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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Video Game Composers: The Art of Music in Virtual Reality (GDC 2018)

Video game composer Winifred Phillips, pictured in her music production studio.

 

By Winifred Phillips | Contact | Follow

Once again, the Game Developers Conference is almost upon us!  GDC 2018 promises to be an awesome event, chock full of great opportunities for us to learn and grow as video game music composers.  I always look forward to the comprehensive sessions on offer in the popular GDC audio track, and for the past few years I’ve been honored to be selected as a GDC speaker.  Last year I presented a talk that explored how I built suspense and tension through music I composed for such games as God of War and Homefront: The Revolution.  This year, I’m tremendously excited that I’ll be presenting the talk, “Music in Virtual Reality.” The subject matter is very close to my heart!  Throughout 2016 and 2017, I’ve composed music for many virtual reality projects, some of which have hit retail over the past year, and some of which will be released very soon.  I’ve learned a lot about the process of composing music for a VR experience, and I’ve given a lot of thought to what makes music for VR unique.  During my GDC talk in March, I’ll be taking my audience through my experiences composing music for four very different VR games –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.  I’ll talk about some of the top problems that came up, the solutions that were tried, and the lessons that were learned.  Virtual Reality is a brave new world for game music composers, and there will be a lot of ground for me to cover in my presentation!

In preparing my talk for GDC, I kept my focus squarely on composition techniques for VR music creation, while making sure to supply an overview of the technologies that would help place these techniques in context.  With these considerations in mind, I had to prioritize the information I intended to offer, and some interesting topics simply wouldn’t fit within the time constraints of my GDC presentation.  With that in mind, I thought it would be worthwhile to include some of these extra materials in a couple of articles that would precede my talk in March.  In this article, I’ll explore some theoretical ideas from experts in the field of VR, and I’ll include some of my own musings about creative directions we might pursue with VR music composition.  In the next article, I’ll talk about some practical considerations relating to the technology of VR music.

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Resources For Video Game Music Composers

Video game music composer Winifred Phillips, at work in her music production studio.

By Winifred Phillips | Contact | Follow

I’m pleased to announce that my book, A Composer’s Guide to Game Music, is now available its new paperback edition! I’m excited that my book has done well enough to merit a paperback release, and I’m looking forward to getting to know a lot of new readers!  The paperback is much lighter and more portable than the hardcover.  Here’s a view of the front and back covers of the new paperback edition of my book (click the image for a bigger version if you’d like to read the back cover):

award-winning video game music composer Winifred Phillips' book, A Composer's Guide to Game Music, is now available in paperback.

From the article by Winifred Phillips (composer of video game music) - depiction of the book cover of A COMPOSER'S GUIDE TO GAME MUSIC.As you might expect, many aspiring game composers read my book, and I’m honored that my book is a part of their hunt for the best resources to help them succeed in this very competitive business.  When I’m not working in my music studio, I like to keep up with all the great new developments in the game audio field, and I share a lot of what I learn in these articles. Keeping in mind how many of my readers are aspiring composers, I’ve made a point of devoting an article once a year to gathering the top online guidance currently available for newcomers to the game music profession.  In previous years I’ve focused solely on recommendations gleaned from the writings of game audio pros, but this time I’d like to expand that focus to include other types of resources that could be helpful.  Along the way, we’ll be taking a look at some nuggets of wisdom that have appeared on these sites.  So, let’s get started!

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GDC 2017: How video game composers can use music to build suspense

Winifred Phillips, video game composer, giving a talk as part of the Game Developers Conference 2016 in San Francisco.

By Winifred Phillips | Contact | Follow

The Game Developers Conference is coming up soon!  Last year I presented a talk on music for mobile games (pictured above), and I’m pleased that this year I’ll be presenting the talk, “Homefront’ to ‘God of War’: Using Music to Build Suspense(Wednesday, March 1st at 11am in room 3006 West Hall, Moscone Center, San Francisco).  In my talk I’ll be focusing on practical applications of techniques for video game composers and game audio folks, using my own experiences as concrete examples for exploration.  Along the way, I’ll be discussing some very compelling scholarly research on the relationship between suspense, gameplay and musical expression.  In preparing my GDC 2017 presentation I did a lot of reading and studying about the nature of suspense in video games, the importance of suspense in gameplay design, and the role that video game music plays in regulating and elevating suspense.  There will be lots of ground to cover in my presentation!  That being said, the targeted focus of my presentation precluded me from incorporating some very interesting extra research into the importance of suspense in a more general sense… why human beings need suspense, and what purpose it serves in our lives.  I also couldn’t find the space to include everything I’d encountered regarding suspense as an element in the gaming experience.  It occurred to me that some of this could be very useful to us in our work as game makers, so I’d like to share some of these extra ideas in this article.

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