Since the title screen of 2001’s Halo, the music of the series has been weaved into the fabric of one of the most iconic and successful video game franchises and has become nearly as integral to its success as the Final Fantasy series. The famous theme, sung in the vein of Gregorian chant, has been a staple of video game music for nearly a decade. Like Bioshock and Star Wars, the creators of Halo opted to keep their composers (Martin O’Donnell and Michael Salvatori, in this case) along for each installment of the series giving it an even stronger sense of continuity and character development.
The previous installment of Halo was a departure from the series in both its gameplay and its soundtrack. Substituting vast warzones and fields for the fictional city of New Mumbasa, O’Donnell wisely opted for a noir-like soundtrack heavy on saxophone to highlight the isolated feel of the Orbital Drop Shock Troopers (ODSTs).
The latest outing, (the already record-breaking) Halo: Reach, is not an off-shoot like Halo: ODST or a sequel – but a prequel. There is an interesting musical dilemma in this… (more…)