Creating memories with the music of games

Soundtracks are an important part of video game worldbuilding. They help anchor narratives, build emotion, and create a pulse point to a game. Plus, they are also often so iconic that they get in your head and stay with you long after you’ve put down your controller or device of choice.

Our upcoming BAFTA Games in Concert UK Tour will be a celebration of the magic that video games music creates. Featuring a 65-piece orchestra performing nominated and award-winning music from 20 years of the BAFTA Games Awards it all kicks off on 31 Jan at London’s Southbank Centre. In preparation we spoke to some of the composers involved about the music that has left them with lasting memories.

Find out which games tunes struck a chord with composers Austin Wintory, Jesper Kyd, Kris Maddigan and Inon Zur…

“Probably my earliest game music memory, aside from Mario on NES, was hearing Michael Land’s theme to The Secret of Monkey Island in 1990. I was just blown away by how catchy and cinematic it felt. It made this quirky and absurd game into something with gravitas, while also not being self-serious. Just a perfect theme.”

• Read a longer interview with Wintory

“My first computer was a Commodore 64 and I got one for Christmas in 1985. The first time I really noticed video game music and the effect it could have on game play was probably Commando, International Karate and The Last V8. These are three peak scores by Rob Hubbard and the International Karate cue is a staggering 12 minutes long. These three games include an absolute banger of a cue, which kept me wanting to have just one more go at the game to keep me immersed in the brilliant atmosphere. Once I discovered other C64 composers such as Martin Galway, Fred Gray, Ben Daglish and Tim Follin, I became completely hooked on music from video games.”

“The first time I really noticed the music in video games would probably have been for Phantasy Star on the Sega Master System, a game I played many times in my youth. Tokuhiko Uwabo’s catchy and vibrant soundtrack was like nothing I had heard before. It really helps to give the game loads of character. This soundtrack is quite short for a role-playing game, which makes the fact that it never feels repetitive even more impressive. As an aside, I’ve learned to appreciate the fullness and implementation of this soundtrack even more lately, having recently spent some time experimenting with the limitations of early tracker programs.”

“When I grew up, I wasn’t exposed at all to gaming. Growing up in Israel in the 60s,70s and 80s kept us really busy with real life challenges… In the mid-90s I remember my son Jonathan playing the Winnie the Pooh video game. This was the first time I heard “REAL” music by Billy Martin. Sensitive and inspiring, the live recording really captured me. And it showed me the huge potential of orchestral music in games.

“Another strong memory of music in games was Ron Jones’s score for Star Trek (1994). I never thought music for GAMES could be that expressive, and the live orchestral recording was something that caught me totally by surprise. This was also one of the main reasons why I became a game composer.”

If you’re interested in Games make sure to check out our 2026 BAFTA Games Awards longlist. Or if you know a young person who is interested in getting a head start in the industry take a look at our Young Game Designers Competition which is open for entries now.