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Tue, 28 Jul 2020 10:30:00 -0400
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Editors: Lisa Scoggin & Dana Plank

Animation and video games have always been inextricably linked. After all,
what a player sees on the screen is animated in some fashion, whether
through the moving pixel art, CGI, cut scenes, or hand-drawn animation in
the game itself. In both video games and in animation, the world is
entirely constructed. In animated film, everything from the food on a table
to the birdsong in the background must be thought out by its creators. In
video games, the developers have already planned for and encoded the
boundaries to what a player can experience. Likewise, music and sound have
long been an integral part of both animation and video games. In part
because both worlds are preconstructed, the sound seems in many ways even
more important than live action. They fill the voids when there is little
to no movement; they cue in both the audience and the player what is about
to happen; they help to create worlds that don't exist in reality.

Despite these connections, relatively little has been written on this
cross-section of video games, animation, and music and sound. But this is
an area which is rife with possibilities, and for which investigations of
the topic may apply to other areas, perhaps even expanding the
possibilities and directions of study in the adjoining fields. This book
looks to examine these intersections, considering their influences on each
other, the similarities and differences in which music and sound are used
in them, and the ways in which they work (or don't work) together to affect
the flow and structure of the work as a whole.

It will be split into three sections: works where animation influenced the
video game(s) (e.g. *Cuphead*), works where video games influenced the
animation (e.g. the *Ni No Kuni* show on Netflix), and instances where
there is a mashup of the two (such as *Dragon's Lair*), along with more
generally based material.

We are looking for chapters to fill out this collection. They should be
6,000 - 8,000 words (including endnotes). The best chapters will go beyond
basic descriptions of adaptation or usage and engage in other topics, such
as nostalgia, gender studies, representations of race in music, cultural
history, etc. Please send an abstract (no more than 300 words), a brief
bio, and a list of keywords to danamplank -at-

Abstracts are due by October 15th, 2020; if accepted, chapters will be due
October 2021.


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