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:
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 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?
A successful career as a video game composer involves much more than our day-to-day challenges in our music studios. In addition to our role as music experts, we need to be well-rounded business people and great members of a creative team. As a speaker in the audio track of the Game Developers Conference this year, I had a chance to take in a wide variety of GDC sessions, and I noticed how often teamwork was discussed. Along the way, a common idea emerged from many of these talks — good communication is key. This is a concept that I explored in my book (A Composer’s Guide to Game Music), so I was delighted to see a further discussion of the issue at GDC this year. Far from just a valuable personality asset, the ability to communicate well must be considered a top priority: as intrinsically valuable as rock-solid competency, awesome artistry or compelling vision. Good communication amongst team members can make or break the development of a game. As game audio pros, we share this in common with our coworkers in other segments of the game development community. However, it becomes especially important for us to focus and emphasize good communication when we’re working remotely as independent contractors. With that in mind, I thought I’d use this article to briefly highlight some GDC 2016 sessions in the game audio track that discussed this popular topic, so we can think about more ways to enhance and improve our communication skills. And later we’ll discuss a practical example from my work on the music of the SimAnimals game from Electronic Arts.
It’s Grammy Awards time! This coming Monday, the National Academy of Recording Arts and Sciences (NARAS) will throw its annual party, and many golden gramophones will be awarded to the popular recordings that were deemed most worthy this year. This is one of the most prestigious honors for any musician. Each year, Grammy nominees are selected as representing the top of their field: the very best in professional music. There are 83 Grammy categories this year, ranging from famous categories like Album of the Year to lesser known categories such as Best Children’s Album. Among those 83 categories, we don’t find a Best Video Game Music category listed… but we do see the category Best Score Soundtrack for Visual Media (Includes Film, TV, Video Games and Other Visual Media). The Best Score Soundtrack for Visual Media category has gone through some interesting transformations during the long history of the Grammy Awards. In this article, we’ll be taking a walk down memory lane, exploring the ways in which the Visual Media category has changed to accommodate video game soundtracks.