I think you should also note the fact that almost all of the Halo CE levels are in one distinct area, unlike some of the levels in Halo 2 and 3. For example, Assault on the Control Room and Two Betrayals are set in the same place, and whether your on the bridges overlooking the canyon below, or the ziggurat-type structure, you can see the other parts of the level waiting to be explored. The same can be said about the Silent Cartographer because, as you can turn backwards after being inserted by the Pelican, and traverse the island backwards.
agreed. i recently downloaded Halo CE on xbox live, and the designs are still fresh in my mind. did anyone else notice the assault on the control room level, how the multi layered bridges have a striking resemblance to narrows?
I find it telling that nearly all of the discussion centered around Halo:CE. I believe more love and care was put into the campaign in the first title since the two sequels focused much more heavily on multiplayer. H:CE has much more replay-ability than H2. H3, IMHO, is better than H2 though.
Mike you have hit upon a great point. The bridges do indeed have a resemblance to Narrows. This does indeed inspire me to go back and play Halo:CE, although me being a obsessive forger, am going to make an entire map dedicated to that type of combat in a scene straght out of its campaign.
Nice observations. But another thing that adds to the mood and even puts more life into the various enviroments is the accurately-themed soundracks that go with them. One of my favorite Halo:CE enounters is when you’re playing on the level “343 Guilty Spark”, and you’re going down that huge elevator with all that Covenant blood and gore on the wall and then you start hearing that terrifying music as you go down and start looking around to see what the tone of the music is leading you to.
Yeah, I agree with this article mostly, but at the risk of flamebaiting, I have to say I did not care for Assault on the Control Room. It’s great for experimentation and co-op, but when alone my first and foremost duty is: Save the Marines. But on this level, it’s nearly impossible to go without a single casualty. It just makes me sad.
Halo: Combat Evolved was, in my opinion, the best in the series. I still remember to this day every emotion that I felt: the power of first entering the Scorpion tank; helpless terror in “343 Guilty Spark” – and that was you met the Flood; the horrible absense of Cortana’s usual chatter in the same level; and awe at simply being part of an epic story. Its a shame really that Bungie were able to release the perfect Halo game first, sorta left them with the impossible task of making anything better.
Iagree with Wakashi, I think the music really influences the game. Like in Halo 3 when fighting Spark the music makes it seem like youdon’t have much time, just like the Sargent said.
Many thanks for the articles. I’m currently in college studying game design. I’d like to be a level designer and the kind of things you describe here seem to be my holy grails of level design.
Comment by Vitamin Booya — June 21, 2008 @ 7:53 pm
You’re right Jason, H:CE revolved around the campagin and the “re-play factor”, I still play H:CE and every time its different. I agree with Wakashi, the music adds so much to the actual gameplay that it can affect it, like the music in H2 when fighting in the Arbiter’s chamber: “Blow Me Away”. Arguably the favourite piece for gameplay montages, etc.
Another thing:has anybody noticed that the Halo levels buildings have a similar setting and design to Valhalla?
Jason your right, music does have a huge effect on what an encounter becomes, and how it is played. Imagine, if you will, that the Arbiter’s chamber fight (which played Blow me Away) had slow music in the backround. That would completely change the way the fight was taken. Blow Me Away, Greasea, is the most popular song for HMV’s.
Yes i agree with desert rat. If you compare mission halo and avalanche the buildings look the same and plaus like mission halo avalanche has snow.
Comment by saggy grandapa 7 — July 24, 2008 @ 4:42 pm
kod Een plaatje zegt alles, toch ? avy Het volledige rapport is hier te vinden. Lees natuurlijk u de blogposting. a c
Thanks for interesting post! vvs
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The music in Halo 3 is amazingly well made, I’ve always admired Martin O’Donnells work. “The Three Gates” music on the level “The Covenant” when you use a Hornet to get to the last shield tower is my personal favorite.
Excellent read. I think I’ll go play Halo CE tonight.
Comment by Wraith7n — June 16, 2008 @ 10:27 am
That’s what I said, too, Wraith. Gonna play Assault on the Control Room when I get off work.
Comment by Cocopjojo — June 16, 2008 @ 11:06 am
I think you should also note the fact that almost all of the Halo CE levels are in one distinct area, unlike some of the levels in Halo 2 and 3. For example, Assault on the Control Room and Two Betrayals are set in the same place, and whether your on the bridges overlooking the canyon below, or the ziggurat-type structure, you can see the other parts of the level waiting to be explored. The same can be said about the Silent Cartographer because, as you can turn backwards after being inserted by the Pelican, and traverse the island backwards.
Good job, btw.
Comment by Smug — June 16, 2008 @ 1:47 pm
agreed. i recently downloaded Halo CE on xbox live, and the designs are still fresh in my mind. did anyone else notice the assault on the control room level, how the multi layered bridges have a striking resemblance to narrows?
Comment by Mike — June 16, 2008 @ 2:12 pm
I find it telling that nearly all of the discussion centered around Halo:CE. I believe more love and care was put into the campaign in the first title since the two sequels focused much more heavily on multiplayer. H:CE has much more replay-ability than H2. H3, IMHO, is better than H2 though.
Comment by Jason — June 17, 2008 @ 5:58 am
Mike you have hit upon a great point. The bridges do indeed have a resemblance to Narrows. This does indeed inspire me to go back and play Halo:CE, although me being a obsessive forger, am going to make an entire map dedicated to that type of combat in a scene straght out of its campaign.
Comment by Desert Rat — June 18, 2008 @ 8:50 am
Nice observations. But another thing that adds to the mood and even puts more life into the various enviroments is the accurately-themed soundracks that go with them. One of my favorite Halo:CE enounters is when you’re playing on the level “343 Guilty Spark”, and you’re going down that huge elevator with all that Covenant blood and gore on the wall and then you start hearing that terrifying music as you go down and start looking around to see what the tone of the music is leading you to.
Comment by Wakashi — June 18, 2008 @ 9:48 am
Yeah, I agree with this article mostly, but at the risk of flamebaiting, I have to say I did not care for Assault on the Control Room. It’s great for experimentation and co-op, but when alone my first and foremost duty is: Save the Marines. But on this level, it’s nearly impossible to go without a single casualty. It just makes me sad.
Comment by Th3R34p3r — June 18, 2008 @ 1:24 pm
Halo: Combat Evolved was, in my opinion, the best in the series. I still remember to this day every emotion that I felt: the power of first entering the Scorpion tank; helpless terror in “343 Guilty Spark” – and that was you met the Flood; the horrible absense of Cortana’s usual chatter in the same level; and awe at simply being part of an epic story. Its a shame really that Bungie were able to release the perfect Halo game first, sorta left them with the impossible task of making anything better.
Comment by Tawns — June 18, 2008 @ 3:47 pm
Iagree with Wakashi, I think the music really influences the game. Like in Halo 3 when fighting Spark the music makes it seem like youdon’t have much time, just like the Sargent said.
Comment by Yay295 — June 18, 2008 @ 10:05 pm
Many thanks for the articles. I’m currently in college studying game design. I’d like to be a level designer and the kind of things you describe here seem to be my holy grails of level design.
Comment by Vitamin Booya — June 21, 2008 @ 7:53 pm
You’re right Jason, H:CE revolved around the campagin and the “re-play factor”, I still play H:CE and every time its different. I agree with Wakashi, the music adds so much to the actual gameplay that it can affect it, like the music in H2 when fighting in the Arbiter’s chamber: “Blow Me Away”. Arguably the favourite piece for gameplay montages, etc.
Comment by Greasea — June 27, 2008 @ 3:53 am
Another thing:has anybody noticed that the Halo levels buildings have a similar setting and design to Valhalla?
Jason your right, music does have a huge effect on what an encounter becomes, and how it is played. Imagine, if you will, that the Arbiter’s chamber fight (which played Blow me Away) had slow music in the backround. That would completely change the way the fight was taken. Blow Me Away, Greasea, is the most popular song for HMV’s.
Comment by Desert Rat — July 1, 2008 @ 9:05 am
Yes i agree with desert rat. If you compare mission halo and avalanche the buildings look the same and plaus like mission halo avalanche has snow.
Comment by saggy grandapa 7 — July 24, 2008 @ 4:42 pm
kod Een plaatje zegt alles, toch ? avy Het volledige rapport is hier te vinden. Lees natuurlijk u de blogposting. a c
Thanks for interesting post! vvs
[url=http://skuper.ru]паркет и ламинат[/url] 6n
Comment by ламинат — August 13, 2008 @ 9:48 am
The music in Halo 3 is amazingly well made, I’ve always admired Martin O’Donnells work. “The Three Gates” music on the level “The Covenant” when you use a Hornet to get to the last shield tower is my personal favorite.
Comment by Devon — September 17, 2008 @ 7:40 pm