From the video game music of EA’s Spore Hero to Avengers Endgame: Composing the Hero Theme

Photo of composer Winifred Phillips working on the video game music of Spore Hero from Electronic Arts.

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The famous Avengers Endgame logo, from the article by video game composer Winifred Phillips.Hi!  I’m video game music composer Winifred Phillips, and sometimes my game music shows up in places I never would have expected.  A little over a week ago, while I was eagerly watching an awesome trailer for the just-released blockbuster Avengers Endgame, I was suddenly stunned to hear my own music in it!  (I’ve embedded the Avengers Endgame trailer that features my music at the end of this article.)  What made this moment even more jaw-dropping for me was that I had originally composed this music for the video game Spore Hero (a game from Electronic Arts’ popular Spore franchise).  Just as a reference, here’s what the characters look like in Spore Hero:

Detail from cover image of popular video game Spore Hero (from the article by Winifred Phillips, video game composer).

The style of Spore Hero couldn’t be further away from that famous Avengers style, as expertly displayed in the Avengers Endgame trailer.  Yet the same music was used for both projects.

The famous faces of Avengers Endgame depicted in the official poster (an illustration from the article by video game composer Winifred Phillips)

The Spore Hero music I was hearing in the Avengers Endgame trailer was my “Hero Theme,” which functions essentially as a leitmotif within the Spore Hero score – it’s the central recurring melody in the game.  By virtue of the theme-and-variation technique, the melody undergoes a gradual transformation from invitingly cute to heroically epic.

The Avengers Endgame trailer featured the most dramatic iteration of this theme.  When I recovered from the initial surprise, it occurred to me that a mini-postmortem of this particular melodic theme might be the best way to explore an interesting topic: how does a single theme transform itself from an amiable melody to an avenging one?

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Video game music composer gives lecture at the Library of Congress

Photo of video game music composer Winifred Phillips giving a lecture at the Library of Congress (Whittall Pavilion, Thomas Jefferson Building, Washington DC). Winifred Phillips' lecture was the first video game music composition lecture given at the Library of Congress.

By Winifred Phillips | Contact | Follow

On April 6th I was honored to give a lecture at the Thomas Jefferson Building of the Library of Congress in Washington DC (pictured right).  As a video game composer, I’d been invited to speak by the Music Division of the Library of Congress.  I’d be delivering the concluding presentation during their Popular video game music composer Winifred Phillips is here shown outside the Thomas Jefferson Building (Library of Congress, Washington DC), where she gave the first-ever video game music composition lecture at the invitation of the music division of the Library of Congress.premiere event celebrating popular video game music.  My lecture would be the very first video game music composition lecture ever given at the Library of Congress.  I was both honored and humbled to accept the invitation and have my lecture included in the 2018-2019 season of concerts and symposia from the Library of Congress.

In my presentation, I included many topics that I’ve written about in previous articles.  My lecture topics included horizontal resequencing, vertical layering, and interactive MIDI-based composition. I explored the various roles that music has played in famous games from the earliest days of game design (like Frogger and Ballblazer).  I also discussed how music has been implemented in some of the awesome games from the modern era (like one of my own projects, Assassin’s Creed Liberation).

My lecture was supported by a full house in the Whittall Pavilion at the Library of Congress. The audience gave me both a warm welcome and lots of great questions following the conclusion of my lecture.  Afterwards, the discussion continued during a book signing event that was kindly hosted by the Library of Congress shop.  During the book signing event, I was pleased to sign copies of my book A Composer’s Guide to Game Music. I also got to talk personally with quite a few audience members.  Such an engaging and insightful crowd!  It was a pleasure getting to know these lovely people.  I really enjoyed the lively conversation – I had the best time!!

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Video Game Composers: How Music Enhances Virtual Presence (GDC 2019)

In this article about Virtual Presence in VR written for video game composers, Winifred Phillips (video game composer) is here pictured working in her music production studio.

By Winifred Phillips | Contact | Follow

Delighted you’re here!  I’m very pleased to share that over the next two months I’ll be speaking at two fantastic events focusing on music in video games!  My two presentations will explore the unique structure and character of video game music, and how it helps to better envelop players in the worlds that game designers have created.  I thought that this article might be a good opportunity to delve into some of the ideas that form the basis of my two upcoming talks.  First, I’d like to share some details about the presentations I’ll be giving.

The Library of Congress logo, included in an article discussing popular game conferences, from the article for video game composers by Winifred Phillips (game music composer).The Library of Congress has invited me to speak this April as a part of their “Augmented Realities” video game music festival. My presentation, “The Interface Between Music Composition and Game Design,” will take place at the Library of Congress in Washington DC. I’m very excited to participate in this event, which will be the first of its kind hosted by the “Concerts from the Library” series at the Library of Congress! The “Augmented Realities” video game music festival will also include panels on video game music history and preservation presented by distinguished curators and archivists at the Library of Congress, a special documentary screening that explores the ChipTunes movement, and a live “game creation lab.” My presentation will be the concluding lecture of the festival, and I’m honored to speak at such an illustrious event!  If you find yourself in the Washington DC area on April 6th 2019, you’re very welcome to come to my lecture at the Library of Congress!  Tickets are free (first come, first served), and they’re available now via EventBrite.

The GDC logo, accompanying the discussion of networking at such famous game conferences, from the article for video game composers by Winifred Phillips (game music composer).But before my lecture at the Library of Congress, I’ll be making a trip to San Francisco for the famous Game Developers Conference that takes place this month. For the past few years I’ve been excited and honored to be selected as a Game Developers Conference speaker in the Game Audio track, and I’m happy to share that I’ll be speaking again this month in San Francisco at GDC 2019! My talk this year is entitled “How Music Enhances Virtual Presence.

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Composing video game music for Virtual Reality: Comfort versus performance

In this article series for video game composers, Winifred Phillips is depicted in this photo working in her music production studio.

By Winifred Phillips | Contact | Follow

Delighted you’re here!  I’m videogame composer Winifred Phillips, and I’m happy to welcome you back to this four-part article series exploring the role of music in VR games! These articles are based on the presentation I gave at this year’s game Developer’s Conference in San Francisco, entitled Music in Virtual Reality (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:

During my GDC presentation, I focused on three important questions for VR game music composers:

  • Do we compose our music in 3D or 2D?
  • Do we structure our music to be Diegetic or Non-Diegetic?
  • Do we focus our music on enhancing player Comfort or Performance?

In the course of exploring these questions during my GDC presentation, I discussed my work on four of my own VR game projects –the Bebylon: Battle Royale arena combat game from Kite & Lightning, the Dragon Front strategy game from High Voltage Software, the Fail Factory comedy game from Armature Studio, and the Scraper: First Strike shooter/RPG from Labrodex Inc.

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Composing video game music for Virtual Reality: Diegetic versus Non-diegetic

In this article for and about the craft of video game composers, Winifred Phillips is pictured in this photo working in her music production studio.

By Winifred Phillips | Contact | Follow

So happy you’ve joined us!  I’m videogame composer Winifred Phillips.  Welcome back to our four part discussion of the role that music plays in 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 Music in Virtual Reality (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:

During my GDC presentation, I focused on three important questions for VR video game composers:

  • Do we compose our music in 3D or 2D?
  • Do we structure our music to be Diegetic or Non-Diegetic?
  • Do we focus our music on enhancing player Comfort or Performance?

While attempting to answer these questions during my GDC talk, I discussed my work on four of my own VR game projects – the Bebylon: Battle Royale arena combat game from Kite & Lightning, the Dragon Front strategy game from High Voltage Software, the Fail Factory comedy game from Armature Studio, and the Scraper: First Strike shooter/RPG from Labrodex Inc.

In these articles, I’ve been sharing the discussions and conclusions that formed the basis of my GDC talk, including numerous examples from these four VR game projects.  So now let’s look at the second of our three questions:

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Composing video game music for Virtual Reality: 3D versus 2D

In this article written for video game composers, Winifred Phillips is here pictured working in her music production studio.

Welcome!  I’m videogame composer Winifred Phillips, and this is the continuation of our four-part discussion of the role that music can play in Virtual Reality video games.  These articles are based on the presentation I gave at this year’s Game Developer’s Conference in San Francisco, entitled Music in Virtual Reality (I’ve included the official description of my talk at this end of this article).  If you missed the first article exploring the history and significance of positional audio, please go check that article out first.

Are you back?  Great!  Let’s continue!

During my GDC talk, I addressed three questions which are important to video game music composers working in VR:

  • Do we compose our music in 3D or 2D?
  • Do we structure our music to be Diegetic or Non-Diegetic?
  • Do we focus our music on enhancing player Comfort or Performance?

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Composing video game music for Virtual Reality: The role of music in VR

In this article for video game composers, Winifred Phillips is pictured working in her music production studio.

By Winifred Phillips | Contact | Follow

Hey everybody!  I’m video game composer Winifred Phillips.  At this year’s Game Developers Conference in San Francisco, I was pleased to give a presentation entitled Music in Virtual Reality (I’ve included the official description of my talk at the end of this article). While I’ve enjoyed discussing the role of music in virtual reality in previous articles that I’ve posted here, the talk I gave at GDC gave me the opportunity to pull a lot of those ideas together and present a more concentrated exploration of the practice of music composition for VR games.  It occurred to me that such a focused discussion might be interesting to share in this forum as well. So, with that in mind, I’m excited to begin a four-part article series based on my GDC 2018 presentation!

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