This is an attempt at a preliminary analysis of an audio-only game for the iPhone and iPad: Papa Sangre. The paper firstly sets out the context for such a novel choice of subject and argues for the experience of audio-only gaming as worthy of analysis alongside electroacoustic music. It proposes that the only completely satisfactory approach to analysing interactive music, especially in games, would be transdisciplinary. It acknowledges that this paper is far from that ideal. Nevertheless, it then analyses the game up to the end of the third level, by referring to audio files of captured gameplay. http://www.ioct.dmu.ac.uk/people/ahugill/papasangre.html
The first analysis is based on critical listening and interaction. Then consideration is given to the semiotic aspects. Finally an attempt is made to apply Brigid Costello’s ‘Pleasure Framework’ to the analysis. The paper concludes by assessing the aesthetic and musical value of an audio-only game within the context of electroacoustic music analysis.
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