So happy you’ve joined us! I’m video game composer Winifred Phillips, and this is the continuation of our four-part discussion of how music can enhance presence in virtual reality. These articles are based on the presentation I gave at this year’s Game Developer’s Conference in San Francisco, entitled How Music Enhances Virtual Presence (I’ve included the official description of my talk at this end of this article). In my GDC talk, I discussed Virtual Presence in connection with seven of the virtual reality games and experiences that I’ve scored, which have either released within the past year or will be released within the coming months. These include Audioshield (Audiosurf LLC), Bebylon Battle Royale (Kite & Lightning), Fail Factory (Armature Studio), The Haunted Graveyard (Holospark), Life Hutch VR (Next Stop Willoughby), Scraper: First Strike (Labrodex Inc), and Shattered State (Supermassive Games). If you missed the first article exploring how Flow can support Virtual Presence in VR gaming, please go check that article out first.
Are you back? Great! Let’s continue!
Now that we’ve taken a look at how Flow can best enable Virtual Presence in VR, let’s look at the second mechanism by which music enables Virtual Presence:
In a paper presented at the Computer-Human Interaction conference, a research team from Carnegie-Mellon defined Virtual Presence as “the extent to which a person’s Cognitive and perceptual systems are tricked into believing they are somewhere other than their physical location.” This assertion formed the jumping-off point for two researchers from University College London, who set out to define what specific circumstances could lead to Virtual Presence in gaming. They developed a model for how gamers developed the psychological attachment necessary to achieve Virtual Presence. Their model consists of three stages:
So let’s start with the first stage.