Jessica Curry stands as one of the most renowned composers in the history of video games. She bagged a BAFTA for her composition of the Everybody’s Gone to the Rapture score and embarked on her video game musical journey with the sweeping and dramatic score for Dear Esther. Not to overlook the haunting sounds she crafted for Amnesia: A Machine for Pigs.

For Polygon FM, during our weeklong exploration into the most captivating music in video games, Curry shared with us about her initial foray into video games, her creative process and influences, as well as how fans relish her music in the present day.

Was there a game soundtrack or song that kindled your aspiration to create game music? Could you describe the scenario and your feelings about it, and explain why the music was so impactful?

When [developer Dan Pinchbeck] requested me to compose the music for Dear Esther, I had never indulged in a game before – games were simply beyond my realm. It was both peculiar and liberating to create a games soundtrack before ever listening to one! The positive aspect was that it liberated me from restrictions. The first piece of games music that I truly adored was “Leaving Earth” by Clint Mansell on the Mass Effect 3 soundtrack. A melancholic epic that evokes boundless, soaring landscapes – what could one not love?

Could you dissect one of your own songs and its influences? Was it inspired by game soundtracks, other musical works, or something else?

One of the most beloved pieces of music I have composed is “Great Friends” for the game So Let Us Melt.

I aspired to create music that bore no resemblance to anything else, but there were two tracks lurking in the back of my mind while penning this piece. The first one is “Baba O’ Riley” by The Who – I am enamored with the energetic electronic arpeggio pulsating throughout the track.

The other musical piece is “De Staat” by composer Louis Andriessen. Similar to “Baba”, it also possesses a beautiful pulse and I am fond of its minimalist repetitions and textures. I also cherish the purity of the vocal style in the piece and it was highly inspiring when guiding the choir to achieve the desired sound for “Great Friends”.

What are the principal instruments employed to record the soundtrack for Everybody’s Gone to the Rapture? How did you make those selections?

For Rapture, I aimed to evoke a charmingly English, bucolic sound; reminiscent of the worlds of Elgar and Vaughan Williams. Thus, strings, woodwind, and choir feature prominently in the soundtrack. I heard the soloist Elin Manahan Thomas perform in a concert and instantly knew that her voice was going to be the core of that sonic universe. Her voice on the score still gives me goosebumps to this day.

Is there anything additional we should be aware of regarding your approach to composing video game music?

I invest my entire heart and soul into each and every project. I believe people can sense the love and care, and the best part of my job is reading all the remarkable emails about the significance my music holds for people. My music has accompanied people down the aisle, during their escapes from war zones, and through the funerals of their loved ones, and it is an honor and a privilege to be aware of this.