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In the 2012 video game Journey, music is an important component of the playing experience. This study adopts an interdisciplinary approach, drawing on narratology, semiology, and film-sound theory to examine the relationship between music, narrative, and emotion in Journey. After first discussing video games' interactivity in general, philosopher Dominic Lopes' theory of digital art is presented as a means of articulating the interactive aspects of Journey's soundtrack. Theories set out bydoi:10.5206/notabene.v10i1.6613 fatcat:sheifppwhfhktjtk6cychbkxxy