Podcast #4. Inside Game Audio With Nikola Jeremic: How Composers Build Interactive Music Systems

How do game composers start their careers without formal education?

Game composers can enter the industry without a formal degree, but it requires long-term self-learning and persistence.

Nikola didn’t attend music school and built his skills independently through experimentation, practice, and collaboration with other musicians. His interest in music developed during his teenage years, influenced heavily by video games and soundtracks rather than academic training.A defining moment for him was discovering Halo, which shaped his desire to work in game audio and determined his creative direction. His path reflects a common reality in the industry: there’s no single entry point. Instead, careers are often built through continuous learning, personal projects, and gradual exposure to real work.

Thus, becoming a game composer without formal education is possible, but it requires discipline, curiosity, and consistency over time.

How is game music different from film music?

Game music is interactive, while film music is linear and fixed.

In film, music is written to match a specific scene and timeline. Once completed, it always plays the same way. In games, however, music must adapt to player behavior and gameplay conditions.

Nikola describes this difference through the concept of interactivity:

“You have this unlimited playground that gets to be controlled by the interactions of the player with the world of the game.”

Instead of composing a single continuous track, game composers create multiple segments that can change dynamically depending on what the player does.

This leads to a completely different approach to composition:

“Music for video games is a musical box of Legos that you get to assemble for a video game. The game’s engine assembles them for you.”

So game music isn’t a fixed piece—it’s a system built from smaller elements that are combined in real time.

How do adaptive music systems work in video games?

Adaptive music systems are built from short segments and layers that can be combined dynamically.

Instead of composing long tracks, Nikola creates modular elements that can loop, transition, and change depending on gameplay. This allows a relatively small amount of music to produce a much longer and more varied experience.

He explains this through a practical example:

“You can create one hour of music playback with just those three minutes of various layers.”

This system ensures that music does not feel repetitive, even during long gameplay sessions. It can adapt to exploration, combat, or narrative events without breaking immersion.

At the same time, adaptive systems must work seamlessly. Transitions between segments need to feel natural, and the player shouldn’t notice how the system operates.

This means adaptive music isn’t just a creative decision—it’s a technical system that directly shapes player experience.

Why is composing for games more complex than for films?

Game music is more complex because it must function in unpredictable and interactive environments.

In film, the composer works with a fixed timeline. In games, the duration and sequence of events depend entirely on the player, which makes the structure of music inherently unstable.

As a result, Nikola must create music that works across multiple scenarios and durations while remaining coherent.

This complexity is musical as well as technical. Game composers often work with audio middleware such as Wwise or FMOD to implement dynamic systems that respond to gameplay.

Thus, the complexity of game music lies not only in composition itself but in how it behaves within a system.

How do composers create music for different game worlds?

Game composers adapt their approach depending on the genre and setting of the project.

Nikola’s work often involves sci-fi and fantasy worlds, where music plays a key role in defining the atmosphere. In these environments, composers aren’t limited to traditional instruments—they can experiment with sound design and create new textures.

This process may involve manipulating recorded sounds, combining layers, and building unique audio identities for each project.

At the same time, the goal remains consistent: music must support the world of the game and enhance immersion.

So composing for games isn’t only about writing melodies, but about designing sound that fits a specific environment.

How do you break into the game industry as a composer?

Breaking into the game industry requires persistence, outreach, and long-term effort.

Nikola shares a concrete example from his own experience:

“I sent… I will not lie to you, but I believe I sent 1,150 emails to various developers.”

The results were limited at first:

“Out of those 1,150, I got a reply from 20… out of those 20, I was rejected by 15.”

However, the remaining contacts became long-term clients, showing that consistency can lead to sustainable results over time.

This example highlights an important insight: success in the industry is often not immediate, but cumulative.

So breaking into game audio is less about a single opportunity and more about sustained effort and resilience.

What does rejection look like in the game industry?

Rejection is a normal and unavoidable part of working in game development.

Projects can fail, be canceled, or change direction for reasons unrelated to the composer’s work. Even experienced professionals regularly face these situations.

Nikola describes this reality directly:

“It happens all the time… I have at least one project that’s a dropout.”

This reflects the broader instability of the industry, where external factors such as funding, production changes, or publisher decisions can affect any project.

This means rejection is not an exception. It’s a standard part of a creative career in games.

What is the future of game music and the industry?

The future of game music is closely tied to the evolution of the industry as a whole.

Interactive systems, adaptive music, and technical integration will continue playing a central role in how games are developed. At the same time, creative direction remains a key factor.

Nikola emphasizes that music is not just a supporting element, but part of a larger system that defines player experience.

As games become more complex and immersive, the role of music will continue to expand.

Thus, the future of game audio will depend on both technological innovation and creative priorities.

Conclusion

Nikola Nikita Jeremić’s journey demonstrates how a self-taught composer can build a career in the game industry through persistence and practical experience.

His work highlights several key principles:

• Game music is interactive and system-based
• Adaptive audio is central to modern game design
• Technical implementation is as important as composition
• Rejection and uncertainty are part of the process

Ultimately, game music isn’t just about creating soundtracks—it’s about building systems that respond to players and enhance storytelling.

FAQ

1. What does a game composer actually do?

A game composer creates music systems that adapt to gameplay, not just fixed tracks. Instead of writing linear compositions, they build modular music that changes depending on player actions.
As described in the article, game music is assembled dynamically by the game engine from smaller elements, making it part of the gameplay experience rather than just background audio.

2. How is game music different from film music?

Game music is interactive, while film music is linear. In films, music follows a fixed timeline, but in games it changes dynamically based on player behavior.
This requires composers to think in systems rather than single tracks, which makes game audio fundamentally different from traditional scoring.

3. What is adaptive music in games?

Adaptive music is a system where the soundtrack changes in real time depending on gameplay.
As Nikola explains, a few minutes of layered music can generate much longer playback by combining and switching between segments dynamically.

4. Can you become a game composer without a music degree?

Yes, it is possible to become a game composer without formal education. Nikola built his career as a self-taught musician through experimentation and practical experience.
His story shows that persistence and real-world work matter more than formal credentials.

5. How hard is it to break into the game industry as a composer?

Breaking into the industry is highly competitive and requires persistence.
Nikola shared that he sent over 1,150 emails, received only 20 replies, and was rejected 15 times—but the remaining contacts became long-term clients.

6. Why is game music considered more complex than film music?

Game music is more complex because it must work in unpredictable scenarios.
Unlike film, where timing is fixed, game music must adapt to player behavior, requiring both creative and technical system design.

7. What does rejection look like in the game industry?

Rejection is a normal part of the industry and even happens on a regular basis.
As Nikola explains, projects often get canceled or changed, and even experienced composers face situations where their work isn’t used.

8. What is the future of game music and the industry?

The future of game music is tied to interactive systems and deeper integration with gameplay.
As games become more immersive, music will continue to evolve as a dynamic system rather than a static element.