselves. That feeling of involvement, of importance, is something unique to an interactive medium like games, and should be brought out in all its glory.
Works Cited
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