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:

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).  Using examples from these games, I discussed a model for how gamers can best develop the psychological attachment necessary to most effectively achieve Virtual Presence. The psychological model consists of three stages:

This image depicts the three components to the model of psychological attachment -- engagement, engrossment, and empathy (from the article by video game music composer Winifred Phillips).

In the previous two articles of this series, we discussed the roles of engagement and engrossment, so now let’s look at the third and final stage:

Empathy

As we all know, when we feel empathy we’re experiencing compassion towards other people. However, according to the researchers from University College London, when we’ve achieved empathy as a component of Virtual Presence, we’re not feeling compassion for other characters – but rather, for ourselves.

An image accompanying a discussion of empathy as a component of psychological attachment needed to attain Virtual Presence (from the article for video game composers by Winifred Phillips (game music composer).As the main character in our own virtual adventure, we feel empathy for our own in-game situation, and for the character that we currently inhabit. Once we’ve achieved that fullest expression of personal empathy, we’ve reached the final stage that enables Virtual Presence. As game music composers and game audio experts, how can we best help players achieve this specific form of personal empathy?

Music is great at triggering and stoking this emotion in some tried-and-true ways. We simply have to get players to root for themselves. We have to build them up, and make them feel emotionally invested in their own success. Let’s take a look at a couple of simple but effective examples.

The logo of the Fail Factory VR game for the Oculus Go, from the article about Virtual Presence by video game music composer Winifred Phillips.First, let’s take a look at Fail Factory, developed by Armature Studio and released for the popular Oculus Go and Samsung Gear VR devices. In Fail Factory, players assume high-stress jobs in a giant robot factory. Keeping up with the rapidly accelerating assembly lines and conveyor belts is a constant challenge, resulting in lots of wacky failures. While the pandemonium is a big part of the game’s appeal, it’s still important to keep players motivated to succeed. Players need to empathize with their own character’s accomplishments. Since this kind of emotional investment enhances Virtual Presence, it becomes very important to boost player assurance and self-esteem.

As composers, one way we can uplift player confidence is by musically reinforcing moments of success. In Fail Factory, I encouraged players to root for themselves by composing some overtly-confident music for those times in which players receive their gameplay results and view their scores. While the music still conveys the silliness we’ve come to expect from the musical score I composed for the rest of the game, the music I composed for gameplay results places the emphasis on confidence and swagger. Let’s see what that was like:

As another example of affirming music, let’s check out some gameplay from one of my other VR projects – the upcoming Bebylon Battle Royale game, currently in development by Kite & Lightning for VR.

In this article for video game composers, Winifred Phillips discusses her music for the Bebylon Battle Royale VR game.Confidence is a running theme in Bebylon Battle Royale. That’s because the characters in the world of Bebylon are coping with a pretty humiliating fact-of-life – they’re babies. Immortal babies in the future, trying to assert their dominance, reach the top of their social structure and become the epitome of cool. When composing the music for Bebylon Battle Royale, I focused on musical styles that emphasize self-assurance and swagger. Here’s some video that Kite & Lightning released of one of their baby characters getting his groove on to music I composed for Bebylon Battle Royale:

So now we’ve considered how empathy can contribute to the psychological attachment necessary to achieving Virtual Presence.  In our next article, we’ll consider the role of game music in regulating and attenuating mood in order to create the right psychological circumstances for Virtual Presence to take hold of the players’ consciousness.  Thanks for reading!


 

How Music Enhances Virtual Presence

Compilation of images depicting popular game titles for VR platforms that are included in the GDC 2019 lecture of game composer Winifred Phillips.

Virtual Presence is defined as a state in which gamers fully accept the virtual world around them and their existence within it. This talk, “How Music Enhances Virtual Presence,” will explore how highly effective game music can enhance the sensation of Virtual Presence in VR gaming.

The talk will begin with an exploration of both the Flow Theory of Mihaly Csikszentmihalyi and the research of Dr. Paul Cairns on psychological engagement in video gaming. By understanding how the mental activity of players interacts with the way a game is designed, composers can create music intended to induce psychological states conducive with the formation of Virtual Presence.

The talk will include a discussion of techniques aimed at drawing attention to mission objectives, facilitating effective concentration, enhancing emotional empathy and intensifying player focus. The discussion will also include an exploration of some inherent drawbacks to Virtual Presence, including its fragility when exposed to negative emotional states, and its possible susceptibility to inducing the “event boundary” phenomenon. Musical solutions to these problems will be explored.

Phillips’ talk will offer techniques for composers and audio directors who seek to employ music as a tool to enhance Virtual Presence for their players.

Takeaway

Using examples from several games, Phillips will explore how music can influence the mental states of players through specific effects documented in scientific research. Study data will be discussed in regards to the interaction between music and cognition. Phillips will offer strategies and tips for composers seeking to use their music to influence the player’s mental state, thus facilitating the formation of Virtual Presence.

Intended Audience

This session is intended to inspire and stimulate composers seeking to employ their music towards enhancing player engagement and enjoyment, with a particular emphasis on VR games. Includes overview of Flow Theory and the psychological components of Virtual Presence, which may be useful to other disciplines within game development. Talk will be approachable for all levels (advanced composers may better appreciate the specific composition techniques discussed).

 

Photo of video game composer Winifred Phillips in her game composers production studio.Popular music from composer Winifred Phillips’ award-winning Assassin’s Creed Liberation score will be performed live by a top 80-piece orchestra and choir as part of the Assassin’s Creed Symphony World Tour, which kicks off in 2019 with its Los Angeles premiere at the famous Dolby Theatre. As an accomplished video game composer, Phillips is best known for composing music for games in five of the most famous and popular franchises in gaming: Assassin’s Creed, LittleBigPlanet, Total War, God of War, and The Sims.  Phillips’ other notable projects include the triple-A first person shooter Homefront: The Revolution, and numerous virtual reality games, including Scraper: First Strike, Dragon Front, and many more.   She is the author of the award-winning bestseller A COMPOSER’S GUIDE TO GAME MUSIC, published by the MIT Press. As a VR game music expert, she writes frequently on the future of music in virtual reality games. Phillips’ is a sought-after public speaker, and she has been invited to speak about her work as a game composer at the Library of Congress, the Game Developers Conference, the Audio Engineering Society, the Society of Composers and Lyricists, and many more.  Follow her on Twitter @winphillips.

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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Resources for Video Game Music Composers: The Big List

Video game music composer Winifred Phillips creating music in her video game music production studio.

By Winifred Phillips | Contact | Follow

Hey everybody!  I’m videogame composer Winifred Phillips.  Every year, between working in my studio creating music for some awesome games, I like to take a little time to gather together some of the top online resources and guidance available for newbies in the field of video game music.  What follows in this article is an updated and expanded collection of links on a variety of topics pertinent to our profession.  We begin with the concert tours and events where we can get inspired by seeing game music performed live.  Then we’ll move on to a discussion of online communities that can help us out when we’re trying to solve a problem.  Next, we’ll see a collection of software tools that are commonplace in our field.  Finally, we’ll check out some conferences and academic organizations where we can absorb new ideas and skills.

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VR for the Game Music Composer: Audio for VR Platforms

In this article written for video game composers, Winifred Phillips (video game composer) is here pictured working in her music production studio on the music for the Scraper: First Strike game, developed for popular VR gaming platforms (PSVR, Oculus Rift, HTC Vive).

By Winifred Phillips | Contact | Follow

Hello there!  I’m video game music composer Winifred Phillips.  Lately, I’ve been very busy in my production studio composing music for a lot of awesome virtual reality games, including the upcoming Scraper: First Strike first person VR shooter (pictured above) that’s coming out next Wednesday (November 21st) for the Oculus Rift, HTC Vive and Windows Mixed Reality Devices, and will be released on December 18th for the Playstation VR.  My work on this project has definitely stoked my interest in everything VR!  Since the game will be released very soon, here’s a trailer video released by the developers Labrodex Studios, featuring some of the music I composed for the game:

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