Video game composers can make you smarter! (The music of Dragon Front) Pt. 3

Winifred Phillips, video game music composer, pictured at the GDC 2016 display for the Dragon Front virtual reality game.

By Winifred Phillips | Contact | Follow

Welcome to the third (and final) article in this three-part discussion of how video game composers (like us) can make strategy gamers smarter!  We’ve been exploring the best ways that the music of game composers can help strategy gamers to better concentrate while making more sound tactical decisions. During this discussion, I’ve shared my personal perspective as the composer for the popular Dragon Front strategy game for VR.

In part one, we discussed the concept of ‘music-message congruency,’ so if you haven’t read that article yet, you can read it here.  In part two, we explored the meaning of ‘cognition-enhancing tempo’ – you can read that article here.  Please make sure to read both those articles first and then come back.

Are you back?  Awesome!  Let’s launch into a discussion of the third technique for increasing the smarts of strategy gamers!

Tension-regulating affect

From the article by game composer Winifred Phillips, an illustration of 'psychological affect.'In psychology, the term ‘affect’ refers to emotion, particularly in terms of the way in which such emotional content is displayed.  Whether by visual or aural means, an emotion can not be shared without some kind of ‘affect’ that serves as its mode of communication from one person to another.  When we’re happy, we smile.  When we’re angry, we frown.

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Video game composers can make you smarter! (The music of Dragon Front) Pt. 2

Pictured: Winifred Phillips (video game music composer) in her studio working on the music of the Dragon Front virtual reality game.

By Winifred Phillips | Contact | Follow

Welcome back to our three-part discussion of how video game composers (such as ourselves) can make strategy gamers smarter!  In these articles, we’re looking at ways in which our music can enhance concentration and tactical decision-making for players engrossed in strategic gameplay.  Along the way, I’ve been sharing my personal experiences as the composer for the Dragon Front strategy game for virtual reality.  Over the course of these articles we’ll be covering three of the top concepts that pertain to the relationship between music and concentration.  In part one, we discussed the concept of ‘music-message congruency,’ so if you haven’t read that article yet, please go check it out and then come back.

Are you back now?  Good!  Let’s move on to the second big technique for increasing the smarts of strategy gamers!

Cognition-enhancing tempo

As video game composers, we create music in a wide variety of tempos designed to support the energy of play and the pacing of the game’s overall design.  From leisurely tracks that accompany unstructured exploration to frenetic pieces that support the most high-stakes combat, our music is planned with expert precision to shape the excitement level of players and keep them motivated as they progress.

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Video game composers can make you smarter! (The music of Dragon Front) Pt. 1

Video game composer Winifred Phillips, pictured in her music studio working on the original score for the Dragon Front virtual reality game.

Can video game composers make you smarter?  Well, video gaming can be a pretty cerebral activity, requiring astute problem-solving skills and disciplined concentration in order to excel.  That’s especially true for any game built around strategic and/or tactical gameplay, such as real-time or turn-based strategy, tactical shooters, multiplayer online battle arenas (MOBAs), and online collectible card strategy games.  To succeed in these types of games, players must assess the current situation and formulate a plan that accounts for future developments and variables.  Without this type of tactical forward-thinking gameplay, a gamer has little chance to win.  So, can music enable gamers to think tactically, stay focused and make smart decisions?  Over the next three articles, I’ll try to answer that question, while exploring the role of music in enhancing the concentration of strategic/tactical gamers.

Along the way, we’ll be taking a look at some scholarly research on the subject, consulting the opinions of experts, and I’ll be sharing my experiences creating the music for the recently released Dragon Front strategy game from High Voltage software.  We’ll check out some music tracks I composed for the popular Dragon Front game (pictured at the top of this article), and we’ll discuss methods for supporting and enhancing concentration for strategic/tactical game players.  But first, let’s take a closer look at the Dragon Front game.

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Music Game Plan: Tactics for the Video Game Composer (Part Four)

Video game music composer Winifred Phillips, shown working on the music of LittleBigPlanet 2 Toy Story.Welcome to the fourth and final installment of my four-part series on the basic structure and utility of interactive music systems, including video demonstrations that clarify the concepts. In Part One of this series, we examined a simple Horizontal Re-Sequencing model of interactive music, as used in the Speed Racer Videogame from Warner Bros. Interactive. Part Two of this series explored the more advanced Horizontal Re-sequencing system of the Spore Hero game from Electronic Arts.  In Part Three of this series, we learned about the simple Vertical Layering system of The Maw video game.  So now let’s take a look at a much more ambitious execution of vertical layering.

Our discussion of Vertical Layering will focus on its use in one of my projects: The LittleBigPlanet 2: Toy Story video game (photo above). As opposed to the three layer music system we discussed in the previous article, this vertical layering music model for the LittleBigPlanet 2: Toy Story game features six layers, all able to function simultaneously. To make this possible, the layers needed to be most carefully constructed.  In my book, A Composer’s Guide to Game Music, I talked at length about how musical events can best be vertically constructed for the purposes of such complex interactive implementation. That discussion included an exploration of what ‘vertical’ means in the context of such a music system:

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Music Game Plan: Tactics for the Video Game Composer (Part Three)

video game music composer Winifred Phillips, working in her studio on the music of The Maw video game.Welcome to the third installment of my four-part article series on the core principles of music interactivity, including video demonstrations and supplementary supporting materials that take these abstract concepts and make them more concrete.  In Part One of this series, we took a look at a simple example demonstrating the Horizontal Re-Sequencing model of musical interactivity, as it was used in the music I composed for the Speed Racer Videogame from Warner Bros. Interactive. Part Two of this series looked at the more complex Horizontal Re-sequencing music system of the Spore Hero game from Electronic Arts.  So now let’s move on to another major music interactivity model used by video game composers – Vertical Layering.

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Music Game Plan: Tactics for the Video Game Composer (Part Two)

Composer Winifred Phillips working on the music of the popular Spore Hero video game from Electronic Arts.

Welcome back to my four-part article series presenting videos and helpful references to aid aspiring game music composers in understanding how interactive music works. In Part One of this series, we took a look at a simple example demonstrating the Horizontal Re-Sequencing model of musical interactivity, as it was used in the music I composed for the Speed Racer Videogame from Warner Bros. Interactive.  Now let’s turn our attention to a more complex example of horizontal re-sequencing as demonstrated by the interactive music of the Spore Hero game from Electronic Arts.

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Music Game Plan: Tactics for the Video Game Composer (Part One)

Video game composer Winifred Phillips, working on the music of Speed Racer the Video Game.

Interactive music is always a hot topic in the game audio community, and newcomers to game music composition can easily become confused by the structure and process of creating non-linear music for games.  To address this issue, I produced four videos that introduce aspiring video game composers to some of the most popular tactics and procedures commonly used by game audio experts in the structuring of musical interactivity for games.  Over the next four articles, I’ll be sharing these videos with you, and I’ll also be including some supplemental information and accompanying musical examples for easy reference.  Hopefully these videos can answer some of the top questions about interactive music composition.  Music interactivity can be awesome, but it can also seem very abstract and mysterious when we’re first learning about it. Let’s work together to make the process feel a bit more concrete and understandable!

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