By Winifred Phillips | Contact | Follow
So happy you’ve joined us! I’m video game composer Winifred Phillips, and I’d like to welcome you to the continuation of this series of articles based on my lecture from GDC 2021 – From Spyder to Sackboy: A Big Adventure in Interactive Music! Using the example of two of my projects from the previous year, I explored the contrasting models of dynamic music design employed in two games – Sackboy: A Big Adventure for PS5/PS4, and Spyder for Apple Arcade. (Above you’ll see a photo from one of the sections of my GDC 2021 lecture in which I’m discussing the Spyder project). Both Spyder and Sackboy were developed by Sumo Sheffield and featured whimsical characters and situations. Each of the two projects had a long list of music requirements and strategies that were dramatically different. In composing music for these two games, I learned a lot about the flexibility of dynamic music systems. Since I worked on music for both games simultaneously, it was fascinating to make comparisons between the two projects after the fact. Preparing my GDC presentation became an exercise in understanding how flexible video game music can be. If you haven’t had a chance to read the previous two installments of this series, you can read first about Horizontal Resequencing and Song Structure, and then Horizontal Resequencing & Dynamic Transitions.
As we discussed in the previous article, interactive music design is highly contextual. The circumstances dictate our choices. No single method can be considered the best way, or the right way. Working on these two projects at the same time, I came across this idea over and over again.
Unlike Spyder, Sackboy: A Big Adventure is the latest game in a franchise, and most of the games in this popular series implemented music using pure vertical layering. So that technique will be the subject of our discussion in today’s installment of my six-part article series:
For 
“In interactive music, vertical layering involves the playing of multiple independent audio files simultaneously within the game’s audio engine, which stacks these layers on top of one another in perfect synchronization. Interactivity is achieved through the independent manipulation of the layers, enabling the overall track to change in accordance with the fluctuating state of the game.
“While this suggests that the game itself has taken on the role of a mixing engineer, we should bear in mind that the composition technique involved in vertical layering is fundamentally different than the process of simply preparing stems for mixing. In making recordings of stems in the audio mixing environment (sometimes known as “stemming”), it is generally understood that in the final result, all stems will be playing together. The composer or audio engineer is motivated by the desire to achieve a good overall mix. However, in vertical layering, the underlying motivation is to create separate audio files that are not always meant to play simultaneously. Instead, they can play in multiple configurations, interacting with the actions of the player as the game progresses.” (Chapter 11, page 194)
When we compose our music so that our chosen instruments in the arrangement can be incorporated separately, and then those instruments can be divided up and manipulated independently during gameplay – that’s the simplest definition of pure vertical layering. This technique is an awesome way to make music feel reactive, without also having to divide the music into segments.
Sackboy’s previous games in the famous LittleBigPlanet franchise had an elaborate system of pure vertical layering. For a demonstration of how that system worked, take a look at this video that illustrates how a six-layered system can react to the changing circumstances of gameplay within a LittleBigPlanet game:
For Sackboy: A Big Adventure, the music team favored other great methods of dynamic music implementation, foregoing the six layered system that had previously typified the franchise’s music strategy. However, Spyder embraced pure vertical layering for its action sequences, so let’s take a look at a few examples.
Again, there are no horizontal segments, so the vertical layers have to make the music feel reactive to gameplay. In this case, the music focuses on the location, adding layers as Agent 8 works his way with expert precision into the computer’s internal mechanism.
Let’s take a look at that:
Much later in the game, Agent 8 gets launched into outer space to rescue some imperiled astronauts. For this level, I composed an interactive 1970s-style space-disco track with vertical layers that react fluidly during gameplay. Sometimes, gamers only hear the rhythm elements of the track – sometimes only the synths – sometimes the whole mix. The vertical layers kick in to control how intense things feel during the game, so let’s check that out:
This vertical layering music from Spyder accomplished two goals: it indicated progress through the level, and it created variety to keep the music from feeling repetitive. So, while horizontal resequencing slices a track up into segments to accomplish the same tasks, a pure vertical layering approach can instill a sense of progression and variety without needing to fragment the composition.
So now we’ve addressed how the Sackboy franchise previously utilized pure vertical layering, and we’ve looked at multiple examples of how Spyder employed it. In our next article, we’ll take a look at a more hybridized form of dynamic implementation that fuses both horizontal and vertical elements.
Until then, thanks very much for reading!
