Video game music’s untapped potential: More than background sound

From chiptune melodies to full orchestral pieces, video games have featured memorable music that enriches and elevates gameplay for decades. Much like film scores, these tracks have long been an essential part of the gaming experience. In today’s digital ecosystem, which is defined by livestreams, short-form video, and the global mainstreaming of gaming, games soundtracks are demonstrating their vast potential beyond background music for in game events. They are quickly becoming cultural assets with enormous influence and commercial potential.

Video game soundtracks: From background sound to cultural signal

Once only having appeal to a niche fandom, music from video games is now frequently used in short-form and live-streamed content across multiple platforms. Additionally, derivative works – music that samples or reinterprets game soundtracks – have also garnered tens of millions of plays in total across streaming services.

The reasons for this increased popularity in digital content are both practical and cultural. Video game publishers benefit enormously when creators stream their games, which typically feature original music. As a result, many games publishers enforce fewer copyright restrictions on their soundtracks compared to traditional video and audio content. As a result, creators seeking music that won’t trigger copyright strikes or monetisation loss on one or more platforms can turn to game soundtracks as a safe and engaging option.

At the same time, the growing success of video games as a mainstream entertainment medium means that elements from games have increased personal and cultural resonance with more people. In many cases, songs from games are already at least partially popular with soundtracks for games like Halo 4 debuting at #50 on the US Billboard 200 albums chart due to the popularity of the game (per Guinness World Records). This deepens its potential meaning when compared to using generic, available copyright free music.

For instance, a livestream of a hip hop track that incorporates the melody from a Pokémon or Legend of Zelda game has the ability to resonate with audiences more if they recognise that game. It has the potential to deepen relationships with an audience because of shared affinity for a separate property or, in the case nostalgic tracks, shared childhood experiences.

This potential extends beyond digital platforms. By situating songs within specific gameplay moments, publishers can forge active associations between in-game experiences and similar moments in players’ daily lives.

Unlike movies, which are primarily consumed passively, video games are interactive. That interactivity allows music to embed itself more deeply into behaviour. A background track designed for waiting, walking, or commuting can follow players into their real-world routines, reinforcing the association each time. This creates lifestyle oriented and enhancing associations with the music. The result is a powerful form of lifestyle integration as game music becomes a companion to everyday activities.

The Persona series illustrates this effect particularly well. Its carefully curated soundtracks go beyond enhancing gameplay, extending into social content, fan communities, and even listeners’ daily habits, showing how intentional design can give music cultural reach far and lifestyle-enhancing effect beyond the game itself.

How Persona’s soundtracks became iconic beyond the JRPG genre

A cornerstone of the JRPG genre, the Persona series has become almost as well-known for its music as for its gameplay. Published by Atlus and composed primarily by Shoji Meguro, Persona games have consistently curated soundtracks that blend jazz, pop, and experimental influences into game elevating listening experiences.

The Persona series, as is typical of games in their genre, also contains various elements of life simulation games – attending school, running errands, and other daily activities. Many of these are accompanied by appropriately curated backing tracks. This means its tracklist is not only capable of being the soundtrack for the game or various exceptional elements of life but also the more unexceptional, mundane parts of life.

The soundtrack from Persona 5 debuted at #5 on the Oricon weekly chart in Japan (per Persona Central) and is routinely used in both short-form and long-form video content.

The rising cross-media potential of video game music

While the cross-media potential of music in video games is still young there are a few things those looking to capitalise should keep in mind. Game developers should seriously consider the life beyond the game for the tracks they choose or develop for their games. Songs that have expanded potential outside of the game can further a cycle that encourages content creators to use music from games to draw people back to the original content. For example, lo-fi and soft jazz songs can be utilised as digital waiting room muzak for streamers.

Music publishers – those willing to loosen the reins on copyright – should begin considering video games as viable launch platforms for new music. If a game resonates, its soundtrack inherits some of that resonance, and when the music circulates across creator platforms, it carries the game with it. Games also provide a lower risk environment for introducing new music while simultaneously offering multiple entry points for consumers to discover the music and develop more meaningful associations with it.

Both the music and video games industry are only beginning to realise the power of video game soundtracks as cultural engines. Those who capture the spirit behind this shift will likely capitalise on new, strong pathways for music discovery, audience engagement, and brand growth.