Abstract
Abstract Jazz soundtracks in film-noir-inspired detective video games are the focus of Jacob Collins’s chapter. The use of jazz in such games is leveraged by game developers to quickly convey framing information to players, a device adapted from the use of jazz in cinematic genres such as film noir and the later neonoir, but, as Collins notes, such tropes and clichés can be problematic. The chapter demonstrates how jazz is used to frame these games in the noir genre, but Collins also shows how the use of jazz in game noir can all too often reinforce and play to the racist and misogynistic stereotypes that came to be associated with the music through its representation in early film noir.
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