The Music of Tomorrow, Yesterday! Music, Time and Technology in BioShock Infinite
The Music of Tomorrow, Yesterday! Music, Time and Technology in BioShock Infinite
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明天的音乐，昨天的音乐！
DOI：
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发表时间：
2014
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影响因子：
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通讯作者：
A. Ivanescu
中科院分区：
文献类型：
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作者：
A. Ivanescu
肯尼斯·安格、大卫·林奇和昆汀·塔伦蒂诺等电影制片人充分利用了流行音乐对观众产生的令人不安的影响。最近，视频游戏也效仿了他们的做法，《侠盗猎车手》、《辐射》和《生化奇兵》等特许经营权都将音乐作为其故事和玩家体验的一个组成部分。《生化奇兵：无限》更进一步，将过去的流行音乐和现在的流行音乐编织成一个关于时间旅行、多元宇宙和自由意志的引人入胜的故事。《生化奇兵》系列的第三部以漂浮的城市哥伦比亚为背景。这部1912年的影片绝对是蒸汽朋克风格的，在叙事的关键时刻大量使用了过去的流行音乐，同时也使用了少量过时的现代流行音乐（主要是20世纪80年代的流行音乐）。音乐成为哥伦比亚不可分割的一部分，也是玩家体验不可分割的一部分。虽然音景与环境的其他部分相匹配，但不合时宜的封面似乎是针对玩家的，只有一个人会认出它们是不合时宜的。玩家在这里是时间旅行者，甚至比他们所扮演的角色更重要，这使得BioShock Infinite成为时间旅行和旅游体验的最真实代表之一。
Filmmakers such as Kenneth Anger, David Lynch and Quentin Tarantino have taken full advantage of the disconcerting effect that pop music can have on an audience. Recently, video games have followed their example, with franchises such as Grand Theft Auto, Fallout and BioShock using appropriated music as an almost integral part of their stories and player experiences. BioShock Infinite takes it one step further, weaving popular music of the past and pop music of the present into a compelling tale of time travel, multiverses, and free will. The third installment in the BioShock series has as its setting the floating city of Columbia. Decidedly steampunk, this vision of 1912 makes considerable use of popular music of the past alongside a small number of anachronistic covers of more modern pop music (largely from the 1980s) at crucial moments in the narrative. Music becomes an integral part of Columbia but also an integral part of the player experience. Although the soundscape matches the rest of the environment, the anachronistic covers seem to be directed at the player, the only one who would recognise them as out of place. The player is the time traveller here, even more so than the character they are playing, making BioShock Infinite one of the most literal representations of time travel and the tourist experience which video games can represent.