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Speaker(s): Jill Murray
Company Name(s): Ubisoft
Track / Format: Advocacy
Overview: Variety is the spice of life. Games are a playful exploration of life. Clearly the two are made for each other. For writers and narrative designers, this means building diversity into the cast of characters with whom we populate game worlds. This requires research, imagination, consideration, and yes, the risk of getting it wrong. But attention paid to diversity strengthens every aspect of writing, and opens us to new narrative possibilities and gameplay paradigms. This session is a diversity bootcamp covering everything from "sensitive topics" to finding the nugget of commonality we share with each character we invent. [SOURCE]
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We speak to Winifred Philips, the composer for the Assassin's Creed III spin-off.



Readers of Sound Byte will recognize Winifred Philips from a previous Sound Byte. To recap, Philips is best known for doing music work for God of War, The Maw, and the LittleBigPlanet series. Recently she won a Hollywood Music in Media award for her work on Assassin's Creed III: Liberation.

We managed to catch up with the composer about her recent work on Ubisoft's open-world action stab-heavy series.


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Developers don’t pound their chest at the sight of their PlayStation Vita software sales very often. There’s a reason for that – if every single PlayStation Vita owner bought LittleBigPlanet, for example, that would be just over 2 million units sold. 2 million in sales isn’t poor, but it’s not a breakout success, nor a reality in this case. For comparison, there has been approximately 3 million PS3 copies of LittleBigPlanet 2 sold, despite a current PlayStation 3 install base surpassing 60 million units.


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In October, Ubisoft set out to prove Sony’s new handheld, the PS Vita, was capable of delivering an Assassin’s Creed experience on par with its console counterpart. But though we thoroughly enjoyed our time with Assassin’s Creed 3: Liberation, we enjoyed its soundtrack even more. Recently, composer Winifred Phillips agreed to answer a few questions we had in light of what may be one of the best video game soundtracks of 2012.


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Assassin’s Creed III isn’t the only Assassin’s Creed game coming out on October 30. A totally different game, Assassin’s Creed III: Liberation comes out the same day on the Playstation Vita. The game’s star, Aveline de Grandpré, is Assassin’s Creed’s first female protagonist and is the child of “plaçage“ with a French father and a mother of African ancestry. Earlier this week, Post Arcade’s Daniel Kaszor spoke with Liberation writer Jill Murray about the game, its story and women in the games industry.




Post Arcade: One of the most interesting aspects of Assassin’s Creed III: Liberation is its fluid notions of racial and class identity. Can you speak a little bit about that?
Jill Murray:
It’s absolutely essential to both the story and the gameplay. I like to think this is an amazing example of how gameplay contributes to the story, and it can get across powerful elements of the story by involving the player.

For Aveline she has three personas. There is the Assassin persona, which looks like the assassins that we’ve seen with armour and a full load out of weapons, there’s the lady persona, where she is a respected lady, she’s and up and coming business woman in the footsteps of her father, it filters down to everything to how guards initially are just trying to protect her because she’s an outstanding citizen.


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Assassin's Creed 3 Liberation

November 2013

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