Music, interaction and cinematicability:

between Bound and Abzû

Research output: Contribution to conferenceAbstract

Abstract

Videogames, being an audiovisual media which makes use of presentation and visual techniques mainly linked to cinema, are distinguished due to their focus on interactivity and the relationship between media and user. Interaction is key not only for the image itself but for the music that accompanies it; the soundtrack of a videogame only exists if there’s an agent that controls the universe, allowing its audition and perception. However, it’s possible to note the convergence between videogames and visual characteristics of films regarding image and what’s present on the screen in the last decade of the mainstream overview – this media aims to be, in a growing rate, more cinematic. The absence/reduction of informative elements in the screen, the increased development of graphic quality and design, alongside the notion of spatiality and open environments, are being frequently integrated and invested in by not only big companies but also independent studios. Through two case studies – Bound (Plastic Studios 2016) and Abzû (Giant Squid 2016), I’m going to examine in this paper the role of cinematicability and its use as a narrative tool where music builds an ergodic process of communication, meaning and interactivity. The soundtrack, game mechanics and the cinematic compose an interactive musical experience where the user is, at the same time, the interactive and performative agent in the narrative universe.
Original languageEnglish
Number of pages1
Publication statusPublished - 2018
EventVideojogos 2018: Conferência de Ciência e Artes dos Videojogos - Faculty of Fine Arts, University of Porto, Oporto, Portugal
Duration: 21 Nov 2018 → …
https://vj2018.fba.up.pt/

Other

OtherVideojogos 2018
CountryPortugal
CityOporto
Period21/11/18 → …
Internet address

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Studios
Audition
Mechanics
Plastics
Communication
Industry

Keywords

  • Soundtrack
  • Cinematic
  • Interactivity
  • Narrative

Cite this

Freitas, J. (2018). Music, interaction and cinematicability: between Bound and Abzû. Abstract from Videojogos 2018, Oporto, Portugal.
Freitas, Joana. / Music, interaction and cinematicability: between Bound and Abzû. Abstract from Videojogos 2018, Oporto, Portugal.1 p.
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title = "Music, interaction and cinematicability:: between Bound and Abz{\^u}",
abstract = "Videogames, being an audiovisual media which makes use of presentation and visual techniques mainly linked to cinema, are distinguished due to their focus on interactivity and the relationship between media and user. Interaction is key not only for the image itself but for the music that accompanies it; the soundtrack of a videogame only exists if there’s an agent that controls the universe, allowing its audition and perception. However, it’s possible to note the convergence between videogames and visual characteristics of films regarding image and what’s present on the screen in the last decade of the mainstream overview – this media aims to be, in a growing rate, more cinematic. The absence/reduction of informative elements in the screen, the increased development of graphic quality and design, alongside the notion of spatiality and open environments, are being frequently integrated and invested in by not only big companies but also independent studios. Through two case studies – Bound (Plastic Studios 2016) and Abz{\^u} (Giant Squid 2016), I’m going to examine in this paper the role of cinematicability and its use as a narrative tool where music builds an ergodic process of communication, meaning and interactivity. The soundtrack, game mechanics and the cinematic compose an interactive musical experience where the user is, at the same time, the interactive and performative agent in the narrative universe.",
keywords = "Soundtrack, Cinematic, Interactivity, Narrative",
author = "Joana Freitas",
note = "info:eu-repo/grantAgreement/FCT/5876/147237/PT# UID/EAT/00693/2013 ; Videojogos 2018 : Confer{\^e}ncia de Ci{\^e}ncia e Artes dos Videojogos ; Conference date: 21-11-2018",
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Freitas, J 2018, 'Music, interaction and cinematicability: between Bound and Abzû' Videojogos 2018, Oporto, Portugal, 21/11/18, .

Music, interaction and cinematicability: between Bound and Abzû. / Freitas, Joana.

2018. Abstract from Videojogos 2018, Oporto, Portugal.

Research output: Contribution to conferenceAbstract

TY - CONF

T1 - Music, interaction and cinematicability:

T2 - between Bound and Abzû

AU - Freitas, Joana

N1 - info:eu-repo/grantAgreement/FCT/5876/147237/PT# UID/EAT/00693/2013

PY - 2018

Y1 - 2018

N2 - Videogames, being an audiovisual media which makes use of presentation and visual techniques mainly linked to cinema, are distinguished due to their focus on interactivity and the relationship between media and user. Interaction is key not only for the image itself but for the music that accompanies it; the soundtrack of a videogame only exists if there’s an agent that controls the universe, allowing its audition and perception. However, it’s possible to note the convergence between videogames and visual characteristics of films regarding image and what’s present on the screen in the last decade of the mainstream overview – this media aims to be, in a growing rate, more cinematic. The absence/reduction of informative elements in the screen, the increased development of graphic quality and design, alongside the notion of spatiality and open environments, are being frequently integrated and invested in by not only big companies but also independent studios. Through two case studies – Bound (Plastic Studios 2016) and Abzû (Giant Squid 2016), I’m going to examine in this paper the role of cinematicability and its use as a narrative tool where music builds an ergodic process of communication, meaning and interactivity. The soundtrack, game mechanics and the cinematic compose an interactive musical experience where the user is, at the same time, the interactive and performative agent in the narrative universe.

AB - Videogames, being an audiovisual media which makes use of presentation and visual techniques mainly linked to cinema, are distinguished due to their focus on interactivity and the relationship between media and user. Interaction is key not only for the image itself but for the music that accompanies it; the soundtrack of a videogame only exists if there’s an agent that controls the universe, allowing its audition and perception. However, it’s possible to note the convergence between videogames and visual characteristics of films regarding image and what’s present on the screen in the last decade of the mainstream overview – this media aims to be, in a growing rate, more cinematic. The absence/reduction of informative elements in the screen, the increased development of graphic quality and design, alongside the notion of spatiality and open environments, are being frequently integrated and invested in by not only big companies but also independent studios. Through two case studies – Bound (Plastic Studios 2016) and Abzû (Giant Squid 2016), I’m going to examine in this paper the role of cinematicability and its use as a narrative tool where music builds an ergodic process of communication, meaning and interactivity. The soundtrack, game mechanics and the cinematic compose an interactive musical experience where the user is, at the same time, the interactive and performative agent in the narrative universe.

KW - Soundtrack

KW - Cinematic

KW - Interactivity

KW - Narrative

M3 - Abstract

ER -

Freitas J. Music, interaction and cinematicability: between Bound and Abzû. 2018. Abstract from Videojogos 2018, Oporto, Portugal.