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 55 For our team, the award is both validating and encouraging. Game music editing is a highly specialized discipline that often takes place behind the scenes, and much of the work is invisible when it is done well. Players experience the emotional result, but they may never realize the amount of editorial planning, technical design, collaboration, and problem-solving required to make the music feel seamless in an interactive environment. Recognition from MPSE helps shine a light on that craft and reinforces the idea that game music editing deserves a place alongside the great traditions of film and television music editorial. For Wavelength readers who work in sound and music editorial, what do you hope they notice or appreciate about the music editing in Ghost of Yōtei? Peter Scaturro MPSE ➤ For Wavelength readers who work in sound and music editorial, I hope one of the things they notice is just how collaborative the process of creating game music has become. Ghost of Yōtei brought together composers, music editors, music designers, engineers, producers, musicians, and the creative leadership at Sucker Punch, all working toward a shared artistic vision. The final musical experience is the result of countless creative decisions made across disciplines, and I think the project demonstrates how important that collaboration is to successful interactive storytelling. I also hope readers come away with a greater appreciation for game music editing as a unique and evolving craft. Modern games are capable of delivering rich emotional experiences and sophisticated storytelling that can stand alongside film and television. What makes games different is that those emotional moments must often be supported within systems that respond dynamically to player actions. The challenge is not only to create compelling music, but to shape and prepare it in a way that allows it to remain emotionally effective under countless player-driven scenarios. Ultimately, if readers take away anything from Ghost of Yōtei, I hope it is an appreciation for the artistry involved in making interactive music feel seamless. When it works well, the player never thinks about the underlying systems or editorial decisions. They simply feel that the music is responding naturally to their journey. Creating that illusion requires a combination of storytelling instincts, technical expertise, and collaboration, and I believe that is what makes game music editing such a rewarding discipline. From left to right: Kelvin Yuen, Andrew Buresh, Brad Meyer, Peter Scaturro, Toma Otowa, Keith Leary, Kellogg Boynton, Vanessa Zamora, Sonia Coronado, and Justin Fields at the Ghost of Yōtei Soundtrack Listening Party in Los Angeles, CA, USA. Photo by Laura Scaturro