There's a moment at the beginning of Saints Row IV, where the Boss is climbing up the side of a rocket equipped with a nuclear warhead in an attempt to disarm it and save the day at this risk of his or her own life. Aerosmith's I Don't Wanna Miss A Thing roars in the background as characters take turns talking about how much they care about the Boss. It's a moment that works as well as it does thanks in no small part to that piece of licensed music and its associations outside of Saints Row IV. By putting it on at that exact moment, the developers bring forth memories of Bruce Willis, Ben Affleck, animal crackers and Liv Tyler from 1999's Armageddon. The entire scene is lifted up by that song choice, elevating what would have been a fun little gameplay section into the hilarious, brilliant moment in which I decided to give my full attention to Saints Row IV.

Music affects us in a myriad of ways; it's capable of cutting to the very emotional core of who we are. Licensed tracks, when used properly, can enhance a title in a way music created specifically for the game cannot, bringing outside experiences with those songs -- and all the feelings and emotional connections a player has with that particular piece of music -- with it. Music and memory are deeply linked, and exploiting those links can result in an in-game moment that resonates with the audience.