After these first 5 years jamming and with enough recognition, mainly as a hobbyist with his Doctor moniker, one thing strikes me the most about Lynne's legacy: His famous works, according to forum posts i've read at the beginning while researching his stuff, are easily among the most "interesting" ones to put it elegantly and non-aggressively. Quite frankly i'm appalled that all the Amiga fans i read name only Brat and Qwak as his trademark Amiga pieces under his real name.
It might also be an easy explanation, but let's put it inside a bigger, more complicated one for the fun of it: One day at his home his mum got a call, it was some dudes that found his parents' phone number on a demo and called the place so they could pass the notice about an offer, the "foreign languages weirdos" were handing 200 pounds for compositions for a project called Brat. He accepted on the spot. The dudes were from a, you guessed it, small british developer coupled with a bigger but still warring publisher, this time called Image Works. Lynne seems to have been pretty quick and professional, even if the score in my opinion is pretty inconsequential, and got himself some credits as the game became quite popular in the Amiga, that didn't help the publisher from bankrupting a year later but oh well. Supposedly according to his website it was his first paid job, meaning it came very early in 1991 or that he did some of the games >4 free. He recalls being offered 200 british pounds, which shocked his mother and supposedly made her stop nagging the man for playing with his computer.
His real name still went into a list of people who delivered, and after Cubulus, something occurred which he mentions lead to his first "big job".
IIRC (heard it more than a year ago) it seems he traveled around with his pals in conventions and met some devs, representing Team17. This company years before had been 17-Bit Software, the company that had on their payroll various Am/FM folks, most notably Allister Brimble but also some other dudes in the scandinavian lands. One of those was a swedish guy called Andreas Tadic (ex-yugo?) and after showing some skills with dev he was introduced by a british Microbyte employee named Martyn (with an y?) to a visual artist called Rico Holmes (Rico a british name?) which became friends and along side some other swede names Tuleby they formed a game dev partnership called Team 7. They made a game called Miami Chase, a budget title which seemed successful in the market, Martyn was seemingly scouting them and called his boss, the owner of 17-Bit and Microbyte Michael Robinson, and finally convinced the guy to make a publisher-developer and push the products with the retailing Microbyte, all internally. He suggested Team7 as they were cheap and promising, the man agreed and greenlit the venture, moving a gril sales manager to become their commercial support, an aggressive entrepreneur called Debbie Bestwick. Soon enough Robinson's shit got crazy and the venture decided a merging, calling themselves Team17.
Microbyte used their own data to see which genres and games sold the most, then talked to Team 17 and planned a project to capitalize on this. Pretty straightforward although probably not creatively engaging with some, but still it worked and they made some charting projects, usually with Allister Brimble as freelancing composer. In one of these games Brimble would feature his pal Bjørn with his Space Deliria as ending theme for 1991's Project X, making the guy have his name written in bold after the hit with Brat and Cubulus.
After talking a while with these Team17 devs they realized this fella was the famous Doctor music guy that also had a string of successes a year ago, so they asked for his contact data and confirmed they would make a call soon. And yeah, they did, he was offered a game called Qwak and wanted a certain kind of feel. He delivered quite the explicit interpretation of the name, attached to this post, which seems to be his most famous work on the system; the man who made Cubulus and Fantastic Voyage is represented in real name as "the guy who did Qwak", and mostly because it sold well and was pushed hard in the U.K., as Cubs was a jerry title no one cared about and Voyage Fantastique is a cash-in for the show, also reviews bashed the shit outta it.
All this wall of text is to hype the fact that, after some months, on the Spring of 1995, he was called in his parent's house: Team17 was starting to make tons of projects and needed a musician full-time. And that was that.
The Ø was working as a tech support by phone gig, nothing biggie and somewhat hilarious already by his age (29?), after his CD making venture didn't land much money and no norwegian bands seemed to want a keyboardist in the black metal era. This shining opportunity made him, according to himself, quickly sell everything he owned but the machine and some childhood souvenirs, kiss his mum goodbye and head to England, commando style.
This marked the beginning of another rollercoasting 5 years that would place Bjørn Lynne as one of the most multifaceted composers around, ditching the Jarre image of sampling and Moog-experimenting into more of a chameleonesque, multi-purpose one.