Category Archives: Game Music

BBC Sound of Gaming Interview: Winifred Phillips Discusses Game Music Composition

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Winifred Phillips, pictured in her recording studio at Generations Productions during an interview with the Sound of Gaming radio show on BBC Radio 3.

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Delighted you’re here!  I’m video game composer Winifred Phillips, and earlier this month, I was honored to be interviewed for the BBC Radio 3 program Sound of Gaming, hosted by Louise Blain.  BBC Radio 3 specializes in classical music, which means that the Sound of Gaming program is especially unique among that network’s program line-up.  Focusing on exceptional musical compositions from the awesome world of video games, the Sound of Gaming show has been airing regularly since 2019, bringing classical music listeners into a whole new world of musical expression.

Photo of journalist Louise Blain, host of the radio show Sound of Gaming on BBC Radio 3, as included in the article by award-winning video game music composer Winifred Phillips.

The show’s host Louise Blain is a top video game journalist, and the co-author of the popular book Guinness World Records 2014 Gamer’s Edition.  In addition, she co-hosted the BBC Proms 2022 concert “Gaming Music at the Proms” from the famous Royal Albert Hall in London.  In each of her Sound of Gaming programs, she also includes an interview segment called “The Cutscene,” during which she interviews a game music composer whose work fits into the overall theme of the program.  Whether it’s a composer for moody stealth missions, or one who specializes in light-hearted mishaps, the conversation throws light on the musical style that’s explored in the rest of the program.  In the June 3 2023 episode, the theme was “The Extraordinary,” and focused on games that ignite the fires of the imagination.  During my interview for this program, I was delighted to discuss my music for three of my video game projects: Assassin’s Creed Liberation, Sackboy: A Big Adventure, and Jurassic World Primal Ops.

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Super Mario Bros. video game theme song honored by Library of Congress (NPR Interview)

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Video game composer Winifred Phillips records vocals for her Super Mario Bros. theme song cover recording, "Go Mario! (Super Mario Bros)". Phillips is a BAFTA-nominated video game composer whose credits include titles in six of the biggest franchises in gaming: Assassin's Creed, God of War, LittleBigPlanet, Lineage, Total War, and The Sims.

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So happy you’ve joined us!  Each year, the Library of Congress adds a list of top recordings to its National Recording Registry, and The Sounds Of America radio series devotes an episode to each of the recordings selected for preservation that year.  Recently I was interviewed for an episode of The Sounds Of America radio series on National Public Radio, in order to provide some background and musical context to one of the latest additions to the National Recording Registry – the famous theme to the Super Mario Bros. video game!  This is awesome news for game composers and game music fans.  The Super Mario Bros. theme music is now the first game music composition preserved for posterity in the National Recording Registry of the Library of Congress.  Each year, the National Recording Registry selects twenty five recordings that represent “the richness of the nation’s audio legacy.”  The expert preservationists at the National Recording Registry works to ensure “the long-term preservation of that legacy for future generations.”

As the author of the book A Composer’s Guide to Game Music, I was able to discuss the historical significance of the Super Mario Bros. theme music as a seminal work in the field of game music composition.  I had previously given a lecture at the Library of Congress about the nature of video game music (that lecture is recorded and preserved in the Library’s Films & Videos Collection) and this experience gave me further insight to the importance of the preservation efforts undertaken by the Library of Congress.  I could also discuss the Super Mario Bros. theme music from the perspective of a musician who had recorded one of the many cover versions of this world-famous tune.  I recorded my version for the tribute album, “Best of the Best: A Tribute to Game Music.”  All of this gave me a unique perspective on this historically-significant musical composition, and I was honored to discuss it during the interview with The Sounds Of America radio show.  In addition to my own interview, the show includes interviews with author Jeff Ryan (How Nintendo Conquered America), Super Mario Bros. actor Charles Martinet, and the Super Mario Bros. composer himself, Koji Kondo!  You can listen to the entire show here:

 

I thought it might be useful to include the transcript of my entire interview in this article.  The transcript also includes my own cover version of the track (which you’ll find in the section discussing the popularity of cover versions).  But first, let’s listen to the original Super Mario Bros. Theme, and then dive into the transcript!

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Anatomy of a Game Music Track: Composing Music for Skyweaver

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This photo shows video game composer Winifred Phillips working on the Skyweaver video game (developed by Horizon Games). Winifred Phillips is a BAFTA nominated game composer whose latest project release is Jurassic World Primal Ops. Her credits include games from the franchises Total War, The Sims, Assassin's Creed, and God of War.

Delighted you’re here!  I’m video game composer Winifred Phillips, and welcome to another article exploring the art and craft of game music composition!  If you’re a reader of my previous articles, you’ll know that they usually include discussions of large-scale music systems and best game-wide composition strategies.  Lately, it occurred to me that we might benefit from stepping away from this holistic approach, allowing us to focus on the creation of a single piece of game music.  With that in mind, in this article we’ll be examining the structure and composition of a single track that I composed for the Skyweaver video game.

Illustration of the Skyweaver cast of heroes. The music of Skyweaver was composed by video game composer Winifred Phillips.

Skyweaver is a popular strategy trading-card video game in the tradition of such famous games as Hearthstone, Legends of Runeterra, and Magic the Gathering Arena.  The game released in 2022, and currently boasts over a quarter of a million players.  Investors in the Skyweaver game include both Take-Two Interactive and Ubisoft.  The game is currently available for PC, Mac, Linux, Android and iOS.  The track we’ll be discussing is entitled “Ready,” and it’s heard frequently during Skyweaver matches.  Before we begin examining the structure of this track, let’s take a moment to discuss the nature of a strategy trading-card game.

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The Music of Jurassic World Primal Ops – Techniques for Game Composers

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Video game composer Winifred Phillips is photographed on the red carpet of the 2023 Society of Composers & Lyricists Awards. Phillips was nominated for Outstanding Original Score for Interactive Media for the music she composed for Jurassic World Primal Ops.

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So happy you’ve joined us!  I’m video game composer Winifred Phillips, and one of my latest projects is the musical score for the video game Jurassic World Primal Ops (listen to the score here).  Over the past few months, I’ve been tremendously honored that my score for this game has garnered several award nominations, including Outstanding Original Score for Interactive Media from the Society of Composers & Lyricists, and Music of the Year from the Game Audio Network Guild.  As a result, I’ve been asked numerous questions about how this score was created.  With this in mind, I thought it might be helpful to write a brief article that includes a few of the guiding principles that shaped my work on this project.

I’ll be giving a lecture during the Game Developers Conference in San Francisco about my creative process, and I’ll be including some fine detail about how I planned and constructed this music.  In this article, I’ll be focusing on a couple of broader concepts related to the role that music played in this project.  But first, let’s briefly discuss the game itself.

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The Big Index 2023: Articles for Game Music Composers

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Video game composer Winifred Phillips was nominated for a 2023 Society of Composers & Lyricists Award for her music for the video game Jurassic World Primal Ops.

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Welcome!  I’m game music composer Winifred Phillips, and just before the holidays I was ecstatic to learn that my music for the Jurassic World Primal Ops video game was nominated for a Society of Composers & Lyricists Award!  In all the excitement following the announcement of the SCL Awards nominees, many budding game composers reached out to me for advice regarding their own career trajectories.  I found myself referring many of them to articles I’ve written in this space over the years – articles covering the widely diverse topics that interest us as game composers.

Since 2014, this series of articles has explored the evolving state of our industry and the tools and techniques that can help us make great game music.  Over time, these articles have become a fairly deep repository of information. After referring so many budding composers to articles in this lengthy series, it has occurred to me that this sizable collection has become quite difficult to navigate – partially due to the many topics that have been explored over the years.

Discussions have included many of the creative challenges that make our profession unique.  Through an examination of the structure of interactive music systems, numerous dynamic composition techniques have been investigated.  Along the way, we’ve pondered how game music composition has been accomplished in the past, and where it might be going in the future.  A profusion of resources have been collated in these articles – including the best methods to find gigs, and awesome networking opportunities that can benefit a game composer’s career.  There have also been examinations of resources that can keep us inspired and creatively energized.

Together, these articles constitute a living document about game music composition.  However, they definitely need an index at this point.  With that in mind, I’m offering this ‘big index’ of articles I’ve shared over the years, organized by subject matter.  We can navigate around this index using the following menu:

Dynamic Music in Games | Game Music Business | Game Music And Cognition | Game Music Composition and Production | Game Music Events and Interviews | Game Music in Virtual Reality

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Narrative in trailers, cutscenes and cinematics (for the game music composer)

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This photo includes the logo of the Spore Hero video game, and the game's composer Winifred Phillips. Phillips is the author of the book A Composer's Guide to Game Music, published by The MIT Press.

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Hey, everybody!  I’m video game composer Winifred Phillips, and I’m happy to welcome you back to the last installment of our four-part discussion of “scoring-to-picture” techniques within video games.  In these articles we’ve considered how cutscenes, trailers, and cinematics can benefit from specific musical strategies.  As game composers, our jobs involve lots of complex music systems requiring expert knowledge of dynamic composition techniques.  However, we can still benefit from an examination of the goals that music can achieve during linear presentations within a game.  Such goals may include:

  1. Characterization
  2. Information
  3. Identity
  4. Narrative

Earlier in this series of articles, we’ve discussed the ways in which music can support believable and moving characterization.  We considered the ability of a musical score to emphasize details and enhance comprehension of information.  We’ve also considered how a game’s intrinsic identity can be reinforced using thoughtful choices of musical style, particularly in the case of custom music for game trailers.  So now let’s move on to the last item on our list, and the one most closely associated with linear music composition:

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Identity in trailers, cutscenes and cinematics (for the game music composer)

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Image of video game composer Winifred Phillips in her music production studio, regarding images from the DC Dual Force project.

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Hello there!  I’m video game composer Winifred Phillips, and I’m glad you could join us for the continuation of our four-part discussion of traditional “scoring-to-picture” techniques within a video game project.  We’ve been examining the music needs of cinematics, cutscenes, and trailers, with an eye towards pinpointing specific goals that music can achieve. Those goals include:

  1. Characterization
  2. Information
  3. Identity
  4. Narrative

In our previous articles we thought about how music can accentuate the believability and importance of characters, and how music can help players absorb and digest information.  So let’s move on to the third item on our list of goals:

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Information in trailers, cutscenes and cinematics (for the game music composer)

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Winifred Phillips is a BAFTA-nominated video game composer, and the author of the book A Composer's Guide to Game Music. This photo depicts Phillips at work in her music production studio.

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Hey, everyone!  I’m video game composer Winifred Phillips, and I’d like to welcome you back to our four-part discussion of traditional “scoring-to-picture” techniques within a video game project, and how these play into our work as game composers.  We’ve been looking at examples of cinematics, cutscenes and trailers to see how this kind of linear composition style accomplishes specific goals.  That list of goals includes:

  1. Characterization
  2. Information
  3. Identity
  4. Narrative

In our previous article, we took a look at how music can best emphasize and support characters during cutscenes and cinematics. By using linear music for the purposes of characterization, we can accentuate the distinct traits of important characters, or provide insight into their state of mind.

Now, let’s consider when our music composition goals are less emotional, and more utilitarian.  In this article, we’ll be moving on from characterization to take a look at how information is conveyed in linear cinematics and cutscenes.  When the primary goal of a cinematic is to provide players with important details, we can assist by composing music to support the way information is disseminated.  This can help players to better absorb all the facts presented.

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Characterization in trailers, cutscenes and cinematics (for the game music composer)

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Photo of BAFTA-nominated composer Winifred Phillips at work in her music production studio. Phillips' projects include titles in six of gamings biggest franchises: God of War, Assassin's Creed, Total War, LittleBigPlanet, Lineage, and The Sims.

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Glad you’re here!  I’m video game composer Winifred Phillips–  thanks for joining us!  As we all know, dynamic music has become a central focus of our craft as game composers. In our past articles here, we tend to focus on the awesome power of dynamic implementation to increase the utility of game music across lengthy gameplay sequences.  In-game music serves many purposes, so it must morph and change in order to best accommodate shifting circumstances.  However, no matter how interactive our in-game tracks may be, we inevitably run into situations in which dynamic music systems fall short.

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Utility for Modular Game Music (Composing for Lineage M: GDC 2022)

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In her music studio at Generations Productions, Winifred Phillips is pictured here composing music for her video game projects. Phillips is a BAFTA-nominated video game composer of music for games in the franchises God of War, Assassin's Creed, Total War, Lineage, LittleBigPlanet, and The Sims.

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Delighted you’re here!  I’m video game composer Winifred Phillips.  Welcome to the fifth and concluding installment in this article series based on my Game Developers Conference 2022 presentation, “Composing for Lineage M: Modular Construction in Game Music.”  You’ll find the entire contents of my GDC lecture in these articles, accompanied by all of the included videos and some of the images from the Powerpoint presentation I used during my conference session.

During the previous four articles in this series, we learned about how NCSoft ported the original world-famous Lineage PC game from 1998 to mobile devices under the name Lineage M.  We discussed how the launch of brand-new DLC content for this mobile port raised an unusual conundrum.  How does a modern game composer create new music that will work effectively within a game engine originally devised in the 1990s?  In the previous articles of this series, we discussed the popular DLC release of Lineage M: The Elmor, and I described what it was like creating new music for such an awesome game with an amazingly long history and enduring fanbase.

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