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PostPosted: Tue Feb 21, 2012 7:14 pm 
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Sounds good, apart from my "uh-oh" about the mention of storytelling. Bungie were gooseberry fool at storytelling, except, ironically, when they barely did any in Halo 1 and it enhanced the experience because we were doing the work.


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PostPosted: Tue Feb 21, 2012 7:19 pm 
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AKA: Anung
I'd love to see more about this but I'm personally going to on a Halo blackout when they start announcing more info.

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PostPosted: Tue Feb 21, 2012 7:28 pm 
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Eighthours wrote:
Sounds good, apart from my "uh-oh" about the mention of storytelling. Bungie were gooseberry fool at storytelling, except, ironically, when they barely did any in Halo 1 and it enhanced the experience because we were doing the work.


Some may argue that Bungie weren't the best at storytelling in the Halo games but I don't think that's reason to be concerned about 343 trying, especially considering the wealth of material there is in the Halo books and how much 343 have been doing to flesh the story out and expand the Halo universe in interesting ways in recent years - they've even got sci-fi writer Greg Bear (author of the Forerunner books) helping with the new Halo trilogy's story. I think it's good that they're putting a bit of effort into it :)

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PostPosted: Wed Feb 22, 2012 1:02 am 
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AKA: Glowychebs
Greg Bear :wub:
Forerunners :wub:

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PostPosted: Wed Feb 22, 2012 1:09 am 
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AKA: The Doctor
Soon as I finish A Dance with Dragons it's back to Halo Books for me! Got Glasslands and the Forerunner books to catch up on 8-)


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PostPosted: Wed Feb 22, 2012 11:38 am 
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AKA: Glowychebs
Glasslands kanbei 8-) Its so very very good :wub:

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PostPosted: Fri Feb 24, 2012 12:27 am 
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The Hills Are Alive With the Sounds of (Halo 4) Music

In designing a video game, its audio is, of course, one of the things that contribute to a memorable and emotional experience.

Halo has always had amazing audio design. With Halo 4, we are respecting the music philosophy of previous Halos while establishing a fresh, new direction for Halo 4’s music, employing our own distinctive style that still feels like Halo. The goal is to make the music of the story fit not only the gameplay, but also the player’s emotional circumstances.

When thinking about the player’s emotional circumstances, we’re using an interactive implementation. Sometimes, when fighting an enemy, it’s simply a fight. Other times, even in the same level, you can be fighting but it may suddenly turn into a distressing encounter. Since circumstances within the story constantly change, we want our music to sync with those changes when it’s appropriate to enhance the experience. How many enemies are tracking you? When do the enemies notice your presence? What kind of cinematic did you watch before the combat? Our goal when asking these questions is to make the music change dynamically with the gameplay to account for your personal gameplay experience.

Sometimes we’ll suggest a change to the story to sync with the music more, and vice versa. Communication within the studio is an important part to achieve this synchronicity.

The vision for our audio is huge. Like a child, we started as a blank slate when trying to find our own unique musical language. Then we began making a few sounds here and there. Now we’re at the point where those sounds collide, intertwine, and say things about the Halo 4 universe. This was a process that we had to learn as a team. Introducing a new composer, and learning how to work with that composer, was part of the process. We’ll have more details about this currently unnamed individual in the future. But I’m guessing you already knew that....

So, how are we creating our own language based on realism in the world of Halo? Our concept focuses on the digital and the organic, and we share that vision across the entirety of our audio production.

What does that mean, exactly? I’ll use a recent audio recording session as an example.



We’ve recorded source material for the arsenal of both new and returning weapons you’ll have at your disposal in Halo 4. The gun recording was difficult because we needed to record close sounds, distant sounds, and everything in between. We had to figure out what microphone, what distance, and what range was appropriate while factoring in weather, wind, and anything and everything Mother Nature might randomly decide to throw our way.

To get the best audio quality possible, we worked with the military on one of their training grounds where the occasional dropped bomb is not an uncommon experience. During that session, we staged first-person encounters so that we could understand how the weapons should feel when playing the game, and then we used numerous 30-channel microphones to record the actual sounds.

We had to have the elements to connect the player to something familiar but still be able to offer something outlandish and alien. After this aural base is formed, we then have all the freedom in the world to mix and match different elements into a single weapon. Even a Forerunner weapon incorporates some of the elements from that gun session.

These real weapon recordings act as the glue for the rest of the sound ingredients for Halo 4’s arsenal. There’s a whole other process we go through to create epic sci-fi elements outside of the field recording sessions, though, as we gather a collection of source assets and then shape them to precision. The aforementioned gun session, as elaborate as it was, is just a small portion of the assets we require to make the sound effects in Halo 4.

This means we’re always exploring and recording new sounds. Everything from the opening and closing of a pair of rusty scissors to a brushtail possum’s scream pitched down an octave to a short snippet from a two-inch mortar explosion are all on file in our extensive audio library.

Within the sounds of Halo 4, there’s a sense of fantasy based on reality, where otherworldly sounds have a feeling of familiarity….

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Office of Halo Intelligence: Part 5

To talk more about the audio aspect of our upcoming game, I asked Sotaro Tojima, the Audio Director for Halo 4, to write the fifth entry in our Office of Halo Intelligence series. Here are his thoughts on the music and sounds that will one day be gracing your earholes.

Quote:
I’m honored to have an opportunity to talk here! I just came back from a weekly music review, and especially this week, I was so excited about one piece of music. This emotional, digitized piece became the second favorite piece of Halo 4 music which we’ve made so far. I can’t wait to share this with you!

Producing the Halo 4 music is very difficult, but such a fun job for me. I know many people, including me, love the previous Halos’ music. Halo 4 will be a story for Master Chief and Cortana. Therefore, we are driving our music production respecting the previous music tone.

At the same time, we are working to establish some freshness in the music because this is a new trilogy and we are a new team.

I love creating game audio because it is a direct communication between fans and the team. I want to communicate with our "own" language of sound and music. Even if having a new language on Halo is very challenging...

My goal for making audio is always very simple. How much can we make people excited and immersed in the story and gameplay experience with our audio? There are three key ways I like to do that:

• Provide a sense of reality with sophisticated sound design to bring you into a believable world.
• Achieve a memorable, dramatic experience with great music and sounds well synced with the story beat and your gameplay.
• Share a delightful memory with all fans providing an iconic melody.

Actually, my real goal is to make you cry!

When I hired the people that make up the Halo 4 audio team, one of the criteria I had was that if you want to work it had to be "for fans more than anything." And now I have a great team. Everyone is so happy to work hard to surprise you.

Again, it is very hard to achieve a great audio for the Halo universe, but I believe we can do this as long as we don't forget you are waiting patiently for us. Stay tuned for next update from me, and for more exciting topics in OHI!

-Sotaro Tojima

http://halo.xbox.com/blogs/Headlines/po ... 22212.aspx

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PostPosted: Fri Feb 24, 2012 8:01 pm 
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All this Halo talk really makes me want to play ODST again!


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PostPosted: Sun Feb 26, 2012 10:14 pm 
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AKA: Glowychebs
Anyone that has read cryptum, can you just let me know if Im following the book correctly as nothing is explained very well

Main character and two people have a destiny with an old warrior in a cryptum, the didact who is a warrior
The forerunners had a massive war with the humans
The humans at a time were in cohorts with the prophets
The forerunners invented the engineers
The forerunners built these weapons to protect planets..which im guessing are prototype halo rings
The thing that has the didact spooked and that has escaped is something to do with the flood?

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PostPosted: Sun Feb 26, 2012 10:22 pm 
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AKA: Nintendomadlad
Eighthours wrote:
Sounds good, apart from my "uh-oh" about the mention of storytelling. Bungie were gooseberry fool at storytelling, except, ironically, when they barely did any in Halo 1 and it enhanced the experience because we were doing the work.


That's why from a campaign point of view Halo:CE is still the best, the sense of scale and abandonment was second to none at the time. The game was just such a mystery.

Would love it if the first game of the new trilogy left the player surrounded in the same type of mystery and intrigue.

... I don't want a giant tentacle plant ruining things.


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PostPosted: Sun Feb 26, 2012 10:41 pm 
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Reach and ODST had fantastic stories. Especially ODST. They were nice and simple with a focus on characters that were believable and likeable told in environments full of atmosphere.


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PostPosted: Sun Feb 26, 2012 10:52 pm 
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Fargo wrote:
Reach

Fargo wrote:
characters that were likeable


The only decent character in Reach was the gentle-giant. Everyone else was an imbecile (especially the cliched short-hair butch woman. Her death couldn't have come soon enough).

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Last edited by Frank on Sun Feb 26, 2012 10:52 pm, edited 1 time in total.

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PostPosted: Sun Feb 26, 2012 10:52 pm 
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glowy69 wrote:
Anyone that has read cryptum, can you just let me know if Im following the book correctly as nothing is explained very well

Main character and two people have a destiny with an old warrior in a cryptum, the didact who is a warrior
The forerunners had a massive war with the humans
The humans at a time were in cohorts with the prophets
The forerunners invented the engineers
The forerunners built these weapons to protect planets..which im guessing are prototype halo rings
The thing that has the didact spooked and that has escaped is something to do with the flood?


correct yes :)
As for what has Didact spooked... theres Primordium for you to read :)


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PostPosted: Sun Feb 26, 2012 10:56 pm 
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AKA: Glowychebs
evanswolves wrote:
glowy69 wrote:
Anyone that has read cryptum, can you just let me know if Im following the book correctly as nothing is explained very well

Main character and two people have a destiny with an old warrior in a cryptum, the didact who is a warrior
The forerunners had a massive war with the humans
The humans at a time were in cohorts with the prophets
The forerunners invented the engineers
The forerunners built these weapons to protect planets..which im guessing are prototype halo rings
The thing that has the didact spooked and that has escaped is something to do with the flood?


correct yes :)
As for what has Didact spooked... theres Primordium for you to read :)


:mrgreen:

Thank god for that. I was thinking Id go through the whole book and get it wrong :oops:

Starting to ramp up now, Ive got to to the bit where he is mutating

As for halo stories

Halo 3>>2>>CE>>Reach>>>ODST

I enjoy everything around the universe which is why I enjoyed 3 the best. And ODST the least. Not saying its the best game

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PostPosted: Mon Feb 27, 2012 1:59 am 
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AKA: Anung
CE > ODST > Reach > 3 > 2

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PostPosted: Mon Feb 27, 2012 4:58 am 
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The gun recording was difficult because we needed to record close sounds, distant sounds, and everything in between. We had to figure out what microphone, what distance, and what range was appropriate while factoring in weather, wind, and anything and everything Mother Nature might randomly decide to throw our way.


Have any of these guys ever done this by themselves before? I'm pretty sure all devs have to do stuff just like this.


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PostPosted: Mon Feb 27, 2012 8:32 am 
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Anung wrote:
CE > ODST > Reach > 3 > 2


Anung knows the truth


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PostPosted: Mon Feb 27, 2012 8:43 am 
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Haven't played anniversary yet myself but that looks good to me.


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 Post subject: Re: Halo 4
PostPosted: Thu Mar 01, 2012 3:59 am 
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New 343 Sparkast (podcast): http://halo.xbox.com/Content/assets/en- ... intrss.xml
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It's February, and to help celebrate this leap year we invited, Studio Creative Director, Josh Holmes and, Executive Producer, Kiki Wolfkill to join David Ellis and Frank O'Connor to talk about the ongoing development progress for Halo 4. In this episode we cover the gamut and touch on campaign, multiplayer and new music and sound effects.


BTW the embargo on the Xbox 360 Spring Showcase ends on the 5th of March apparently, so we may get some Halo 4 news then - excite! :mrgreen:

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 Post subject: Re: Halo 4
PostPosted: Thu Mar 01, 2012 4:03 am 
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I shall be counting down the days :D

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