Variation and Fragmentation in Game Music: Game Composers and the Importance of Themes (Pt. 3)

This is a photo of composer Winifred Phillips in her production studio at Generations Productions. Phillips is known for her music for several well known games and game franchises, including LittleBigPlanet, God of War, Total War, Assassin's Creed, and The Sims.

By Winifred Phillips | Contact | Follow

Hi!  I’m video game composer Winifred Phillips, and welcome to the third installment of my five article series based on the presentation I gave at this year’s online 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 the end of this article).  In my 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 took a look at how thematic material was employed in subtle ways within two of my video game projects – Assassin’s Creed Liberation and Homefront: The Revolution.  We considered how repetition can reinforce the significance of musical themes, particularly when they are associated with specific narrative ideas, and we talked about how repetition can work to make musical themes memorable and meaningful.  But we all know that repetition can get stale if we don’t approach it creatively.  So that brings us now to the topic of variation – how to keep themes feeling fresh.

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