Ben Scholl and Milena Droumeva, 

School of Communication, Simon Fraser University, Burnaby, Canada

https://doi.org/10.1080/14735784.2023.2266159

Pages 161-178

Published online 10 November 2023

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Abstract

While its candy-coated shell may provide a clever camouflage for younger markets, this paper acknowledges that militarisation has been made pleasurable in more sensuous ways. Deploying gamespace soundwalking as a method, we attune to the ways Fortnite's sound design rehearses the neoliberal citizen-soldier on a sonic dimension. Yet, its capitalist priorities both corner youth markets while letting young players experiment with counterplay. To arrive at this conclusion, this paper illustrates the application of a novel method within game and sound studies – gamespace soundwalking. In the case of Fornite where the narrative context is individual military victory, the affective atmosphere ought to be one of keen attention to warfare, ambience and combat events. But how is war specifically depicted there? What is the significance of the sonic environment in forming a sense of place? We argue that method must take us beyond a semiotic analysis of the sonic components of Fortnite; we need a real-time ethnographic exploration of gameplay. In so doing, we tune in to Fortnite's ear-candy sound design as it exemplifies neoliberal standardisation of sound environments – masking grizzly conflict zones – as well as consumptive priorities that reach spectacular levels and the militarised Taylorist perfection of the citizen-soldier.

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