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!
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.
Welcome back to our three-part discussion of how video game composers (such as ourselves) can make strategy gamers smarter! In these articles, we’re looking at ways in which our music can enhance concentration and tactical decision-making for players engrossed in strategic gameplay. Along the way, I’ve been sharing my personal experiences as the composer for the Dragon Front strategy game for virtual reality. Over the course of these articles we’ll be covering three of the top concepts that pertain to the relationship between music and concentration. In part one, we discussed the concept of ‘music-message congruency,’ so if you haven’t read that article yet, please go check it out and then come back.
Are you back now? Good! Let’s move on to the second big technique for increasing the smarts of strategy gamers!
As video game composers, we create music in a wide variety of tempos designed to support the energy of play and the pacing of the game’s overall design. From leisurely tracks that accompany unstructured exploration to frenetic pieces that support the most high-stakes combat, our music is planned with expert precision to shape the excitement level of players and keep them motivated as they progress.
Can video game composers make you smarter? Well, video gaming can be a pretty cerebral activity, requiring astute problem-solving skills and disciplined concentration in order to excel. That’s especially true for any game built around strategic and/or tactical gameplay, such as real-time or turn-based strategy, tactical shooters, multiplayer online battle arenas (MOBAs), and online collectible card strategy games. To succeed in these types of games, players must assess the current situation and formulate a plan that accounts for future developments and variables. Without this type of tactical forward-thinking gameplay, a gamer has little chance to win. So, can music enable gamers to think tactically, stay focused and make smart decisions? Over the next three articles, I’ll try to answer that question, while exploring the role of music in enhancing the concentration of strategic/tactical gamers.
Along the way, we’ll be taking a look at some scholarly research on the subject, consulting the opinions of experts, and I’ll be sharing my experiences creating the music for the recently released Dragon Front strategy game from High Voltage software. We’ll check out some music tracks I composed for the popular Dragon Front game (pictured at the top of this article), and we’ll discuss methods for supporting and enhancing concentration for strategic/tactical game players. But first, let’s take a closer look at the Dragon Front game.
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:
Plantronics RIG 4VR
So let’s get underway!
Entrim 4D headphones
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.
In this article I’d like to turn our attention towards the experience of the end user, and specifically, the primary interface with which users will be enjoying our audio content. So, let’s talk about headphones! More specifically, let’s talk about the newest incarnation of this device… headphones built specifically for VR!
This will be a two-part article (since there’s a lot of ground to cover!) In part one, we’ll be discussing these two headphone models:
I’m pleased to announce that my book has won an Annual Game Music Award from Game Music Online!
Founded in 2003, the Game Music Online site specialises in daily news, high-quality reviews, insightful interviews, and comprehensive artist profiles in the field of video game music. Since 2010, the staff of accomplished music journalists of Game Music Online has presented awards in many categories that acknowledge the diversity and range of the video game music genre.
A Composer’s Guide to Game Music isn’t the first of its kind, but it’s certainly among the very best. LittleBigPlanet composer Winifred Phillips offered an accessible yet deep insight into the process of making game music, balancing a focus on creative aspects with considerations of technical and business aspects.
The Annual Game Music Awards are organized by Chris Greening, who leads a distinguished staff of music journalists in providing vibrant articles and reviews for their Game Music Online readers. In this capacity, Greening has reviewed over a thousand albums and interviewed hundreds of musicians across the world. As the founder and webmaster of Game Music Online, Greening has built a cutting-edge, journalistic resource for video game music enthusiasts. Adding to his accomplishments, Greening will soon be co-authoring the companion book to the highly-anticipated upcoming documentary, “Beep: A Documentary History of Game Sound.”
Thanks so much to Game Music Online for recognizing my book in the Best Publication Category of the Annual Game Music Awards!