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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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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Video game music composer: Getting your big break

In this article for video game composers, popular game composer Winifred Phillips is depicted 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 (pictured above working on my career breakthrough project, God of War). Today I’ll be discussing a hot topic that we’ve previously explored, but that definitely deserves to be revisited periodically.  This is one of the most popular subjects that I’ve addressed in my previous articles here: How does a newcomer get hired as a game composer?

I’m asked this question frequently, and while I offered quite a lot of advice on this topic in my book A Composer’s Guide to Game Music, I’m keenly aware of how urgent the need is for updated guidance on this issue for aspiring video game composers.  Game music newcomers often feel adrift and alone in the game industry, and some good advice can be a welcome lifeline.  In my book, I described the career path that led me into the game industry and allowed me to land my first gigs, but I’m well aware that my experience was pretty unique.  With that in mind, I’ve collated some recent research and insights from some top game industry professionals in this article, in the hopes that some of these expert observations might prove helpful.  There are lots of original and provocative viewpoints presented here, so we should feel free to pick and choose the strategies and tips that will work best for us.

Also, later in the article you’ll find my presentation for the Society of Composers and Lyricists seminar, in which I answered the question about how I personally got my start in the games industry (for those who might be curious).  Finally, at the end of the article I have included a full list of links for further reading and reference.

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Video Game Music Composers: New VR Headphone Tech (2018)

By Winifred Phillips | Contact | Follow

In this article for and about the craft of video game composers, Winifred Phillips is pictured in this photo from her lecture on Virtual Reality given at the popular Game Developers Conference in 2018.Hey, everyone!  I’m videogame composer Winifred Phillips, and my work has included the musical scores for top games on all sorts of popular gaming platforms, from handhelds and mobile, all the way up to the latest consoles and PCs.  Lately, I’ve been doing a lot of video game music composition for virtual reality.  I had the pleasure of presenting a lecture on Music in Virtual Reality (pictured left) at the most recent Game Developers Conference in San Francisco.

My experience as a composer for VR includes many VR games, including the Scraper: First Strike shooter (set to be released for the PSVR, Oculus Rift and HTC Vive in December 2018), and the recently released VR experience The Haunted Graveyard, which is now available on Steam and in VR Arcades around the world.  Since we’re in the Halloween season, and this VR experience is designed specifically for your Halloween pleasure, here’s a trailer that features my music from The Haunted Graveyard:

By virtue of all the experiences I’ve had recently creating music for VR, I’ve become keenly aware of the importance of sound fidelity in VR.  If the experience doesn’t sound real, it loses the chance to actually feel like a fully-convincing, thoroughly awesome virtual reality experience.  With that in mind, I’ve been writing periodic articles about new technologies in connection with headphones for VR.

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