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This post was brought to you by Jay Lee, the author of Behind the Score. Discover the Harmony Secrets of Modern Film and Video Games.
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“One of the first things my boss ever said to me was, “You’re not an artist here.” This statement encapsulates one of the challenges of working in a corporate setting: limited creative freedom. “
**Please note this text has undergone AI-assisted editing. You may notice occasional awkward phrasing.
Hello, everyone! I’m Jay Lee. I’ve been working as a video game composer for about 10 years, and I’m also the main author of the “Behind the Score” series (link to the book can be found here). Through our blog, FilmMusicTheory.com, we frequently receive inquiries about pursuing a career in music.
Today, with Christmas around the corner (and the cold weather making it the perfect time to stay indoors and read!), I’ve decided to sit down and share a glimpse into my life as a video game composer in this short essay. Due to my company’s strict policy, I can’t disclose the names of the companies I’ve worked for or the specific titles I’ve contributed to. However, I hope my writing here can offer some value to you all.
If you’ve read my author bio, you might already have a general idea of my job title. For the past decade, I’ve been living and working as an in-house composer for a major gaming company based in East Asia. While it’s impossible to encapsulate 10 years of experience into one essay, I’ll do my best to give you a glimpse into the life of a video game composer. If you find this interesting, I plan to continue with more detailed stories in future installments.
What exactly does a video game composer do?
Over the past 10 years, I’ve been creating music for games. Whether it’s for a blockbuster hit, a beloved classic, or a title that didn’t quite make waves, I’ve composed music like clockwork. The styles of music I’ve worked on span all genres. Sometimes, I’ve had the opportunity to create 3-5 full-length songs and collaborate with well-known artists, which can be incredibly exciting. However, most of the time, I produce short background music (BGM) tracks under three minutes in length. All that said, while that’s my main duty, I also occasionally make jingles (usually for urgent requests). Sometimes, when recordings like crowd scenes are needed in the studio, I quickly go in and help with the shouting. Of course, I also occasionally help review voice actor scripts.”
What is the workflow like?
The development team usually provides me with documentation detailing the purpose of the track (e.g., “music for a siege battle scene”). Sometimes, they include reference links from YouTube for inspiration. Using this as a starting point, I create drafts—typically 30-second or one-minute versions—which are then shared with the team. We go back and forth until the final version is approved. While some projects allow for a few months of development time, the majority of requests come with tight deadlines. A typical email from the team begins and ends with, “Apologies for the urgency of this request...”
What are the pros and cons of being a video game composer?
Pros:
Opportunities beyond individual capacity
Working for a company has allowed me to tackle projects I wouldn’t have been able to as a freelancer. Before COVID-19, I traveled overseas at least once or twice a year to record orchestras in places like Prague, Los Angeles, and the UK. I also participated in voiceover recording sessions and collaborated with sound designers. Although these trips were exhausting, they were rewarding experiences I’d likely never have had as a freelancer.
Stable income
Of course, one of the greatest benefits of being an in-house composer is the financial stability. Unlike freelancing, where income fluctuates depending on workload, a salaried position ensures a consistent paycheck. To put it into perspective, I’d say my salary is roughly equivalent to $100k~ USD per year. While it may not be a fortune, to me, it’s comparable to the pay of a stable, well-regarded job.
Cons:
Creative limitations
One of the first things my boss ever said to me was, “You’re not an artist here.” This statement encapsulates one of the challenges of working in a corporate setting: limited creative freedom. Over time, I’ve learned that pouring my heart and soul into a piece often results in more rejections from the development team. Ironically, tracks that are created quickly and without overthinking tend to face fewer critiques and revisions. During my first couple of years, I invested a lot of passion into my work, only to feel disheartened when it was criticized. I’ve since adjusted my approach, focusing on efficiency and practicality.
Routine and monotony
As time goes on, creating music can feel mechanical. Initially, I thought this sentiment reflected a lack of resilience in others, but I’ve come to understand it. The repetitive nature of the job can sometimes dull the excitement of creating music.
Additional Advantages:
Perhaps the best part. Working in a gaming company has broadened my perspective. I’ve had the chance to interact with a diverse range of professionals, from marketing and legal teams to anti-hacking specialists and building management staff. As someone who used to think “musicians are the best,” I’ve gained a deeper appreciation for the many roles that contribute to the success of a company. It’s been enlightening and humbling to learn about their lives and work.
Thoughts
For now, I’ll wrap things up here. I hope you enjoyed this glimpse into my life as a video game composer. If you’re curious to hear more, feel free to email us at support@filmmusictheory.com. Unfortunately, the comment section is closed due to spam bots, so I appreciate your understanding. Wishing you all a wonderful Christmas and a joyful holiday season!
Master the art of film music composition with everything you need to know about creating impactful scores. Complete Collection Study Pack is currently on sale for 67% off:
