I published my first article in an academic journal in 2004, while working on my Ph.D. dissertation in media studies. The article was entitled ‘I Can See Tomorrow in Your Dance: A Study of Dance Dance Revolution and Music Video Games’.1 I was interested in how ‘DDR’ fan culture revealed some of the cultural and technological possibilities that emerged when music and dance became the means of interaction with digital games. When whole bodies, not just fingers, became involved, gameplay could become a public performance, as when DDR fans learnt the game patterns backwards so that they could turn round and face the crowd rather than watch the screen. I knew that my article was only scratching the surface of this rich area, and that there was much more to be said about the intersection of games, music and bodies. As often happens in postgraduate study, my plan of research veered off in another direction, and I did not continue this line of investigation. Fast forward to today, and I am happy to report that the ‘tomorrow’ which I had perceived so dimly ten years ago is materializing today. That is to say, music video games are getting

中文翻译：

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我可以在你的语言音乐学中看到明天

2004 年，我在攻读博士学位期间在学术期刊上发表了我的第一篇文章。媒体研究论文。这篇文章的标题是“我可以在你的舞蹈中看到明天：舞蹈革命和音乐视频游戏的研究”。1 我对“DDR”粉丝文化如何揭示音乐和舞蹈时出现的一些文化和技术可能性很感兴趣成为与数字游戏互动的手段。当全身而不仅仅是手指都参与进来时，游戏玩法就可以成为一种公开表演，就像DDR粉丝向后学习游戏模式，这样他们就可以转身面对人群而不是看屏幕。我知道我的文章只是触及了这个丰富领域的皮毛，关于游戏、音乐和身体的交叉点还有很多要说的。正如在研究生学习中经常发生的那样，我的研究计划转向了另一个方向，我没有继续这方面的调查。快进到今天，我很高兴地报告，十年前我如此模糊地感知的“明天”今天正在实现。也就是说，音乐视频游戏越来越