The haunting melodies of Ghost of Yōtei, a 2025 action-adventure game developed by Sucker Punch Productions, weren’t simply composed – they were meticulously crafted to react to the player’s every move. That seamless integration is the work of Udit Srivathsan, a Music Designer at Sony Interactive Entertainment America, and a rising star in the gaming industry.
Srivathsan’s recent nomination for a 2026 MPSE 73rd Golden Reel Award for Outstanding Achievement in Music Editing underscores the growing importance of this specialized role. As games evolve into expansive, narrative-driven experiences, the Music Designer has become crucial in shaping the player’s emotional connection to the game world.
“Music is pivotal to the gaming experience, especially when they’re narrative-driven,” Srivathsan explained. “As incredible as composers are at capturing themes, there is only so much they can write in the time available. A bulk of the creative heavy lifting is done by music designers who edit, re-arrange, and re-compose for the majority of gameplay.”
Unlike traditional game soundtracks where a composer creates a piece to accompany a scene, Ghost of Yōtei, set in 1603 Ezo, Japan, demanded a more dynamic approach. The game, which sold over 3.3 million copies by November 2025, features an open world that players can explore for upwards of 80 hours. Srivathsan’s role involved establishing the logic that dictates when and how music plays, ensuring a seamless experience. A player traversing a snowy forest would hear sparse, atmospheric music, while approaching an enemy camp would subtly increase the tempo. Drawing a sword would trigger a surge of shamisen and guitar, all without jarring transitions.
“Implementation involves setting up the logic that determines when and how music plays or transitions,” he said. “Everything needs to make sense musically, but also sound seamless so that the music supports gameplay in a non-intrusive way.”
The game’s aesthetic, a blend of traditional Japanese instrumentation and the atmosphere of a Spaghetti Western, presented a unique challenge. Srivathsan worked to balance the sharp pluck of the Shamisen and the melancholic breath of the Shakuhachi with various guitar textures. “Finding a good balance was important,” he noted. “Using guitar types on their own sounded cool, but to suit the narrative, it was always preferred to pair them with something like a Biwa or the Shamisen. In emotional moments, we took a more sparse approach where story beats were hit gently.”
This attention to detail extended to the “Legends” DLC mode, released on March 10, 2026. Composed by Chad Cannon, building on themes established by Toma Otowa, the multiplayer mode required a different sonic palette. Srivathsan incorporated synth elements and eerie textures to represent the supernatural elements of fighting giants and magical monsters. “Everything from combat music encounter systems to death stingers were remade using these new elements to make Legends stand apart from the main game,” he said.
The Golden Reel nomination, according to Srivathsan, is a testament to the collaborative process, particularly the “spotting sessions” led by industry veterans like Pete Scaturro, Sonia Coronado, and Andrew Buresh. “It’s not unlike what film composers do with directors,” he explained. “We play through the game week by week to identify places for music to be scored.” He also collaborated with Sucker Punch’s audio director Brad Meyer and sound designer Adam Lidbetter during the mixing process.
Srivathsan’s journey began in Singapore, followed by training in music composition and audio engineering at the San Francisco Conservatory of Music. His background has allowed him to bridge the gap between musical artistry and technical implementation. His portfolio includes contributions to Marvel’s Wolverine, Kena: Scars of Kosmora, Helldivers 2, Destiny 2: Renegades, and MLB The Show 2026. He also served as an Upmix Engineer for the MASTERMINDS II Music Kit Box in Dolby Atmos, working with composer Austin Wintory, and as Lead Recording Engineer for Dr. Dark (2025) by The Residents.
“The score had a great deal of soloist improvisation on the Shamisen, Guitar, and Shakuhachi,” he said. “It’s highly inspiring to hear this and even more satisfying to edit using quality recordings and performances.”
Srivathsan believes the ideal outcome for his work is often invisibility. “Music is the emotional glue of these massive worlds,” he said. “Making sure that glue holds, no matter what the player decides to do, is the ultimate challenge.”
