Composers

Nobuo Uematsu scored every mainline Final Fantasy from I to IX and co-composed X and XI, creating the most recognisable body of work in JRPG history.

Yuzo Koshiro composed the Streets of Rage and ActRaiser soundtracks — widely regarded as the finest FM synthesis music ever written for a game console.

David Wise composed the Donkey Kong Country trilogy soundtracks, pioneering an atmospheric, layered approach to game music that matched Rare's pre-rendered visuals with equally unprecedented audio.

Yasunori Mitsuda composed Chrono Trigger and Xenogears at Square, then Xenosaga and various other acclaimed RPG soundtracks as an independent, blending Celtic folk, orchestral, and electronic elements.

Rob Hubbard was the most celebrated composer of the Commodore 64 SID chip era, writing music for Monty on the Run, Commando, and dozens of other C64 games that demonstrated what the SID chip's three voices could achieve.

Hirokazu Tanaka composed the Metroid and Tetris (Game Boy) soundtracks at Nintendo, pioneering atmospheric sound design in games and demonstrating that silence and restraint could be as expressive as melody.

Martin Galway was one of the most technically innovative SID chip composers of the Commodore 64 era, creating the soundtracks for Arkanoid, Rambo, Miami Vice, and Time Crystal using programming techniques that pushed the hardware beyond its intended limits.

Nintendo's first dedicated music employee, Koji Kondo composed the Super Mario Bros. and Legend of Zelda themes — two of the most recognised melodies in popular culture — and went on to define Nintendo's sonic identity across four decades.

Koichi Sugiyama composed the music for every mainline Dragon Quest game, bringing full orchestral arrangements to video games decades before it became standard practice. His classical training produced soundtracks that stood among Japan's most beloved compositions of any medium.

Motoi Sakuraba is the most prolific composer in JRPG history — responsible for the soundtracks of Star Ocean, Valkyrie Profile, Golden Sun, Dark Souls, and dozens of other games across a career spanning three decades.

Tim Follin produced technically impossible-sounding music from the most constrained hardware of the 8-bit era — his Spectrum, C64, and NES compositions pushed hardware audio capabilities beyond what engineers had designed them to produce.

Yoko Shimomura composed the Street Fighter II and Kingdom Hearts soundtracks, bringing a classically trained sensibility to arcade action and fantasy RPG equally, and writing music of rare emotional resonance in both genres.

Michiru Yamane composed the Castlevania: Symphony of the Night soundtrack, combining Baroque counterpoint, heavy metal guitar, and jazz harmony into a score that defined the Metroidvania genre's sonic identity.

Masashi Hamauzu composed the Final Fantasy XIII trilogy and SaGa Frontier 2 soundtracks at Square, bringing a modern classical piano sensibility to game music that distinguished him from the orchestral and electronic approaches of his contemporaries.

Jake Kaufman, performing as virt., composed the Shantae series and Shovel Knight soundtracks, mastering chiptune aesthetic and hardware-accurate music while simultaneously demonstrating compositional range across jazz, metal, and orchestral writing.

Given his first game score and near-total freedom, Kikuta spent two years alone with the Super Nintendo's sound hardware and produced Secret of Mana — a soundtrack of progressive rock, ambient, and world music that remains one of the finest in the medium.

Europe's answer to the great Japanese game composers — a German teenager who won a magazine competition, then wrote the Turrican soundtracks and built the music tools that half the Amiga scene ran on.

The composer who gave Metroid its sound — the oppressive, industrial, alien atmosphere of Super Metroid and the Prime trilogy, some of which he wrote by humming to himself on the motorcycle ride home from work.

Manami Matsumae wrote almost the entire soundtrack to the original Mega Man (1987) — including the endlessly covered Cut Man stage — under NES memory limits, then left the industry's day-to-day and became one of chiptune's most revered elder figures.

A professional drummer from age 11, Frank Klepacki joined Westwood Studios at 17 and scored its strategy games — his aggressive "Hell March" for Command & Conquer: Red Alert beat Trent Reznor's Quake music for PC Gamer's best-soundtrack award.

Working under the name CoLD SToRAGE, Welsh composer Tim Wright scored Psygnosis' Amiga hits and then WipEout — whose big-beat electronic soundtrack helped bring 1990s club music into the mainstream of video games.

Composed her first game soundtrack straight out of university: Castlevania, whose opening theme "Vampire Killer" became the most recurring melody in Konami's horror series.

A Vietnam veteran and qualified lawyer who answered a forum post from Apogee's Scott Miller and went on to score Wolfenstein 3D, Doom and Duke Nukem 3D — the sound of the early first-person shooter.

The composer and sound designer of Silent Hill, whose mix of industrial noise, trip-hop and melancholy rock did as much to frighten players as anything on screen.

A classically trained trumpeter and rock-band horn player who joined Rare in 1995 and wrote the bouncy, endlessly adaptive scores of Banjo-Kazooie and Donkey Kong 64 — including the DK Rap.

Wrote his own sound driver as a teenager, then gave the strategy RPG its orchestral voice with Ogre Battle, Tactics Ogre and Final Fantasy Tactics, before scoring Radiant Silvergun and Vagrant Story.

The bassist and songwriter of the J-pop band Dreams Come True, whom Sega hired to give Sonic the Hedgehog a pop sound. He scored the first two Sonic games.

One of the defining Commodore 64 composers, half of the duo W.E.M.U.S.I.C. with Tony Crowther, and the writer of music for The Last Ninja, Gauntlet and more than a hundred other games.

He programmed music directly in machine code for the C64 and Spectrum, scored Shadow of the Beast on the Amiga — and wrote the Lazy Jones tune that became the club hit "Kernkraft 400".

A founding Game Freak employee who composed Pokémon Red and Green and wrote the code that played their music — then rose to direct and produce the series.

A Dutch teenager who co-founded Maniacs of Noise in 1987 and became one of the defining Commodore 64 composers, with Cybernoid, Myth and the award-winning Turbo Outrun.

The Sega composer who sang his own songs: he wrote and performed the vocals of Daytona USA, scored Virtua Racing and Shenmue, and voiced Akira and Kage-Maru in Virtua Fighter.

The Sega composer behind the music of Out Run, Space Harrier and After Burner — the sound of Yu Suzuki's mid-1980s arcade hits.

The Sega composer who joined in time for Sonic 3 and became the series' lead composer from Sonic Adventure onward, later forming the band Crush 40.

The Sunsoft composer behind Blaster Master, Batman, Journey to Silius and the Albert Odyssey series.

LucasArts' first in-house audio programmer and musician, who scored The Secret of Monkey Island and co-designed the iMUSE interactive music system.