Issue link: https://digital.copcomm.com/i/1546054
52 M PS E . O R G depending on how the music is being assembled by editorial. This creates challenges during the mixing process, as creative decisions about how an instrument functions in the full mix must also account for how that same material will behave in more stripped- down or reconfigured musical states that serve the game's needs. A key challenge was maintaining cohesion across material that had been recorded in multiple studios and sessions. We documented all session information from each recording so that the recording chains and technical decisions could be reliably recalled at a later stage. During the mixing process, we used several Pro Tools templates created by myself and the mixing team to maintain consistency throughout the project. With a large game and a significant amount of musical content, how did the team stay organized and maintain a consistent musical language across the project? ➤ Maintaining organization and a consistent musical language across a project the size of Ghost of Yōtei came down to frequent communication, documentation, and close collaboration with the development team. We had a very open working relationship with Sucker Punch throughout production, particularly with audio director Brad Meyer, which helped keep the music aligned with the evolving needs of the game. One of the most important steps happened early in development, when we worked closely with Sucker Punch to define the musical identity of the project. Together, we established the core creative pillars of the score: the blend of traditional Japanese and Ainu influences, the incorporation of Western musical elements, and the emotional language that would support Atsu's journey. Having those foundations in place helped ensure that every new piece of music felt connected to the larger musical world of the game. From a production standpoint, we also maintained detailed tracking and implementation documents that allowed us to monitor music needs across regions, missions, cinematics, and gameplay systems. Combined with frequent communication between teams, those tools helped us manage a significant amount of musical content while preserving a cohesive musical identity. From a production standpoint, what were the biggest logistical challenges in coordinating recording sessions, editorial workflows, and deliverables across the life of the project? Angelina Park ➤ From a production perspective, one of the biggest challenges was the scale and duration of the project. Ghost of Yōtei was developed over multiple years and involved recording sessions with musicians across several countries, making the coordination of schedules, studios, and performers a significant undertaking. Rather than recording the roughly 140-minute score all at once, we approached the process in phases over the course of development. This allowed us to move newly recorded and mixed music directly into editorial and implementation as different areas of the game became ready. Success depended on careful planning and close collaboration with Sucker Punch. Staying aligned with their production timeline helped us understand which parts of the game were ready for music and which were still evolving, allowing us to prioritize recording sessions, editorial work, and resources throughout the project. Were there any recording sessions, performers, or musical moments that became defining memories for the team? Angelina Park ➤ One of the most memorable parts of the project was learning about Ainu culture and collaborating with Ainu musicians Oki Kano and Rekpo, along with Ainu consultant Maya Sekine. From the beginning, we wanted the music to authentically reflect Ainu traditions, not only through the use of instruments such as the tonkori, mukkuri, and kakko, but also through the emotions and cultural context behind the performances. What made these sessions especially unique was that the music was not pre-written. We shared Angelina Park Audio Producer