So…here’s the short version:
A structuralist/semiotic analysis of diegetic and non-diegetic sound in the game BioShock and how signifiers are decoded by users and how user experience is affected by whether or not they pick up on dated references.
Part of what makes BioShock such an incredible game is the setting/environment and sound is a huge part of this. BioShock takes place in 1960 in the underwater city of Rapture, a failed attempt at utopia by a strange and psychotic Nazi scientist. The soundtrack includes music fromt the 1950s and there are many other dated references that the user may or may not pick up on. If the user does pick up on these references, he/she has a particular experience. If the user doesn’t pick up on these references, he/she has a different experience. Neither experience is less significant or enjoyable than the other, just different.
If ‘sound’ is not a large enough area to get a paper out of, I will consider looking at the setting/environment of the game as a whole as there are many dated references in other areas.