We Asked 8 Video Game Music Composers What Makes A Great OST (2023)

What is a video game without music? Well, it’s still a video game, of course. However, unless it’s intentional to create a certain energy, a video game with no music feels to me like aBig Bang Theorywith no laugh track.

The thing is, just because a game has music, that doesn’t immediately make it good. There’s always the possibility that a soundtrack can be bad, and that can come from a lot of factors. Poor mixing, ill-fitting ‘vibe’ for the game, or maybe just being forgettable can all be aspects that lead to a not-so-great video game soundtrack.

All that being said, what exactly makes a great video game soundtrack? What makes a great video game soundtrack different to a great album? Can a composer’s creative process have an effect on how their compositions for a video game turn out? How do you make a soundtrack that is distinctly memorable, one that stays with people long after they’ve played the game, but also manages to comfortably sit in the background of the interactive experience?

From October 1st to 2nd 2022, the Australiasian Performing Right Association (APRA) will be holding an event as part of Melbourne International Games Week. The event in question is High Score: Composition and Sound Art for Games, and will be an in-person and live-streamed conference consisting of keynotes, panels, and feedback sessions with plenty of folks in the industry.

Prior to the event, I’ve been given a chance to have a chat with eight different video game OST composers who are involved in High Score, and decided it would be the perfect opportunity to figure out what makes a great video game soundtrack. I mean, if you want the Krabby Patty secret recipe, where are you going to go? The Krusty Krab, of course! Same situation here but different.

We Asked 8 Video Game Music Composers What Makes A Great OST (1)

Narayana Johnson (aka River Boy)

Musician, Composer (Cult of the Lamb)

What is your personal approach to composing music for a video game?

On Cult of the Lamb, the process started with throwing a bunch of ideas at the wall, experimenting with different digital instruments and melodies and listening to a lot of music. Massive Monster would brief me on an area and I’d make lots of little musical sketches.

When I’d make something I liked, I’d save the instruments away and they’d become part of the game’s sound palette. I experimented a lot, particularly with production techniques and when I found something interesting, I’d add the technique to the palette as well.

How do you think video game composition differs from regular composition, if at all?

My other experience is composing pop music so I’ll speak to that. I’ve personally felt a lot more freedom in game music. There’s less of a need to catch someone’s attention right away. The focus is on creating a mood or vibe that enhances a space or experience.

In your opinion as a video game composer, what do you think are the main elements of a great OST?

A great OST adds a layer of emotion and energy to whatever’s happening to the player.

I grew up playing SNES and Gameboy games so I love memorable melodies and chord progressions like the tracks in Link’s Awakening or Donkey Kong Country. I also love something that sounds like itself, something that’s distinct and really feels like it comes from the world the game is set in.

We Asked 8 Video Game Music Composers What Makes A Great OST (2)

Darren Korb

Musician, Voice Actor, Composer (Bastion, Transistor, Pyre, Hades)

What is your personal approach to composing music for a video game?

My main consideration when composing for a game is finding a sound that’s expressive of the game’s setting and tone.

I tend to try and create a musical palette and a hybrid genre that give me a creative framework to use as a guide, and also help the world of the game feel unique.

How do you think video game composition differs from regular composition, if at all?

(Video) 3 Steps to Get Your First Job as a Video Game Music Composer

The non-linear nature of games, and the way that music (which is linear in nature) interacts with it, creates some unique challenges and opportunities.

Music implementation in games is a key consideration, and how the player is able to affect what is happening musically has the potential to deepen immersion in a way not possible in film.

In your opinion as a video game composer, what do you think are the main elements of a great OST?

I’m always interested in an OST that enhances a game’s tone and setting, deepening my immersion in the world of the game. I like when a game’s soundtrack is something that feels like an extension of the game itself, something that’s fully integrated into the experience.

I really appreciate when a soundtrack can have an assertive identity, musically, but doesn’t distract from the game.

We Asked 8 Video Game Music Composers What Makes A Great OST (3)

Danna Yun (aka Pekoe)

Musician, Composer (Spiritwell, Postage Game)

What is your personal approach to composing music for a video game?

I enjoy immersing myself into the game’s design process to understand the team’s influences, aspirations, and personalities that are being brewed into the project. One of the most satisfying things to me is witnessing a game’s development unfold holistically from asset additions to mechanic implementations to story updates.

I think of game composition as another design pillar that serves to extract and solidify a game’s psychological and emotive intentions from the designers’ vision. For me, this means empathy, curiosity, and experimentation govern my personal approach to composing game music.

How do you think video game composition differs from regular composition, if at all?

I think it’s been said a lot that game music is impressive in its own right for being interactive and non-linear, but I also think game music invites multi-layered sharing and co-creation. There’s always additional sensory associations attached to a soundtrack from a game. These additional associations can be stories and visual designs co-created by the creatives in your team, as well as by the player’s own experiences with the game.

All these external, non-musical factors complete the sound and vibe of your music if you were to listen to the soundtrack on its own. In other words, the whole lot forms the identity of a game soundtrack. You don’t decide what your music means; everyone who interacts with it, including the player, gets to create that shared meaning together.

In your opinion as a video game composer, what do you think are the main elements of a great OST?

Do you ever miss a game, so you decide to replay it, but it no longer feels as exciting because you already know everything about the game? Literally everything is the same, but the feeling isn’t. So, you put it down, sulk a little, and just conclude: “Damn, I wish I could play it for the first time again”.

I think a great OST acts as an effortless mnemonic device that captures and stores that specific feeling we long for. It can trigger your imagination to relive the feelings you felt when you first played a game.

Not a complete re-experience, but definitely the best avenue you have. You may not be able to fully immerse in the excitement, the activity, the unknown of the game’s world anymore, but the soundtrack will transport that wonder and energy to your world, and the emotions you felt in the past will meet you where you are now.

As such, this is a long way of saying I don’t really have any opinions regarding what makes a great OST; regardless of compositional complexity and production quality, they all help attach memory evocations to a game and the rest is just a matter of personal taste!

(Video) Jazz Pianist Breaks Down Pokémon 8-Bit Music

We Asked 8 Video Game Music Composers What Makes A Great OST (4)

Allison Walker

Composer, Sound Designer (Sounds, Hidden to be Found)

What is your personal approach to composing music for a video game?

I always start with which main instruments I want to use. It doesn’t matter if they’re exactly right, it only matters that they’re in the rough area of what I think suits the game. It helps guide the whole process for me if I can feel the textures out early, like they’ll tell me what they want to do and where they want to sit.

Making music often feels like you’re discovering something rather than creating something so I think leaning into the feeling of discovery really helps.

How do you think video game composition differs from regular composition, if at all?

Oh, interactivity for sure. How the track can morph and shift due to player input leaves a lot of possibilities open for composition. It’s also interesting to note how many tracks are so much more effective when they’re put together with the rest of the project.

We’re really closely aligned with film in this way. I think interactivity is our main point of difference to consider but ultimately I don’t think we’re so far away from any other style of composition (at least in the broad strokes).

In your opinion as a video game composer, what do you think are the main elements of a great OST?

I reckon the best OSTs are the ones where you can tell the composer had an absolute blast making it. Fun and engagement in the creation process are definitely key to a great soundtrack.

We Asked 8 Video Game Music Composers What Makes A Great OST (5)

Neha Patel

Composer, Sound Designer (Venba, MiniMaker, Eternight, Lost Your Marbles)

What is your personal approach to composing music for a video game?

After having a discussion with the creative director about the vision/style of the music, I listen to a LOT of music references. Active and passive listening, so whether it be music while I’m cleaning, having coffee or just taking a walk, I’m constantly listening. Once the writing process starts, my first step is to improv on the piano.

I am a classically trained pianist, improvising for me feels natural, I am quite quick at it and the majority of the track is done there. Then comes the laborious part of writing it down in MIDI and creating the individual tracks!

How do you think video game composition differs from regular composition, if at all?

The simplest answer here is that video game music is unique in its possibility to be interactive. It is not a necessity per se, but definitely a perk.

I also think that the relationship between music and sound design is much more harmonious and there’s this possibility to mesh them together to create an audio experience of its own. The bond between music, sound design and interactivity truly makes video game music, or rather audio, a unique experience.

In your opinion as a video game composer, what do you think are the main elements of a great OST?

Personally, what I seek in a great soundtrack is to feel some sort of nostalgia. It doesn’t not have to be nostalgia for another game or OST, but the feeling itself, whether it be a time in life or an experience.

(Video) Madonna - Don't Cry For Me Argentina (Official Video)

I think a common theme amongst great video soundtracks has been their portrayal of nostalgia in various forms, and that’s something I wish to strive for as well.

We Asked 8 Video Game Music Composers What Makes A Great OST (6)

Jacob Leaney (aka Monster Mansion)

Musician, Creative Director of Things For Humans(Video World)

What is your personal approach to composing music for a video game?

I approach it in the same way as writing a pop song – I play around with different sounds until I find something inspiring, then begin playing around with melodies or chords. I might also start with a sampled beat from Splice!

How do you think video game composition differs from regular composition, if at all?

There’s less room to express yourself as an artist and a person with feelings; it’s about conveying the feeling or idea present in a character/environment/situation etc. In some ways, this allows for much more freedom creatively.

For example, it’s been a great way for me to explore different genres and sounds. My retro-inspired ‘sound’ as an artist comes directly from my experimenting with retro synths when writing the soundtrack to Shape Arcade (Campervan Games).

However, particularly when writing to a brief for another developer, you have to continue questioning whether what you’re doing hits the brief, which I’ve often found interrupts my creative flow!

In your opinion as a video game composer, what do you think are the main elements of a great OST?

Having a memorable style of the soundtrack is hugely important.

Whatever vibe you’re going for, lean into it as much as you can. You want someone to hear any part of a soundtrack and know it’s from a particular composer or from a particular game. For example, the DOOM soundtrack leans so heavily into heavy rock/metal that it’s instantly recognisable!

We Asked 8 Video Game Music Composers What Makes A Great OST (7)

Jeff Van Dyck

Three-time BAFTA-winning Composer, Sound Designer, Audio Director (Total War franchise,Unpacking, and much, much more)

What is your personal approach to composing music for a video game?

The first thing I like to do is play the game and see how it ticks. Get its vibe, and work that in with any context or requests from the designers and directors. I find I quite quickly start to have ideas like “It would be nice if the music did this so the player felt that”. This is not just limited to the music either, as I’m thinking about the soundscape as well. It’s always interesting where sound design overlaps with music. It’s possible to blur the lines in a lot of cases.

I then go into compose mode, watching a video of the game being played, hitting record and just record a whole whack of trash on the piano in my DAW (I use Reaper). Inevitably within the trash, I find moments of inspiration that become keeper bits. It could be an interesting chord change or catchy melody. I try not to think too much in that initial process. Once I have a few segments, I experiment and see if they work together. This process ends up creating the basic structure of the song.

From here I start thinking about instrumentation and tonalities. In some cases, I have a preconception of what these will be, like in Unpacking. I knew it would be either chiptune synth or acoustic guitar. In other games, it’s been more trial and error and finding what sounds work. Quite often the sound makes you change the way a melody or chord pattern is played. It also quite often inspires new layers to add on top.

While this “orchestration” process continues, I’m already starting to mix the song. I find in most cases, when I’m done composing the song, it’s also mostly mixed at this stage too. I might have one more go at the mix after listening to the rough mix in the car or on earbuds while going for a walk. The last step is the mastering, and if it’s going to be something released to the public like an OST, I’ll get it mastered professionally by someone else. If it’s for the game itself, I tend to master it myself so that I can make it work with the rest of the audio in the game.

How do you think video game composition differs from regular composition, if at all?

(Video) Sting - What Could Have Been | Arcane League of Legends | Riot Games Music

There are a few unique situations in game music that differ from a movie score. One thing is, in a movie, you know exactly when something is going to happen and can time the music perfectly with the visual, or the director’s desire. In a game, we have no idea how long the player will take to trigger a particular cue. So the music has to be able to be reactionary. So a song might be 67% through beat 2 of a bar, and a thing happens, and the music and music system have to be able to transition to the next cue without any warning and sound good. Sometimes an obvious and jarring transition is good, but sometimes we need it to remain musical and smooth. This is where interactive music middleware comes in (and is a big enough topic for an article on it’s own).

So this changes the way we have to write the music. Quite often we have to compose songs that have no intro, they just start right in the middle of a mood. Then that mood has to hold there as long as it’s relevant. The temptation as a composer is to make the music evolve and be dynamic, but in a lot of cases, those dynamics are up to the player, as opposed to a movie director or composer. So we compose with layers in mind, and the music system fades these layers in and out as needed, dynamically.

In your opinion as a video game composer, what do you think are the main elements of a great OST?

I like an OST that sounds unique and high quality. There is a lot of game music that sounds the same. Probably cause they’re being asked to sound like something else (I have been in this position).

Like a good movie OST, a good game OST can have strong memorable themes, or immersive textures (strong melodies are not needed constantly). Personally, I’m impressed with game OSTs that have a high production/recording quality, with live players, or just great use of synths and technology.

Sometimes it’s a challenge for a composer to release a game OST due to the modular/truncated nature of how music works in a game. There are many cases where we’ve had to rework all of the music in a game to make it suitable for listening in a linear fashion. Basically transforming it from an interactive to a static playlist. This can make or break a game OST as well.

We Asked 8 Video Game Music Composers What Makes A Great OST (8)

Hew Wagner

Orchestral Composer (Riftbound, The Companion)

What is your personal approach to composing music for a video game?

My first step is always to get to know the developers, to find out what makes them tick, what their frames of reference are and why they’re making the game they’re making.

Then we can talk about the music – not only how it should sound and feel, but how it’s going to work in-game – where it will go, when it will change, and how it might adapt to what’s happening on screen. After that I sit at my computer or mess around on the piano or just go for a long walk and try and actually come up with the music – that’s the tricky indescribable bit!

How do you think video game composition differs from regular composition, if at all?

With concert music you can basically do whatever you like; with film music you have the picture and story which will guide you to what needs to happen and exactly when.

But when you’re writing for a game you need to consider all the things that a player might be doing at the particular part of the game you’re writing music for – the music should encapsulate all those possibilities.

In your opinion as a video game composer, what do you think are the main elements of a great OST?

I’ll always enjoy a catchy or expressive melody, but the great game soundtracks are the ones where the music does everything it needs to do to support and enhance the mood and feeling while playing the game but are also enjoyable to listen to on their own.

The duality of writing music for games (or films, TV or theatre for that matter) is that what’s needed for the game might not be all that fun to listen to outside of it.

If you’d like to hear or see more from these composers, you can head over to APRA’s High Score: Composition and Sound Art for Games event, occurring as part of Melbourne International Games Week from October 1st to 2nd. For more info, head to the event’s website!

FAQs

What video game has the best OST? ›

The 20 best video game soundtracks of all time
  • Super Mario Bros – Koji Kondo (1985-) ...
  • The Legend of Zelda – Koji Kondo (1986-) ...
  • The Final Fantasy Series – Nobuo Uematsu (1987-) ...
  • Tetris – Alex Kostov, George Strezov arr. ...
  • Chrono Trigger – Yasunori Mitsuda (1995) ...
  • Medal of Honor – Michael Giacchino (1995)
11 Jul 2022

How do I make a good video game soundtrack? ›

4 Tips for Composing Great Video Game Music
  1. Treat the game like an interactive film. Many of today's video games tell epic stories, and even the simpler games function as narrative vignettes. ...
  2. Play the game yourself. ...
  3. Write each piece of music as a cue, not a composition. ...
  4. Study the greats.
2 Nov 2021

What are the music features of video game music? ›

Features of the video game music genre include:
  • Pieces designed to repeat indefinitely, rather than having an arranged ending or fading out (they however create an atmosphere, especially in important scenes of the game. ...
  • Pieces lacking lyrics and playing over gameplay sounds.
  • Limited polyphony.

What is a video game audio composer? ›

Video game composers create the musical scores for video games on a variety of platforms, including consoles, mobile phones, personal computers, and virtual and augmented reality systems.

Why are video game Osts so good? ›

The music in video games is specifically designed to motivate players while staying in the background. It sets the mood and the tone of the game, keeps up a good rhythm, but never distracts from the game's objectives.

What does OST stand for? ›

Original soundtrack. O.S.T., an alias of electronic musician Chris Douglas.

How important is a soundtrack in a game? ›

You are controlling the actions of a character rather than watching it happen. With some games, however, you can play with the sound turned off. So, for a video game developer it is vital that you have a soundtrack that can create an atmosphere to really captivate the player.

How much do video game soundtrack composers make? ›

For a video game composer, salaries typically depend on skill level, project budget and experience. While the Bureau of Labor Statistics doesn't have a specific salary for video game music composers, they state that music directors and composers in general can earn an average salary of around $52,250 per year.

Why do video games have soundtracks? ›

A quality soundtrack enhances the player's experience, and even modern reboots of classic games have chosen to reinvent the soundtrack to boost the immersive experience. If a classic game had a winning soundtrack in its day, the power of remaking that music using modern technology can make iconic tunes more powerful.

What's a game OST? ›

An OST is an original soundtrack from a movie, video game, or tv show. It contains the recorded music that accompanies the visual content.

What kind of music is best for gaming? ›

Choose Pop for Light, Upbeat Tunes

Nothing gets too wild or crazy, and it's not going to get too loud or intense; it just maintains a steadiness that can create an easy-listening experience. Pop can also do a good job at energizing you and lifting your mood, two things that can benefit you when gaming.

What are the three main purposes of sound in game design? ›

Sound effects exist specifically to give feedback to players, immerse them inside the virtual realm, and provide an entertaining experience—all of which are key ingredients to a successful video game.

What is needed to be a video game composer? ›

Although a college degree isn't required for a Video Game Composer to put on their resume, he or she does need to have a solid understanding of traditional music scoring techniques such as orchestration and composition. They must also have a good handle on popular recording software like Logic and Protools.

Who is the best video game music composer? ›

40 of the Greatest Video Game Composers of All Time [2022]
  • Koji Kondo.
  • Nobuo Uematsu.
  • Masato Nakamura.
  • Yoko SHimomura.
  • Kazumi Totaka.
  • Junichi Masuda.
  • Austin Wintory.
  • Michiru Yamane.
24 Aug 2022

Are video game composers in demand? ›

Though video game music is in high demand, composers still aren't getting their due. Though video game music is in high demand, composers still aren't getting their due. With stupefying stream and view counts, video game music has stood the test of time in the entertainment industry.

Does music make a game better? ›

Music is best when it's not intrusive, but complements the gameplay. Sound effects help associate your brain with actions or threats, and gameplay would be difficult without these auditory cues.

Does video game music improve focus? ›

Collectively, there was minimal evidence that video game music had a unique influence on task performance relative to classical music. Importantly, to the extent that there was evidence of an effect, video game music actually degraded (rather than improved) task performance.

Does music affect video game performance? ›

The role of music and sound effects in video games. When playing video games, do you play better with the sound on or off? Every gamer may have an opinion—but what has research shown? Some studies suggest that music and sound effects enhance performance.

Why is it called OST? ›

The abbreviation OST is often used to describe the musical soundtrack on a recorded medium, such as CD, and it stands for Original Soundtrack; however, it is sometimes also used to differentiate the original music heard and recorded versus a rerecording or cover.

What is OST time? ›

Out of School Time Supports Student Health and Learning. Out of School Time (OST) is a supervised program that young people regularly attend when school is not in session.

Whats does OP mean? ›

On internet forums and message boards, OP is short for original poster, or the person who started the thread that users comment on. In video gaming, anime, and sports, OP is a shorthand for overpowered, describing an indomitable character or player.

What makes a successful soundtrack? ›

First and most importantly, a soundtrack must match the tone of the film. In some cases this is pretty obvious; explosions shouldn't sound like a cough and vehicles crashes need to portray BIG forces of impact. But there's more to it than that, small scale cinema needs a soundtrack that's in proportion.

What are the 3 elements of soundtrack? ›

It turns out you can boil the key elements of sound design into three overarching categories or stems as they're called in the industry. These are dialogue slash production sound, sound effects and music.

Is video game music a type of music? ›

Video game music has evolved over three decades from simple blips and bleeps into a genre of its own. This genre has been influenced by the technological limitations of its roots, and also by numerous crossovers from popular music, electronic music, film soundtracks, and anime.

How much should I pay for a video game soundtrack? ›

To license music for a video game, it will cost around $600-$1500. The amount also scales up with the size of your market and budget as well as your source. If you don't want to be bothered by the price scaling you could also opt to purchase music along with all rights on platforms like House of Tracks.

Can you make a living as a video game composer? ›

The answer is a resounding yes. There are professional game composers making a very comfortable living all over the world, and I've interviewed many of them.

Do video game music composers get royalties? ›

Because there is no public performance, no performance royalties are paid out to PROs. Therefore, composers don't receive performance royalties. So if you compose for an iPhone, PC or Xbox, etc game, your up front fee will probably be all the money your receive for that project.

Why are soundtracks so important? ›

What is this? Soundtracks are such a vital part when creating and watching a movie - it helps the director set the tone of a scene, and helps the audience member empathise with a character.

Are video game soundtracks good for studying? ›

But many games have great soundtracks perfect for putting in the background during studying or to get people through tough homework. Whether the songs are relaxing or help people get pumped up, music is something many people turn to when doing work.

Why do I like video game music so much? ›

Basically, your brain made association between those soundtrack and the video game itself so that whenever you hear that soundtrack, you're reminded of that video game, which in turn gave you a positive buzz. On top of that, video game music are generally more upbeat, face paced kind of music which is uplifting.

What video game has the longest OST? ›

FINAL FANTASY XIV set the Guinness World Record for most original pieces of music in a video game (including expansions) with an astonishing 384 songs.

What game has the longest OST? ›

That's composer Hideki Sakamoto, who has worked on games from the Yakuza and Castlevania series, with a very special award. It's for the “longest piece of original music scored for a video game”, and was awarded for his composition Prime #4507, which appeared on PlayStation 3 title Echochrome II.

Do gamers listen to music while gaming? ›

In our Digital Media Trends fall pulse survey, we found that 42% of Gen Z gamers listen to other music while gaming, and 34% hear music in a game and then look it up online to stream or buy.

What are the 5 elements of sound design? ›

Here are the five main elements of sound design, which are often used in combination.
  • Ambiance. Sometimes referred to as atmosphere, ambiance is the background noise that sets the scene and the foundation of your soundtrack. ...
  • Foley sounds. ...
  • Audio effects. ...
  • Voiceover. ...
  • Music.
17 Nov 2022

What are the 4 components of a game? ›

Key components of games are goals, rules, challenge, and interactivity.

What are the four elements of sound design? ›

Since sound is a wave, it has all of the properties attributed to any wave, and these attributes are the four elements that define any and all sounds. They are the frequency, amplitude, wave form and duration, or in musical terms, pitch, dynamic, timbre (tone color), and duration.

What skills do game artists need? ›

Key skills for video game designers
  • Creativity.
  • Artistic vision.
  • A passion for video games.
  • Storytelling ability.
  • Wide-ranging knowledge of gaming trends.
  • Strong analytical frame of mind.
  • Excellent programming skills.
  • Ability to work as part of a team.

What are the 5 steps for becoming a video game artist? ›

How to Become a Video Game Concept Artist
  • Get a degree. Some game companies require concept artists to have a degree in game art, graphic design, or 3D digital art. ...
  • Expand your skillset. Concept art goes beyond your ability to create 2D sketches. ...
  • Create a portfolio. ...
  • Network. ...
  • Search for positions.
7 Jun 2021

What makes a good video game producer? ›

The role can demand a cool head and ability to make decisions when things are tough, which can let you make a significant impact on a game. Producers are problem solvers, collaborators, leaders and communicators, and can experience the full diversity of a game's development process.

Who was the first video game music composer? ›

Although some important and interesting music did precede the Super Mario games (Pacman, Donkey Kong, ...) composer Koji Kondo would single-handedly pioneer the genre. In fact, Kondo's brilliant merging of his music in relation to sound design created what could be considered the first atmospheric gameplay.

Who chooses music for video games? ›

Fast forward 25 years and perfecting this formula has now become a business in its own right. There are now dedicated teams within the industry comprising audio directors, music supervisors and A&R experts, all of which are responsible for selecting the music that appears in video games.

Who picks music for video games? ›

Music supervisors artfully select and license preexisting songs and recordings for use in movies, television shows, and video games.

Is video game artist a good career? ›

Is video game design a good career? Video game design can be an excellent career for creative, artistic people with strong technology skills. Video game designers can earn competitive salaries, especially as they gain professional experience in the field.

How do you become a videogame sound designer? ›

Most sound designers earn a bachelor's degree in audio engineering or a related field. Although this is an entry-level position, it's not an easy one to get, and requires an impressive portfolio. After working in the field for some time, experienced sound designers may be eligible to work as audio directors.

Is being a game artist worth it? ›

Yes, a bachelors in game design is worth it for many students. The Bureau of Labor Statistics is projecting an employment growth in computer systems design and related services, specifically 22% in the applications software development industry over the next 10 years.

What video game has the longest Ost? ›

FINAL FANTASY XIV set the Guinness World Record for most original pieces of music in a video game (including expansions) with an astonishing 384 songs.

What game has the longest Ost? ›

That's composer Hideki Sakamoto, who has worked on games from the Yakuza and Castlevania series, with a very special award. It's for the “longest piece of original music scored for a video game”, and was awarded for his composition Prime #4507, which appeared on PlayStation 3 title Echochrome II.

What game has the best rated music? ›

1. Silent Hill 2. Any Akira Yamaoka soundtrack could take this spot but we've settled on Silent Hill 2 for its iconic role in gaming history. With influences from classic rock, alt and ambient industrial trip-hop, Silent Hill 2's soundtrack offers so much depth, both in regards to its music and its themes.

What game takes longest beat? ›

The Elder Scrolls 5: Skyrim is a contender for the greatest game of all time. It is, however, an open-world game that takes the longest to beat. Quests in The Elder Scrolls V: Skyrim regenerate, so there is seemingly no end to the game.

What is the longest time spent on a game? ›

The longest videogame marathon is 138 hr 34 sec and was achieved by Carrie Swidecki (USA), who played Just Dance 2015 (Ubisoft, 2014), at Otto's Video Games and More, in Bakersfield, California, USA, from 11 to 17 July 2015. Carrie was attempting to break her previous record for charity.

What is the world longest game? ›

Hockey players in Alberta hit the ice for 261 continuous hours to raise money for cancer patients at a children's hospital. After more than 10 straight days of gameplay, 40 hockey players in Alberta have broken the record for the world's longest game, beating their own record.

How long is a video game OST? ›

Most game soundtracks will consist of looping tracks, which are between 30 seconds to 2 minutes long, on average. That means that although the tracks shouldn't be overwhelming, they also shouldn't be too repetitive either.

What game took the longest to release? ›

Duke Nukem Forever went 5,156 days from its announcement in 1997 to its release in 2011.
...
Beyond Good & Evil 2 overtakes Guinness record holder Duke Nukem Forever as game longest in development
  • Speed.
  • 0.5x.
  • 0.75x.
  • Normal.
  • 1.25x.
  • 1.5x.
  • 2.0x.
3 Oct 2022

Who is the best video game composer? ›

40 of the Greatest Video Game Composers of All Time [2022]
  • Koji Kondo.
  • Nobuo Uematsu.
  • Masato Nakamura.
  • Yoko SHimomura.
  • Kazumi Totaka.
  • Junichi Masuda.
  • Austin Wintory.
  • Michiru Yamane.
24 Aug 2022

Does game music help you focus? ›

When we translate this to school performance, it can yield similar results: an increase in focus, a level up in productivity, and a decrease in distractions. Gaming music fits all the metrics researched for optimum work sounds without becoming repetitive or boring.

Does music improve gaming? ›

Some studies suggest that music can enhance player performance in games. Considering the vast amount of studies conducted around this topic, it's not too surprising that the results have varied. It may also point to how different games and scenarios impact different kinds of players.

Which video game music is best for studying? ›

10 Video Game Soundtracks To Study To
  • 10/10 Gris.
  • 9/10 The Legend Of Zelda.
  • 8/10 Unravel.
  • 7/10 Minecraft.
  • 6/10 Final Fantasy.
  • 5/10 Journey.
  • 4/10 Hollow Knight.
  • 3/10 Animal Crossing.
5 Apr 2022

What is video game music called? ›

Chiptune

Today, many composers create chiptune music inspired by these classic games, yet free from their restrictions.

What is more popular music or video games? ›

Just in 2021, the Global “Games Market” had a whopping $180BN in revenue. In fact, Gaming is bigger than Hollywood and the music industry combined.

Videos

1. Simple Minds - Don't You (Forget About Me)
(Simple Minds)
2. The Buggles - Video Killed The Radio Star (Official Music Video)
(TheBugglesVEVO)
3. ADDICT (Music Video) - HAZBIN HOTEL
(Vivziepop)
4. ROBLOX_OOF.mp3
(hbomberguy)
5. Composer breaks down GOD OF WAR: RAGNAROK | Character Themes
(Zach Heyde)
6. The Wii Theme Music is Unironically Really Good.
(Charles Cornell)
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