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Winifred Phillips: Composing For Virtual Reality Has Real Challenges


Creating an immersive experience is the number one goal of studios that make virtual reality games, and that extends to the music, too.  I talked with composer Winifred Philips at this year's Game Developers' Conference in San Francisco about how she approaches writing the music for VR games that run the gamut from tense  first person shooters like Scraper to the cartoon-style Fail Factory.

In our conversation, Winifred told me that just like any other game, the implementation of the music in a VR game has to suit the style of a game.  Sometimes the source of the music is obvious, as in Bebylon Battle Royale, in which the player can see the musicians.  In other games, the music surrounds the player, just as the sound design does.


In preparation for her session about writing music for VR games at GDC, Winifred wrote two very detailed blog posts about all the challenges of writing music for this new very real world of gameplay.

Episode tracklist:

All tracks by Winifred Philips

Cues from: Charlie and the Chocolate Factory; Bebylon Battle Royale; Fail Factory; Dragon Front; Scraper; Assassin's Creed Liberation

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Born in Madison, Wisconsin, Kate Remington joined WSHU in December of 2000, and she's been WSHU's Music Director since 2002.
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