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:
- Part One: The Importance of Positional Audio
- Part Two: 2D Versus 3D Music in Virtual Reality
- Part Three: Diegetic Versus Non-Diegetic Music in Virtual Reality
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.