Issue link: https://digital.copcomm.com/i/1546054
54 M PS E . O R G refining the relationship between the music and the rest of the game's audio. Mixing played a major role in shaping the final experience, particularly when balancing traditional Japanese instruments with newer Western influences. The goal was never to make those elements feel separate, but to create a unified musical language that felt natural to the world of Ghost of Yōtei. What made the process successful was the level of trust between everyone involved. There was a willingness to listen, experiment, and adapt as the game evolved. That openness allowed the score to grow organically over time and ultimately, helped us create a musical experience that felt deeply connected to both the story and the world. REFLECTION AND RECOGNITION What aspect of the recording or mixing work are you personally most proud of? ➤ I am most proud of the overall body of work that is the Ghost of Yōtei soundtrack and the way it translated across multiple delivery formats. In addition to the stereo soundtrack, we also mixed the score in Sony 360 Reality Audio and Dolby Atmos, which allowed the music to exist in both traditional and immersive presentations while maintaining a consistent emotional and sonic identity. From a mixing perspective, the challenge—and ultimately the rewarding part—was ensuring that the intent of the orchestration, solo performances, and recording techniques carried through regardless of format. Each version required careful attention to balance, depth, and translation, so that the core musical relationships remained intact whether experienced in stereo or in a fully immersive environment. I am also very proud of the global engineering team that supported the project across multiple studios and time zones, working in close collaboration to help realize the score at every stage of the recording and mixing process. Looking back, what aspect of the project best demonstrates the creative potential of interactive music systems? ➤ Looking back, I think the aspect of Ghost of Yōtei that best demonstrates the creative potential of interactive music systems is the way the score moves seamlessly between scripted storytelling and player-driven experiences. The music is not just reacting to gameplay; it is continuously adapting while maintaining the emotional intent of the story. Throughout the project, we built systems that could support both large-scale dramatic moments and much smaller, more intimate experiences. Some were designed to carry the energy and tension of gameplay encounters, while others allowed the music to breathe, giving space for reflection, discovery, or simply taking in the world. The challenge was ensuring that all of those musical experiences felt connected, regardless of how the player moved through them. What excites me most is how those approaches worked together. A player might move from a quiet ride through the landscapes of Hokkaido, to a tense encounter, to a deeply personal story moment, all within a short span of time. The music had to support each of those emotional shifts while still feeling like a single, cohesive score. That ability to adapt without losing its identity is what makes interactive music so powerful. Ghost of Yōtei demonstrates that interactive music systems can deliver the same emotional nuance and storytelling sophistication as a cinematic score while also giving players a sense of agency over the experience. That is where the true creative potential of interactive music lies. Ghost of Yōtei received the MPSE Golden Reel Award for Outstanding Achievement in Music Editing – Game Music. What does that recognition mean to the team? ➤ The recognition has been immensely gratifying for our entire team. Awards are always meaningful, but there is something especially significant about being recognized by your peers. The members of the Motion Picture Sound Editors organization represent some of the most accomplished professionals in sound and music editorial, and many of them have helped create some of the most memorable moments in film, television, and interactive entertainment. To have our work acknowledged by that community is truly an honor. Peter Scaturro MPSE Score Producer Sonia Coronado Lead Music Designer Kellogg Boynton Lead Recording & Mix Engineer