{"title":"不适合容易受到干扰:多奇多奇文学俱乐部的声音非线性和破坏性恐怖!","authors":"Sara Bowden","doi":"10.1386/ts_00002_1","DOIUrl":null,"url":null,"abstract":"The extent to which disturbing video games incite real-world violence has been a source of intense debate since the late 1990s following school shootings across the United States. In 2017, the release of Team Salvato’s Doki Doki Literature Club! (DDLC!) signified\n a major shift in independent game developers’ approaches to creating a violent horror gaming experience: the developers include the use of nonlinear sound (e.g. frequency jumps, non-standard harmony, noise/chaos) and local-level melodic transformations to complicate player immersion.\n In this article, I argue that the game’s music is one of the greatest sources of horror. The game music in DDLC! works as both an immersive and a disruptive agent that shapes the player’s gaming experience. Though the game is a work of fiction, the emotions and reflections\n of the player prompted by the violent acts within are real ‐ the player’s experiences of horror, fear and terror are visceral.","PeriodicalId":253130,"journal":{"name":"The Soundtrack","volume":null,"pages":null},"PeriodicalIF":0.0000,"publicationDate":"2020-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Not suitable for the easily disturbed: Sonic nonlinearity and disruptive horror in Doki Doki Literature Club!\",\"authors\":\"Sara Bowden\",\"doi\":\"10.1386/ts_00002_1\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"The extent to which disturbing video games incite real-world violence has been a source of intense debate since the late 1990s following school shootings across the United States. In 2017, the release of Team Salvato’s Doki Doki Literature Club! (DDLC!) signified\\n a major shift in independent game developers’ approaches to creating a violent horror gaming experience: the developers include the use of nonlinear sound (e.g. frequency jumps, non-standard harmony, noise/chaos) and local-level melodic transformations to complicate player immersion.\\n In this article, I argue that the game’s music is one of the greatest sources of horror. The game music in DDLC! works as both an immersive and a disruptive agent that shapes the player’s gaming experience. Though the game is a work of fiction, the emotions and reflections\\n of the player prompted by the violent acts within are real ‐ the player’s experiences of horror, fear and terror are visceral.\",\"PeriodicalId\":253130,\"journal\":{\"name\":\"The Soundtrack\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2020-08-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"The Soundtrack\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1386/ts_00002_1\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"The Soundtrack","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1386/ts_00002_1","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
Not suitable for the easily disturbed: Sonic nonlinearity and disruptive horror in Doki Doki Literature Club!
The extent to which disturbing video games incite real-world violence has been a source of intense debate since the late 1990s following school shootings across the United States. In 2017, the release of Team Salvato’s Doki Doki Literature Club! (DDLC!) signified
a major shift in independent game developers’ approaches to creating a violent horror gaming experience: the developers include the use of nonlinear sound (e.g. frequency jumps, non-standard harmony, noise/chaos) and local-level melodic transformations to complicate player immersion.
In this article, I argue that the game’s music is one of the greatest sources of horror. The game music in DDLC! works as both an immersive and a disruptive agent that shapes the player’s gaming experience. Though the game is a work of fiction, the emotions and reflections
of the player prompted by the violent acts within are real ‐ the player’s experiences of horror, fear and terror are visceral.