Video game composers can make you smarter! (The music of Dragon Front) Pt. 3

Winifred Phillips, video game music composer, pictured at the GDC 2016 display for the Dragon Front virtual reality game.

By Winifred Phillips | Contact | Follow

Welcome to the third (and final) article in this three-part discussion of how video game composers (like us) can make strategy gamers smarter!  We’ve been exploring the best ways that the music of game composers can help strategy gamers to better concentrate while making more sound tactical decisions. During this discussion, I’ve shared my personal perspective as the composer for the popular Dragon Front strategy game for VR.

In part one, we discussed the concept of ‘music-message congruency,’ so if you haven’t read that article yet, you can read it here.  In part two, we explored the meaning of ‘cognition-enhancing tempo’ – you can read that article here.  Please make sure to read both those articles first and then come back.

Are you back?  Awesome!  Let’s launch into a discussion of the third technique for increasing the smarts of strategy gamers!

Tension-regulating affect

From the article by game composer Winifred Phillips, an illustration of 'psychological affect.'In psychology, the term ‘affect’ refers to emotion, particularly in terms of the way in which such emotional content is displayed.  Whether by visual or aural means, an emotion can not be shared without some kind of ‘affect’ that serves as its mode of communication from one person to another.  When we’re happy, we smile.  When we’re angry, we frown.

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Video Game Music Composer: Music and Sound in VR Headphones (Part Two)

Photo of game composer Winifred Phillips in her music production studio, from the article "Video Game Music Composer: Music and Sound in VR Headphones (Part Two)"My work as a video game composer has lately included some projects for virtual reality games (more info on that in the coming months), and as a result I’ve been thinking a lot about the awesome potential of VR, and have also been writing lots of articles on the subject.  Earlier this month I began a two-part article that focuses on the experience of the end user, and the gear with which they’ll be enjoying our video game music and audio content (you can read part one here). So, let’s now continue our discussion about the new generation of headphones designed specifically for VR!

In this article, we’ll be discussing two headphone models:

  • Entrim 4D
  • Plantronics RIG 4VR

So let’s get underway!

Entrim 4D headphones

Photo of the Entrim 4D, from the VR headphones article by Winifred Phillips (award-winning game music composer)This March at the famous SXSW convention in Austin, Samsung showed off a piece of experimental technology promising to bring a new dimension of immersion to virtual reality.  It’s designed specifically to complement their popular Samsung Gear VR device, and it works by virtue of electrodes that send electrical signals right into the wearer’s head!  As if virtual reality itself weren’t futuristic enough, now we’re talking about a device that zaps us to make the VR feel more real!  It’s called Entrim 4D (pictured right).  We’re talking about it here because (among other things) Entrim 4D is a pair of audio headphones built specifically for VR.

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Game Music Middleware, Part 4: Elias

Middleware-Blackboard

Welcome back to my blog series that offers tutorial resources exploring game music middleware for the game music composer. I initially planned to write two blog entries on the most popular audio middleware solutions (Wwise and FMOD), but since I started this blog series, I’ve been hearing buzz about other middleware solution and so I thought it best to expand the series to incorporate other interesting solutions to music implementation in games.  This blog will focus on a brand new middleware application called Elias, developed by Elias Software.  While not as famous as Wwise or FMOD, this new application offers some intriguing new possibilities for the creation of interactive music in games.

If you’d like to read the first three blog entries in this series, you can find them here:

Game Music Middleware, Part 1: Wwise

Game Music Middleware, Part 2: FMOD

Game Music Middleware, Part 3: Fabric

Elias-Logo

Elias stands for Elastic Lightweight Integrated Audio System.  It is developed by Kristofer Eng and Philip Bennefall for Microsoft Windows, with a Unity plugin for consoles, mobile devices and browser-based games.  What makes Elias interesting is the philosophy of its design.  Instead of designing a general audio middleware tool with some music capabilities, Eng and Bennefall decided to bypass the sound design arena completely and create a middleware tool specifically outfitted for the game music composer. The middleware comes with an authoring tool called Elias Composer’s Studio that “helps the composer to structure and manage the various themes in the game and bridges the gap between the composer and level designer to ease the music integration process.”

Here’s the introductory video for Elias, produced by Elias Software:

The interactive music system of the Elias middleware application seems to favor a Vertical Layering (or vertical re-orchestration) approach with a potentially huge number of music layers able to play in lots of combinations.  The system includes flexible options for layer triggering, including the ability to randomize the activation of the layers to keep the listening experience unpredictable during gameplay.

Elias has produced a series of four tutorial videos for the Composer’s Studio authoring tool.  Here’s the first of the four tutorials:

There’s also a two-part series of tutorials about Elias produced by Dale Crowley, the founder of the game audio services company Gryphondale Studios.  Here’s the first of the two videos:

As a middleware application designed specifically to address the top needs of game music composers, Elias is certainly intriguing!  The software has so far been used in only one published game – Gauntlet, which is the latest entry in the awesome video game franchise first developed by Atari Games for arcade cabinets in 1985.  This newest entry in the franchise was developed by Arrowhead Game Studios for Windows PCs.  We can hear the Elias middleware solution in action in this gameplay video from Gauntlet:

The music of Gauntlet was composed by Erasmus Talbot.  More of his music from Gauntlet is available on his SoundCloud page.

Elias Software recently demonstrated its Elias middleware application on the expo floor of the Nordic Game 2015 conference in Malmö, Sweden (May 20-22, 2015).  Here’s a look at Elias’ booth from the expo:

Elias-NordicGame2015

Since Elias is a brand new application, I’ll be curious to see how widely it is accepted by the game audio community.  A middleware solution that focuses solely on music is definitely a unique approach!  If audio directors and audio programmers embrace Elias, then it may have the potential to give composers better tools and an easier workflow in the creation of interactive music for games.

Interview about Game Music on The Note Show!

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I’m excited to share that I’ve been interviewed about my career as a game music composer and my book, A Composer’s Guide to Game Music, for the newest episode of The Note Show!

The Note Show is a terrific podcast that focuses on interviews with professionals in creative fields.  I’m very proud to have been included! Famous guests on The Note Show have included Hugo and Nebula award-winning sci-fi author David Brin, actress Kristina Anapau of the HBO series True Blood, video game designer Al Lowe (Leisure Suit Larry), actress Lisa Jakub (Mrs. Doubtfire, Independence Day), and Steven Long Mitchell and Craig Van Sickle, creators of the NBC series The Pretender.

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This is my second time being interviewed on The Note Show, and I’m so glad to have been invited back!

In this interview, I talk about my work on the LittleBigPlanet and Assassin’s Creed franchises, my latest project (Total War Battles: Kingdom), how composing music for a mobile game differs from composing for consoles or PC, and how my life has changed with the publication of my book, A Composer’s Guide to Game Music.

In the podcast, we also talk about the National Indie Excellence Book Award that my book recently won, as well as the importance of optimism for an aspiring game composer.

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You can listen to the entire interview here:

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Here’s some official info from the creators of The Note Show:

The Creative Professional Podcast – Music & Arts Interviews

The Note Show is a creative journey where host Joshua Note returns to chat life and art with creative people across the world. We interview musicians, artists, comic book creators, novelists, directors, actors and anyone creative and bring you new people and experiences every week!  The Note Show is a Podcast for and featuring Creative Professionals from all walks of life. As long as it’s creative, it’s here on The Note Show.

The show’s host, Joshua Note, is a terrific interviewer who is also the author of a children’s book due for release in 2015.  In addition, Joshua studied classical composition and orchestration at Leeds College of Music and Leeds University, and in 2012 he produced a for-television animated series and worked on several projects for television and cinema.

Joshua Note, host of The Note Show

Joshua Note, host of The Note Show

In his role as the host of The Note Show, Joshua asks intelligent questions about what it means to be a creative person in modern times, and his interviews are always fascinating!  My thanks to Joshua and the staff of The Note Show – I had a great time!