| Abstract | Fighting games and rhythm games are two popular genres of action games, games in which real-time input is tracked and assessed by the game system. While not all are programmed to a musical track, use of signal and singalong listening (Huron, 2002; (Chion and Gorbman, 2018) are essential to how the player interacts with and understands the game world in both genres. To do this the paper employs technical discussion of collision detection (how virtual objects intersect, and thus, interact (Schwarzl, 2012; Ericson, 2005)) alongside Lefevbre’s (2004) rhythmanalysis, which looks at how we use musical listening and rhythmic understanding in everyday life, to unify discussion of how players experience and interpret both rhythm (time) and collision detection (space) in their understanding of game goals and the diegesis. Although there is literature that explores the role of rhythm in learning and everyday action (Bégel et al, 2017; Alvarez-Molina et al., 2023; Collins, 2013; Thaut and Mcintosh, 2014; Thaut, 2015; Costello, 2016), both fighting and rhythm games are relatively peripheral and underexplored in academia regarding how they use rhythm and collision detection together to help construct the diegesis (or fictional world) of a game (Walton, 1993). This paper seeks to conduct a rhythmanalysis of collision detection in these action games that examines how real-time player input is organised or performed in space and time to help inform players about the diegesis of the game and vice versa. The discussion will be investigated through case studies of several action games: Thumper (2016), Hi-Fi Rush (2023), and Street Fighter 6 (2023); a rhythm game, rhythm-based action game, and fighting game respectively. Together they represent a cross-section of action games and a variety of ways in which a key challenge of the game (timed button presses that rely on knowledge of precise collision detection events) is understood and expressed through rhythm requiring the use of signal and singalong listening. Each has a diegesis through which rhythm and collision detection interact to make clear both the fictional world and underlying structure of each game, working with or subverting the role of audio as an interface into the game world. This paper will thus be useful for discussing how rhythm and collision operate in terms of game design, storytelling, and learning. We conclude our discussion by summarising the characteristics identified so far across the case studies. These characteristics are not suggested as a completely comprehensive taxonomy or ontology of chronotopical features of action games but are the start of a conversation that aims to unite them for further discussion. It is suggested here that, together, Rhythm and Collision Detection form the molecule of the action game, the compound element of the play experience, termed here ‘rhythm-collisions’. We have established several parts that make different rhythm collisions distinct: Measure; Degree of Constraint [in space and time]; Player Performance; as well as describing the types of listening or actions required. Rhythm collisions are both sensed and practiced in all the case studies with different types of listening required for certain gameplay contexts. |
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