City Research Online

Abstract

The voice as disruption is not a new concept. Disruptions to discourses, relationships and lifestyles can be caused by the insertion of the voice. In video games, voices can be disruptive to player progressions, gameplay and character relationships through dialogue and performances. The female entertainer frequently disrupts the aural space of a game through her uniqueness as a performer at the forefront of the diegetic space, using song to tell her own story. The video games The Witcher 3: Wild Hunt (2015), Transistor (2014) and Divinity Original Sin II (2017) use diegetic female entertainer voices to disrupt the video game’s continuity. These case studies consider performance as disruption to gameplay, which is significant for the growth of the story and its characters, alongside the player’s understanding of the game’s musical meanings.

Publication Type:	Article
Additional Information:	© Smith, J. 2019. The definitive, peer reviewed and edited version of this article is published in The Soundtrack Volume 11, Issue 1-2, Aug 2019, p. 75 - 97: https://doi.org/10.1386/ts_00006_1
Publisher Keywords:	gender; identity; Ludomusicology; performance; storytelling; voices
Subjects:	G Geography. Anthropology. Recreation > GV Recreation Leisure H Social Sciences > H Social Sciences (General)
Departments:	School of Communication & Creativity School of Communication & Creativity > Performing Arts
SWORD Depositor:	Symplectic Administrator

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