Welcome! I’m video game composer Winifred Phillips, and I’m happy you’ve joined me for the second installment in this series of articles based on the content of a lecture I gave during the Game Developers Conference 2021. My talk was entitled, “From Spyder To Sackboy: A Big Adventure in Interactive Music.” In my presentation, I compared and contrasted the interactive music design of two of my video game projects from the previous year. Both projects were developed by one of the game industry’s top development studios – Sumo Sheffield. Both projects included ambitious dynamic music systems, using similar techniques and approaches. However, there were lots of differences in the execution of those techniques. This series of articles explores the similarities and differences between the dynamic music design of the popular Sackboy: A Big Adventure game for PS5/PS4, and Spyder for the new Apple Arcade (a great platform for supporting larger-scale game development for iOS). (Above you’ll see a photo from one of the sections of my GDC 2021 lecture in which I’m discussing the music systems of both of these projects). If you missed the first article in this series, you can find it here.
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!
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.
Hey everyone! I’m videogame composer Winifred Phillips. GDC 2021 is coming this July 19th to the 23rd, and I’m excited that I’ll be giving a talk during this year’s conference! My talk is called, “From Spyder to Sackboy: A Big Adventure in Interactive Music,“ and I’ll be sharing more details about my talk as the conference gets nearer. Once again, GDC will be a fully virtual game industry event this year. I think all of us who have participated in GDC’s awesome online events over the past year have really enjoyed the experience. Considering the long list of structural and logistical changes that had to be made, it’s amazing how smoothly everything went!
This March, the GDC held their first-ever Showcase event. This online gathering provided the game development community a chance to get together and share expert knowledge in the time window usually occupied by the full-fledged Game Developer Conference in San Francisco. Completely free of charge, this event featured talks from the GDC Vault: a repository of lecture videos from the long history of the conference. During Showcase week, GDC curated a selection of lectures from their illustrious history and spotlighted those talks in live-streams accompanied by enthusiastic text discussions in an accompanying chat box. One of my lectures from a previous GDC event was featured during this GDC Showcase, and I was happy to participate in the chat discussion, answering questions and providing additional resources. My lecture was entitled, “Homefront to God of War: Using Music to Build Suspense,” and you can watch the entire video of my lecture for free at this link in the GDC Vault.
While the videos remain a part of the GDC Vault, those chat discussions from GDC Showcase are no longer available in any form. I found the chat conversation during my lecture session to be lively, intelligent and tremendously worthwhile, so I preserved the text of the discussion and I’d like to share portions of it here. As we all know, these sorts of text-chat discussions don’t really allow for lengthy answers, and often the questions fly by so fast that there’s little time to elaborate on ideas. With that in mind, I thought I’d expand on some of the topics brought up during my GDC Showcase session. You’ll see that I’ve organized this article under topic headings, quoting the original chat excerpts and then adding a few additional thoughts to flesh things out.
In the last article, we took a look at how thematic material was employed in subtle ways within two of my video game projects – Assassin’s Creed Liberation and Homefront: The Revolution. We considered how repetition can reinforce the significance of musical themes, particularly when they are associated with specific narrative ideas, and we talked about how repetition can work to make musical themes memorable and meaningful. But we all know that repetition can get stale if we don’t approach it creatively. So that brings us now to the topic of variation – how to keep themes feeling fresh.
Glad you’re here! I’m video game music composer Winifred Phillips. Today I’d like to share some news about one of my latest projects as a video game composer: the newest installment in an internationally-acclaimed fantasy RPG franchise known as The Dark Eye. During our discussion, we’ll break down the structure of one of the most important pieces of music I composed for that game.
The latest entry in the award-winning Dark Eye video game franchise will be released this coming Spring 2020 under the title The Dark Eye: Book of Heroes. Before we begin discussing this project and one of the pieces of music I composed for it, let’s take a look at the announcement trailer that was recently released by the publisher Ulisses Games. The trailer prominently features a sizable portion of the main theme I composed for the game:
As you can see from the gameplay captured in the trailer, The Dark Eye: Book of Heroes is an isometric real-time roleplaying game. The developers have compared the gameplay of Book of Heroes to top RPG games from the classic era like Baldur’s Gate and Neverwinter Nights. The game offers both solo missions and cooperative adventures designed for up to four players. Most importantly, the developers stress in an interview that their game will be faithful to the awesome fantasy world of the renowned RPG franchise – it will be “the most Dark Eye game ever.” Composing a main theme is a heavy responsibility, since main theme tracks tend to be regarded as especially important in a composer’s body of work. Just this week (Nov. 9th) I was interviewed on the Sound Of Gaming radio show on BBC Radio 3, and the main theme for The Dark Eye: Book of Heroes premiered on this broadcast, spotlighting my work as a game composer. The entire show is available to listen at this link from now until Dec. 8th. A main theme is not only a prominent showcase of a composer’s abilities, but also serves a crucial function within the main score of the game. So let’s explore that idea further.
Glad you’re here! I’m video game music composer Winifred Phillips, and I’m the author of the book A Composer’s Guide to Game Music. Recently my publisher The MIT Press requested that I host a question and answer session on Reddit’s famous Ask Me Anything forum, to share my knowledge about game music and spread the word about my book on that topic. I’d be answering questions from a community consisting of thousands of gamers, developers and aspiring composers. It sounded like fun, so last Thursday and Friday I logged onto Reddit and answered as many questions as I possibly could. It was an awesome experience! Over the course of those two days, my Reddit AMA went viral. It ascended to the Reddit front page, receiving 14.8 thousand upvotes and garnering Reddit’s gold and platinum awards. My AMA has now become one of the most engaged and popular Reddit gaming AMAs ever hosted on the Ask-Me-Anything subreddit. I’m so grateful to the Reddit community for their amazing support and enthusiasm!! During the course of those two days, the community posed some wonderful questions, and I thought it would be great to gather together some of those questions and answers that might interest us here. Below you’ll find a discussion focused on the art and craft of game music composition. The discussion covered the gamut of subjects, from elementary to expert, and I’ve arranged the discussion below under topic headings for the sake of convenience. I hope you enjoy this excerpted Q&A from my Reddit Ask-Me-Anything! If you’d like to read the entire AMA (which also includes lots of discussion of my past video game music projects), you’ll find the whole Reddit AMA here.
Hi! I’m video game music composer Winifred Phillips, and sometimes my game music shows up in places I never would have expected. A little over a week ago, while I was eagerly watching an awesome trailer for the just-released blockbuster Avengers Endgame, I was suddenly stunned to hear my own music in it! (I’ve embedded the Avengers Endgame trailer that features my music at the end of this article.) What made this moment even more jaw-dropping for me was that I had originally composed this music for the video game Spore Hero (a game from Electronic Arts’ popular Spore franchise). Just as a reference, here’s what the characters look like in Spore Hero:
The style of Spore Hero couldn’t be further away from that famous Avengers style, as expertly displayed in the Avengers Endgame trailer. Yet the same music was used for both projects.
The Spore Hero music I was hearing in the Avengers Endgame trailer was my “Hero Theme,” which functions essentially as a leitmotif within the Spore Hero score – it’s the central recurring melody in the game. By virtue of the theme-and-variation technique, the melody undergoes a gradual transformation from invitingly cute to heroically epic.
The Avengers Endgame trailer featured the most dramatic iteration of this theme. When I recovered from the initial surprise, it occurred to me that a mini-postmortem of this particular melodic theme might be the best way to explore an interesting topic: how does a single theme transform itself from an amiable melody to an avenging one?
Welcome back to our two-part exploration of the role of tension and intensity in a musical score, and the techniques that can best and most effectively accentuate our audience’s nervous excitement. If you haven’t read Part One yet, please read that article first, and then come back for the continuation of our discussion.
In Part One we explored how popular narrative genres such as horror benefit from a tense musical score, and we studied effective techniques for horror music composition as a model for musical tension-building in any narrative genre. We learned about some techniques from the world of sound design that can add intensity and emotional pressure to our music. We listened to a couple of musical examples that I composed as a member of the music team for Homefront: The Revolution (pictured right). We also consulted the opinions of some top experts in the field to better understand how amplifying tension can make any story feel like a more awesome, satisfying experience. Now, let’s move on to the more musical meat-and-bones of the topic: the actual harmonic textures and chord structures of our compositions.