Hi! I’m video game composer Winifred Phillips. In March, I gave a presentation at the Game Developers Conference 2023 – a top industry event with lectures and panels from lots of different experts in all the varied disciplines within the field of game development. My lecture was entitled “Chaos Theory in Game Music.” It focused on my musical score for the Jurassic World Primal Ops video game, and it was rated by GDC attendees as one of the best sessions of GDC 2023! So awesome to participate once again in one of the best game audio conferences of the year!
Each year after I present at the Game Developers Conference, I include most of the content of my lecture in a series of articles. So with this article, I’m kicking off a six-part series based on my highly-rated GDC 2023 presentation! I’ll be including all of the discussion from my GDC lecture, along with lots of the illustrations and videos that were a part of my GDC talk. So let’s get started!
During the course of this article series, I’ll be sharing my process composing the musical score for Jurassic World Primal Ops – it’s the video game from Universal Games and Behaviour Interactive. Jurassic World Primal Ops came out last summer, right alongside the theatrical run of Jurassic World Dominion (the latest film from the popular Jurassic World franchise).
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.
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!
Hey everyone! I’m video game composer Winifred Phillips, and I’m excited to share that I’ll be giving a talk at the upcoming Game Developers Conference! My talk is entitled, “Composing for Lineage M: Modular Construction in Game Music,” and it’s taking place on Wednesday March 23rd at 10:30 am PT (1:30pm ET). In my presentation, I’ll be focusing on my experience composing music for a game in one of the most successful video game franchises of all time – the Lineage MMORPG franchise from NCSoft. During my talk, I’ll be sharing details of the music composition process for this awesome project, including how thematic content was incorporated into the matrix of musical components that formed the structure of the Lineage M musical score.
I won’t be getting into much detail about the substance of my upcoming GDC presentation in this article. However, it occurred to me that musical themes are a popular discussion topic that has come up in many of my past GDC presentations. With that in mind, I thought I’d offer a short review of the subject, including some content from a few of my previous GDC talks. I’ve confined this discussion to my GDC sessions that are now available to view for free in their entirety via the videos list in the Game Developers Conference Official YouTube channel. You’ll see that I’ve embedded the full-length YouTube videos of those talks below, in case you’d like to see the lectures in their entirety. For each of these presentation videos, I’ve also included a few short lecture extracts that touch upon the relevant subject matter. 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!
Hi! I’m video game composer Winifred Phillips. Welcome to installment five in my series of articles based on my lecture, From Spyder to Sackboy: A Big Adventure in Interactive Music. In delivering my presentation at this year’s edition of the popular Game Developers Conference, I based my lecture content on my experiences composing music for two projects in simultaneous development at Sumo Sheffield – 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 2021 lecture in which I’m discussing the Spyder project). The music design for these two games included multiple dynamic systems that were both complex and ambitious in scope. While they both relied on some of the most tried-and-tested strategies for musical interactivity, they were also quite innovative in their own distinctive ways. While composing music for these projects, I had the opportunity to see how flexible dynamic music models can be. I learned a lot from the experience, and it was really interesting to explore the similarities and differences during my GDC 2021 lecture!