I think that the claim "chords come from scales" has unfortunate misleading interpretations. As a composer, you're essentially writing stories or plays that take the listener through various feelings, scenes, twists of the plot - the harmony with its tensions and resolutions. In my opinion, chords, not scales, should be your most essential painting brush for developing the story, its tensions and resolutions. Chords and voice leading are the thing you want, it's the rope you pull, the steering wheel you turn, in order to develop the story, the tonality, tonal center i.e. where "home" is, and how far away your plot is from a happy end, returning home. Scales are more or less only a locational reference map for handling what happens in your story. Chords rule, scales follow. Chords don't come from scales, chords come from the composer's mind, and scales are some kind of a sketching tool, a reference grid the composer uses for aligning things and keeping track of where everything is relative to the tonal center.
I think what you should do is, learn the major scale, just so that you have at least some kind of conceptual means for seeing what chords and notes you have and where they are, and where home base is. Then, because you want to be a story-teller, read (listen to) already existing good stories, i.e. compositions, songs. Analyze what chords they use, what notes the chords consist of, how the melody notes work together with the chord notes, and how they are all used together for creating harmonic tensions and resolutions. Get familiar with the role of each note: would the plot essentially change if you left out a note, or if you replaced it with something else. Is there some particularly elegant voice leading, i.e. step-by-step movement of notes from one chord to another? Where is the (more or less temporary) tonal center at various points in the song? Through what kind of chord changes is it moved around? What do the changes make you feel like?
After you're familiar with how chords and notes are used in common songs, when viewed on the reference grid of the major scale, then it might be easier to understand the rest of the reference grids, like the various modes of the major scale, the whole-tone scales, the diminished scales, etc.
As an outcome of the first step of your studies, you should be able to re-create (play live or write in a sequencer) common simple songs in terms of basic three-note chords and a melody. Where the bass note of the chord is, is it major or minor, and where the melody note is. If you cannot do this, then studying any of the more advanced things doesn't make much sense yet, in my opinion.
After you can produce "melody and chords", pop song kind of musical expression, then you can start thinking about orchestration, instrumentation, voicings. But if you cannot reduce the essence of your composition to a melody and chords to whistle or hum with guitar accompaniment, then you can't see the forest from the trees, and you're not in control of the situation. (I'm assuming you want to create tonal western music with "hit potential" - the kind of things most composers seem to do for movies and games)