Musikk i World of Warcraft. Kjensler, narrativ, rasar og lydlandskap
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In this thesis I examine how the music in the massive multiplayer online role playing game (MMORPG) World of Warcraft (Blizzard Entertainment 2004-2009) contributes to immersing the player in the game. In order to this I consider various aspects. I examine how the music relates to film music techniques of immersing its audience, narrating a story and depicting a world where races and landscapes are differentiated through music. In relation to this I use ethnomusicological theories of race and soundscapes. I also examine how music affects the player both emotionally and kinesthetically, and how this makes the player identify with the character on screen. By playing the game first hand I use the method of participant observation in order to examine how I as a player get affected by the music and how this contributes to immersing me in the game. Immersion has by some game scholars been seen as connected mainly with the actions of the player related to the rules of the game and thus how the player becomes immersed in the meaning of the game. Other scholars have seen that there are different types of immersion relating to games, such as that of how imagination is used by players to contribute to immersion. By examining how music affects the imagination of the player I aim to find out how music also contributes to both immersing the player and making the player want to return to the game. As the game is varied and uses different types of music for different types of situations, I also examine how affections and immersion varies depending on this.