With today’s advanced technology, even the virtual world has the power to represent reality. What will you relate to the most? Just another graphic experience of your environment or an immersive experience that guides you through a phase of linear progression? Ghost of Tsushima is developed by Sucker Punch Productions and published by Sony Interactive Entertainment for PlayStation 4. It revolves around Jin Sakai, the last samurai on the island of Tsushima.
The game has been applauded for its combat, stunning images, and the power to transport you to 13th-century Japan. Jennifer Walden had the opportunity to interview the game’s audio director, the Rev. Dr. Bradley D Meyer, and senior sound designer Josh Lord. The interview revolved around the process and inspiration behind the recording of the background score. It’s safe to say that the game manages to create an environmental setting and give the player an authentic and palpable insight into the Mongol invasion of Japan.
Real-life source for Ghost of Tsushima’s background score
“Natural beauty really needed to sing, whether it was the tranquility of birdsong on a clear day or the torrential threat of a coming storm.”
Bradly D Meyer described how they used real-life sources to record their background score.
“… you can hear the Mongols singing, playing the drums or playing the morin khuur when you are near a Mongolian camp.”
They go on to say how they used music and wind direction to guide the player to exciting new missions. From the sound of drums to the grass whispering next to you, Ghost of Tsushima soaks your mind in an open world of beauty while showing how great the sound effect can be in video games.
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‘Earth, aspiration and intimacy’
The team describes how they used Japanese wildlife and culture in their natural capacity. They revealed how they went to a nearby school to attend some classes for it.
“We spent a lot of time throughout development recording real-world sounds that became our palette that we use from the environment to combat to the user interface. Some examples are quite obvious, as almost all wildlife sounds were recorded in Japan. Another example is the sounds of unsheathing / unsheathing swords.
“At the beginning of the project, we found an iaido (Japanese fencing) school near our office, so we attended some classes and what really surprised me was how silent a katana is when it is in the hands of a teacher (obviously we had to heading more towards cinematic expectations here), but also by learning the correct way to sheath and unsheathe a blade, I knew I wanted to present that accurately rather than go with a more streamlined sheet metal. It just makes the katana, which is really an extension of a samurai’s hand, feel more like a part of the world. “
Sheathing a Samurai’s sword is indeed strangely satisfying, making you feel like the savior of the world.
“… when we explore, we have occasional musical tracks, really beautiful and quite rare …”
Music that heats up in the background before a conquest, or birdsong in Toytama wetlands, the game features creative freedom. I think this is unique. Imagine that you are sitting in a movie theater watching a horror movie. It is a full house. If the movie doesn’t surround you with a sinister environmental score, it won’t scare you. This is what the game does. You will not only play this game, you will live in its guided reality.
Source: https://www.asoundeffect.com/ghost-of-tsushima-sound/
