By Winifred Phillips | Contact | Follow
Welcome back! I’m video game composer Winifred Phillips – my latest game project is the award-winning music for the smash-hit 3D remake of Wizardry: Proving Grounds of the Mad Overlord! (Listen and download the award-winning soundtrack, and vote for the Wizardry soundtrack in the public voting of the World Soundtrack Awards.)
This is part two of my article series that presents the content of my lecture from the Game Developers Conference 2024. This year, my presentation, “Dial Up the Diegetics: Musical Sound Effects,” explored how composers can employ sound design assets and techniques in their game music. Since not all of us can attend GDC, I make sure to post the content of my GDC lectures every year in a series of articles that present the full discussions, along with many of the videos and illustrations that were a part of my lecture. Last month I posted part one of this article series, in which we considered a list of categories wherein sound design assets may be sorted:
We began with a discussion of environmental diegetics, first exploring how short environmental sound design assets supports diegesis, and the ways in which we can make these sound design assets work in our musical compositions. So now, let’s explore that idea further.