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:
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:
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:
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.
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.
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.
So happy you’ve joined us! I’m video game composer Winifred Phillips, and this is the fourth article in my series based on my Game Developers Conference 2022 presentation, “Composing for Lineage M: Modular Construction in Game Music.” I’ve included the content of my GDC lecture in these articles, along with the videos and some of the images I used in my Powerpoint presentation during the conference.
In the first three articles of this series, we discussed the port of the popular Lineage PC game from 1998 to mobile devices under the name Lineage M, and the subsequent launch of brand-new content for this world-famous game in the DLC release Lineage M: The Elmor.
Welcome! I’m video game composer Winifred Phillips. I’m glad you’re here for this third article in my series based on my Game Developers Conference 2022 lecture, “Composing for Lineage M: Modular Construction in Game Music.” My GDC presentation explored the top creative and technical challenges of creating a flexible music system for a game with a retro design. This article series shares most of the content of that GDC presentation, along with the videos I included in my presentation at the conference.
In the first two articles of this series, we explored the power and awesome popularity of retro gaming. We reviewed the history of the world-famous Lineage video game franchise, including how the original Lineage PC game from 1998 found its way to modern mobile devices in 2017 under the name Lineage M. I shared my experience as the chosen composer of the music for a new DLC release for Lineage M, and what it was like composing the first new gameplay music for the original Lineage MMORPG in over 24 years.
Hey everybody! I’m video game composer Winifred Phillips. Thanks for joining me for this second article in my series based on my Game Developers Conference 2022 lecture, “Composing for Lineage M: Modular Construction in Game Music.” In my GDC presentation, I discussed my work composing music for a recent installment in the famous Lineage franchise (one of the most popular MMORPG game series ever made). This article series will share the content of that GDC talk, along with the audiovisual samples I included in my presentation at the conference.
Hello there! I’m video game composer Winifred Phillips. At the most recent Game Developers Conference, I was pleased to present a lecture as part of the conference’s audio track. GDC is a top video game industry conference, packed with expert sessions supplemented by an array of awesome opportunities to network and learn. Whenever I give a GDC presentation, I like to include the content of my lecture in my articles here, so I’m now kicking off a five-part series of articles based on my presentation in March! In these articles, I’ve included the substance of my GDC presentation, along with most of the multimedia materials I used to illustrate concepts during my lecture. So let’s get started!
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!