Hey everybody! I’m video game composer Winifred Phillips, and welcome to the fifth and final installment of my article series based on the presentation I gave at this year’s Game Developers Conference in San Francisco. 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 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).
If you missed any of the previous articles in this series, you can find them here:
- Game Composers and the Importance of Themes: The Hook in Game Music (Pt. 1)
- Game Composers and the Importance of Themes: Repetition in Game Music (Pt. 2)
- Variation and Fragmentation in Game Music: Game Composers and the Importance of Themes (Pt. 3)
- Game Composers and the Importance of Themes: Recurrence and Rationale in Game Music (Pt. 4)
In the previous installments of this series, we discussed the importance of repeating musical themes, using the variation technique and fragmentation to support different gameplay types. So now, let’s explore what happens when musical themes are employed within more complex interactive music systems.