Contemporary audiovisual objects unify sound and moving image in our heads via the screen and speakers/headphones. The synchronization of these two channels remains one of the defining aspects of contemporary culture. Video games follow their own particular form of synchronization, where not only sound and image, but also player input form a close unity.1 This synchronization unifies the illusion of movement in time and space, and cements it to the crucial interactive dimension of gaming. In most cases, the game software’s ‘music engine’ assembles the whole, fastening sound to the rest of the game, allowing skilled players to synchronize themselves and become ‘in tune’ with the game’s merged audio and video. This constitutes the critical ‘triple lock’ of player input with audio and video that defines much gameplay in digital games.