Game Music and Mood Attenuation: How Game Composers Can Enhance Virtual Presence (Pt. 4)

Working on the music of the Scraper: First Strike VR game, Winifred Phillips is here shown in her professional music production studio.

By Winifred Phillips | Contact | Follow

Delighted you’re here!  I’m video game composer Winifred Phillips, and I’m happy to welcome you back to the last of my four-part article series exploring how game music can best enhance the sensation of 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). If you haven’t read the previous three articles, you’ll find them here:

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Game Music and Empathy: How Game Composers Can Enhance Virtual Presence (Pt. 3)

This photo shows video game composer Winifred Phillips working in her music production studio. Phillips has composed music for titles in five of the most popular franchises in gaming (Assassin's Creed, God of War, Total War, LittleBigPlanet, The Sims).

By Winifred Phillips | Contact | Follow

Delighted you’re here!  I’m video game music composer Winifred Phillips.  Welcome back to our four part discussion of how game music can enhance presence in awesome virtual reality video games! These articles are based on the presentation I gave at this year’s gathering of the famous Game Developer’s Conference in San Francisco.  My talk was entitled How Music Enhances Virtual Presence (I’ve included the official description of my talk at this end of this article). If you haven’t read the previous two articles, you’ll find them here:

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Composer Winifred Phillips answers Reddit’s questions in viral Ask-Me-Anything about video game music

Photo of popular video game composer Winifred Phillips, taken as 'proof photo' for her recent viral Reddit Ask-Me-Anything that hit the Reddit front page, receiving 14.8 thousand upvotes and garnering Reddit's gold and platinum awards.

By Winifred Phillips | Contact | Follow

Glad you’re here!  I’m video game music composer Winifred Phillips, and I’m the author of the book A Composer’s Guide to Game Music.  Recently my publisher The MIT Press requested that I host a question and answer session on Reddit’s famous Ask Me Anything forum, to share my knowledge about game music and spread the word about my book on that topic.  I’d be answering questions from a community consisting of thousands of gamers, developers and aspiring composers.  It sounded like fun, so last Thursday and Friday I logged onto Reddit and answered as many questions as I possibly could.  It was an awesome experience!  Over the course of those two days, my Reddit AMA went viral.  It ascended to the Reddit front page, receiving 14.8 thousand upvotes and garnering Reddit’s gold and platinum awards.  My AMA has now become one of the most engaged and popular Reddit gaming AMAs ever hosted on the Ask-Me-Anything subreddit.  I’m so grateful to the Reddit community for their amazing support and enthusiasm!!  During the course of those two days, the community posed some wonderful questions, and I thought it would be great to gather together some of those questions and answers that might interest us here.  Below you’ll find a discussion focused on the art and craft of game music composition.  The discussion covered the gamut of subjects, from elementary to expert, and I’ve arranged the discussion below under topic headings for the sake of convenience.  I hope you enjoy this excerpted Q&A from my Reddit Ask-Me-Anything!  If you’d like to read the entire AMA (which also includes lots of discussion of my past video game music projects), you’ll find the whole Reddit AMA here.

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VR for the Game Music Composer: Audio for VR Platforms

In this article written for video game composers, Winifred Phillips (video game composer) is here pictured working in her music production studio on the music for the Scraper: First Strike game, developed for popular VR gaming platforms (PSVR, Oculus Rift, HTC Vive).

By Winifred Phillips | Contact | Follow

Hello there!  I’m video game music composer Winifred Phillips.  Lately, I’ve been very busy in my production studio composing music for a lot of awesome virtual reality games, including the upcoming Scraper: First Strike first person VR shooter (pictured above) that’s coming out next Wednesday (November 21st) for the Oculus Rift, HTC Vive and Windows Mixed Reality Devices, and will be released on December 18th for the Playstation VR.  My work on this project has definitely stoked my interest in everything VR!  Since the game will be released very soon, here’s a trailer video released by the developers Labrodex Studios, featuring some of the music I composed for the game:

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Video game music systems at GDC 2017: tools and tips for composers

Photo of video game composer Winifred Phillips, working in her music production studio on the music of the SimAnimals video game.

By video game composer Winifred Phillips | Contact | Follow

Welcome back to this three article series that’s bringing together the ideas that were discussed in five different GDC 2017 audio talks about interactive music!  These five speakers explored discoveries they’d made while creating interactivity in the music of their own game projects.  We’re looking at these ideas side-by-side to broaden our viewpoint and gain a sense of the “bigger picture” when it comes to the leading-edge thinking for music interactivity in games. We’ve been looking at five interactive music systems discussed in these five GDC 2017 presentations:

In the first article, we examined the basic nature of these interactive systems. In the second article, we contemplated why those systems were used, with some of the inherent pros and cons of each system discussed in turn.  So now, let’s get into the nitty gritty of tools and tips for working with such interactive music systems.  If you haven’t read parts one and two of this series, please go do so now and then come back:

  1. Video game music systems at GDC 2017: what are composers using?
  2. Video game music systems at GDC 2017: pros and cons for composers

Ready?  Great!  Here we go!

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Video game music systems at GDC 2017: pros and cons for composers

Video game composer Winifred Phillips, pictured in her music production studio working on the music of LittleBigPlanet 2 Cross Controller

By Winifred Phillips | Contact | Follow

Welcome back to our three article series dedicated to collecting and exploring the ideas that were discussed in five different GDC 2017 audio talks about interactive music!  These five speakers shared ideas they’d developed in the process of creating interactivity in the music of their own game projects.  We’re looking at these ideas side-by-side to cultivate a sense of the “bigger picture” when it comes to the leading-edge thinking for music interactivity in games. In the first article, we looked at the basic nature of five interactive music systems discussed in these five GDC 2017 presentations:

If you haven’t read part one of this article series, please go do that now and come back.

Okay, so let’s now contemplate some simple but important questions: why were those systems used?  What was attractive about each interactive music strategy, and what were the challenges inherent in using those systems?

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Video game music systems at GDC 2017: what are composers using?

By video game music composer Winifred Phillips | Contact | Follow

Video game composer Winifred Phillips, presenting at the Game Developers Conference 2017.The 2017 Game Developers Conference could be described as a densely-packed deep-dive exploration of the state-of-the-art tools and methodologies used in modern game development.  This description held especially true for the game audio track, wherein top experts in the field offered a plethora of viewpoints and advice on the awesome technical and artistic challenges of creating great sound for games. I’ve given GDC talks for the past three years now (see photo), and every year I’m amazed at the breadth and diversity of the problem-solving approaches discussed by my fellow GDC presenters.  Often I’ll emerge from the conference with the impression that we game audio folks are all “doing it our own way,” using widely divergent strategies and tools.

This year, I thought I’d write three articles to collect and explore the ideas that were discussed in five different GDC audio talks.  During their presentations, these five speakers all shared their thoughts on best practices and methods for instilling interactivity in modern game music.  By absorbing these ideas side-by-side, I thought we might gain a sense of the “bigger picture” when it comes to the current leading-edge thinking for music interactivity in games. In the first article, we’ll look at the basic nature of these interactive systems.  We’ll devote the second article to the pros and cons of each system, and in the third article we’ll look at tools and tips shared by these music interactivity experts. Along the way, I’ll also be sharing my thoughts on the subject, and we’ll take a look at musical examples from some of my own projects that demonstrate a few ideas explored in these GDC talks:

So, let’s begin with the most obvious question.  What kind of interactive music systems are game audio folks using lately?

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