This Year I Decided to Compose Music for Video Games. Here’s What I’ve Learned So Far.

​This Year I Decided to Compose Music for Video Games. Here’s What I’ve Learned So Far.

Earlier this year, I made a decision that had been on my mind for quite some time: I was going to focus my work on composing music for video games.

I’ve spent years behind a keyboard, but scoring games presents a unique challenge. Unlike writing music that stands on its own, game music has a job to do. It has to support the player’s experience, reinforce the world the developer has created, and know when to lead—and when to stay out of the way.

As I’ve studied the craft, attended IGDA events, collaborated with indie developers, and taken part in game jams, one lesson has become clear:

A great soundtrack doesn’t compete with the game, it makes the game more memorable.

Building a Game Is Harder Than It Looks

The more developers I’ve met, the more respect I’ve gained for what they do.

An indie game isn’t just code or artwork. It’s the result of hundreds, sometimes thousands, of decisions made under tight budgets and even tighter deadlines. Every feature has to justify the time and money invested in it.

One statistic that stood out to me is that audio often represents only a small percentage of an indie game’s overall budget.¹ Yet that relatively small investment can shape how players remember the experience long after they’ve finished playing.

That changed how I think about composing.

The question isn’t, “How much music does this game need?”

It’s, “Where can music have the greatest impact?”

Sometimes that’s a cinematic main theme.

Sometimes it’s a subtle ambient texture that quietly builds tension.

Sometimes the right choice is no music at all.

Music Is Part of the Design

Before focusing on games, I thought about music primarily as something players listened to.

Now I see it as another layer of game design.

A soundtrack can create anticipation before the player understands why they’re nervous.

It can make exploration feel rewarding without drawing attention to itself.

It can turn an ordinary scene into one players remember years later.

When music is doing its job well, players often don’t notice the individual notes.

They remember how the game made them feel.

Collaboration Comes First

One thing I’ve learned quickly is that composing for games isn’t about imposing your own musical style.

It’s about serving someone else’s vision.

Every developer has different goals, different technical limitations, and different stories they want players to experience.

The best conversations usually begin with questions:

What should the player feel?

What should they remember?

How can music support the gameplay instead of distracting from it?

Those answers shape every decision that follows.

Learning the Business Matters Too

The creative side of composing is only part of the job.

Understanding the industry is just as important.

The 2025 GameSoundCon Industry Survey highlights how many game audio professionals build careers that combine composing with sound design, implementation, teaching, consulting, and creating audio products.² That reinforced something I’ve come to appreciate: success in game audio isn’t just about writing great music—it’s about being adaptable, reliable, and easy to collaborate with.

Why I’m Writing This Blog

This blog is where I’ll document what I’m learning as I continue building a career in game music.

I’ll share behind-the-scenes looks at my compositions, lessons from working with developers, observations from game jams, and practical thoughts on music, creativity, and the business of game audio.

Whether you’re a developer looking for the right soundtrack, a fellow composer, or simply someone interested in how games are made, I hope you’ll find something useful here.

Thanks for reading. This is only the beginning.

References

1. Indie Game Development Costs, Steam Page Analyzer. Discussion of typical indie game budgets and the proportion commonly allocated to audio.
2. GameSoundCon Game Audio Industry Survey 2025, Brian Schmidt. Annual survey of professionals working in game audio, including career paths, roles, and compensation.