Issue link: https://digital.copcomm.com/i/1546054
M OT I O N P I CTU R E S O U N D E D I TO R S 45 we needed, so the music gave a gentle push through color or texture. Sometimes that was a single cello line or a quiet guitar phrase, just enough to guide the emotion without drawing attention away from her performance. There were also moments where we knew music should take the lead. The songs that open each valley were one of those cases, where we planned early on for the score to set the emotional tone while dialogue and sound effects stepped back. But the best decisions often came from discovery during play. A good example is when Atsu is searching for Kiku after abandoning Jubei and Oyuki to pursue revenge against the Yōtei Six. In that sequence, as the player runs uphill calling for Kiku, silence was more powerful than any piece of music could be. It let players sit in that sense of isolation and regret and made the moment feel raw and honest. Were there particular sequences, missions, or gameplay moments where music editing became especially important to the emotional arc? ➤ The opening sequence and Atsu's first duel with the Snake are great examples of where music editing became critical to the emotional arc. We didn't have a dedicated cue written specifically for the Snake encounter, so we relied on thematic material associated with the Yōtei Six and reimagined it through editing, restructuring, and implementation. Rather than commissioning an entirely new piece, we reshaped existing musical ideas into something that felt uniquely connected to Snake and his role in Atsu's journey. Our goal was to immediately immerse players in Atsu's desire for vengeance while establishing the darkness, cruelty, and inhumanity of the Yōtei Six. From the moment Atsu writes their names onto strips of cloth, to her deliberate approach toward the Saito Outlaws, and ultimately, the climactic duel itself, we carefully shaped the pacing of the sequence through music. The progression begins with tension and foreboding, gradually intensifies, and finally erupts into confrontation. In many ways, the process required the same sensitivity to storytelling, pacing, and emotional development that you would find in film scoring. We were constantly asking ourselves not only what the player was doing, but what they should be feeling at each moment and how the music could help guide that experience. Another sequence that stands out is Atsu's confrontation with Kitsune, a mission that required the music to navigate several emotional states within a single gameplay experience. We had an established theme for Oyuki, while Kitsune was represented by a darker, more mysterious sonic identity built around reverberant textures that reflected the danger and disorientation of his poison. One of the biggest challenges was finding ways to intertwine those two musical identities and gradually shift the balance between them as the story unfolded. As music editors, our role was to bridge those emotional transitions through editing and implementation, allowing the score to evolve naturally alongside both the narrative and the player's actions. The result was a sequence that moves through tension, confusion, vulnerability, and ultimately, revelation, while maintaining a cohesive emotional thread throughout. Those are the moments where music editing can have the greatest impact—not just supporting the story, but helping shape how the player experiences it emotionally. Ghost of Yōtei includes important vocal performances and narrative songs. What role did those pieces play in shaping the emotional identity of the game? ➤ Atsu's story is one defined by trauma, profound loss, and an unwavering determination to seek justice for her family. While the narrative explores those experiences through gameplay, cinematics, and dialogue, music provides a unique way to connect players with her inner emotional self. It allows us a deeper look into the feelings, memories, and emotional truths that often exist beneath the surface of her story. In Ghost of Yōtei, music functions as a powerful, transcendent force that extends beyond the physical Kelvin Yuen MPSE Music Designer Angelina Park Audio Producer "As music editors, our role was to bridge those emotional transitions through editing and implementation, allowing the score to evolve naturally alongside both the narrative and the player's actions." —KELVIN YUEN MPSE