Video games

Best Music From HALO (Part 2)

Part 2 of my countdown of my favourite music from the video game series Halo.  If you are not familiar with Halo and haven’t visited Part 1 first, then I have the following to say to you:

  1. How did you even find this blog post?
  2. Go read Part 1.  It elucidates any story elements and character relationships I refer to that would trip up someone who’s never touched a Halo game before.
  3. Ignore the previous point and live your life as you see fit.


Back To Business


10. The Trials (Halo 5: Guardians)

Is this a losing battle?
Only if we intend on losing it.

— Spartan Kelly-087, followed by Master Chief

Many fans (including me) were disappointed with the lack of musical nods in the Halo 4 soundtrack.  We get that the point of a new soundtrack is to have new music, but it’s important to honour those that came before as well.  Kazuma Jinnouchi was promoted to sole composer for Halo 5’s OST after being a minor contributor in H4’s, and this was one of Halo developer 343 Industries’ smartest decisions.  Jinnouchi understood this music composition tenet with Halo 4 and continued by it with 5.


Spartan Blue Team; from left: Linda, John (Master Chief), Fred, Kelly

The Trials plays at numerous parts in the campaign in which you play as the Master Chief (John) and his friends, Fred, Linda and Kelly (these four comprise Spartan Blue Team, the only remaining Spartan-II fireteam) and is a clear remake of the classic Halo theme.  Of course, Jinnouchi adds his spin by combining it with his own composed theme from Halo 4, and the result is an unexpected delight.  He proves with The Trials that the two major Halo themes — the one from Bungie’s original trilogy and the one from 343’s so-called “Reclaimer” saga — not only can coexist, but are seamlessly marriageable.


9. Farthest Outpost (Halo 3)

Brute ships, staggered line!  Shipmaster, they outnumber us three to one!
Then it is an even fight.”

— brief exchange between an Elite and Shipmaster Rtas ‘Vadum

This piece opens with a distant, enigmatic-sounding choral section.  After a fade-out, a steady rock beat commences alongside some low winds.  There’s a drum fill, and the choir part repeats with the winds section, now joined by the rest of the orchestra, playing a melody underneath.  This plays during a cinematic in which humans and Covenant separatists (who have allied with each other to stop the Covenant from activating the Halo array, a series of enormous ringworlds scattered throughout the Milky Way and designed to kill all sentient life in the galaxy) deploy dropships from orbit onto the Ark (basically the control centre for the Halo array).

arriving at ark halo 3

Arriving at the Ark

The Ark is a world of its own, and the music as you descend onto it beautifully captures the wonder it imposes on you.  There is a brief bass guitar interlude that plays during a fight with two hunters (giant, heavily-armoured Covenant ground troops) — sometimes called the “hunter theme” because the same bass part was used during a hunter fight in Halo 2.  The third and final section is a remake of the bright and adventurous Perilous Journey from the first Halo.

(I don’t know why it is that all the Halo tracks with “peril” in the title don’t sound very perilous.)


8. Follow Our Brothers (Halo 3)

Our fight is through the portal, with the Brutes and the bastard Truth!

— Shipmaster Rtas ‘Vadum to all

Chronologically and on the soundtrack, this one comes just before Farthest Outpost.  This is roughly halfway through the campaign, and a LOT of stuff is going on in this long cinematic.  The Covenant have just bailed from Earth and entered a slipspace portal toward the Ark.  The Flood, an ancient, deadly parasitic species (which you fight throughout Halos 1-3), landed on Earth and infected a great portion of Africa within an hour.  Humans and the Elites have teamed up and sterilised the local infestation and now need to decide how to deal with the Covenant at the Ark.  After much bickering between the leaders of the two factions aboard a ship in a scene whose dialogue I consider to be some of the best in the series, they resolve to divide up forces — you (the Master Chief), the Arbiter and numerous other key characters take a few ships through the portal while the rest stays back to hold out on Earth as long as possible.


The leaders of each faction meeting at the bridge of one of the carriers.  From left: Shipmaster Rtas ‘Vadum, Arbiter, 343 Guilty Spark (the floating orb), hologram of Cortana, Master Chief, Lord Hood, Commander Miranda Keyes.

The music, which begins with a string revisit of a melody from the first Halo, comes in once all the decisions have been made.  Around two minutes in, we have a remake of the fan-favourite Brothers In Arms, also from the first game.  While isolated parts of this piece are heard at various moments earlier in the H3 campaign, this patriotic anthem about loyalty and courage and banding together is finally whole, just in time for us to see humans and Elites, bitter enemies merely weeks ago, preparing for combat together as allies.  The string coda plays as Lord Hood, commander of the Earth forces, takes one last look at the Master Chief before the door on his transport ship closes.


7. Walk Softly (Halo 5: Guardians)

Your Commander Palmer thought you would find these useful.

Elite commander Mahkee ‘Chava to Spartan Fireteam Osiris

So, there’s a track from Halo 4 called Mantis.  It’s named after the large, bipedal mech vehicle that is part of the human arsenal.  It has a machine gun in the left “arm” and missiles in the right.  It’s pretty boss, and its theme music is just as boss.  But, just when we all thought the track couldn’t get more boss, Kazuma Jinnouchi comes along and says, “Hold onto your dicks, boys, because I just remade it for Halo 5 and it’s gonna blow your fucking minds.”


Sure enough, Walk Softly outdoes Mantis on every front.  It’s as if Mantis had steroid injections in every part of its body and started hitting the gym.  It’s bigger and badder.  The most obvious difference is that, in Walk Softly, the recurring funky synth riff from the original (that sounds like something ripped from a Stevie Wonder record) has been amplified and is now used as filler between the heavier sections.  Then, the exciting, fast string melody at around 1:00 in has been extended four phrases longer than it was in the H4 predecessor — and it has been reinforced with electric guitar to punctuate the “double punches” at the end of each phrase.  The guitar is used in a similar capacity for the rest of the track — never the lead (and just power chords), but this minimalist use of the instrument is surprisingly effective in that it gives each chord that extra oomph as you beast-mode your way through waves and waves of Covenant in your unstoppable mantis.

Also, Kazuma Jinnouchi didn’t actually say that.


6. Winter Contingency (Reach)

You picked a hell of a day to join up.

— Spartan Jun-A266 to Spartan-B312, the new recruit to Noble Team, 2009 game reveal trailer

If the first side of Halo: Reach’s soundtrack is a symphony, then each track (which is named after its corresponding campaign mission) is its own movement.  After the Overture, the first mission is “Winter Contingency,” and the track of the same name is number six on my list because I feel it is the strongest and most diverse suite of mission music in the campaign, and most of its eight distinct sections are memorable.  It is also the longest Halo track to date, clocking in at just over twelve minutes.

The first couple minutes are devoted to the game’s signature majestic, foreboding string-choral theme, which evokes awe and sympathy for the doomed planet, just as the Gregorian chants of the earlier Halos solicited wonder about the mysterious Halo ringworlds.  The next section is one of Reach’s orchestral action themes, titled “Lone Wolf.”  These first two sections both make frequent appearances throughout the rest of the campaign.  A later bit in this track is an isolated, booming electric guitar riff (at 9:40) that plays as you and another Spartan enter a dark corridor to flush out any remaining Covies, making for a sequence tastefully reminiscent of the video game DOOM.  A quiet, intimate piano outro is the last thing you hear on this track, and — you guessed it — it comes back later.


5. The Menagerie/Skyline (ODST)

Pick a turret, Romeo.  Conserve your ammo — this is gonna get hot.

— Buck to Romeo as shit gets real

Atop a skyscraper in the warzone of New Mombasa, you (Romeo, the ODST squad’s sniper) and Buck (the former leader of the squad — Nathan Fillion provided his voice and likeness, by the way) fight through Covenant as you make your way toward the rendezvous point — a crashed police pelican atop an adjacent skyscraper, where your heavy weapons specialist and demolitions expert, Dutch and Mickey, respectively, await your arrival.

The low-key, tense, ambient music that underscores your covert sniping soon yields to fast, complex percussive beats with rhythmic winds playing over them as you engage in more up-close-and-personal firefights.  Finally, you cross a makeshift bridge to meet up with the other two ODSTs, thinking the mission is over, but then you hear a rock drum beat with brass horns start playing.  Covenant dropships, loaded with infantry, are inbound.  Nobody’s going anywhere till the airspace is clear.  The string-drums melody from an earlier mission (that track is The Menagerie) is now playing again, but now topped with a killer electric guitar solo that seems to duel with the strings and brass for the lead as you and your three ODST comrades, armed to the teeth with anti-air and other heavy weaponry, proceed to hold off wave after wave of Covenant air vehicles.  Get to work.


Romeo, firing a rocket at a Banshee, a swift and deadly Covenant air vehicle

The genius of Skyline is the way it is divided into sections, with each part louder and more instrumentally diverse than the previous, making the piece one big crescendo toward the guitar solo climax.  The mounting tension and volume of the music mirror the action of the mission.  I compare this protracted, gradual crescendo technique to the structure of Led Zeppelin’s masterpiece Stairway to Heaven, another piece I adore.

The Menagerie is really just the base track for Skyline, but I actually prefer the stripped-down Menagerie ending section (which starts at the 4:00 mark) — without the embellishment of Skyline’s horns or guitar solo.  It still has guitar and bass and drums, but they take a back seat to the dirty cello section.  It altogether sounds rawer and grittier.  I have joked with friends that, if I were a professional wrestler with WWE, this part of The Menagerie would be my entrance music.  The same music even made a return in Halo: Reach during the mission, “New Alexandria,” when you provide air support for Buck, the aforementioned ODST.


4. In Amber Clad/Trapped In Amber (Halo 2/Halo 2 Anniversary)

Off the Rock, Through the Bush, Nothing But Jackal

— chapter title of corresponding segment of mission “Delta Halo”

I have a love/hate relationship with this pair of tracks.  How can a piece of music I hold so dear bring me such great frustration?  In Amber Clad is the quintessential Halo 2 track.  It has one of the most pleasing overall sounds of any Halo track on record, incorporating thick, brooding orchestral blankets of sound, dreamy choral parts, stark percussive beats and a distant-sounding electric guitar melody with electric bass playing parallel beneath it.  But it’s so damn short.  Clocking in at a mere 1:39, In Amber Clad is one of the briefest tracks in Halo music.  When I found out that 343 was re-recording all of Halo 2’s music for the 2014 Anniversary release, I was giddier than a schoolgirl.  Did Trapped In Amber live up to expectations?


“You always bring me to such nice places.”

Well… yes and no.  It was so close, too.  I find the mix to be superior to the original’s; I like that the new version puts more emphasis on the percussion and vocals and less on the guitar.  I think it fits better the atmosphere of the particular area of the campaign — sniping jackals (Covenant tactical ranged units) and Elites in a vast gorge with lush, green vegetation and with waterfalls and streams running through it within the tropical paradise region of Delta Halo.  Moreover, the arrangers were kind enough to extend the track, so the female vocal solo is absent the first time through but comes in for the repeat — and, man, is her voice enrapturing here.  And the chorus’ descant is radiant and glorious, seemingly sung by angels themselves.  All these arresting vocals were barely audible in the original mix, smothered by guitar and orchestra.  So, where did the remake fall short?

The strings and the ending.  The strings in the beginning are the first instruments you hear, and, despite having a full orchestra with which to record this time around instead of having to record them with a synthesiser, they actually sound worse.  Where, in the original, the chords seemed to flow into each other, in the remake, the chords sound disjointed and deliberate — it’s almost as if I can see the violinists and cellists sitting down, hesitating with each next chord as they struggle through a cold read of their sheet music in front of them.

Even more unforgivable, though, is the ending.  The original ended with a cessation of all instruments, save for guitar, bass and percussion.  It was a mini-outro that concluded with one final guitar lick.  In the remake, it just kinda… fizzes out.  It still ends with only guitar, bass and drums, but it is abrupt and lacklustre and does not match the spirit of the rest of the piece — a disappointment only magnified when I consider how much of a net improvement the majority is.  Imagine shaking a bottle of soda for two and a half minutes, and then you start to twist the cap off, expecting a huge explosion, but all you get is a pathetic puff of air.  That was the remastered ending to one of my favourite Halo tracks.

Fortunately, a crafty YouTuber has combined both versions into a new one, which takes the best elements from the original and the remake and creates the ultimate edition (which, because it is fan-made and therefore not on any official soundtrack, cannot fairly be included in my list).  Really, though, I wouldn’t have ranked In Amber Clad/Trapped In Amber number four in my countdown if I didn’t think they were worthy.  I suppose I complain about them so much because they’re so damn near perfection, but a few nit-picking-y things hold them back.  Needless to say, they have enough good things going for them that their faults can, at the end of the day, be overlooked.


3. 117 (Halo 4)

Before this is all over, promise me you’ll figure out which one of us is the machine.

— Cortana to Master Chief

I think I speak for most, if not all, long-time Halo fans when I say that, in general, the music that Martin O’Donnell (and his partner, Michael Salvatori) created for Halo is vastly superior to the music of newer Halo games.  Before I get to talking about 117, though, let me take a minute to explain my hypothesis as to why so many people prefer Marty’s music over the music from and 5.

***Feel free to skip the next three paragraphs if you’re concerned only with details immediately pertinent to the track on the list.***

I believe that this phenomenon can be attributed in part to the nostalgia blindfold.  But I knew that there had to be something else.  Something out of our control that made the newer stuff pale in comparison to Marty’s work.  Then, one day, as I was humming a classic Halo tune in the shower, it dawned on me.  I could sing it.

I then realised that the most important things lacking in the H4 and H5 soundtracks are singable melodies.  With Halos 1-3ODST and Reach, I would wager that one could sing along to at least 90% of their tracks, whether the melody be from voice, strings, piano or guitar.  Being able to sing/hum along to a piece fosters a deeper connection between listener and music.  It’s what makes so many tracks in those games timeless and memorable.  In Halo 4, these kinds of tracks are few, and even more so in Halo 5.  My main problem with Halo 5’s OST is that too often I feel like I’m being attacked by the music instead of being allowed to participate in it.  It’s basically an action movie soundtrack; it’s all so fast-paced and intense and gives you very little time to breathe (to be fair, though, it’s actually quite appropriate for the campaign).

Neil Davidge gave us a few good ones to hum with (like Arrival from earlier), but they still didn’t quite sound like Halo.  Kazuma Jinnouchi, on the other hand, managed to nail both criteria with his 117.

***pertinent track information resumes here***

This track, named for our hero, the Master Chief (his Spartan designation is John-117), plays during the final mission of the game (funny how Halo 4’s best music came at the end).  Piloting a Broadsword (agile spacecraft fighter), MC is racing through tunnels within the Didact’s personal spaceship (this spaceship is bloody huge) to deliver a nuclear device and blow everything up and save the day.  The whole set piece is strikingly reminiscent of the Death Star assault sequence from the original Star Wars.


No convenient 2-metre exhaust port, though.

The track begins with horns playing what is now referred to simply as the “117 theme,” a melody that we hear reprised in Halo 5’s Blue Team, #20 in my countdown.  The original is in C-sharp minor.  It is a melody of passion and conviction.  There is also a sense of urgency when the strings come in with the rapid secondary melody (the same one used to counter the classic Halo theme in The Trials); Jinnouchi sure loves his polyphony.  This mixture of moods could not be more fitting for this part of the campaign — in a race against time, the machine soldier in Chief is set about completing the mission (to stop the Didact and save humanity), while the human side of Chief is desperate to save his deteriorating A.I. companion, Cortana, who is easily his closest friend.  This human-machine dichotomy is a major theme in Halo 4.  Finally, a choir adds substantial depth and power to the sound to this section of the piece.

At the 6:10 mark, we hear one of the very few vestiges of the original Halo theme in the game with the horns and male voices doing the classic, recognisable rising “dun dun dun DUNNN” motif (just listen to it to know what I mean).  At 6:27, the high strings begin to frantically play a prolonged series of rapid-fire pitches while the low strings and voices and percussion punctuate beneath them.  It’s the grand finale of this wonderful piece, and it never fails to give me goosebumps.

The last thing we hear, once all the instruments have given one final jab, is the sound of a lone wolf howling — the ensign of the nature of John-117.


2. Under Cover of Night/Cloaked In Blackness (Halo: Combat Evolved/Halo: CE Anniversary)

Hit it, Marines — go, go, go!  The Corps ain’t payin’ us by the hour!

— Sgt. Maj. Johnson

For number two in my countdown, we’re going all the way back to the very beginning.  One of the most iconic tracks in all of Halo happens to come from one of the most iconic missions in the series, “The Truth and Reconciliation,” the third from Halo: CE‘s campaign.  The objective: Rescue Captain Keyes, who has been captured and imprisoned aboard the Covenant’s stationary battlecruiser, Truth and Reconciliation.  You (Master Chief) and a squad of marines are deployed into a grassy, mountainous region on Alpha Halo in the middle of the night.  Armed with the advantage of surprise, night vision and a sniper rifle with enough ammunition to last you through two apocalypses, you quietly eliminate any Covies patrolling between you and the ship.

The gaseous melody has been recycled numerous times throughout Halos 1-3 (it was that string melody I hinted at in my description of Follow Our Brothers from #8 above), but none compares with the original track (and the remastered Anniversary version).  Under Cover of Night is a prime example of when the music suits the action.  Its instantly recognisable melody, the female vocalist’s mystifying wails and the mean bass guitar line over a smooth, simple drum beat — that’s it — that’s all you need.


1. Never Forget (Halo 3)

Many classic Halo fans know this one simply as “the relaxing menu music.”  Halo 2’s Unforgotten was so well-crafted, Marty O’Donnell decided to bring it back for Halo 3.  Never Forget is astonishing.  It’s beautiful.  It’s soothing.  It’s evocative.  The tender strings slowly ebb and flow like the tide on a beach.  It’s utterly peaceful.

Never Forget differs from the original in that there is a piano-choral interlude between the string-only first verse and the string-piano second verse.  The voices are divine, and the piano is touching.  Additionally, the first verse has been lowered a half step in pitch and sounds more hopeful; the original, more solemn and thoughtful key of F minor is restored for the second verse.  And, of course, having a full orchestra certainly improves the sound quality.

If you happen to have a choral background and/or are familiar with the gentle piece, The Seal Lullaby by Eric Whitacre, its piano accompaniment and overall tone sounds remarkably similar to Never Forget.  If you’re not familiar with it and are curious, I won’t embed the music here, but a quick search of “the seal lullaby eric whitacre” on YouTube will yield the results you need.

Never Forget is my number one because you don’t have to be a Halo fan or even play video games to appreciate it.  It never plays during any Halo campaign, and its title doesn’t necessarily refer to any character or event in the Halo universe.  There’s no context.  It’s meant to be subjective.  We all have memories that we don’t ever want to lose, whether they’re of a passed loved one or of the innocent days of our youth.  Never Forget puts you on that figurative beach and allows you to take a moment and look back.

Me, I remember playing Halo 3 with my buddies from high school and staying up well past midnight.  You know, back when the people I played with on Xbox Live were actually people I knew.  And we’d talk about it the next day during school before going home and playing some more.  No college or careers to think about — just the typical school stuff like classes, music and concerts, plays and athletics before goofing around on Xbox.

Who put these chopped onions here?


Honourable Mentions


Ashes (Reach)

This one probably would have made the list were it not for the whiny childlike vocals.  Otherwise, nothing short of beautiful.


Behold a Pale Horse (Halo 3)

A remake of On a Pale Horse from the first Halo, plus part of the Truth and Reconciliation Suite, also from Halo: CE.


Broken Gates (from “Mombasa Suite”) (Halo 2)

Broken Gates is the “hunter theme” I mentioned earlier in my #9, but with the whole rock ensemble.  It was remade as Out of Shadow for Halo 3 and once again for the Anniversary re-release.


Cast Aside (from “No Stone Unturned”) (ODST)

The first part of another wonderful, ambient track from The Rookie’s harrowing night of investigation through the streets of New Mombasa.


Delta Halo Suite (Halo 2)

A bunch of cool pieces in this lengthy collection of music from Chief’s wacky adventures on Delta Halo, including the original Leonidas and a heartwrenching, string-only version of Heavy Price Paid, the #14 in my countdown.  Lots of sentimental value in this one for me, as Halo 2 was the first Halo campaign I ever played.


Earth City (Halo 2)

One of my favourite piano tracks in the series.  Just an all-around great sound combination in this one.


Opening Suite (Halo: CE)

The first thing you ever heard when you fired up Halo: CE on the original Xbox.  The string refrain at 2:39 is the only bit of music in the entire series that can be heard in every campaign, from Halos 1-5.  It’s the only musical link between the five main games, a distinction earning the piece immeasurable value.


Push Through (Halo 4)

Halo 4‘s heaviest and most badass track.  This one accompanies you as you do some tank trail-blazing through debris and Covenant encampments on your way to the downed and invaded UNSC Infinity, humanity’s largest and most ambitious space ship.


Roll Call (Halo 3)

This excellent track begins with a brighter take on the classic Halo Gregorian chant theme and transitions to the opening to Farthest Outpost, which, in turn, transitions to another Under Cover of Night revisit, but now with the bass line to In Amber Clad.  The last couple minutes are a gentle piano-string tune.

This track played during the end credits for Halo 3, and part of it was used in the menu music for the multiplayer-only Halo 3 Mythic disc, which shipped with ODST in 2009.


Unyielding (Halo 2)

Sorry, Reclaimer fanboys.  As much as I love Steve Vai’s face-melting guitar solo in that particular track, I much prefer the vanilla version, Unyielding.  This piano-guitar rocker plays in the mission, “Uprising,” once you (Arbiter) get in a Ghost (Covenant light hovering land speeder with twin front plasma cannons) and rush through a gorge, slaying any Brutes who stand in your way.

This track has elements of the Halo theme in it, and the main piano riff was repurposed for Halo 3’s Three Gates and One Final Effort.


Warrior World (Halo 5: Guardians)

Finally, some love for the acoustic guitar.  This track is about as close as Halo 5 gets to rock.  Good theme for the Elites’ homeworld.


Final Thoughts And Acknowledgements


So much for keeping things brief here.  If you made it through the whole post (both parts) and read every single word I wrote, consider me in your debt.  I love Halo and its music, and it’s easy for me to ramble on about them.  If you’re a fan of the series, then I hope that this list made you look back fondly on the times you’ve had with its games.  If you’ve never touched a Halo game in your life and just felt like indulging me and my writing, then I hope that I was able to expose you to some quality music!  If you like what you heard, you can find PLENTY more Halo music on YouTube (this post contains but a fraction of what the franchise offers), and every soundtrack is available for purchase on iTunes.

Speaking of which, I need to take this time to acknowledge YouTube and all its users who have uploaded all the music I unabashedly embedded in this blog post.  I didn’t ask for their permission, but I don’t believe I’m doing anything wrong, as the music isn’t their work, either, and I’m not making money with this blog.  I have bought most of the soundtracks myself, but I couldn’t upload any of the music to this post because I do not have a WordPress Pro or WordPress Business plan (mine is the free basic plan for peasants).  Otherwise, I would have.  That being said, you’re more than welcome to visit any of the users’ YouTube pages by clicking on the titles of each embedded video, which double as links.

Finally, no matter your experience with Halo, feel free to let me know what you thought!  Any tracks you thought missing from my list?  Give me your top ten!  Or twenty-five, or whatever.

Till next time.


Ownership Of The Video Game

Games, historically, have been for the player or players.

The word game comes from Old English gamen, which carried meanings of “joy, fun, amusement.”  Gamen is a common Germanic compound; cognates include Old Frisian game “joy, glee,” Old High German gaman “sport, merriment,” Swedish gamman “merriment” and several others.  All these are combinations of the Proto-Germanic elements ga- (collective prefix) and mann “person,” the latter being the ancestor of the English word man.  This compound thus conveys the sense of “people together.”

The primary goals of games are to pass time and to foster companionship.  Games have always been for our entertainment in some way, whether they be displays of athleticism in sports, wit-battles in chess or brief amusements that children make up for themselves.

Video games, a subset of electronic games, involve interaction with a user interface to generate visual feedback on a video device (as opposed to audio games, whose feedback is solely audible).

From Humble Beginnings

Some of the earliest video games were simply pongdigital recreations of games and sports that had been around a long time.  Pong (1972) was nothing more than an electronically-rendered game of table tennis.  Pong and the like had the same player-centric goals as their “real-life” counterparts; the only difference was that they now could be played on a screen.

Those who created, or developed, these primitive softwares vied merely to provide the most functional and accessible product in the infantile market.  Any other gimmick was secondary.

With the advances in hardware of the next couple decades, however, came more complex and sophisticated video games.  Games were no longer just a couple moving pixels.  Better technology meant superior graphics and more detailed game environments — and thus greater room for creativity.


1994’s platformer Donkey Kong Country, a pioneer of 3-D graphics in console gaming.

While early computer role-playing games (RPGs) had involved personal player narratives for quite some time, games of other genres were beginning to incorporate set, unchanging plots for the player to experience through gameplay.  Some game development studios were building video games with story in mind and started employing cinematics, or “cutscenes,” for the player to watch between levels.

By the early years of the new millennium, many games being created were fully voice-acted and required significant amounts of animation.  Music had evolved from the beeping melodies of Super Mario Bros. to full orchestral scores with dynamic and layered sounds to complement the player on his journey.

After a few more years, it became commonplace for major game development studios to utilise motion-capture (mo-cap) technology in their animation.  Video games now have an unprecedented level of detail in their characters and can present more nuanced stories.  Games that do this particularly well, such as Heavy Rain and The Last of Us, have been known to evoke sincere emotional reactions from players.


A scene from 2009’s Uncharted 2: Among Thieves.  On left, actors performing in mo-cap garb; on right, the same scene rendered in the game.

Today, the development of major video games (referred to as “triple-A” titles) is not unlike that of a film.  A video game no longer is exclusively about gameplay.  The typical group behind a AAA video game project now has hundreds of employees.  In addition to the requisite programmers, studios now hire writers, directors, actors, sound designers, music composers and sketch and concept artists, among others, to bring a game to life.  And they have ludicrously large budgets to accomplish this.


Big-budget franchises like Call of Duty can afford to put Kevin Spacey in their games.

The amount of work involved in the development of the well-made video game is staggering, to put it lightly.  The process is a far cry from the early days of a group of computer geeks, numbering no more than fifteen or twenty.  Video game development had established itself as a multi-disciplinary artistic medium on par with other artistic media like literature and cinema.

That Pesky Missing Piece

However, video games as an artistic medium are unique in that they require player input via a controller or a keyboard and mouse.  What happens on-screen is directly influenced by the player, whereas a novel or a film or a painting is the same every time it is viewed.

This means that the player is still the key component or ingredient that makes a video game a video game (after all, a video game without the game part is really just images on a screen).  And this, in turn, means that the game needs to be engaging and fun.  If it is boring, then it’s more of a chore or work than it is entertainment, and people won’t play it.

The expectations of gamers have always leant toward immersion.  They want an escape from the harshness of real life, to be immersed in a fictional world where they can do things they could not or would not do in the real one.  Immersion is achieved chiefly through stimulating gameplay and realistic visuals, although there are other methods.  Some of the most popular video game franchises in the industry that employ these pillars of immersion fall into the genres of action, open-world and first-person shooter (FPS).  Grand Theft AutoThe Elder Scrolls and Call of Duty all are wildly successful commercially because they adhere to what the average gamer expects of an immersive experience and do it well.


Hijacking a car in Grand Theft Auto V


Engaging a frost troll in The Elder Scrolls V: Skyrim


Campaign mission from Call of Duty: Modern Warfare 2

Developers understand all this, but, at the same time, they have an artistic vision that they want to realise.  A vision that may be thwarted by being tied down by the tried-and-true gameplay mechanics and tropes of yesteryear.

So, is the video game primarily a toy for the consumer’s enjoyment — or is it primarily a creative vehicle for the developers?

It may be true that the developers do not owe the consumer anything, and it also may be true that nobody is forcing anybody to buy the developers’ product, but, at the end of the day, it’s the consumer’s dollar that keeps the developers afloat.

An independent game development studio must take this risk into account when crafting its games, but developers owned by a publisher (a relationship akin to a musician signed on with a record label) have no choice but to bend to the will of their financial overlords, who make broad creative decisions in accordance with what they know gamers like and will purchase (or will beg their parents to purchase for them).  These decisions often hamper the creative potential of the developers and, in some cases, can undermine the essence of a beloved franchise.

One Loud, Confused Voice

There is a great deal of evidence that the story of Halo 5: Guardians was substantially weakened (if not microsoft_studiosruined altogether) through interference from the publisher, Microsoft Studios.  While developer 343 Industries’ debut Halo game, Halo 4, boasted a strong, powerful and critically-acclaimed story, many fans were displeased with it — mainly because its tone was starkly different from that of the original trilogy and because one of the series’ most treasured characters halo_guardianswas killed off.  It is believed that, following such poor reception from the fans, the script of Halo 5 underwent a number of significant rewrites relatively late in its development upon the urging of Microsoft, most notably the senseless revival of the dead character and her asinine relegation to villain status.  The story was supposed to be the best and most riveting to date, but it fell flat because the developers were forced to abandon their original vision.

Conversely, the multiplayer side of Halo 5 flourished because of fan input.  The general consensus is that it is superior in almost every aspect to that of Halo 4, and it’s largely because of the whining—er, I mean constructive feedback—of the community that ensued following 4’s release.

But I digress.  The point I am trying to establish is that, with a video game franchise like Halo, the ownership may be ambiguous.  It could be argued that the members of a fanbase with that much creative influence are the true “owners” of the game.

More conservative gamers might say that this is the way it should be, for the developers to listen to the buyers and to tailor their games accordingly.  Those more liberal in the matter might say that the developers should not be total pushovers by allowing the consumers to dictate what goes into the studio’s product.

Me?  Well, I suppose I have an obligation to take a stance here, as it is often considered bad creative etiquette to raise philosophical questions without even attempting to answer them.  Interestingly, my doing so is, itself, an instance of yielding to consumer pressure to alter my content.

I’ll cop out and say that I’m middle ground.  I feel that the player absolutely does have a say in the video games he buys.  But it cannot be denied that there has been a shift from the player-centric goals of the video game to goals more artist-centric.

Best Music From HALO (Part 1)

***Author’s note: I wrote this monster of a blog post over two years ago and have only recently reviewed it for smoothness and stability.  In addition to the atrocious word count of nearly eight thousand, in this post I have embedded from YouTube a video of each musical piece for every entry in the countdown, plus the honourable mentions, as well as included many images to give visual context to characters, places and plot points I refer to throughout.  That is a LOT of media, and it should be no wonder, then, that my devices can’t scroll through the post without crashing.  Therefore, in the interest of you and whatever machine you’ve elected to use to view this material (which I’m betting is not a beefy desktop computer), I have reluctantly resolved to divide my composition into two parts.  This, Part 1, contains entries #25 through #11, while Part 2 will have everything thereafter.  A link to the next part will be at the end of this one, but, if you’re concerned only with the top ten, feel free to skip Part 1 entirely.  Enjoy!

Since 2001, the video game franchise Halo has transported gamers from their living rooms and bedrooms (and basements) to massive, breathtaking worlds to kick alien butt as a high-tech supersoldier.  At its core, Halo is a sci-fi first-person shooter, but one of the many things that makes the cherished series stand out amongst other games of its type is its music.

From Gregorian-styled chants to full orchestras to somber piano to heavy guitar and even electronica, Halo music draws inspiration from a wide range of musical genres.  Its diverse palette is used to great effect during missions from the campaign (story mode), the main menus and even a bit in certain multiplayer game modes.  To say that music is vital to Halo‘s essence is an understatement.

With numerous individual entertainment releases, each with its own commercial soundtrack, the franchise has well over two hundred tracks, totalling literal hours’ worth of music.  In this post, I round up the twenty-five pieces that I like the most.


  1. All tracks come only from Halos 1-5 (Halo CE Anniversary and Halo 2 Anniversary included), Halo: Reach and Halo 3: ODST.  I am not familiar with the music from Halo Wars or from any of the handheld games or from other media entries such as Halo Legends or Halo: Nightfall.
  2. I am excluding any tracks recorded solely by outside artists (sorry, Breaking Benjamin fans).

And a couple small caveats…

  1. I’m writing everything as if I were explaining Halo to someone who knows nothing about its games, story and lore.  Don’t be offended if you’re a Halo veteran who has played every game and read every book.
  2. Might as well rip the bandage off right now — One Final Effort and the Halo Theme Mjolnir Mix aren’t anywhere on the list.  Cry about it.

The Part You’re Here For


25. To Turn a Tide (from “This Is Our Land”) (Halo 3)

Marines, the Prophet of Truth doesn’t know it yet, but he’s about to get kicked right off his throne.”

— Fleet Admiral Lord Hood to Earth’s ground forces

Your Warthog convoy has just arrived in Voi, Kenya. (Warthogs are weaponised jeeps, basically.)  The Covenant (alien bad guys) control the war-ravaged city and are digging to find an ancient artefact capable of astronomical power.  In this mission, “The Storm,” you (the Master Chief — a cyborg “Spartan” supersoldier in a suit of power armour — and halo_reach_warthog_by_advancedspartanhumanity’s best chance of survival) and your marine comrades are now on the offensive to drive the Covenant out of Earth, once and for all.  To Turn a Tide is the stand-out section of the larger, 5-minute track This Is Our Land.  In Tide, the driving pulse of strings and winds carries risk and urgency as you and your allies push through and bring down several anti-air vehicles to pave the way for the well-armed frigates.


24. Halo Theme Scorpion Mix (Halo 2 Anniversary)

The Chief is gonna jump in this tank, roll across the bridge and blow up any inhuman son-of-a-bitch dumb enough to get between him and the Prophet of Regret!

— Sgt. Maj. Johnson to a couple woebegone marines

In the first third of Halo 2’s campaign, you lead a “scorpion” tank charge into the heart of the Earth metropolis, New Mombasa, which has just been invaded by the Covenant.  Inmaxresdefault the 2014 remake of the game (which features remastered visuals and re-recorded audio), the music in this part of the mission underwent a serious overhaul.  Put simply, everything is louder.  The drums have more kick (ba-dum-tss), and horns and other winds now blare over the rock piece beneath.  I prefer this arrangement to the original because it, to my mind, better reflects the explosive vehicular combat of this sequence* as you blast your way across the colossal bridge into the city.

*Directed by Michael Bay


23. Rain (from “Deference for Darkness”) (ODST)

Won’t be a problem — ODSTs are used to working in the dark.”

— GySgt Buck, “Desperate Measures” promo for Halo 3: ODST

Halo 3: ODST set itself apart from other Halos in more than its soundtrack.  ODST, properly an expansion for Halo 3, puts you, the player, in the shoes of an ODST (orbital drop shock trooper).  ODSTs are not as strong as Spartan supersoldiers and lack the fancy shielded armour Spartans wear.  Your mission in ODST is to find your lost squad members in a dark, Covenant-controlled New Mombasa (yes, the same metropolis from the previous entry on this list).  You are “The Rookie” (wordless new guy) for most of the game, searching for clues to the whereabouts of your squad over the course of a very long, rainy, lonely, perilous night.

To reflect the slightly modified gameplay of ODST, Bungie (the original company that developed Halo titles) and their composer Martin O’Donnell (praise be unto him) sought to evince a different mood with the music as well.  The lone detective scouring the dark, rainy city for clues is a deliberate nod to the style of 1940s noir flicks, and the first part of the track Deference for Darkness, titled Rain, upholds this tone.  We begin with gentle piano with soft strings playing over it.  After a couple minutes of string lead, the strings stop while the piano part repeats, but this time with a relaxed, jazzy saxophone solo over it.


22. Both Ways (Remix) (Reach)

Never heard at any point in Halo: Reach’s campaign, this two-minute quickie is what every Halo fan in 2010 would come to associate with the game’s multiplayer beta.  “Beta” is just an industry term that refers to a certain stage of a game’s development, namely an unpolished, but playable stage (before “beta,” there’s “alpha”).  Many companies like to release free betas to the public for game-testing purposes so that they can find and fix any outstanding bugs or tweak any small items of gameplay for the full, finished release.  Anyway, with Reach, a lot of cool things from the beta did not make it into the shipped game, but the music used in the beta’s promotional trailer made it onto the game’s soundtrack.  Technically a remix of another track from ODST, this one cranks the bass up to eleven and layers piano and synthesised sounds over it for a unique addition to the Halo music catalogue.


21. Neon Night (ODST)

The Covenant have found Earth.  They own New Mombasa.  Anyone who could’ve driven them off is dead or gone.

— GySgt Buck, also from “Desperate Measures” promo

Another fine piece from ODST as you play as The Rookie.  I place this one later in the list than Rain simply because I like it more.  I think it more accurately captures in music what I imagine it feels like to be trapped in a deserted, mostly unlit city overnight in the rain whilst covertly trying to avoid conflict with the armed Covenant intruders roaming around.  The first minute or so features a rising piano motif mixed with synthesised sounds, which call to mind the sirens of abandoned police cars that can be found flashing in every sector of the fallen New Mombasa — eerie indications of the unseen mass death and panic that must have ensued immediately following the Covenant’s invasion mere hours prior.


20. Blue Team (Halo 5: Guardians)

Infinity actual?  Pelican Nine Sixer.  We found him.

— Ship pilot upon finding the Master Chief floating amongst wreckage in space

This multifaceted track from Halo’s latest major release begins with a beautiful orchestral tune heard in the previous game, Halo 4, but sinfully not included on its soundtrack.  The throwback continues with a somber cello rendition of one of Halo 4’s major melodies, laced with piano.  After a moving string-choral interlude, the familiar melody plays again, this time more upbeat.  The track ends with five quiet, thematic chords from a piano.


19. Impend/Impart (Halo 2/Halo 2 Anniversary)

Just so you know, there are quite a few Elites guarding the bomb.  You may need to get creative.”

— A.I. companion Cortana to Master Chief

Tension and release are common devices in music, and I find that very few Halo pieces, if any, employ them as effectively as Impend does.  It begins with a transposed version of a string melody heard in the first Halo game (one semitone higher than the track Brothers In Arms) before giving way to silence and muted “heartbeat” pulses.  After a couple measures of this tense percussion, we hear over it the first of a series of choral chord progressions.  The vocals are what really sell this track.  There are two main sets, each containing two subsets — what I like to call “question and answer” phrases.

The first question phrase starts in minor and sounds uneasy and hesitant while its answer phrase ends on a chilling and likewise irresolute open cadence.  Enter more percussion and more voices.  The second question phrase is identical to the first, but its answer phrase ascends to a rousing C-sharp major resolution.  It leaves you satisfied, yet wanting more.  Fortunately, the vocals are on loop when you’re playing through the campaign, so you can take your sweet time clearing out enemies whilst listening to this enchanting tune.  Impart is just the richer, remastered Anniversary version of Impend with no significant changes.


18. Unreconciled (from “Tip of the Spear”) (Reach)

All recon teams, disengage and fall back.  The sun will be up in a few hours and it’s going to be a very busy day.”

— Spartan Catherine-B320 “Kat” upon receiving intelligence of the Covenant’s invading army

Long-time series fans were in for a special treat if they resisted the urge to skip the credits after the final mission, for the 1:55 mark of this piece features a musical bit not included in the Reach campaign: a brief homage to the original trilogy’s theme.  In fact, this entire section of Tip of the Spear is an homage to the the original trilogy because it is essentially nothing more than a reworking, albeit a massive reworking, of the original Halo theme (technically, it’s modelled after One Final Effort from Halo 3, which is, itself, a variation of the original theme).  At first blush, the music sounds new and fresh, but if you pay close attention to the rhythms of the drums and strings beneath the new melody, you can tell it’s the Halo theme.  Well, part of it, anyway.  Structurally, Unreconciled was about as Halo-like as the soundtrack ever got, which was mostly new material unrelated to the music from Halos 1-3.


17. Flawed Legacy (Halo 2)

A remake of the first game’s Perchance to Dream, this track hands the melody over to monkish vocals and adds some punchy percussion (including tympani and maracas) and1217440026_Sleeping_Grunts some pretty rad bass guitar.  Fans might know the melody as the “sleeping grunt theme” because of its usage in areas containing enemy grunts (small Covenant infantry units) who are napping and whom you can stealthily kill without alerting others.  Together, the stoic male choir, bass and percussion make a surprisingly catchy track.  It’s a shame it’s so short, though.


16. Heretic, Hero (Halo 2)

Your Ass, My Size-24 Hoof”

— Chapter title of first section of Halo 2‘s final mission

There’s nothing like blowing up Covenant with a big tank whilst listening to a motivational choir cheering you on in the background.  Heretic, Hero, much like its title may imply, musically conveys redemption, the theme of the story of the protagonist on the Covenant side.  (Halo 2‘s campaign alternates perspectives, shifting between the humans and the genocidal aliens with whom they’ve been at war.)  The track plays during two missions, both of which happen to include sections in which you make things explode with a tank.  It is definitely choir-focussed, with voices providing all melodies over an industrial percussive beat, not unlike Impend from #19.  The latter half, beginning at 1:26, is a remake of A Walk In the Woods, another classic from the first Halo — complete with that sweet, sweet bass.


15. Arrival (Halo 4)

The Didact’s shielded himself inside the Composer.  The nuke won’t do us any good unless we can disable that barrier!

— Cortana to Master Chief

2012’s Halo 4 was the first mainline Halo title developed by 343 Industries and whose soundtrack was composed by someone other than Martin O’Donnell.  The H4 OST was composed mostly by Neil Davidge, with a few contributions from Kazuma Jinnouchi, and, while it is a relatively weak soundtrack by Halo standards, there are a few exceptional pieces.  Arrival is one of them, and I consider it to be Davidge’s strongest effort.

This track plays in the final area of the final mission, as you, the Master Chief, aided by your A.I. companion, Cortana (the namesake of Microsoft’s answer to Apple’s Siri), fight250px-h4-didact-armorfront-detail your way toward the Didact, an ancient being (not affiliated with the Covenant) bent on the destruction, humiliation and enslavement of humanity.  On his personal starship, the Didact prepares a great weapon directed at Earth, to be fired momentarily.  Over your dead body.  With a triumphant, bouncing string section in tow, you slay your way through hordes of Promethean Knights (the Didact’s most capable servant-warriors), eventually reaching the vindictive antagonist.


14. Heavy Price Paid (Halo 2)

“This is certain: The Brutes shall pay for the blood they have spilled.”

— in-game description of mission “Uprising”

While much of Halo 2’s soundtrack is rock/electric guitar-oriented and full of badassery, Heavy Price Paid shows Halo’s serious and more sensitive side.  First heard is a melancholy choir descending the F minor scale, which is joined by a delicate piano melody on the repeat.  This music plays in the beginning of the mission, “Uprising,” in which you play as the Arbiter, a former Supreme Commander in the Covenant military who has fallen from grace and has been stripped of his rank and most of his privileges within the Covenant hierarchy.


At this point in the campaign, he and his brethren, the Elites (a prominent and esteemed race in Covenant society), have been betrayed by Covenant leadership, and the Brutes (a rival Covenant race; apelike and ferocious by nature) have taken great pleasure in relieving them of their duties and, more extremely, taking their lives.  Basically, the Covenant is now enjoying a widespread civil war, with members of every race in its populous society siding either with the Elites or with the Brutes.  The Arbiter, regrouping with what few Elites survived the initial purge on Delta Halo, leads a vendetta against their bloodthirsty traitors.


13. We Remember (Reach)

But YOU belong to Reach — your body, your armour, all burned and turned to glass… everything — except your courage.  That — you gave to us.  And with it, we can rebuild.

— Catherine Halsey, voice-over for Reach‘s epilogue

A relatively brief tune and the final track on Reach’s OST, We Remember is a rock tribute to the planet Reach and the brave soldiers who fell defending it in a hopeless fight against a Covenant fleet larger than any of those humanity had previously encountered.  The entire piece is identical to a string and choral melody heard in the campaign’s epilogue; the only difference is that electric guitar, bass and drums are added after about twenty seconds.  The string-choir-guitar culmination from 1:05 to about 1:27 is one of the most sonically agreeable moments in all of Halo music.  Furthermore, of all the guitar solo tracks in the Halo series, this one has to be my favourite.  It’s a superb ending to the soundtrack of Bungie’s final Halo game.


12. Leonidas Returns (from “Three Gates”) (Halo 3)

Sir, got a flight of birds that need an escort.  Take the Hornet, get those Pelicans safely to the third tower.”

— Hocus to Master Chief via COM

The final section and main attraction of the track Three Gates is a remake of Halo 2’s Leonidas, bearing the imaginative title Leonidas Returns.  One of H2’s most beloved and epic tracks is more grandiose and even more rich-sounding here because Martin O’Donnell was finally able to acquire a full orchestra to record Halo’s music (most of the orchestral music from the first two games was produced on a synthsiser).  Amazing what real strings and real drums and added winds can do to bolster a piece of music, especially one that plays during a hectic dogfight above the sea.


11. Peril (Halo 2)

*Master Chief and ODSTs, in drop-pods, crash-land from orbit into Covenant camp*
Could we possibly make any more noise?
*Chief grabs rocket launcher*
I guess SO.

— Cortana to Master Chief

A piece that can be described only as “Halo 2.”  It’s so “Halo 2” that it isn’t a remake of any piece from the first game and hasn’t been remade since (save for the inferior Anniversary version).  It is one of the very few truly isolated Halo pieces.  The paradox is that, for just how “Halo 2” this track is, it’s actually quite different from anything else on the H2 OST.  Its tone is lighthearted, almost carefree, with its highest strings being merrily plucked.  There is a fun, smooth bass line to counter the violins’ and violas’ and cellos’ chirpy, staccato chords.  All the while, we hear the steady pulse of a tambourine, keeping everything in line.  It is worth noting, however, that a sharp ear can make out subtle insertions of The Last Spartan, the High Charity theme and the Delta Halo theme, all of which play at various moments in the game’s campaign.

halo 2 chief and cortana

Chief & Cortana

On the whole, Peril is a quaint little diversion in an ocean of a heavily thematic soundtracks; its sound seems to belie the tone of Halo 2’s action-packed story just as much as it contradicts its own track title.  It seems out of place, but, on the contrary, no track could be more appropriate for a game story so unlike the others in the series.


Here’s the link to Part 2, as promised.