Gonzalo Varela: Uruguay’s place in the global gaming soundtrack

Composer, sound designer, and educator Gonzalo Varela has found in video game audio a space where many of his passions converge: collaborative work, interactive logic, musical exploration, and the chance to move others, just as games did for him since childhood. After studying composition and guitar at the University of the Republic, he earned a Fulbright‑ANII scholarship to specialize in the U.S. His academic and teaching experience at Columbia College Chicago, a global benchmark for screen‑music composition, marked a turning point in his career and strengthened his commitment to training future Uruguayan talent. At Gamescom Latam 2025, he was a leading figure in the Uruguayan delegation, delivering a talk on composing music for action and combat scenes, helping cement Uruguay’s role in the global gaming industry.

• How do you see the current landscape for video game music in Uruguay?

It’s a growing sector. Though still emerging, more composers specialize in the field and collaborate with local and international developers.

Creating music for games demands technical and artistic specialization; excelling in traditional composition isn’t enough. Professional development requires mastering music production software, understanding game engines, using audio‑implementation tools, and deeply grasping how music supports games’ non‑linear, interactive narrative.

Economic conditions pose additional challenges. Some independent projects opt for royalty‑free music, licensed libraries, or AI‑generated tracks, making it harder for emerging composers. While these solutions offer cost savings, they rarely match the original soundtracks’ immersion and narrative coherence.

The good news is that many dedicated musicians are committing seriously to the craft. Uruguay has diverse, high‑level musical talent, supported by academically trained artists across genres and eager to adopt new technologies.

• Is local academic training aligned with the international market demands in this field?

Tertiary and public music education in Uruguay is of high quality, something I confirmed during my time abroad. However, video game music composition is far more specialized and, in many countries, addressed at the postgraduate level.

While Uruguay’s training options in this field may be fewer than in some countries, they’re still ahead of many others. Add to that a dynamic cultural ecosystem where musicians frequently collaborate across disciplines, and you get broadened perspectives and stronger creative capacities. I’ve been teaching courses on this topic at the University of the Republic, Universidad Tecnológica, and independently for years, and students who are passionate and committed have achieved very positive results, often joining national and international projects.

• Do you see opportunities for Uruguay to export video game music services globally?

Absolutely. Remote work is now normalized, and globally distributed teams are common. With platforms like Discord, GitHub, and Zoom, collaborating with international developers from Uruguay is perfectly feasible without needing to relocate.

Working in small, local, independent teams has allowed Uruguayan composers to develop versatility, spanning roles and adapting to different aesthetics. These qualities are prized by international studios seeking proactive collaborators with holistic development skills.

• What characteristics of Uruguayan video game music might stand out internationally?

Uruguay’s musical richness is undeniable, with styles yet to be fully explored in games. Incorporating these elements can add distinctive voices and enrich the global soundscape, which often risks falling into aesthetic clichés. More Uruguayan musicians can bring originality and identity that appeals to studios worldwide.

A notable example in Latin America is Gustavo Santaolalla, who built his international career not by copying success formulas, but by highlighting what made him unique. His work on The Last of Us reflects Latin American sensibilities, and that distinctive signature has been central to its global impact.

• What are the main opportunities for Uruguayan composers to break into international markets?

Composers need to master their craft, build a strong professional identity, and ensure game developers know what they can deliver.

Networking with developers is key. While reaching out online is possible, in-person connections at international events often lead to more meaningful collaborations. It’s crucial to showcase high-quality samples, maintain a solid online presence (website, YouTube, social media), and make it easy to discover your work.

• What does attending an event like Gamescom Latam bring to this process?

Participating in global events is highly significant. They help establish contact with international developers, exchange experiences with peers, and gain insights into industry trends and creative approaches. Attending talks, workshops, and panels is a great way to learn new tools and understand global workflows.

These events also offer platforms to showcase your work, whether through talks, panels, or on a game’s stand where you contributed music.