In recognition of National Video Game Day, Will Ayers, an associate professor of music theory at the University of Central Florida (UCF), has curated a playlist featuring soundtracks from independent video games released over the past 14 years. Ayers, who specializes in analyzing music for interactive media and video games, is also involved in composing and performing choral music.
The playlist highlights music from indie games developed primarily by independent studios. It begins with “Flower” (Thatgamecompany, 2009), composed by Vincent Diamante. Ayers describes it as relaxing and recommends Diamante’s work on “Sky: Children of the Light” for additional listening.
For those interested in darker tones, Martin Stig Andersen’s soundtrack for “Limbo” (Playdead, 2010) is included. Ayers notes that Andersen’s follow-up work on “Inside” provides a similar atmosphere suitable for focused study sessions.
Jim Guthrie’s score for “Superbrothers: Sword & Sworcery EP” (Capybara Games, 2011) offers what Ayers calls a blend of modern synth-pop with retro influences. Guthrie’s soundtrack for “Below” is suggested as another option with a gloomier mood.
Disasterpeace’s composition for “Fez” (Polytron Corporation, 2012) is listed as one of Ayers’ personal favorites for working or studying. The game’s development was featured in the documentary Indie Game: The Movie alongside other indie successes such as Braid and Super Meat Boy.
The list continues with Siddhartha Barnhoorn’s ambient soundtrack for “Antichamber” (Demruth, 2013), which complements the game’s abstract visuals and shifting perspectives. Austin Wintory’s music for “The Banner Saga” (Stoic, 2014) follows, providing an expansive score designed to match the game’s epic narrative.
Jessica Curry’s BAFTA-Award-winning soundtrack for “Everybody’s Gone to the Rapture” (The Chinese Room, 2015) captures themes of patience and mystery. Curry’s earlier work on “Dear Esther,” described as more traditional but equally compelling, is also recommended.
Ayers includes Eric Barone’s compositions for “Stardew Valley” (ConcernedApe, 2016), highlighting Barone’s role as both sole designer and composer. The calming tracks are noted as fitting background music for productive days.
Christopher Larkin’s soundtrack to “Hollow Knight” (Team Cherry, 2017) is praised for its atmospheric qualities and dynamic range between moody expanses and intense set pieces.
Lena Raine’s score for “Celeste” (Maddy Makes Games, 2018) receives mention as an engaging mix suited to repetitive tasks during study sessions. Raine’s work on “Chicory: A Colorful Tale” is also cited.
Andrew Prahlow provides folk-inspired ambience in his compositions for “Outer Wilds” (Mobius Digital, 2019). Darren Korb brings metal-infused energy to “Hades” (Supergiant Games, 2020), drawing from Greek mythology while maintaining driving rock rhythms intended to motivate listeners through challenging work periods.
Albert Birney and Gabriel Koenig deliver retro vibes in their soundtrack to “Tux and Fanny” (Ghost Time Games, 2021), described by Ayers as well-suited to intermittent listening during study breaks.
Finally, Terence Lee (“Lifeformed”) and Janice Kwan created a synth-heavy aesthetic in their score for “Tunic” (Isometricorp Games, 2022). Lee’s earlier work on “Dustforce,” titled Fastfall, is also recommended by Ayers.
Ayers’ selections reflect trends within independent game development where small teams—or even single individuals—are responsible not only for design but also musical composition. This approach often results in unique soundtracks that serve both gameplay immersion and practical uses like studying or working.
