earticle

영어

This paper explores the functional, historical, and artistic significance of music and sound in video games including computer g. As the gaming industry has evolved from its early technological limitations into a sophisticated form of interactive media, audio has emerged as a central element in shaping player immersion and emotional engagement. Game sound, encompassing both background music and sound effects, is no longer a supplementary feature but a fundamental component of modern game design. The study examines how audio elements function interactively in games, particularly in enhancing realism, providing feedback, and supporting narrative progression. The historical development of game audio is traced from the simple 4-channel mono sounds of early consoles to the high-fidelity, cinematic soundscapes of contemporary titles. Special emphasis is placed on the importance of repetition in game music composition, distinguishing it from commercial music. The paper also analyzes genre-specific approaches to game music, highlighting the use of orchestral, electronic, rock, hip-hop, and fusion styles tailored to various gameplay experiences. Furthermore, it profiles influential composers—including Koji Kondo, Glenn Stafford, Mick Gordon, Jesper Kyd, and Hans Zimmer—who have significantly shaped the evolution of video game music. The contributions of Korean composer Yang Seung-hyuk are also discussed as part of the growing international presence of Korean game soundtracks. In conclusion, this study underscores that music and sound are indispensable to the game development process, enhancing not only the emotional and narrative depth of games but also their artistic value. As video games continue to integrate with other forms of media, the role of audio will remain vital in defining the future of interactive entertainment.