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 49 the team to rethink an editorial or implementation approach? ➤ One moment that stands out is the sequence in which Atsu and Jubei enter the Oni Castle for the first time. Our original plan was to use only diegetic taiko drums, performed on screen to establish the instrument as a sonic signature for the Oni. Conceptually, it was a very appealing idea. The taikos alone could communicate power, ritual, and intimidation without relying on a traditional score. Once the sequence was implemented, however, we discovered that the idea did not fully translate in practice. The scene moves through a series of wide cinematic shots, and the taiko performance no longer felt like a single continuous event. Instead of creating a growing sense of menace, the drum hits began to feel disconnected from one another, and some of the tension we were hoping to build was lost. After reviewing the sequence in-game, we decided to rethink the approach. Rather than abandoning the diegetic taikos, we added a subtle non-diegetic layer underneath them. Gentle orchestral textures and ambience helped connect the individual shots, maintain momentum across the edits, and reinforce the scene's emotional tone while allowing the taikos to remain the primary focus. It was a relatively small change, but it had a significant impact. The sequence immediately felt more cohesive, and the sense of anticipation leading up to the characters' first encounter with the Oni became much stronger. Some of our most successful solutions came from discovering those moments in context. In many cases, the editorial adjustment that solved a technical problem also strengthened the storytelling. What are some misconceptions people have about music editing for games compared to music editing for film and television? ➤ I think there are two common misconcep- tions about music editing for games. The first is that game storytelling is somehow less sophisticated or emotionally nuanced than film or television. That may have been true in some cases many years ago, but today's AAA games often feature deeply developed characters, complex narratives, cinematic performances, and emotional arcs that unfold over dozens of hours. As music editors, we are thinking about many of the same things our colleagues in film and television think about: character development, pacing, subtext, dramatic tension, and emotional payoff. On a project like Ghost of Yōtei, the music team spent a great deal of time considering Atsu's emotional journey. We weren't just editing music to support action sequences or gameplay mechanics. We were helping tell a story about loss, revenge, resilience, and ultimately, personal transformation. That requires the same level of sensitivity to narrative and character that you would bring to any dramatic film or television project. The second misconception is that game music editing is simply Sonia Coronado Lead Music Designer Daisuke Kiba playing the kokyu in Tokyo, Japan. Peter Scaturro MPSE Score Producer