Horizontal Resquencing and Song Structure for Game Music Composers (From Spyder to Sackboy: GDC 2021)

Photo of BAFTA-nominated video game music composer Winifred Phillips, working in her music production studio.

By Winifred Phillips | Contact | Follow

Hey everybody!  I’m video game composer Winifred Phillips, and I was excited this year to present a talk at the Game Developers Conference.  GDC is one of the top conferences in the video game industry, and it was a fantastic event this year, full of expert sessions and lots of opportunities to learn and network.  As in previous years, I thought it might be best if I included the content of my GDC lecture in my articles here, so I’m now kicking off a six-part series of articles based on my presentation in July!  I’ve included the substance of my GDC presentation, supported by some of the multimedia materials I used to illustrate concepts during my lecture.  I’ve also enlarged upon most of those topics with a bit of further explanation that couldn’t be included in my original GDC presentation (due to time constraints).  So now without further ado, let’s get started!

A slide from the GDC 2021 lecture of video game composer Winifred Phillips, depicting her work with Sumo Sheffield on two simultaneous projects.Back in the summer of 2019, I started working with Sumo Sheffield on music for two different games. It was pretty intense work over the course of many months on two awesome projects with very different musical needs.  The list of musical requirements was quite long for both projects, and I spent a lot of time ping ponging back and forth between them. After they both hit retail in 2020, I realized how eye-opening that experience had been. Both games required complex musical interactivity, but each met that goal in very different ways.

In this article series, we’re going to be taking a look at those two projects: Sackboy: A Big Adventure for the PS5/PS4, and Spyder for Apple Arcade.

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