Video Game Sound Design – The Final


Contextual Report, BCM215, Game Media Industries 

Author – Taylor Housman, 2021


As explained in the Pitch, I (Simply Taylorlani), would be exploring the concept of Video Game Sound Design in relation to the study of the class Game Media Industries. This class was an open area to create and study within, allowing for the picking of a Digital Artifact to be difficult to pinpoint. This is why ST decided on focusing on not a single game or era of them but rather a single aspect that is a part of the majority. The goal here was to critically analyse the chosen media text or paratext.  

The inspiration for this project stemmed from a love of nostalgic Video Game soundtracks such as Nintendo, which is a primary example used throughout this DA. Shared within the Pitch is Youtube Ambience Nintendo inspired videos, which was the starting point. The importance of sound was briefly mentioned, but later became a larger aspect.

Before the publication of the Beta, I produced written content going through the history of sound design in correlation to video games, along with a post dedicated to favourite sounds and ambient inspired playlists, highlighting the different aspects they are used outside of game media space. Written content was the original product to be produced by this DA, and developed to sharing game music stuff on the content based Instagram via stories. 

To be fair, this project did not go as planned. I found that researching this topic was interesting, which led to the brief history post, however it was difficult to create engaging content with. There were many draft pieces, ideas and concepts relating to methodology and research floating around, with little actually being produced. This was largely due to the fact I had no idea to break apart information into separate blog posts outside of things like “a history” etc. Along with being able to find a personal voice that didn’t feel as if I was quoting a textbook. Ultimately, while I did small efforts like Instagram stories, I had no idea what to do with this project, with my information, which created an unmotivated environment. I found myself focusing on other DA’s over this one. 

While I, the creator, grew bored with the project with no path on how to improve, it was also lacking in any kind of engagement. A lesson would be that people are not that interested in reading about Game Media, and as am I. 

Some Research:

This source was a great introduction to “Sound and Music in Film and Visual Media” as it is a critical overview and not directly Video Game related. This was helpful because it conveyed a connective idea and the way different forms of media, like films and games, utilises aspects of design like sound. 

“The Evolution Of Video Game Music” aided in creating understanding. As someone who isn’t intensely invested in history, especially not of games, this was able to convey points of it to me. “History Of Video Games” – “Whereas in the early years the music was often created by the programmers themselves, today’s video game scores are created by film music composers…”

Because of my slight focus on Nintendo, I went a little deeper in trying to uncover some of the history for their Sound Design, especially with how known in Pop Culture it is. “Kondo, however, felt differently: ‘I wanted to create something that had never been heard before, where you’d think, “this isn’t like game music at all…”’, he said in a 2007 interview with Wired.”

Some other notable sources that were helpful and interesting in this project were:


From that last point of nostalgia, I explored the frameworks of Nostalgia, Aesthetics and Genre. I explore this largely in these two blog posts. “Nostalgia is powerful here because over time simple aspects such as Sound Design become ingrained within your mind…sound is there to enhance the visual experience by adding to it and so by nature the overall aesthetic of the game is needed in context. Imagine playing Animal Crossing without their classic soundtrack but instead one of a horror game. It changes the interpretation, connectivity and experience…Horror soundtracks are so emotive, they create a connection with the audience. Thye make you feel something…” (Myself, ‘Yes More Game Sound Design’). 

Feedback & Final:

Over the course of this project, mainly through both the Pitch and Beta as those had the most engagement, I received mainly positive feedback. This was mainly from peers, who were helpful in creating more understanding of my own content, who provided positive words like how interesting the initial concept was. 

I believe this project had good intentions, had the right idea and in theory would have worked. However, it is abundantly clear that even when something looks good on paper, in action it can fail. This whole process has been a learning curve for myself, and while I am disappointed in the turn out, am grateful for the experience. 


Bridgett, R. (2013). Contextualizing game audio aesthetics (J. Richardson, C. Gorbman, & C. Vernallis, Eds.). Oxford University Press.

Dazed (2020) Going deep on the blissful brilliance of Animal Crossing’s soundtrack, Available at: 

Extraverts, E. I. N. (no date) A thesis presented to, Available at: 

Friedman, L. (2016) “Why nostalgia marketing works so well with millennials, and how your brand can benefit,” Forbes Magazine, 2 August. Available at: 

Fritsch, M. (2013). History of video game music. In Music and Game (pp. 11–40). Springer Fachmedien Wiesbaden.

geargods (2018) The importance of sound design in video gaming, Available at: 

How Nintendo changed the course of music history (no date) Available at: 

Jack Wall – IMDb (no date) Available at: 

Klimmt, C., Possler, D., May, N., Auge, H., Wanjek, L., & Wolf, A.-L. (2019). Effects of soundtrack music on the video game experience. Media Psychology, 22(5), 689–713.

kotakuinternational (2019) Why nostalgia for video games is uniquely powerful, Available at: 

Lane, N., & Prestopnik, N. R. (2017). Diegetic connectivity: Blending work and play with storytelling in serious games. Proceedings of the Annual Symposium on Computer-Human Interaction in Play.

Leamcharaskul, J. (2017) What is Horror Game Music and its Effect on the Player?, Medium. Available at: 

NPR (2008) “The evolution of video game music,” NPR, 13 April. Available at: 

Roberts, R. (2014). Fear of the unknown: Music and sound design in psychological horror games. In Music In Video Games (pp. 152–164). Routledge.

Tierney, J. (2013) “What is nostalgia good for? Quite a bit, research shows,” The New York times, 8 July. Available at: 

Wood, S. (2009) “Video game music: High scores: Making sense of music and video games,” Sound and Music in Film and Visual Media. The Continuum International Publishing Group Inc. doi: 10.5040/ 

(No date) 134.178:9000. Available at: 

Simply Taylorlani Goes Musical – The Final


Contextual Report, BCM241, Media Ethnographies

Author – Taylor Housman, 2021


This semester Simply Taylorlani (ST) underwent further developmental changes in exploring the field of creating and producing written content, weekly stories and a playlist centered around one particular niche. For this venture the niche was decided and finalised by an Instagram poll, with the winning votes going towards music.  

This blog and Simply Taylorlani have produced music related content before, allowing for the ideas to flow from the beginning. Too many ideas, and a broader open niche was inherently the first project struggle. As seen here in this post, this Digital Artifact started with multiple genres. After contemplation and time creating, the DA was narrowed down to just Pop Punk with slight touches on Emo/Midwest. This contributed to the further research that underwent through the course of this project, being able to connect articles, analytical sources and lecture content.


Pop Punk is a music genre, one that isn’t small and it’s history “cannot be neatly explained and packaged into a tight little box. It’s complicated, messy, and spills over into multiple genres among fusing with others.” It can be described as difficult to understand unless you have deep roots, ones that ST has and utilised within this DA. It can be argued when Pop Punk began, but the late 90s and 2000s saw it catapult headfirst into mainstream culture, before fizzling out of the spotlight. 

One of the first points made was that “this isn’t just a hobby, but a lifestyle and identity.” ST engaged with this idea outside of personal experiences. YOUTH SUBCULTURE –  “A subculture is a way of life. It isn’t a fan club, its a real life…So it’s a way of having something that they can say they belong to and that they are.” 

This source aided in diving into aesthetics, something mentioned here that ST found was a large contributor to the personal identities/persona of the subculture, also deepening the idea that it is a larger concept than just music. Pop Punk style has developed with time, but much like the music, spills over and from “traditional” Punk. This source looks more into those aesthetics. 

As mentioned before, Pop Punk fizzled out, and Loudwire here explores how this genre survived, especially with its multitude of issues. These issues are something this DA inspected. “Toxic masculinity had the 2000s in a chokehold…lyrics rife with misogyny…culture that would ridicule women…it was normalized at the time…some bands made a nasty habit of abusing their power and access to young girls on tour.”

One thing Simply Taylorlani set out with a goal to do was pull away from the mainstream artists who, once again are taking it to the spotlight. Alternative Press shared a list of “10 individuals supporting the genre while, mostly, staying out of the spotlight.” Music is much more than songs and artists, it is an industry full of teams and producers as well. 

Genre blending as a concept is not strictly Pop Punk, it is a wave in the industry that just expands music. However, as ST explored the new era of Pop Punk that stepped away from the 2010’s sound of bands like The Story so Far and The Wonder Years, elements of this are more present. “I personally believe that the rise of the mixed genre is a testament to the creativity and talent of today’s music artists.” 

Introducing the way 2010’s Emo Rap has influenced the stylistic evolution of Pop Punk and vice versa. Kerrang – “a constellation of genres with a hustle-hard, DIY ethos championed from different corners and dragged from the bedroom…“It’s like punk,” he [Scarlxrd] reckons…“Punk came on the scene with people playing in basements…We’re all inspired by what we’re inspired by.”…[Horse Head] taps more directly into his emo and pop-punk influences…riffing on bands like Rilo Kiley and Taking Back Sunday.”

 “The thing is we have all the ingredients for a pop punk band, but it’s the last thing I want to be…it’s like – and it’s no disrespect…but it’s like I just like so much more, you know what I mean?” – Awsten Knight of Waterparks, Zach Sang Show

Timeline Version One
Timeline Version Two
Stories & Weekly Song’s/Album’s Example


Autoethnography, the “approach to research and writing that seeks to describe and systematically analyze personal experience in order to understand cultural experience.” aided in this project from the start. I have grown up in this world and most of this is personal experience. This approach has allowed me to critically reflect on all those experiences and being able to transcribe my lively experience into formal work has given myself a whole new perspective. As someone who creates this type of content outside of University, I believe my work has developed stronger from it. ST is more professional – design changes, approach shifts and industry relationships. I have met new people, grown as a writer and have been able to articulate what my writing in life is. Frameworks such as Postmodernism aided in this project the same way. My work is centred around the modernity of the niche, the cultural shifts, which are still arguably “hot takes”. The gatekeepers who can’t let go of Blink-182’s sound being the default setting, those who think there aren’t any power abusers, are reluctant to transition into contemporary developments.  

As stated before, Persona is a deeply important aspect of this niche. Authenticity is key, especially when building relationships with others. Pop Punk is a community, there are people who make up that community from bands, producers, writers, podcasts, fans etc. Knowing who you are within that, finding your “niche” in this world and being truthful to/in your content holds weight. I could have lied in all posts, but then the bands I’ve met from that would be fake relationships. The songs I shared I actually love, I could have lied about that too, but the connections and attraction achieved would be false. Subculture isn’t a hobby, it’s a lifestyle, you don’t tap in and out, there is no room to not be your persona even online. 

Podcast Feature


10 music industry pros fueling the pop-punk revival behind the scenes (2021) Available at: 

Album review: Lil Lotus – ERRØR BØY (no date) Available at: 

Berkland, D. (no date) Androcentrism and misogyny in late twentieth century rock music, Available at: 

Boas, S. (2020) Boas: Pop punk has a diversity problem, North by Northwestern. Available at: 

Davis, J. R. (2006) “Growing up punk: Negotiating aging identity in a local music scene,” Symbolic interaction, 29(1), pp. 63–69.

FQS (no date) View of autoethnography: An overview, Available at: 

From Lil peep to paramore, Emo and rap have been related for years (no date) Available at: 

Gaponov, S. A. (no date) YOUTH SUBCULTURE, Available at: 

How Emo rap has redefined rock music (no date) Available at: 

Kay, B. (2012) History of pop-punk music with timeline, Spinditty. Available at: 

The Art of Punk and the Punk Aesthetic (no date) Available at: 

The rise and popularity of mixed genre music (2015) Available at: 

West, E. (2015) “where is your boy tonight?”: Misogyny in pop punk, Athena Talks. Available at: 

yasminesumman (2021) Pop punk’s inevitable comeback – how the hell did it even survive?, Available at: 

(No date) Available at: 

Simply Taylorlani The Musical – The Final


Contextual Report, BCM206, Future Networks

Author – Taylor Housman, 2021


This semester, a collaboration between this blog and my content based Instagram, Simply Taylorlani (ST), worked to develop and create a Digital Artifact project. This project as a whole was to produce written content centred and exploring a particular interest. This niche was decided by a poll on ST’s stories, choosing between books or music. Music won with 86% to 14% difference, much to my excitement. 

Before the commencing of this DA, written blog posts, Instagram and Twitter were something I utilised to engage with and contribute to music. Written content is where this started, which eventually branched to Instagram stories and posts.The idea that music scenes are more than a hobby, but a lifestyle, especially one’s like Pop Punk and Emo, is a large concept I work within separate from University. It is work and something I’m focused on furthering career wise. Which is why this was a perfect opportunity to attach a University DA to. 

There are many people who have been an inspiration to my writing over the years, but someone who is working within a similar realm to what I’m trying to do is Yasmine Summan, a media writer from the music scene. 


The process of this project was, as I have mentioned in progress posts, not too difficult for me. This, I believe, is strongly because I chose a niche/subject to centre this DA around that I am strongly invested in in my outside life. That being said, there were certainly ups and downs and growth. 

The first piece I wrote was an album ranking, and while I’m not disappointed in what I produced there was little to no engagement. At this point I was not creating Instagram posts for the blogs either. I wasn’t exactly digesting readings or analytical content around this time either, and largely diving into my personal experiences. 

The second post is where this project started to take off. I wrote a piece shouting out artists and bands within the Pop Punk scene, ones that were not a part of “celebrity circles” benefiting off the bands that kept a genre alive for over a decade when it faded out of the mainstream spotlight. There is an immense amount of creatives who are doing more for the scene than those celebrities and I felt it was important to highlight them. After sharing the post on Twitter, a band which I featured took notice, retweeted, and liked it while the vocalist of the same band did the same, followed me, and quote-tweeted it “This!!!”. They later followed me on my other platforms.

From this, artist recognition was something that became a regular, which was a very shocking result of this project. I am incredibly appreciative of it too, and the few connections I have thus created. Around this time I started sharing weekly songs and albums on Instagram stories, and created a playlist to keep them in one spot. I got some engagement from audiences separate from University peers as bands/artists would retweet. This led me to making tweeting at those within the scene a thing, and from this new followers etc arrived. 

Timeline Version One
Timeline Version Two
Stories & Weekly Song’s/Album’s Example

I started to regularly partake in readings and research. A full reference list will be at the end, but some notable quotes and points are:

I continued on with this streak, writing blog posts, tweeting, stories, Instagram posts. It was fun, and allowed me to explore further in depth the styles of writing I prefer, which gain tracking and such. The other aspects of this project were my graphic design changes, making my blog and ST more professional, and maintaining industry relationships. 

I managed to feature on a friends podcast during this experience, where I do briefly touch on how I got into music. I received a lot of nice feedback as well, which was really comforting and motivating. I spent a lot of time trying to make lecture and framework connections to this project, and some feedback was very insightful in assigning Postmodernism framework and ideas to it. I go deeper into this here. 

Over the course of this DA I have learnt how to properly engage within the subculture and media sphere that I desire to work within. I have accomplished more than what I ever thought I could have, and found a larger passion for it while developing it to fit a work identity. Adapting this further to online professionalism, and persona, more than I already put out there, has increased my comfortability with presenting myself. For example, I never included my writing on Twitter much or ST before this DA out of fear. I have grown in ways I wouldn’t have without taking this leap. 

Podcast Feature


10 music industry pros fueling the pop-punk revival behind the scenes (2021) Available at: 

Album review: Lil Lotus – ERRØR BØY (no date) Available at: 

Berkland, D. (no date) Androcentrism and misogyny in late twentieth century rock music, Available at: 

Boas, S. (2020) Boas: Pop punk has a diversity problem, North by Northwestern. Available at: 

Davis, J. R. (2006) “Growing up punk: Negotiating aging identity in a local music scene,” Symbolic interaction, 29(1), pp. 63–69.

FQS (no date) View of autoethnography: An overview, Available at: 

From Lil peep to paramore, Emo and rap have been related for years (no date) Available at: 

Gaponov, S. A. (no date) YOUTH SUBCULTURE, Available at: 

How Emo rap has redefined rock music (no date) Available at: 

Kay, B. (2012) History of pop-punk music with timeline, Spinditty. Available at: 

The Art of Punk and the Punk Aesthetic (no date) Available at: 

The rise and popularity of mixed genre music (2015) Available at: 

West, E. (2015) “where is your boy tonight?”: Misogyny in pop punk, Athena Talks. Available at: 

yasminesumman (2021) Pop punk’s inevitable comeback – how the hell did it even survive?, Available at: 

(No date) Available at: 

So, The Internet Of Things? Hacking? Meme Warfare?

Hey, hey!

Previously I have spoken about the Network Society Padigam and something I mentioned within that is the way we as a society developed from the telegraph. A core aspect I mentioned was the way we have now developed in the future to be more demanding of attention, the “need a response right now” type, branching from this constant online connectivity. 

Now, I don’t want to restate myself, however in this next module we looked at other concepts like The Internet of Things, and Meme Warfare. You might be thinking how do any of these things connect or even link back to this connectivity issue? 

Well, some background.


Communication derived from the Telegraph, and thus so did the Internet. The Internet was never as large as it is currently, and it is always growing and changing. With that growing possibilities and challenges. The Internet of Things (IoT), as defined by “where devices (things) are connected to the Internet and each other. These things comprise a multitude of heterogeneous devices ranging from consumer devices, such as mobile phones and wearables, to industrial sensors and actuators.” 

This is very much a current aspect of society, as mentioned with the different waves of the Internet, and that is why this is relevant. 


Information warfare, propaganda, has existed for as long as communication. There has always been a need or reason to enforce a different meaning, one that might not be mostly accurate, when communication has been there. Now, when applying this to how much attention is desired, scares and important in relation to now – the future – and The Internet of Things, the mass of information warfare has certainly grown. 

“Memes are a ubiquitous part of the internet, particularly social media. Internet memes spread virally, being shared and distributed across the internet rapidly and widely…more than just funny internet pictures – they are behaviours, concepts, norms and ideas…They are closely linked to the moral forces, exerting influence on them the same way that other pressures do.”

Memes carry power, and because of this they hold influence over us. Anyone can make a meme, anyone can go viral on the internet, and with any kind of information. This twitter thread here, goes over the way Tumblr misread information all the time and raised a generation of it. 

The Internet of Things has, in a broad idea of it, taken over the world. We have seen the internet, its forms of communication like memes, develop over years to get where we are presently. However, with the speed of which all of these things are growing we can only expect it to do so more. 

So, what is or what will be the future of the internet?

This constant, needy connectivity we have as a society is something out of Dystopia, constantly watched and turned on. Some prime examples of IoT are automated cars, wearable health monitors such as Fitbits, Apple watches, smart home systems like connected lighting, alarms, and even all your connected devices. Most people these days own more than one device, iPads, laptops, smart tvs which are even more connected to everything. All of these share data, are basically one, just extension of the larger system. 

In theory all of this is going to continue expanding. This might not be a bad thing, I’m not opposing it, but there is this question of is The Internet of Things making us as a society more valuable?

Ideas of Hacktivism, Meme Warfare propaganda all link back to this question. With the rise of online connectivity, the rise of Hacking, Cyberwar and botnets. 


“Botnets are the workhorses of the Internet. They’re connected computers performing a number of repetitive tasks to keep websites going.” Botnets are a cluster of networks with malware and hackers are able to gain control through them. This is where we have the term botnet attacks. “Cyber criminals are then able to use these botnets to unleash a string of attacks, Distributed Denial of Service or DDoS attacks are the most common of these…used for credential leaks, data thefts and unauthorized access.” An example of an attack is email spamming and network blockages. 

We as a society are prescribed to view and engage with Memes and Internet culture, which has already aided in being vulnerable online. The advancement of communication has always held information warfare as a variable, and with the immense growth of IoT we can expect to see more of it. This growth has also created a way for one’s home to be included as a device, which makes the question on the future of the Internet, and how much more vulnerable things will get from here in relation to things like Hacktivism, and Cyberwar. I mentioned before how Dystopian this can be perceived, which only makes the question of how will the Internet continue to grow from here? 

The thing is we can’t really say how it will continue to change, aspects like money/investments don’t have to be tangible physicality with the rise of Cryptocurrency which is still largely considered new. We can’t say if it will create more vulnerability, for communication has always allowed for the spread and creation of propaganda to exist, nor can we say that it wont with these very online types of attacks. 

REFERENCES (n.d.). What Is A Botnet? [online] Available at:

Lynn, T. (2020). The Cloud-to-Thing Continuum: Opportunities and Challenges in Cloud, Fog and Edge Computing. [online] Google Books. Springer Nature. Available at: 

‌Milan, S. (2015). Hacktivism as a Radical Media Practice. [online] Available at:  

Nižetić, S, Šolić, P, López-de-Ipiña González-de-Artaza, D & Patrono, L 2020, ‘Internet of Things (IoT): Opportunities, issues and challenges towards a smart and sustainable future’, Journal of Cleaner Production, vol. 274, p. 122877.

‌Rowett, G. (2018). The strategic need to understand online memes and modern information warfare theory. [online] IEEE Xplore. Available at: 

‌Uberoi, A. (n.d.). What is a Botnet Attack? [online] Available at: 

Hey, Hey It’s Peer Review Time Again

Hey, hey! 

Once again I have been given the opportunity to share some feedback to my fellow peers in University. This is an important process because the act of giving and receiving feedback “clarifies expectations, helps people learn from their mistakes and builds confidence.”

Charlie has chosen the niche of design, and it is incredibly displayed throughout their work. The blog post is stunning, pretty and delicate, and the same goes for the video. This explains visually how much depth and understanding of the context they mention. They align it back to lecture content, and other research, all the while having a professional feel. 

Charlie has created a very lovely piece of work not just in facts, detail and experience. This, and the touch of professionalism, is something I want to carry through my own projects and works and can learn from them. 

Andrea is exploring the world of gaming in relation to being a female gamer, and this stuck out to me and was incredibly catching. There is a personal attachment, experience and understanding at play here that helps further persona. Their work is explorative, touches on points from the lectures and class content and drawing connections really well. It flowed nicely and was very clear. 

Something Andrea does well is the way they are still very personal in the process of their project but is able to make that translate with lecture drawbacks. This is something I know I can be better at, and want to be, and will learn from them. 

I remember Hannah’s project DA earlier in the semester, and having the opportunity to peer review the Pitch for it. It was amazing to see how it has progressed, and even how much everything has grown. It was detailed in explaining the process, goals, and feedback to an audience. Everything fit together, including the layout and in depth research and lecture content. Especially framework. 

Framework is something I struggle to bring up in my work, whether that’s from having too much content and not leaving room for much or not connecting it well enough. This is something I can take away and learn from Hannah in the future. 

As always, it is an immense pleasure to be able to review my peers’ work and I take away so much from doing so. I know from myself how helpful peer reviews can be in perspective and growth and I aim to be just as helpful in the comments I share. 


HR Central. (2018, May 4). HR central. Com.Au.

Hey, Hey Let’s Keep Peer Reviewing

Hey, hey! 

Once again I have been given the opportunity to share some feedback to my fellow peers in University. This is an important process because the act of giving and receiving feedback “clarifies expectations, helps people learn from their mistakes and builds confidence.” 

Julia here is focusing on nostalgia in regards to Wii games from childhood. They have been taking the time to review and, as detailed in their blog and video, learn from the process of a Digital Artefact. They mention feedback, their changes, things that did and didn’t work coherently and explored the feelings evoked through games. 

Something Julia does well here is tell a story when speaking over the process of their project in a way that doesn’t just feel like some facts. This is something I can learn from them, along with how clear and clean cut everything was to follow where my own can be quite messy. 

Cait has a very descriptive and analytical execution in their blog and video when recapping the process of their DA. Everything was connected, fit right in place together, and was the exact information needed. There was feedback, a clear line of trial and error, communication, and it all was pulled back to lectures and outsourced research. To me there was not really anything missing. 

This is something Cait does well in executing and reacting to an audience. It’s factual, easy to understand, and has everything you would want to know. I could learn to be more like this, as I tend to waffle on in blog posts too much which leaves little room for being so detailed and precise. 

Lily’s DA shocked me, for it is something I haven’t seen, nor even thought about how important it can be. They’re focusing on fitness in relation and connection to games, and thus fitness games and reviewing them. Something that is always within the conversation of game culture is fitness and health and Lily’s video and blog described an even flow on how these two things work together. Producing feedback, being expressive and clear over what has been happening in this project. 

Lily knows their stuff, everything made sense, was clear and a very pretty execution. Something I will be taking away from reviewing Lily’s DA is the out of the box thinking, the personal feelings and experiences that correlate and add depth to the analytical stuff. 

Reviewing your peers is something that I view is important. I know from personal experiences how helpful others perspectives can be in making quality work and I try my best to be helpful myself. 


HR Central. (2018, May 4). HR central. Com.Au.

Yes More Game Sound Design

Hey, hey!

Here’s the thing, I have spoken a lot about the way the framework of Nostalgia corresponds to Video Game Sound Design but I haven’t really touched on anything else. In this post I will be going deeper in my exploration of frameworks, those being Nostalgia, Aesthetics, and Genre.  


Nostalgia is tightly connected to Pop Culture, in the way that makes it important to extrude that nostalgic tightness within your chest. This is increasingly important to Video Games, and thus Sound Design, in how relevant they are in contemporary Pop Culture. 

“Fenty argues that “video games are places—they are states of being; and because they are stored, unchanging data, they tease with the hope for a possibility of return, if only we can gain access to them.”

A lot of people turn to gaming as escapism from reality, to take a break from their lives and jump into another. Nostalgia is powerful here because over time simple aspects such as Sound Design become ingrained within your mind. You interpret and relate this aspect of game play to those things and when paired with other factors – marketing a new game, merch, other extending parties like perhaps a movie – you pull in an audience. 


Hand in hand with Nostalgia, Aesthetics take such an important play in game sound design. Now, how exactly is music aesthetic? Well, sound is there to enhance the visual experience by adding to it and so by nature the overall aesthetic of the game is needed in context. Imagine playing Animal Crossing without their classic soundtrack but instead one of a horror game. It changes the interpretation, connectivity and experience. 

“Sound design now can use musical software to enhance sound effects in films and music composers to incorporate sound effect recordings. Soundtrack elements now appear to have an “aesthetic” character. Technology has engendered a spatial sonic arena wherein sonic elements have mixed into a sensual and psychological field.” While this is in more relation to films, it applies just as much to Video Games. 


I touched briefly on how changing the soundtrack of a relaxing game to one of horror changes the interpretations, the meaning and the context of the game. This is why genre is important to Sound Design. Much like aesthetics, you can’t just throw some sounds over the top of a visual, it needs to belong. 

Horror soundtracks are so emotive, they create a connection with the audience. Thye make you feel something, much like nostalgic games, but different. Brainstem Reflex (Flight of Fight Response), Lacking ‘ear lids’, and Biological Responses both internal and external are all part of the way horror game Sound Design can make you feel. On edge, sweaty, anxious. 

This is polar opposite to games I have mentioned before, the connection and the effects are different but the relevance and importance of developed Sound is there. Sound Design is much more than three framework principles of Nostalgia, Aesthetics, and Genre. Sound Design is partly what makes these things integral to a game. 


Bridgett, R. (2013). Contextualizing game audio aesthetics (J. Richardson, C. Gorbman, & C. Vernallis, Eds.). Oxford University Press.

Friedman, L. (2016, August 2). Why nostalgia marketing works so well with millennials, and how your brand can benefit. Forbes Magazine.

kotakuinternational. (2019, February 8). Why nostalgia for video games is uniquely powerful. Com.Au.

Leamcharaskul, J. (2017, November 20). What is Horror Game Music and its Effect on the Player? Medium.

(N.d.). 134.178:9000. Retrieved October 14, 2021, from

Game Sound Design, Huh

Hey, hey!

As I have mentioned, this semester at University one of my projects is to research and analyse Video Game Sound Design. In This blog post I plan to further examine aspects of this through framework and more understanding. 

The history around Game Sound Design is interesting, and something I have taken the time to explore through the course of the project here. However, something that really struck out to me was when relating it back to my biggest example of Nintendo, and the shift towards making things emotive. 

In relation to techniques of participation (multimediality, virtuality, interactivity, and connectivity), Sound Design has been developing through the years. Diegetic Connectivity as used in this example, broadcasts the mindset of a more serious sound design, by connecting the aspects that build by definition a good game: Story, Task, and Mechanics. “aesthetics, the visuals and sound of a game, are especially noticeable to players, and we view this presentational layer as especially important for forging diegetic connections.” 

Part of the reason why Sound Design is important is the way it enhances the experience, motivation and engagement. “Even basic sounds like footsteps, reloading a weapon or breathing can add tension, excitement and realism to the gaming experience.” Sound creates a connection to the game, and it is the hope that these sound aspects stick with players beyond a screen. 

Nostalgia plays a big part of Game Sound Design, especially in regards to sequels and later installments. “Video game jingles have even made it into the music charts…The chances are that game players will always remember the music and sounds associated with their favourite games. The music brings back memories and can trigger a nostalgic reaction.” 

In the grand idea, Sound Design is interactive as well. Based on your own game play you will experience different sets of sounds, in relation to different things, which brings in this engagement and connection to the world being built. 

Types of participation (interpretation, reconfiguration, construction) can be different from wanting to achieve connectivity in game production. So I’m sure you’re wondering how it relates. Interpretation is important when creating sound aspects, for you want to convey your point and have it translate – no matter what that may be. 

A lot of people participate in games such as Animal Crossing simply because of the Sound Design and their interpretation of relaxation, enjoyment and peace. This right here is a great example of the importance and how genre fits into Sound Design. “The music isn’t there to stand out, but rather enhance the inconsequential beat of the everyday…a simple piano melody loops graciously, a crisp refrain that – put to the brisk percussion of a single maraca – conjures perfectly the early stillness of the crack of dawn…There’s sprinklings of  cowbell and glockenspiel – inconsequential stuff, but then again, that’s the entire point.”

All of these things come together to make a larger picture, they’re all rolled up in a ball of mechanics, story, ambience in order to provide a captivating game play that you intercept and continue to love long enough to have “Nostalgic Ambience Game Sounds” on youtube with millions of views.   


Dazed. (2020, April 24). Going deep on the blissful brilliance of Animal Crossing’s soundtrack. Dazeddigital.Com.

geargods. (2018, April 30). The importance of sound design in video gaming. Geargods.Net.

Lane, N., & Prestopnik, N. R. (2017). Diegetic connectivity: Blending work and play with storytelling in serious games. Proceedings of the Annual Symposium on Computer-Human Interaction in Play.

“Burning Bridges, Searching For Some Sense Of Distance ” – I’m Still Searching

Hey, hey!

I want to continue on from the last post to do with this project and expand on some things. 

I touched on slightly the issues within my chosen niche surrounding diversity, and how I support and engage with the shift that is very much needed to move away from that. To be fair, I have grown up around this type of music, and I can honestly say after observing after all this time there is still an incredibly lack of anything diverse. It’s why I like to bring attention to the moment it’s there. I have kept reading about it as a way to gain outside perspective. 

“Pop punk has existed in the mainstream for over 40 years, yet there’s no signs of progress in diversification…The article features some groups with one or two female members, but the lack of racial diversity is striking. This article was published in 2019…”

One part of this article here that really struck out to me was “we need to hold the publications reporting on the genre and media promoting it accountable.” As someone who is trying to turn my own writing into something here, this is something to be accountable for. And goes right in hand with my previous epiphany of ethics in writing and working within this world. 

In some way, I believe this idea and execution to fall within the realm of Post-Modernism framework. This push for less misogyny, more diversity, and stands against abuse is a modern take – which is sad to think about but it is. “Postmodernists dismiss this idea as a kind of naive realism.”

Another aspect of Post-Modernism would be the cultural shifts in the wave right now. I have mentioned before about the aspect of blending genres and how the current Pop Punk era is influenced by this and by the Emo Rap era of the 2010’s. 

For example, these two  reads

“The genres aren’t that different, when you break them down. Emo is lyrical, emotional, and rooted in its aesthetics. So is rap and hip-hop.”

“Not in competition, with one fighting to win out over the other…but working in tandem to create something more than what they might offer individually…“I’ve experienced a lot of snobbery with the older generations at shows and online,” the London and LA-based DJ explains, ​“whereas the young fans I’ve met who are coming to their first gigs are so open-minded. They’ve grown up with the internet and are used to genre-hopping. They love the new concoctions of genres, which is so fresh and exciting.” 

This DA, my work, is aiming to make a stance in the world of music, it is important for my authenticity of Persona and it is Postmodern in action.


Boas, S. (2020, June 17). Boas: Pop punk has a diversity problem. Northbynorthwestern.Com; North by Northwestern.

Duignan, B. (2020). Postmodernism. In Encyclopedia Britannica.

From Lil peep to paramore, Emo and rap have been related for years. (n.d.). Kerrang.Com. Retrieved October 13, 2021, from

How Emo rap has redefined rock music. (n.d.). Kerrang.Com. Retrieved October 13, 2021, from

“You’re Still In My Head” – Going Deeper

Hey, hey!

As I have mentioned before, the niche of mine which I’m focusing on this semester is music, particularly that within pop punk or emo type subculture. 

Part of the research for this project is meant to be observing – but I don’t know how to articulate when I am no longer observing. I live with this idea that music is a hobby and a personality trait if you’re into it strong enough. Some evidence of observing is the way so many artists released music around when this project picked up – insanely helpful. This formulated my need to have everything in one place and create a playlist, which wasn’t something I originally intended. 

An important discussion particularly within this genre is the lack of diversity and misogyny for decades. While I have firsthand experiences and knowledge from living through this community, this led to me taking on readings. This was helpful for this project because I know, ultimately, with my work I want to be a part of that shift that is finally starting to happen. I’ve touched on it, I’ve centred Women, Non-Binary and POC in my work and always will. 

“It’s essential to disrupt these narratives and hold White men accountable if we want to fight racism and sexism in our communities…To these men and boys, you are not a whole, unique person — You are A Thing and He Wants You. You are the Manic Pixie Dream Girl to their brooding, sensitive loner…The misogyny in pop punk ranges from idolizing women to wishing actual physical violence on to them…”

Not just from observing, but engaging, I came to the realisation that this to me is a lot more than just a project. I create this content outside of Uni, I enjoy doing so, and creating relationships with people working within the same line and artists became relevant quickly. Not just for this project but my future – which this DA has given me a moment to think about. This contributes to my ideas of ethics. 

Persona is an incredibly important aspect in this project, but so is authenticity. I don’t just say I like some bands music if I don’t – even if I know it can get me engagement. This is somewhat because I am honest about if I even like something and because I care about my persona being authentic to me. I don’t present myself as a part of the aesthetics, the communities, the live shows for anything other than enjoyment and that is the key with this project. I make good content that I’m happy with, I meet new industry people, and it doesn’t get impacted by fake love, a fake persona.  


Berkland, D. (n.d.). Androcentrism and misogyny in late twentieth century rock music. Core.Ac.Uk. Retrieved October 13, 2021, from

de Boise, S. (2020). Music and misogyny: a content analysis of misogynistic, antifeminist forums. Popular Music39(3–4), 459–481.

Fosbraey, G., & Puckey, N. (2021). Misogyny, toxic masculinity, and heteronormativity in post-2000 popular music. Springer Nature.

West, E. (2015, August 27). “where is your boy tonight?”: Misogyny in pop punk. Athena Talks.