Glad you’re here! I’m video game composer Winifred Phillips, and I’d like to welcome you to the sixth and final installment in my article series based on my GDC lecture – From Spyder to Sackboy: A Big Adventure in Interactive Music! Last year I had the privilege of working with Sumo Sheffield on music composition for two projects in simultaneous development – 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 lecture in which I’m discussing the Spyder project). Both the Sackboy and Spyder projects incorporated highly interactive music into their design. While both projects included the basic dynamic models of horizontal and vertical structure, they each brought new twists and quirks to these ever-popular music implementation methods. Since I spent a lot of time bouncing back and forth between the two projects, I got a chance to see how malleable interactive music systems can be when employed creatively. Now, I’m glad to share my best experiences and observations creating music for these two awesome projects!