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Dance Dance\u0026nbsp;..."},{"page_id":"PA44","page_number":"44","snippet_text":"... \u003cb\u003eplayers\u003c/b\u003e and the program gives points according to the accuracy of the singing. It turns sing-along community ... \u003cb\u003eplayer\u003c/b\u003e manipulates various underwater landscapes with the “Stylus” pen on the touch screen of the NDS in order to\u0026nbsp;..."},{"page_id":"PA45","page_number":"45","snippet_text":"... \u003cb\u003eplayers\u003c/b\u003e press the left and right shoulder buttons of the PSP in order to give orders to the troops. The better the \u003cb\u003eplayers\u003c/b\u003e keep up with the rhythm of the battle, the more ecstatic the little black troops get and the stronger they fight\u0026nbsp;..."},{"page_id":"PA46","page_number":"46","snippet_text":"... \u003cb\u003eplayers\u003c/b\u003e have to press certain buttons on the plastic turntables at exactly the right time . The effective ... \u003cb\u003eplayer\u003c/b\u003e has the possibility to actively control or manipulate the content . Nevertheless , this supposed freedom is\u0026nbsp;..."},{"page_id":"PA47","page_number":"47","snippet_text":"... \u003cb\u003eplayer\u0026#39;s\u003c/b\u003e actions . It may change with different levels or milestones in the game , but not through the micro - actions of the \u003cb\u003eplayers\u003c/b\u003e . Furthermore , the music in the intro- duction scenes , the login area , the load - screen , cut\u0026nbsp;..."},{"page_id":"PA48","page_number":"48","snippet_text":"... \u003cb\u003eplayers\u003c/b\u003e make from level to level or challenge to challenge. In the second category, the micro-actions of the ... \u003cb\u003eplayer\u003c/b\u003e behaviour, interface and game system. 4 Interactivity in computer games At this point I want to dig a bit\u0026nbsp;..."},{"page_id":"PA49","page_number":"49","snippet_text":"... \u003cb\u003eplayer\u003c/b\u003e in a computer game (1997: 64). Without the active involvement of the \u003cb\u003eplayers\u003c/b\u003e, the game space remains a meaningless collection of signs and rules. Interaction in games is guided by rules. The encyclopedic scope of computers not\u0026nbsp;..."},{"page_id":"PA50","page_number":"50","snippet_text":"... \u003cb\u003eplayers\u003c/b\u003e are urged to activate certain buttons based on the rhythm or melody of pre - produced pop songs ... \u003cb\u003eplayer\u003c/b\u003e - experience . The seven attributes have the following meaning : \u0026quot; Quantization 50 Michael Liebe 5 Structure\u0026nbsp;..."},{"page_id":"PA51","page_number":"51","snippet_text":"... \u003cb\u003eplayers\u003c/b\u003e to react to rhythmical sequences . The sequences form the challenge of the game and the more accurately the \u003cb\u003eplayers\u003c/b\u003e manage to follow the rhythm , the more points are scored . “ Active score ” refers to a concept for a musical\u0026nbsp;..."},{"page_id":"PA52","page_number":"52","snippet_text":"... \u003cb\u003eplayers\u003c/b\u003e is key. It allows for a wide range of expression and bodily engagement.6 As can be seen in the analysis of Pichlmair/Kayali, music games can emphasize quite different forms of interactivity. Yet it becomes obvious, however, that\u0026nbsp;..."},{"page_id":"PA53","page_number":"53","snippet_text":"... \u003cb\u003eplayer\u003c/b\u003e performance . What I mean by this is that it is either the physical engagement of the \u003cb\u003eplayers\u003c/b\u003e in front of the screen or the virtual game engine that mark the pivotal point of the gameplay experience . Computer games are a\u0026nbsp;..."},{"page_id":"PA54","page_number":"54","snippet_text":"... \u003cb\u003ePlayer\u003c/b\u003e performance Music games of a different type are those that make the \u003cb\u003eplayer\u003c/b\u003e perform more actively physically than virtually . Dance Dance Revolution is a good example of this . Instead of merely pressing little buttons on a\u0026nbsp;..."},{"page_id":"PA55","page_number":"55","snippet_text":"... \u003cb\u003eplayer\u003c/b\u003e performance are games of mimicry with a strong tendency towards ludus . They not only let the \u003cb\u003eplayers\u003c/b\u003e perform as if they were actually playing an instrument , but also have a strictly guided gameplay and scoring system . 8 The\u0026nbsp;..."},{"page_id":"PA56","page_number":"56","snippet_text":"... \u003cb\u003eplayers\u003c/b\u003e use them ) . Their “ object interaction ” attribute is \u0026quot; representational \u0026quot; . Yet , although the mansions that \u003cb\u003eplayers\u003c/b\u003e can buy and enter into in the game look like houses or flats , they mainly function as saving points . They\u0026nbsp;..."},{"page_id":"PA57","page_number":"57","snippet_text":"... \u003cb\u003eplayers\u003c/b\u003e and inte- grates them into the gameplay. As such, physical performance is the key, making the interface not ... \u003cb\u003ePlayer\u003c/b\u003e Computer Objective Symbolic Linear Reactive Proactive Audiosurf X X X Batman X X X Brütal Legend X X X\u0026nbsp;..."},{"page_id":"PA59","page_number":"59","snippet_text":"... \u003cb\u003eplayer\u003c/b\u003e performance. Finding these sorts of clusters and relationships makes it easier for designers to find a game mechanic that stands out from the rest of the games in the music genre or which type of games may follow in the footsteps\u0026nbsp;..."},{"page_id":"PA63","page_number":"63","snippet_text":"... \u003cb\u003eplayer\u003c/b\u003e and the game system . So the notion of labelling it \u0026quot; interactive music \u0026quot; is meant to indicate that the music is part of an interactive system rather than simply interacting with the game itself . If the music doesn\u0026#39;t react\u0026nbsp;..."},{"page_id":"PA64","page_number":"64","snippet_text":"... \u003cb\u003eplayer\u003c/b\u003e. At its most simple, two entirely full mixes of a song can be played in synchronization and the game determines the crossfade level between the two (Chronicles of Riddick): “Basically all action tracks were composed in two\u0026nbsp;..."},{"page_id":"PA65","page_number":"65","snippet_text":"... \u003cb\u003eplayer\u0026#39;s\u003c/b\u003e progress with the boss such as mixing in a more intense version of the score as the boss nears defeat. Table 1: Interaktive Music Structures Type Branching Pros ▫ Relatively easy to design a pool of segments which work well to\u0026nbsp;..."},{"page_id":"PA71","page_number":"71","snippet_text":"... \u003cb\u003eplayer\u0026#39;s\u003c/b\u003e heartbeat as they are playing the game. In this way the music is not only adapting to the game play, but it is interacting with the \u003cb\u003eplayer\u003c/b\u003e in a tight feedback loop which is also reflected in the visuals. It fulfils the basic\u0026nbsp;..."},{"page_id":"PA73","page_number":"73","snippet_text":"... \u003cb\u003eplayer\u003c/b\u003e decided to use Yoshi as a steed or not: “I could have simply used a different theme here to let \u003cb\u003eplayers\u003c/b\u003e know they had been powered up,“ he admits, “but that would mean the music would change every time you mount or dismount Yoshi\u0026nbsp;..."},{"page_id":"PA74","page_number":"74","snippet_text":"... \u003cb\u003eplayer\u003c/b\u003e to continue through the game. So, in this case, musical layering was used to indicate a location rather than a state as seen above with riding Yoshi in Super Mario World. New Super Mario Bros. (2006) for the Nintendo DS uses the\u0026nbsp;..."},{"page_id":"PA75","page_number":"75","snippet_text":"... \u003cb\u003eplayer\u003c/b\u003e respond to changes in the music. An interesting feature of this game was that the user could put their own music CD into the PlayStation 2 and the game would generate a course based on features it detected in the music. Although\u0026nbsp;..."},{"page_id":"PA76","page_number":"76","snippet_text":"... \u003cb\u003eplayer\u0026#39;s\u003c/b\u003e sense of fear. With a linear medium, horror films are able to build tension toward a known result, whereas the score of Dead Space needed to build the same tension without knowing in advance what the \u003cb\u003eplayer\u003c/b\u003e would do. As with\u0026nbsp;..."},{"page_id":"PA77","page_number":"77","snippet_text":"... \u003cb\u003eplayer\u003c/b\u003e is doing at that time.”6 The interactive music design for Dead Space can be seen as a clear execution on a key concept: fear. The success of the resulting soundscape is due to the combination of how the game informs the music to\u0026nbsp;..."},{"page_id":"PA78","page_number":"78","snippet_text":"... \u003cb\u003eplayer\u003c/b\u003e is playing. To mirror the original arcade version, the songs were also switched at half-time to give some extra variation to the underscore. There was no layering performed at all in the design. To allow for additional variation\u0026nbsp;..."},{"page_id":"PA81","page_number":"81","snippet_text":"... \u003cb\u003eplayer\u003c/b\u003e and thus as a development towards more inter- activity . A good example can be seen in the genre of the role - playing game . Having started out as a simplistic , almost statistical , video game , the role - playing game has\u0026nbsp;..."},{"page_id":"PA82","page_number":"82","snippet_text":"... \u003cb\u003eplayer\u003c/b\u003e ) , a couple of motifs ( e.g. for LeChuck and Elaine ) , a main theme , end titles and interludes . All occurrences of \u0026quot; source music \u0026quot; were connected to the place in which it was performed , thus making the algorithm very\u0026nbsp;..."},{"page_id":"PA83","page_number":"83","snippet_text":"... \u003cb\u003eplayer\u003c/b\u003e can answer Largo\u0026#39;s provoca- tions with humorous remarks , but cannot change Guybrush\u0026#39;s fate.4 The first chap- ter of the game is subsequently dedicated to constructing a voodoo doll that resem- bles Largo LaGrande in order to\u0026nbsp;..."},{"page_id":"PA85","page_number":"85","snippet_text":"... \u003cb\u003eplayer\u003c/b\u003e has to walk across the whole island to find the source of the initial theme. A detailed look at a large part of the Booty Island section of Monkey Island 2 reveals that iMuse not only smooths the transitions between musical\u0026nbsp;..."},{"page_id":"PA87","page_number":"87","snippet_text":"... \u003cb\u003eplayer\u003c/b\u003e and were thus reduced to the bare minimum: rebel fan- fares and the main motif of the Imperial March. These fanfares would inform the \u003cb\u003eplayer\u003c/b\u003e about Imperial ships entering the sector or Rebel backups arriving, as well as success\u0026nbsp;..."},{"page_id":"PA88","page_number":"88","snippet_text":"... \u003cb\u003eplayer\u0026#39;s\u003c/b\u003e musical knowledge enables him to not only decipher the musical signal but also to put it into a musical context, e.g. the Star Wars universe and its soundtrack. Semantic premises are not only able to contextualise small\u0026nbsp;..."},{"page_id":"PA89","page_number":"89","snippet_text":"... \u003cb\u003eplayer\u003c/b\u003e . It is not important what is quoted , only that it can be deciphered as a semantic cliché , i.e. as \u0026quot; classical music \u0026quot; . The smooth transitions between the known quotes and the unknown compositions make it possible for the \u003cb\u003eplayer\u003c/b\u003e\u0026nbsp;..."},{"page_id":"PA91","page_number":"91","snippet_text":"... \u003cb\u003eplayer\u003c/b\u003e . The immersive qualities of these soundtracks outweigh the musical individuality by far : in these cases , iMuse is just a tool to construct a seamless underscoring , neglecting earlier innovations . Interactivity , however , is\u0026nbsp;..."},{"page_id":"PA94","page_number":"94","snippet_text":"... \u003cb\u003eplayer\u003c/b\u003e . In contrast to the forms of realism encountered in simulation games , sports genres such as 1st and 3rd person shooter - games , action adventures and role - playing games opt for another form of realism . With the means\u0026nbsp;..."},{"page_id":"PA95","page_number":"95","snippet_text":"... \u003cb\u003eplayer\u003c/b\u003e the freedom to move through the level at his or her own pace. Examples for both design concepts can be found in the Lara Croft-reboot Tomb Raider Legend (2006): in chase sequences, the rhythm is forced upon the \u003cb\u003eplayer\u003c/b\u003e by the\u0026nbsp;..."},{"page_id":"PA96","page_number":"96","snippet_text":"... \u003cb\u003eplayer\u003c/b\u003e character . In cinematic language , the most explicit synaes- thetic convergence between image and sound can be found in video clips and abstract avant - garde films . Its equivalent in video games would be the genre of rhythm\u0026nbsp;..."},{"page_id":"PA97","page_number":"97","snippet_text":"... \u003cb\u003eplayer\u003c/b\u003e performances by famous DJs such as Grandmaster Flash and DJ Shadow , the correspondence between soundtrack and gameplay is quite obviously arranged by playful performances . But what happens if games use cine- matic soundtrack\u0026nbsp;..."},{"page_id":"PA98","page_number":"98","snippet_text":"... \u003cb\u003eplayer\u003c/b\u003e to adjust his or her rhythm to the demands of the gameplay can often be found in jump\u0026#39;n\u0026#39;run and platform games . In Bubble Bobble ( 1986 ) , the acceleration of the main tune warns the \u003cb\u003eplayer\u003c/b\u003e that he or she has only a small\u0026nbsp;..."},{"page_id":"PA99","page_number":"99","snippet_text":"... \u003cb\u003eplayer\u003c/b\u003e. The score became adjusted to the game rules and was no longer dependent on the linear structures employed by traditional narrative structures. If the main character, blundering wannabe pirate Guybrush Threep- wood, entered a new\u0026nbsp;..."},{"page_id":"PA100","page_number":"100","snippet_text":"... \u003cb\u003eplayers\u003c/b\u003e may move or how they act, so musical cues can\u0026#39;t be predicted in advance. But iMuse allowed the composers to ... \u003cb\u003eplayer\u003c/b\u003e when enemy starfighters attacked. This kind of musical sound brand allows an orientation based upon the\u0026nbsp;..."},{"page_id":"PA101","page_number":"101","snippet_text":"... \u003cb\u003eplayer\u003c/b\u003e explores the urban planet Taris, the soundtrack turns into a rather atmospheric ambient piece. But as soon as the avatar gets into a fight or makes a decision resulting in his or her further affiliation towards the light or the\u0026nbsp;..."},{"page_id":"PA102","page_number":"102","snippet_text":"... \u003cb\u003eplayer\u003c/b\u003e . As in the films , the soundtrack transports the emotional journey of the main character , but contrary to the former , the protagonist\u0026#39;s fate is decided by interactions according to the game rules . The soundtrack cues which\u0026nbsp;..."},{"page_id":"PA103","page_number":"103","snippet_text":"... \u003cb\u003eplayer\u003c/b\u003e has to perform ridiculous tasks sooner or later. He or she can only decide to what degree the vain avatar participates in the deconstruction of his very own genre. For example, some ludicrous quests are optional, such as getting\u0026nbsp;..."},{"page_id":"PA104","page_number":"104","snippet_text":"... \u003cb\u003eplayer\u003c/b\u003e, and even allows him or her to include MP3 tracks from his or her own collection. In GTA – Vice City (2002), which features reams of references to 1980s pop culture such as the cult TV series Miami Vice and Brian De Palma\u0026#39;s\u0026nbsp;..."},{"page_id":"PA108","page_number":"108","snippet_text":"... \u003cb\u003eplayer\u003c/b\u003e has to find strategies to stay alive within a hostile environment (Lange 2005, Whalen 2004). Usually this genre is a subcategory of the “First Person (Ego-)Shooter”-Games (FPS), with the focus on fantasy and horror elements (e.g.\u0026nbsp;..."},{"page_id":"PA113","page_number":"113","snippet_text":"... \u003cb\u003eplayer\u003c/b\u003e and to guide his recep- tion) and diegetic sounds (sounds of fights that function as mini-narratives, height- ening the tension and alluding to the safety/danger binary, as well as psychological cues). This classification shows\u0026nbsp;..."},{"page_id":"PA114","page_number":"114","snippet_text":"... \u003cb\u003eplayer\u003c/b\u003e games and differentiate ideodiegetic sounds ( to be heard by one \u003cb\u003eplayer\u003c/b\u003e ) , telediegetic ( sounds from other \u003cb\u003eplayers\u003c/b\u003e ) and kinediegetic ( sounds from actions ) as well as exodiegetic signals ( from outside actions such as saving )\u0026nbsp;..."},{"page_id":"PA115","page_number":"115","snippet_text":"... \u003cb\u003eplayer\u003c/b\u003e finds a chainsaw in one of the logs at the edge of the road. Now there is a dynamic sound for the first time: the saw becomes louder as James comes closer, and, when he finally approaches the log and hits the \u0026#39;action\u0026#39; button, the\u0026nbsp;..."},{"page_id":"PA128","page_number":"128","snippet_text":"... \u003cb\u003eplayer\u003c/b\u003e. Considered from a formal standpoint, it makes no difference whether one enhances one\u0026#39;s avatar with genetic implants, as in Bioshock, so that he can uninhibitedly shoot flames, lightning and columns of ice from his hands, or\u0026nbsp;..."},{"page_id":"PA129","page_number":"129","snippet_text":"... \u003cb\u003eplayer\u003c/b\u003e in a god-like position and can, at least in this respect, be compared to other \u0026#39;sandbox\u0026#39; titles such as Peter Molyneux\u0026#39;s Black \u0026amp; White (2001) and Éric Chahi\u0026#39;s From Dust (2011). According to a conversation between Wright and\u0026nbsp;..."},{"page_id":"PA131","page_number":"131","snippet_text":"... \u003cb\u003eplayer\u0026#39;s\u003c/b\u003e actions and the corresponding ingame occurrences ? Composition of auditory scenes ( i.e. the sonority of specific places like jungles , wastelands , swamps and so on , also at different times of the day ) ? Are sounds treated\u0026nbsp;..."},{"page_id":"PA132","page_number":"132","snippet_text":"... \u003cb\u003eplayer\u0026#39;s\u003c/b\u003e character have a voice? ▫ What is the relation between written and spoken language? 2.4 Overall soundscape ▫ How do the different dimensions of game audio intertwine? ▫ Are there deliberate ruptures between categories of\u0026nbsp;..."},{"page_id":"PA133","page_number":"133","snippet_text":"... \u003cb\u003eplayer\u003c/b\u003e to the course of the game. The soundtrack keeps vanishing in many loading screens, thus breaking immersion. In some instances, however, music can be heard during loading breaks so as to anticipate on-screen occurrences. To give\u0026nbsp;..."},{"page_id":"PA138","page_number":"138","snippet_text":"... \u003cb\u003eplayer\u003c/b\u003e fail to press particular buttons in quick succession, is that his character will die a gruesome death. These death scenes, in turn, are earmarked by the music falling silent. Such musical ruptures draw special attention to the\u0026nbsp;..."},{"page_id":"PA144","page_number":"144","snippet_text":"... \u003cb\u003eplayer\u003c/b\u003e is confronted , as after every major fight , with a relatively peaceful phase , the acoustic atmosphere gains a conciseness , even though it hardly allows one to become calm . The first and foremost impression is one of a sort of\u0026nbsp;..."},{"page_id":"PA145","page_number":"145","snippet_text":"... \u003cb\u003eplayer\u0026#39;s\u003c/b\u003e initial nerve- racking experience can develop into one of noticeable enervation – despite all the internal trade euphoria regarding adaptive and dynamic audio. 5 Bibliography Bronfen, Elisabeth (2004): Liebestod und Femme\u0026nbsp;..."},{"page_id":"PA147","page_number":"147","snippet_text":"... \u003cb\u003eplayer\u003c/b\u003e. Johan Huizinga\u0026#39;s essay Homo Ludens (1939) shows that playing or gaming is an anthropological constant, and that culture is not only a result of playing activities, but evolves as play and in play (Huizinga 1987: 189). This\u0026nbsp;..."},{"page_id":"PA148","page_number":"148","snippet_text":"... \u003cb\u003eplayer\u003c/b\u003e with the actions fulfilled on the screen , it is the use of music as an atmos- pheric vehicle that both supports immersion and helps the \u003cb\u003eplayer\u003c/b\u003e to consider the game\u0026#39;s virtuality a kind of reality , a reality that , like his / her\u0026nbsp;..."},{"page_id":"PA149","page_number":"149","snippet_text":"... \u003cb\u003eplayer\u003c/b\u003e would have the impression that the game corresponds to the music . The actions thus seem to be characterized atmospherically by his / her own choice of music , which , in turn , allows the \u003cb\u003eplayer\u003c/b\u003e to identify with the former even\u0026nbsp;..."},{"page_id":"PA151","page_number":"151","snippet_text":"... \u003cb\u003eplayer\u003c/b\u003e without getting obnoxious and it must withstand repeated listenings.” (Peter McConnell, Adventures of a Composer, as cited in: Wood 2009: 132) Its power is the power of the background. Historical models can be found in narratives\u0026nbsp;..."},{"page_id":"PA152","page_number":"152","snippet_text":"... \u003cb\u003eplayer\u003c/b\u003e of the time , which is running out . They stimulate a physical response : the \u003cb\u003eplayer\u003c/b\u003e gets nervous , excited , raises his / her efforts , thus taking the risk of making mistakes . The Pac- Man - \u003cb\u003eplayer\u003c/b\u003e finds himself in a simple\u0026nbsp;..."},{"page_id":"PA153","page_number":"153","snippet_text":"... \u003cb\u003eplayer\u003c/b\u003e. In particular, games like Gran Turismo are ideal cases to be accompanied by any kind of music, since the music is not an integral part of a certain, non-exchangeable atmospheric environment, but an essential factor of the \u003cb\u003eplayer\u0026#39;s\u003c/b\u003e\u0026nbsp;..."},{"page_id":"PA154","page_number":"154","snippet_text":"... \u003cb\u003eplayer\u0026#39;s\u003c/b\u003e performance , which , of course , is surrounded by a specific diegetic sound design . Very different music with very similar functions was chosen for the RPG series Gothic ( 2001-2010 ) . The composer Kai Rosenkranz created an\u0026nbsp;..."},{"page_id":"PA155","page_number":"155","snippet_text":"... \u003cb\u003eplayer\u003c/b\u003e gets into a fight with some creature : \u0026quot; We try to accompany the game situation the \u003cb\u003eplayer\u003c/b\u003e is in as he walks around the world exploring landscapes . The music should be discretely in the background and highlight the joy of\u0026nbsp;..."},{"page_id":"PA156","page_number":"156","snippet_text":"... \u003cb\u003eplayer\u003c/b\u003e with topical music from the symphonic battlefields, which can be found in 19th century orchestral scores as well as in 20th century soundtracks: monumental choirs, rhythmic pulsation, timpani rolls, signals from the brass section\u0026nbsp;..."},{"page_id":"PA160","page_number":"160","snippet_text":"... \u003cb\u003eplayer\u003c/b\u003e impersonating iconic guitar heroes in the analogous game. Furthermore, a closer look will be taken at software and special- ized technical tools that supplement the creative abilities of unskilled music fans with a desire to\u0026nbsp;..."},{"page_id":"PA161","page_number":"161","snippet_text":"... \u003cb\u003eplayers\u003c/b\u003e to face the thrill and challenge of an unfamiliar plot. Getting one step closer to music from games ... \u003cb\u003eplayer\u003c/b\u003e and his animated avatar. Furthermore, the different levels of the story line offer some parallels to ballet\u0026nbsp;..."},{"page_id":"PA166","page_number":"166","snippet_text":"... \u003cb\u003eplayer\u0026#39;s\u003c/b\u003e moves to the beat of a backing track . Nevertheless it took nearly twenty years of technical progress and ... \u003cb\u003eplayers\u003c/b\u003e have to react according to the beat to gain credit points , Guitar Hero merged the do - it - yourself\u0026nbsp;..."},{"page_id":"PA167","page_number":"167","snippet_text":"... \u003cb\u003eplayer\u003c/b\u003e has to hit the buttons with his left hand. The decisive aspect of this graphical arrangement is that \u003cb\u003eplayers\u003c/b\u003e willingly accept the transfer of music into a graphical system, especially as the guitar as a perfect starter instrument\u0026nbsp;..."},{"page_id":"PA168","page_number":"168","snippet_text":"... \u003cb\u003eplayer\u003c/b\u003e with rock band mates on drums, vocals and bass in the complementary game Rock Band (2007) does not solve the question. Thinking about the creative limits of a very popular and entertaining game would not be even worth an issue if\u0026nbsp;..."},{"page_id":"PA192","page_number":"192","snippet_text":"... \u003cb\u003eplayer\u0026#39;s\u003c/b\u003e orien- tation . Jørgensen 2008 ) In Left4Dead ( 2008 ) , for example , each mighty enemy boss has his / her own leitmotif , showing the \u003cb\u003eplayer\u003c/b\u003e not only that a fight will come soon , but also the identity of the opponent before\u0026nbsp;..."},{"page_id":"PA201","page_number":"201","snippet_text":"... \u003cb\u003eplayers\u003c/b\u003e can listen to their own music during a game , which is possible on many platforms today but depends on ... \u003cb\u003eplayer\u0026#39;s\u003c/b\u003e perspective already means consuming the product . If the goal of subsequent purchase is to be reached , IGA\u0026nbsp;..."},{"page_id":"PA203","page_number":"203","snippet_text":"... \u003cb\u003eplayer\u003c/b\u003e can buy a currently played song , which would considerably diminish inhibition thresholds for purchasing ... \u003cb\u003eplayers\u003c/b\u003e really have to concentrate ( at least , partly ) on the music , which is not the case when they listen to a\u0026nbsp;..."},{"page_id":"PA204","page_number":"204","snippet_text":"... \u003cb\u003eplayer\u003c/b\u003e dislikes a particular song). From the games industry\u0026#39;s perspective, licensed music is not of the same importance for all music-based games. E.g. most tracks of the Dance Dance Revolution series (since 1998) were written by the\u0026nbsp;..."}],"search_query_escaped":"player"},{});</script></div></div></div><script>(function() {var href = window.location.href;if (href.indexOf('?') !== -1) {var parameters = href.split('?')[1].split('&');for (var i = 0; i < parameters.length; i++) {var param = parameters[i].split('=');if (param[0] == 'focus') {var elem = document.getElementById(param[1]);if (elem) {elem.focus();}}}}})();</script>