Glad you’re here! I’m video game music composer Winifred Phillips. Today I’d like to share some news about one of my latest projects as a video game composer: the newest installment in an internationally-acclaimed fantasy RPG franchise known as The Dark Eye. During our discussion, we’ll break down the structure of one of the most important pieces of music I composed for that game.
The latest entry in the award-winning Dark Eye video game franchise will be released this coming Spring 2020 under the title The Dark Eye: Book of Heroes. Before we begin discussing this project and one of the pieces of music I composed for it, let’s take a look at the announcement trailer that was recently released by the publisher Ulisses Games. The trailer prominently features a sizable portion of the main theme I composed for the game:
As you can see from the gameplay captured in the trailer, The Dark Eye: Book of Heroes is an isometric real-time roleplaying game. The developers have compared the gameplay of Book of Heroes to top RPG games from the classic era like Baldur’s Gate and Neverwinter Nights. The game offers both solo missions and cooperative adventures designed for up to four players. Most importantly, the developers stress in an interview that their game will be faithful to the awesome fantasy world of the renowned RPG franchise – it will be “the most Dark Eye game ever.” Composing a main theme is a heavy responsibility, since main theme tracks tend to be regarded as especially important in a composer’s body of work. Just this week (Nov. 9th) I was interviewed on the Sound Of Gaming radio show on BBC Radio 3, and the main theme for The Dark Eye: Book of Heroes premiered on this broadcast, spotlighting my work as a game composer. The entire show is available to listen at this link from now until Dec. 8th. A main theme is not only a prominent showcase of a composer’s abilities, but also serves a crucial function within the main score of the game. So let’s explore that idea further.