They really must get this right. The emotion in the Halo series really started around Halo 2 and continued through to reach. It makes a modern Halo’s campaign a fantastic play through.
I find its also something you see more and more rarely in games today as they focus more on multiplayer and less on campaign.
Hell, if you try hard enough you can make the main menu emotional.
> They really must get this right. The emotion in the Halo series really started around Halo 2 and continued through to reach. It makes a modern Halo’s campaign a fantastic play through.
>
> I find its also something you see more and more rarely in games today as they focus more on multiplayer and less on campaign.
>
> Hell, if you try hard enough you can make the main menu emotional.
>
> Fan made halo 4 main menu (yes I know, inception music)
Very true, people love music because of it’s emotional establishment. If they fill it with a balance of badass music to make you feel like your God on Earth and sader music when like a reasonably significant character dies that gets people hooked on the story. Reach didn’t perform like I expected it to with the music, it was just straight up plain battle music with nothing else to it, honestly. But I’d have to take that back sort of, at the end it did establish some emotion with the music at the end of it in the pillar of autumn, I think that was the best mission tbh. Just not enough bad -Yoink- music.
> They really must get this right. The emotion in the Halo series really started around Halo 2 and continued through to reach. It makes a modern Halo’s campaign a fantastic play through.
Yet many agree that CE had the best and Reach had the worst. Interesting…
> > They really must get this right. The emotion in the Halo series really started around Halo 2 and continued through to reach. It makes a modern Halo’s campaign a fantastic play through.
>
> Yet many agree that CE had the best and Reach had the worst. Interesting…
Nah Halo 2 so had the best music xD
> They really must get this right. The emotion in the Halo series really started around Halo 2 and continued through to reach. It makes a modern Halo’s campaign a fantastic play through.
>
> Yet many agree that CE had the best and Reach had the worst. Interesting…
All im saying is make the game emotional. Yeah, halo reach only had kat’s death as the real emotional point.
And how did this jump from emotion to music?
> > They really must get this right. The emotion in the Halo series really started around Halo 2 and continued through to reach. It makes a modern Halo’s campaign a fantastic play through.
> >
> > Yet many agree that CE had the best and Reach had the worst. Interesting…
>
> All im saying is make the game emotional. Yeah, halo reach only had kat’s death as the real emotional point.
Yeah that is kinda true, they did have a emotional scene in the pillar of autumn too but honestly the music wasn’t that great. They need music for all differen’t scenarios. I’m sure they will make it well, I have allot of faith in their team. They should get a professional band to do their music, man that would increase the hype so much, I remember games so well if they have a significant band playing a song for them.
Breaking Benjamin for Halo 2 - Blow Me Away
Youtube it xD
Halo 4 and beyond needs a bit of humor, the series is taking it’s self too seriously as of late. Halo CE, 2, and ODST had some funny bits but still told a serious and engaging story. Halo 3 was much more serious than the first two (though it had it’s moments) though Reach was devoid of any quips (even the NPCs were dry and generally didn’t care about them). While i am not saying Halo should turn into a comedy routine, it should attempt to take stabs at itself, make the NPC lines funny again (but not annoying).
You can still tell a emotional, engaging story but lighten up, bring some charm back the story. It’ll be hard without SGT. Johnson though 
True about the humour. Most of laughs that come out of Halo are Easter eggs and funny dialogue. Halo needs the humour as much as emotion.
On the emotion side of things again, remember emotion is more then just music. Its body language, the movement of a character and the camera shot as well.
> > They really must get this right. The emotion in the Halo series really started around Halo 2 and continued through to reach. It makes a modern Halo’s campaign a fantastic play through.
>
> Yet many agree that CE had the best and Reach had the worst. Interesting…
Forum kids dont count as many.
Countless fans enjoyed reach’s story.
Thats why it sold so well.
hype made it sell well. look at MW3 sales, then its meta critic score from the community.
> > > They really must get this right. The emotion in the Halo series really started around Halo 2 and continued through to reach. It makes a modern Halo’s campaign a fantastic play through.
> >
> > Yet many agree that CE had the best and Reach had the worst. Interesting…
>
> Forum kids dont count as many.
> Countless fans enjoyed reach’s story.
> Thats why it sold so well.
Okay but don’t try to single out people as kids because allot of them are adults, I included. In my opinion Reach was a good game but it is far from the best out of what Halo has to offer for fans and it has already been established that Reach wasn’t as successful as it could of been but mainly allot of people think that it lacked in some of the unique Halo feelings including the music. But that’s just peoples opinions. Just don’t single people out, that’s all.
> You can still tell a emotional, engaging story but lighten up, bring some charm back the story. It’ll be hard without SGT. Johnson though
I miss SGT Johnson damn… I played Halo 2 the other day and talked about the funny things he says and how they should incorporate some type of humour as good as his in Halo 4.
> > You can still tell a emotional, engaging story but lighten up, bring some charm back the story. It’ll be hard without SGT. Johnson though
>
> I miss SGT Johnson damn… I played Halo 2 the other day and talked about the funny things he says and how they should incorporate some type of humour as good as his in Halo 4.
Me too, i was heart broken when Bungie decided to 86 Johnson back in Halo 3. He’s lines always made me chuckle or just got you pumped to kick some alien tail. Especially speech on the first cutscene in CE, talk about pep talk! lol
> > They really must get this right. The emotion in the Halo series really started around Halo 2 and continued through to reach. It makes a modern Halo’s campaign a fantastic play through.
> >
> > And how did this jump from emotion to music?
>
> I totally agree,
>
> When i hear about a Halo or play a Halo i am most excited for the campaign above everything else, this is not only because I’m in love with the universe and characters but the games story has always been presented perfectly in terms of emotion, suspense, structure and gameplay. For me, they done very well with Reach, i mean the entire planet was con quested and glassed to extinction and Bungie executed this perfectly. And now 343 are taking over a entire new trilogy with the characters we have been waiting for for a while now. 343 are a very dedicated company consisting of Halo fans above else, this means they want to present and continue where the story left of for our enjoyment and also their satisfaction they are doing Halo right.
>
> In my opinion as long as you take the story seriously and have loved the game from the start you are guaranteed to express emotions throughout.
>
> This jumping to music is completely relevant as its one the primary and incredible tools in which generates emotion without anything even happing. Have you see the Halo 4 concept art trailer? Listening to the music shift during the frames of UNSC artwork made me express emotions of suspicion.
> > They really must get this right. The emotion in the Halo series really started around Halo 2 and continued through to reach. It makes a modern Halo’s campaign a fantastic play through.
>
> Yet many agree that CE had the best and Reach had the worst. Interesting…
Nobody agrees about those things. You’re thinking of multiplayer design, not the emotional feel of campaign. I know you’re an outspoken anti-Reach community member Cheesy, but don’t let it’s multilayer unfairly color your opinion of the music, characters, and feel in the single-player experience. Those two things are different animals.
I think each game has gotten better about telling personal stories. I don’t think the events that take place in Reach and ODST aren’t as exciting to most as the events original trilogy, but I actually found myself caring quite a bit about the supporting characters of both those games. And ODST’s music? Talk about setting a mood…
> > > They really must get this right. The emotion in the Halo series really started around Halo 2 and continued through to reach. It makes a modern Halo’s campaign a fantastic play through.
> >
> > Yet many agree that CE had the best and Reach had the worst. Interesting…
>
> Nobody agrees about those things. You’re thinking of multiplayer design, not the emotional feel of campaign. I know you’re an outspoken anti-Reach community member Cheesy, but don’t let it’s multilayer unfairly color your opinion of the music, characters, and feel in the single-player experience. Those two things are different animals.
>
> I think each game has gotten better about telling personal stories. I don’t think the events that take place in Reach and ODST aren’t as exciting to most as the events original trilogy, but I actually found myself caring quite a bit about the supporting characters of both those games. And ODST’s music? Talk about setting a mood.
Yes the ODST music was really well done but for this they need to make it short of unknown-ish anyway they know what they are doing. But honestly, they could of done better then Reach.
> > > > They really must get this right. The emotion in the Halo series really started around Halo 2 and continued through to reach. It makes a modern Halo’s campaign a fantastic play through.
> > >
> > > Yet many agree that CE had the best and Reach had the worst. Interesting…
> >
> > Nobody agrees about those things. You’re thinking of multiplayer design, not the emotional feel of campaign. I know you’re an outspoken anti-Reach community member Cheesy, but don’t let it’s multilayer unfairly color your opinion of the music, characters, and feel in the single-player experience. Those two things are different animals.
> >
> > I think each game has gotten better about telling personal stories. I don’t think the events that take place in Reach and ODST aren’t as exciting to most as the events original trilogy, but I actually found myself caring quite a bit about the supporting characters of both those games. And ODST’s music? Talk about setting a mood.
>
> Yes the ODST music was really well done but for this they need to make it short of unknown-ish anyway they know what they are doing. But honestly, they could of done better then Reach.
Reach’s music was a bit dry, but the “sense of discovery” kind of music from CE wouldn’t have fit that game’s story at all. In the end, Reach music accomplished the goal of setting a grim, “last stand” kind of tone the game was going for.
> Reach’s music was a bit dry, but the “sense of discovery” kind of music from CE wouldn’t have fit that game’s story at all. In the end, Reach music accomplished the goal of setting a grim, “last stand” kind of tone the game was going for.
Yeah,
I my opinion the music used and created for Reach hit the spot perfectly. Reach told a tragedy and a ending, most of us (i hope) already knew the outcome of the game before we even played it. We therefore was already prepared for a saddening and emotional event of a defeat for the ‘heroes’ or ‘good guys’ and yourself as a player. Maybe the case was that too many people expect a conclusion where the player triumph, evil is defeated and no lives are lost, i sincerely hope this isn’t the case. I myself admire stories that hold a climatic, tragic ending and i thoroughly enjoyed Reach because of this.
> > Reach’s music was a bit dry, but the “sense of discovery” kind of music from CE wouldn’t have fit that game’s story at all. In the end, Reach music accomplished the goal of setting a grim, “last stand” kind of tone the game was going for.
>
> Yeah,
>
> I my opinion the music used and created for Reach hit the spot perfectly. Reach told a tragedy and a ending, most of us (i hope) already knew the outcome of the game before we even played it. We therefore was already prepared for a saddening and emotional event of a defeat for the ‘heroes’ or ‘good guys’ and yourself as a player. Maybe the case was that too many people expect a conclusion where the player triumph, evil is defeated and no lives are lost, i sincerely hope this isn’t the case. I myself admire stories that hold a climatic, tragic ending and i thoroughly enjoyed Reach because of this.
I agree, and this is also why I want the inclusion of the rest of the Spartans, Halsey, and Mendez. (NO SPOILERS FOR GLASSLANDS. I have yet to read it, so please refrain from posting anything)
Having the rest of John’s Spartan-II team, and the Spartan-IIIs that are also in the dyson sphere, could add a lot of emotion, I think.
> I agree, and this is also why I want the inclusion of the rest of the Spartans, Halsey, and Mendez. (NO SPOILERS FOR GLASSLANDS. I have yet to read it, so please refrain from posting anything)
>
> Having the rest of John’s Spartan-II team, and the Spartan-IIIs that are also in the dyson sphere, could add a lot of emotion, I think.
This is a very good idea,
The concepts of including such characters have been coming up everywhere for Halo 4 and onwards. I have yet to read grasslands swell but I’m sure it will relate and fit reasonably smoothly into Halo 4 if such a design was implemented. For the casual gamer they would purely be standard, additional characters and therefore nowhere near the amount of emotion would be gained from individuals who know their backgrounds. Maybe this is where terminals come in?