3/3/2023 0 Comments Tv tropes untitled goose game![]() The soundscape developed for Alola takes inspiration from traditional Hawaiian culture and music, but it ultimately diverges from these musical traditions and thereby produces a sonic environment unique to the fictional region. The use of these musical tropes and nondiegetic signifiers simultaneously grounds the player in the region of Alola, whilst constructing a sense of “otherness” in a Hawaiian soundscape designed by composers who are observing and enjoying the culture as tourists and visitors. This investigation will also address the consumption of Hawaiian culture both within Japan and in the West, and the portrayal of its traditional music and performance within not only the Pokémon franchise but other AAA game titles that have been enjoyed globally. The player’s ability to contextualize and situate themselves in this region relies on a combination of their cultural and game musical literacy. The soundscape of the game is made up of the underscore, incorporating traditional instruments from the steel guitar to Ka'eke'eke drums, alongside diegetic sounds to evoke and situate gameplay in a culture and geography most likely foreign to the player. This article explores how Pokémon Sun and Pokémon Moon use Hawaiian musical tropes and nondiegetic signifiers throughout the games, helping to “situate the player in the game.” This identification relies on a combination of player cultural literacy and game musical literacy to contextualize the Pokémon region of Alola. As the musical fullness of the soundtrack age is replaced by a diegetic soundscape equal in sonic lushness, the autonomous game player is thrown into all the greater phenomenal relief. On the basis of these assertions, I claim that the player’s magnified ability to puncture the auditory equilibrium of a storyworld with a shout or offensive lunge at monsters, a form of manual intervention symptomatic of cultural products in general, is newly emboldening. Whether included by a video game’s creative director as dramatic segues “inside of” the traditional, top-down soundtrack or as part of the industry’s shift away from film-esque sound design toward one that has begun to approach the ambience of naturalist theater, the role of silence in digital entertainment is argued to be strictly a dramatic one that allows body- and environment-related noise to be appreciated in vacuo. ![]() Adapted to a study of diegetic and nondiegetic sound, this adjacency of ecology to video games is applied to an understanding of silence as negative affordance that is to say, as a nondeterminative opportunity for the player to express themself aurally as well as kinetically against a soundtrack’s absence. Gibson’s theory of ecological affordance, this speculative article broadens our understanding of ludic ecology as that which virtual environments offer players in anticipation of their use: a sort of inside-out niche. This research substantially contributes to our understanding of nostalgia in relation to musical texts whilst providing a new, workable, and sufficiently adaptable framework for identifying how childhood brand nostalgia-and by extension, other forms of nostalgia-can be evoked and enhanced by video game music texts and their franchises. ![]() This article will outline two case studies that greatly contribute to the generation, evocation, enhancement, and exploitation of the nostalgic potential located in two video game music texts-namely the Pokémon Center theme and Route/Wild Area music across multiple franchise iterations. In identifying such elements, analyses will point to how we can determine the locus of the nostalgic potential, in this case, as being located in the sense of adventure, a key ludic component of Pokémon video game iterations. This article will illuminate how we can identify specific musical elements as contributing to the nostalgic potential of musical material by using newly adapted gestural analytical techniques. Johnson, a particularly potent form of this emotion of reminiscence for a person’s youth upon exposure to a brand or franchise. The nostalgia identified here is childhood brand nostalgia, a concept identified by A. This article examines the music of the Pokémon franchise through the concept of nostalgic potential-a newly coined term defined as music’s capacity to evoke, enhance, and exploit wistful sentiment through specific and identifiable musical elements.
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