Abstract
A música para videojogos em espaços online tem-se tornado um alvo de imensa actividade com diversos propósitos por parte de inúmeros/as utilizadores/as. É possível observar a criação de listas de reprodução organizadas por ambientes ou carácter como “épica”, “instrumental” ou “atmosférica”, cruzando uma série de bandas-sonoras de jogos. Neste artigo, é observada a forma como a música é sistematizada e inserida em categorias definidas de acordo com os diversos ambientes propostos no jogo The Elder Scrolls IV: Oblivion ao explorar diversos recursos musicais que são utilizados em função da nomenclatura aplicada a cada faixa, especialmente o ritmo, o timbre, andamento e instrumentação. Examinando os imaginários presentes no jogo, a sua construção e como é que estes são reforçados através da banda sonora que acompanha a narrativa e experiência do/a jogador/a durante a jogabilidade, a banda sonora pode ser considerada um depósito de significados associados às acções, atmosferas e contextos propostos ao/à utilizador/a.
Video game music is responsible for a lot of activity with various purposes by users in multiple online spaces. It is possible to observe the creation of playlists organized by
environments, character, etc., such as "epic," "instrumental," or "atmospheric”, intersecting several game soundtracks. In this article, it’s examined how music is systematized and
inserted into categories related to the different environments proposed in the game The Elder Scrolls IV: Oblivion when exploring specific musical resources that are used
according to the nomenclature applied to each track, especially the rhythm, pitch, tempo and orchestration. Observing the imageries present in the game, their construction and their reinforcement through the soundtrack that accompanies the narrative and the personal experience of the player during the gameplay, the soundtrack can be considered a deposit of meanings associated to the actions, ambients and contexts proposed to the user.
Video game music is responsible for a lot of activity with various purposes by users in multiple online spaces. It is possible to observe the creation of playlists organized by
environments, character, etc., such as "epic," "instrumental," or "atmospheric”, intersecting several game soundtracks. In this article, it’s examined how music is systematized and
inserted into categories related to the different environments proposed in the game The Elder Scrolls IV: Oblivion when exploring specific musical resources that are used
according to the nomenclature applied to each track, especially the rhythm, pitch, tempo and orchestration. Observing the imageries present in the game, their construction and their reinforcement through the soundtrack that accompanies the narrative and the personal experience of the player during the gameplay, the soundtrack can be considered a deposit of meanings associated to the actions, ambients and contexts proposed to the user.
| Original language | English |
|---|---|
| Pages (from-to) | 65-80 |
| Number of pages | 16 |
| Journal | Revista de Ciências da Computação |
| Volume | 12 |
| Issue number | Especial |
| DOIs | |
| Publication status | Published - 15 Mar 2018 |
Keywords
- Videojogos
- Oblivion
- Música
- Ergodicidade
- Categorias
- Tópicos
- Videogames
- Music
- Ergodicity
- Categories
- Topics