Introduction

I, and many others of my generation, would argue that video games continue to play a crucial role in our cultural upbringing and evolution. Not only have I personally engaged with the global phenomenon on a casual level, but I have participated in various video game events and tournaments since 2020, some of which have collectively raised thousands of pounds (£) for charity, and amassed hundreds of viewers across social media platforms. To that end, I have sufficient justifications to argue that video games, and the surrounding culture, have become integral to my life.

In recent years, I’ve ventured into the possibility of fusing my passion and ability for music with my aforementioned investment into video game culture. I’ve been fortunate enough once before to compose and produce music for a student-led mobile game project, which provided me with a gateway into exploring this career path first-hand. This assignment however, gives me an opportunity to venture into the requirements, opportunities, and challenges of developing a career in video game soundtrack composition. In doing so, I aim to find out more about one of my influences within the profession, and how their career path may mirror, or influence my own progression. I also wish to touch on the suitability of this profession to my personal needs as someone with a chronic illness. 

Background – Qualifications – Experience – Skills

There aren’t many hard and fast rules in video game composition employment. Employers are more interested in one’s artistic vision, creative capabilities and general experience and knowledge in the realms of composing for video games, usually preferring pre-existing works and portfolios over degree qualifications. That being said, in the modern industry, many composers are expected to be a ‘jack of all trades’, having the skills necessary to write, perform, mix and master, as well as marketing and dealing with legal contracts as and where necessary. Consequently, there is no clear ruling as to whether a specialised degree or diploma would benefit the application process for many jobs, but rather, the experience gained throughout any given course may help to develop a more advanced skillset. 

Above all else, an advanced understanding of music harmony and theory is expected for composers, as complex and detailed musical ideas allow for a more vivid expression of atmosphere, emotion or scenario. In an article for Composer Code, Matt Kenyon (2021) argues that “No gear, fancy plugins, or industry relationships can replace good ol’ fashioned composition chops”. While not necessary, familiarity with sheet music can be crucial in communicating musical ideas between oneself and a session musician, particularly with classically trained orchestras as they are often featured in higher budget video game soundtracks. Although I do have an intermediate knowledge of music theory, developing further fluency in sheet music scoring may be a beneficial tool to me. On a related note, notation software such as Musescore or Sibelius provide efficient digital alternatives to handwritten scores, so a working knowledge of notation software could further aid efficiency if required. 

In a modern context, DAW (Digital Audio Workstation) fluency is essential to an efficient creative workflow. As a software, a DAW such as FL Studio, Ableton Live or Logic Pro acts as a canvas for the creative process, allowing for writing and recording of parts through external input or virtual instrument, audio processing through digital effects and signal chains, mixing and mastering capabilities, alongside various export methods and codecs. Aleah Fitzwater (2023) highlights the benefits of writing through MIDI in a DAW in an article for Yamaha Music, noting the ability to swap instruments on the fly, allowing an artist to experiment with sounds before committing them to a score or piece of music. Additionally, Noah Taublieb (2025) insists on DAW knowledge being a “necessary step on your journey of becoming a game composer”. Having multiple years pre-existing experience with DAW software such as Ableton Live, alongside focusing on music production for my degree will aid my adaptability across various hardware and software options, which may become a key factor in my employability.

Communication skills are also essential to ensure accurate results for clients and collaborators. Music often becomes an integral part of the video game medium, rather than a linear accompaniment, and frequent conversation between a composer and their client would help to generate more detailed results. That alongside the professionalism of reliable communication helps to develop credibility and a positive reputation within the industry.

Adaptation is a crucial attribute for a video game soundtrack composer. Video games are often compared to movies in the way they deliver narrative to an audience. Movies and other forms of visual media are scored on a linear timeline where each moment in the story is pre-determined, and as such accounted for within the score. Video games differ from this, by offering player-controlled environments and progression within the narrative, and as such, any musical accompaniment has to compliment this dynamism. 

In an interview with Composer, Lena Raine (ca. 2020), known best for her work on the Celeste and Minecraft soundtracks, elaborates on the unique nature of video game scoring; “…with games, you’re scoring the potential for a player to do something… There are all kinds of different situations that need to be taken into account”. She describes the necessary thought process and work flow as “very non-linear”, directly juxtaposing the film industry which video games are often categorised alongside. In a scenario where the progression of the game is dependent on the input of the player, one must consider every possibility for variance, including but not limited to changes in environment, weather, time of day, character personality, and level of danger or threat. This meticulous nature of detail becomes crucial to establish an emotional investment/connection between the player and the game, and to solidify a well-rounded gameplay experience.

Lena herself is often complimented for her seamless segues in the soundtrack to Celeste, where she created leitmotifs on a per-chapter basis which often shifted in texture, depth or timbre as the player explored the various areas of a chapter. Her ability to integrate musical ideas as a characteristic of an environment is focused upon during the final chapter, where the track ‘Reach for the Summit’ (Raine, 2018) acts as a fusion of each previous chapter, offering a satisfying and complete conclusion to the experience. 

Freelancing – Pros and Cons

Most (if not all) opportunities for video game composers come through short-term, freelance work. The lack of stable opportunity seems to be derived from the volatile and spontaneous nature of the games industry. Many large studios have become notorious in recent years for laying-off entire divisions. An article for variety on the GDC ‘2025 State of the Industry’ report outlines the drastic statistics of 2024. Jenniffer Maas (2025) relays that of 3,000 employees and developers surveyed, 11% of them had their positions made redundant in 2024. Many contributing factors are cited, including declining revenue, ‘market shifts’ and poor leadership/management. 

Unlike company employees, freelancers are required to handle every aspect of their profession individually, including contract negotiations and handling of finances. On one hand, this lack of any indefinite contractual obligations offers a freelance composer more freedom in deciding their commitment to (and hours of) work. It may also allow them to work on multiple projects simultaneously, rather than being committed to a single corporate entity. However, the very nature of freelance work results in inconsistent opportunity, and a subsequent lack of financial stability, especially during the initial stages of one’s career. Freelance composers are often paid per-minute of completed work, averaging between $600-$5000 per minute depending on level of work (Taublieb, N, 2025).  In certain scenarios, companies may offer royalties on a track rather than a flat-rate payment, providing a risk-reward scenario depending on the potential commercial success of a video game. 

Seemingly, the higher rates of pay are designated to those with more experience in the industry, rather than the scale of publication. Research by GameSoundCon (2021) underscores how freelance work in the industry had the lower average incomes at the time, but how some freelancers also had the highest incomes in the group of study, further speaking to the volatility of the industry.

Self Marketing – Networking and Communication

The importance of networking and communication cannot be understated in this profession. An overview from the Berklee College of Music insists that “…because video game composers are generally freelancers, they need tenacity, salesmanship, and networking ability to thrive in this fast-growing and competitive field” (online.berklee.edu).

Another detailed article by Matt Kenyon (2018) outlines key pieces of advice for budding composers in the video game sphere. In his article, he compares composers to the likes of farmers, suggesting to plant “seeds” as often as possible, knowing that you can’t control how they’ll grow in a metaphorical sense. Matt suggests that the process of developing a career takes several years, which while exhaustive and slow initially, should be considered reassuring, as there is a tougher “entry barrier”, filtering out competition over time. He also underscores the importance of striking a balance between humility and confidence – as to not discredit or insult other games or composers. 

Short-form social media content on platforms such as TikTok, Instagram or Youtube have become a norm for promotion across various artistic disciplines. There is an argument to be made that utilising short-form content could serve as an additional means of large-scale promotion, while being cautious of the inconsistency of the algorithms behind them. To that end, learning a video editing software such as Sony Vegas, DaVinci Resolve or Adobe Premiere could help to create more complex and eye-catching promotional videos. Growing a consistent followage across platforms may also speak to the reputation and credibility of one’s pre-existing portfolio. 

Royalties and Rights

Correct distribution of usage rights across musical works in a videogame rely on various licenses for different use-cases, as outlined by Mark Eckert (2025): “Master rights cover the actual recording, while publishing rights refer to the composition itself. Mechanical licenses are needed for copies or downloads”. In the case of a commissioned composition, use rights (Master Use License) for tracks are often bought outright by the game publisher, allowing them to use works in a game without having to pay royalties per-game-sold. However, if the composer still has the publishing rights, master rights, or both, they may be able to release the soundtrack individually via digital or physical release, depending on if any exclusivity clauses were negotiated between the composer and game studio.  

Personal challenges – Working with a chronic illness

I have often found myself concerned or worried over the limitations that my chronic illness may impose on my career, as I often experience bouts of fatigue and pain that would limit my ability to travel, or perform intensely physical tasks. Fortunately, I find myself reassured that a career in video game soundtrack composition, especially in such a technology-dependent industry, may account for these limitations. Many composers now prefer in-the-box production via a DAW, or run their own home studios. Furthermore, with the ever-expanding use-cases of social media, communication to clients, and self-promotion wouldn’t necessarily be limited if I were unable to attend in-person appointments or events. 

(1878 Words)

Bibliography

Eckert, M. (2025). Music Licensing for Video Games: The Essential 2025 Guide –. [online] That Pitch Blog. Available at: https://thatpitch.com/blog/music-licensing-for-video-games/.

Fitzwater, A. (2023). Video Game Music Composition: an Art Form. [online] Yamaha Music. Available at: https://hub.yamaha.com/music-educators/prof-dev/teaching-tips/video-game-music/.

GameSoundCon. (2021). Video Game Sound/Music Salary Data. [online] Available at: https://www.gamesoundcon.com/game-audio-survey-2021.

Kenyon, M. (2018). The Ultimate Guide to Networking for the Video Game Composer – Composer Code. [online] Composer Code. Available at: https://composercode.com/how-to-get-gigs-as-a-game-composer-part-1-in-person/.

Kenyon, M. (2021). How to Become a Composer for Video Games in 2024. [online] Composer Code. Available at: https://composercode.com/how-to-become-a-composer-for-video-games/.

Maas, J. (2025). Video Game Industry Layoffs Impact in 2024, Fears for More This Year. [online] Variety. Available at: https://variety.com/2025/gaming/news/video-game-layoffs-2024-report-gdc-1236277739/.

online.berklee.edu. (n.d.). Music Industry Career Roles – Berklee Online. [online] Available at: https://online.berklee.edu/careers-in-music/roles/composer-video-games.

Raine, L. (2018). Reach for the Summit. [Online].

Raine, L. (ca. 2020). Lena Raine on Celeste & the Minecraft Nether Update. [online] Composer. Available at: https://composer.spitfireaudio.com/en/articles/lena-raine-on-celeste-the-minecraft-nether-update Exact date unknown.
Taublieb, N. (2025). Video Game Music Composer: How to Become One? [online] Game Design Skills. Available at: https://gamedesignskills.com/game-design/music-composer/.