Conclusion

Abstract

Abstract The book’s conclusion returns to the introduction’s case study of Hades, this time viewed through the lens of the four categories of hearing discussed in Chapters 1–4. After reviewing the context and possible relevance of these categories for contemporary video game music scholarship, the conclusion discusses the potential for other ways of hearing by way of three examples. First there is the case of hearing something as ‘bad music’, which is compared to earlier case studies in the book. Then there is the issue of hearing an ‘author’ behind a video game soundtrack in light of controversy. Finally, the idiosyncrasies of hearing ‘voice’ in video game music are discussed.