Imola Bülgözdi
ABSTRACT:
This article explores the communicative possibilities in the third-person walker Journey by Sony Computer Entertainment, which eschews verbal communication between player and game, and does not offer a channel for metagame interactions between players, despite the creators’ claim to provide entertainment that inspires human connection worldwide. The game has been praised for its innovative use of the online multiplayer option that only allows for chance meetings and a very limited repertoire of oral communication, leaving room for experimentation in a world lacking human language but rich in ambient sound beds. Although minimalist regarding player-initiated communication, Journey provides an exceptional atmospheric experience due to its Grammy-nominated and BAFTA Games Awards winning musical score, which foregrounds the affective potential of digital games. The soundscape encourages players from all over the world to travel together and share an adventure not only modelled on Campbell’s ‘the hero’s journey’ but also on Everyman’s. The decade-long continued interest in the game allows the article to focus on the circulation of affects involving the creators, the non-diegetic interpersonal communication between players, and the formation of a uniquely positive and supportive online fandom, which remains, in turn, an inspiration for the creators.
KEY WORDS:
affect theory, digital games, game studies, immersion, Journey, third-person walker, Zen games.
DOI:
10.34135/actaludologica.2024-7-SI.68-83
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