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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Game Music and Psychological Attachment: How Game Composers Can Enhance Virtual Presence (Pt. 2)

Photo of video game music composer Winifred Phillips working in her music production studio on the musical score of the Shattered State VR game from Supermassive Games.

By Winifred Phillips | ContactFollow

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:

Psychological Attachment

Image illustrating the three states contributing to the attainment of Virtual Presence (Engagement, Engrossment, and Empathy) -- from the article by video game composer Winifred Phillips.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:

  • Engagement
  • Engrossment
  • Empathy

So let’s start with the first stage.

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Game Music and The Theory of Flow: How Game Composers Can Enhance Virtual Presence (Pt. 1)

Video game music composer Winifred Phillips in her video game music production studio working on the music of "The Haunted Graveyard" VR game.

By Winifred Phillips | ContactFollow

Hello there!  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 How Music Enhances Virtual Presence (I’ve included the official description of my talk at the end of this article). The talk I delivered at GDC gave me the opportunity to pull a lot of ideas about virtual reality together and present a concentrated exploration of how music can increase a sensation of presence for VR gamers.  It occurred to me that such a 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 2019 presentation!

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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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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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Tips, Tools and Guidance: VR Assets for the Game Music Composer

 

Video game music composer Winifred Phillips hard at work on the Audioshield Fitness VR project in her video game music production studio.

By Winifred Phillips | Contact Follow

Welcome!  I’m videogame composer Winifred Phillips, and my projects lately have included music composition for a lot of great virtual reality games.  It’s been fascinating work!  Last year, when my VR work started to really pick up, I wrote an article with lots of resources to help video game music composers become more comfortable in the world of VR audio development.  Since this discipline progresses rapidly, I thought it would be best to post an update article now that adds additional resources to address new developments in the field.

VR development is continuously innovative and cutting-edge, and I’ve been fortunately to experience this first-hand.  As an example: one of my more recent virtual reality game projects was music for Audioshield Fitness, developed by the creator of the famous Audiosurf music-rhythm game. I was asked to compose the new official Audioshield Theme for release with the Audioshield Fitness game, which takes the core game mechanics of Audioshield and pumps up the challenge with obstacles that make players dodge and duck to the music.  The result is an intense workout that was named as one of the top 5 VR Fitness Games of 2018 by PerfectBodyMate.com. To maximize the power of the Audioshield procedural system, my composition had to attune itself to the system’s powerful music analysis algorithm and deliver moments of both challenge and spectacle. I composed and mixed the music with specifically-targeted EQ frequency ranges where I placed rhythmic elements and punchy crescendoes.  The Audioshield music analysis system then reacted to this audio content and changed the pacing and content of gameplay to match these variables.  It was a fun challenge!  Here’s a video showing how that worked:

 

Composing for virtual reality is its own unique discipline, requiring a specialized set of skills and tools.  In this article, let’s collect some resources that explore the techniques, tools, and technologies associated with VR audio development.  Let’s also take a look at the professional community of VR developers that are there to help each other through the rough spots.  Ready?  Let’s go!

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