In his analysis of the video game Papa Sangre, Hugill (2012) usefully sums up the interactivity that takes place in an audio-based game:
“[audio-based games] emphasise the experiential aspects of the music by blurring the distinction between composer, performer and audience. The gamer, in effect, becomes all three, shaping and interacting with the sonic content through a series of decisions that create a highly engaging auditory experience” (p. 3).
I found this useful in thinking through the relationship between game and gamer in audio-based games. Interactivity will inevitably change the soundscape of our game. Can we exploit an interactive soundscape to convey a specific aspect of sex work?
Another thing to consider is that effective sound games count on the active imagination of the players to fill in what is missing visually. It’s important to consider the preconceptions many players may already have about sex workers, and how these may be activated during gameplay. It would be interesting if our game could comment on the potential stereotypes floating around in our players’ heads.