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ARTICLE - Film to Game Music: Making the Leap

Updated: Jul 8

# Understanding the Differences Between Game and Film Music Composition


At first glance, composing music for games and film may seem like two sides of the same coin. However, beneath the surface, the differences in structure, workflow, and technical requirements are significant. For composers looking to branch into video games from film, understanding these distinctions is essential.


This article explores where game and film music intersect, where they break apart, and how composers can adapt their skills to thrive in both mediums.



Shared Foundations: Story, Emotion, and Theme


Despite their differences, film and game music are united by a common goal: storytelling through sound. Both mediums rely on music to underscore emotional beats, enhance character development, and immerse the audience in a fictional world.


In film, a sweeping string section might amplify a tragic goodbye, while in a game, a heroic theme may build a sense of triumph during a boss battle. In both cases, the music is carefully crafted to elicit a feeling and deepen narrative impact.


Key techniques such as leitmotifs (recurring themes associated with characters or ideas), emotional pacing, and harmonic tension and release are essential tools in the toolbox of any media composer.


Several high-profile composers—like Bear McCreary (God of War, Battlestar Galactica), Austin Wintory (Journey), and Jesper Kyd (Assassin’s Creed, Hitman) have successfully crossed between games and film. They often bring cinematic sensibility into interactive contexts.


Takeaway: If you're a film composer, your storytelling instincts are an asset. However, the method of delivery will need to adapt.


Where Paths Diverge: The Role of Interactivity


Perhaps the most defining difference between film and game scoring lies in narrative structure. Film is fixed. A director locks the picture, and the composer scores precisely to frame and time. Every beat, pause, and swell aligns with a moment the viewer will experience exactly as planned.


Games, by contrast, are dynamic and player-driven. The composer doesn’t know when—or even if—a player will encounter a scene. Players may sprint past it, linger for minutes, or trigger events out of order. The score must respond accordingly.


This means game music must be:


  • Modular – breakable into parts that can be mixed in real-time.

  • Loopable – able to repeat smoothly for undetermined durations.

  • Adaptive – able to change based on in-game conditions, from emotional intensity to combat engagement.


You're no longer scoring a scene—you're scoring possibility. That demands a new way of thinking about form and function.



Composing Vertically: Writing in Layers


To support dynamic gameplay, composers use a method called vertical composition. Instead of creating a start-to-finish cue like in film (horizontal composition), vertical composition involves layering musical elements. These layers can be added or removed depending on the gameplay context.


Here’s a basic breakdown:


  • Layer 1: Base ambient texture – always playing

  • Layer 2: Percussive pulse – triggered when tension rises

  • Layer 3: Melody or harmonic swells – added during combat or story reveals


These layers are stacked like a musical “onion,” with the game engine peeling back or adding layers as needed. This creates a score that breathes with the player’s choices—calm when they’re exploring, intense when they’re fighting, and mysterious when entering unknown terrain.


Recording Tip: When working with live musicians, consider recording each layer separately or as isolated stems. This approach gives developers maximum flexibility in implementing the music dynamically.


Know the Canon: Be a Player First


Great game music is not just about writing well; it's about understanding what works in the gaming context. To truly grasp this, composers must immerse themselves not just as creators but as players.


Knowing the game music canon is essential. Study how the following games use music:


  • The Last of Us – minimalist guitar themes evoke fragility and intimacy.

  • Skyrim – sweeping orchestration adds epic scale to open-world exploration.

  • Final Fantasy – melodic storytelling and stylistic variation across decades.

  • Halo – hybrid choral/sci-fi textures set the tone for futuristic conflict.

  • Zelda – iconic motifs and adaptive scoring define every player experience.


As you play, listen actively. Notice how the music responds to player choices, timing, and spatial transitions. Reverse-engineer emotional shifts. This knowledge is your foundation for creating music that feels like it belongs in a game world.



Tech Skills: Mastering Middleware & Game Engines


Unlike film, where your final product is usually a set of mixed stereo tracks, game music needs to be implemented into the game engine. This often involves considerable technical complexity.


Enter middleware tools like:


  • FMOD

  • Wwise – platforms that allow composers and audio teams to build interactive music systems.

  • Unity

  • Unreal Engine – the most common game development engines where audio is integrated.


These tools allow for:


  • Triggering cues based on player input or in-game events.

  • Defining transitions between musical sections (fade, stinger, crossfade, etc.).

  • Controlling volume, tempo, pitch, or even real-time audio effects.


Learning these platforms is necessary in today's landscape. The good news? Both FMOD and Wwise offer free software, tutorials, and certifications that are beginner-friendly.


Popular game engines such as Unreal offer numerous audio and music integration capabilities.

Creative Process: Workflow & Collaboration


Film composers often work at the end of the production cycle, after the edit is locked and all narrative elements are fixed. You’re brought in to score a clearly defined timeline.


In games, the process is fluid and ongoing. You might begin scoring when only a prototype or concept exists. As the game evolves, you’ll revisit and revise music to match new mechanics, storylines, or level designs.


You’ll also collaborate more broadly—not just with directors, but with:


  • Game designers

  • Audio programmers

  • Narrative writers

  • UI/UX teams


Your music must complement everything from user interface sounds to environmental audio. This means strong communication skills, flexibility, and a willingness to iterate over time.


Key takeaway: You're not just scoring a story—you're helping build it.


Conclusion: A New Frontier for Composers


Transitioning from film to games is not just a lateral move; it’s an expansion of your creative mindset. It requires learning new tools, adopting a modular approach to composition, and embracing a new kind of storytelling, one that’s co-authored by the player. If you’re ready to compose in a living, reactive world, game music offers a landscape full of creative freedom and innovation.


Are you a composer thinking about exploring the world of interactive music? Curious how to prepare or implement your score with live players? Get in touch with Northern Film Orchestra to discover how we can bring your game score to life with the power of a professional ensemble.




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