Due to time constraints and underestimating the level of depth needed, I was only able to release and gain feedback for the first part of the analytical framework. This being the content analysis which had to be effectively communicated in order to understand the other two frameworks of narrative through music and reception. I posted the first part of my script on my blog sending it to others encouraging criticisms.
The feedback focused on trying to understand the musical elements I was trying to explain. Terms like sub synths and loops can be confusing to anyone who’s unfamiliar with musical production. Therefore, I will need to better explain each these tools in the script to give the viewer a better understanding. This will be much more achievable in a video format as I plan to provide examples (which can be seen on the script where I have the word listed).
The positive aspects of the feedback came from people understanding process of ideation and creation when composing soundtracks. Both individuals who commented didn’t know much about games so I was thrilled to be able to communicate this process to them.
Below listed is the track list I put together for Doom 2016 which I will use as a roadmap for the narrative through music section of my video. This will be turned into a more structed piece where I will highlight the most important tracks and their relation to the story and gameplay.
Pichlmair, M. and Kayali, F., (2007), September. Levels of Sound: On the Principles of Interactivity in Music Video Games. In DiGRA Conference.
Peerdeman, P., (2010). Sound and music in games. Amsterdam: VrijeUniversiteit, pp.2-3.
Plut, C. and Pasquier, P., (2020). Generative music in video games: State of the art, challenges, and prospects. Entertainment Computing, 33, p.100337.
Collins, K., (2009). An introduction to procedural music in video games. Contemporary Music Review, 28(1), pp.5-15.