Delighted you’re here! I’m video game composer Winifred Phillips, and this is the second installment of my five article series based on the presentation I gave at the first-ever digital edition of the Game Developers Conference that took place this past March. My talk was entitled “From Assassin’s Creed to The Dark Eye: The Importance of Themes” (I’ve included the official description of my talk at this end of this article). In my GDC 2020 presentation, I discussed the music I composed for several video game projects, including Assassin’s Creed Liberation (Ubisoft), God of War (Sony Interactive America), LittleBigPlanet (Sony Interactive Europe), Homefront: The Revolution (Deep Silver), Speed Racer (Warner Bros Interactive), Spore Hero (Electronic Arts), and The Dark Eye: Book of Heroes (Wild River).
In the last article, we discussed the concept of the “hook” as it relates to thematic composition, and we explored how an awesome hook can function best from within a main theme track. In our discussion, we used both a famous example from the Star Wars franchise, as well as the main theme from one of my own recently-released game projects – The Dark Eye: Book of Heroes. Both examples included a fairly dynamic foreground melody, which made it a great example for our discussion of the role of the hook in thematic construction. So let’s now consider what happens when we eschew such an attention-drawing melodic element and instead take a more subtle approach.