This article presents a specific case study centered around the question of music composers in immersion, stemming from the EUR ArTeC project “VR Auditory Space, Sound Spatialization in VR Immersion.” How does creating a spatialization environment designed for virtual reality determine an electronic music composer’s way of interacting with this space? In-game programming and editing requires thinking about how to integrate a full-body or complete avatarial representation. This article seeks to address all of the problems we have encountered from a technical, philosophical, and critical point of view.