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So to enhance this evolved area of the game, the team brought in film soundtrack composer Ilan Eshkeri, who has previously worked on movies like Young Victoria, Layer Cake and KickAss. Whether you're interacting and socialising with other sims or playing with the various objects that are out there - it all lets you do new cool things." Emotions are now a really impactful part of gameplay that unlock new situations. "You look at past sims games and we bring that out in artificial ways, but this is our opportunity to really capitalise on how lifelike they can be and let you tell new stories based on that. "Emotions are really a launching point into having really believable, very intelligent sims," says producer Graham Nardone.

Using a new AI technology the company is calling "smart sim", your onscreen characters will react to the world and its inhabitants in new ways, becoming angry, falling in love, or breaking down in tears, in response to what happens. Except this time, changes in the gameplay have encouraged the studio to put even more emphasis on the impact of the soundtrack. That process is happening again with Sims 4, the latest addition to the series, due out this autumn. Several well-known composers have worked on the game's background scores, providing short stabs of music to accompany key onscreen events. Sims are even able to switch on the radio, often hearing amusing versions of real-life pop songs, rerecorded in "simlish", the game's gibberish language. And for players, all of that fascinating stuff, as well as building new houses and designing fresh sims character, is accompanied by music. On the screen, virtual humans go about their lives, falling in and out of love with each other, developing their careers, having families.

Ever since the original title arrived in 2000, revolutionalising the whole concept of the life simulation, music has been an important part of the experience. This is something that Maxis, the developer behind the hugely successful Sims series, has always appreciated.

Consciously or unconsciously, we assign motion picture scores to our lives – a first kiss, a break-up, a re-union – all can be brought back by the right melody. It could be a song we heard on the radio that haunts us for the rest of the day, or it may be something that swells up unaccountably from memory, some favourite tune brought to the surface by a waft of perfume, or familiar place. Most of us have an internal soundtrack - we may not always notice it, but it is there.