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Epilogue (Halo: Reach): Difference between revisions
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==Production notes== | ==Production notes== | ||
*The genesis of ''Hymn for Reach'' was titled ''"Torture Hymn"'', retroactively named as such by O'Donnell because listening to it was a torture. Inspired by hymn music, the piece was initially written as an ambiance piece by low strings. The final melody of ''Hymn for Reach'' was already being developed, but it included an extended introduction, more notes in the main melody, and a second melody as its ending. In an attempt titled ''"Try Again"'', O'Donnell added high strings, but he considered the piece "a bit labored", and hated it. In another attempt titled ''"Try again again"'', O'Donnell reintroduced the “spacey” ambiance from ''Uppercut'' (from the earlier track ''[[Long Night of Solace (music)|Long Night of Solace]]''), followed by a simplified melody of ''Hymn for Reach'', and ending with space ambiance. O'Donnell also tried incorporating other melodies (including ''[[Ghosts and Glass]]'') into the piece, but ultimately returned to the simplified main melody from ''"Try again again"'', played by brass instead of strings, the result of which he considered slightly more hymn-like. The piece was finalized in an attempt titled ''"Hymn for Reach strings"'', in which high strings played the main melody at a higher register. O’Donnell also anticipated choir joining in the first reprise of the melody, and the idea was actualized in the final piece.{{Ref/YouTube|8dQI6oA2Rd8|Martin O'Donnell|Reach Music Inception Part 3|Y=2020|M=12|D=20| | *The genesis of ''Hymn for Reach'' was titled ''"Torture Hymn"'', retroactively named as such by O'Donnell because listening to it was a torture. Inspired by hymn music, the piece was initially written as an ambiance piece by low strings. The final melody of ''Hymn for Reach'' was already being developed, but it included an extended introduction, more notes in the main melody, and a second melody as its ending. In an attempt titled ''"Try Again"'', O'Donnell added high strings, but he considered the piece "a bit labored", and hated it. In another attempt titled ''"Try again again"'', O'Donnell reintroduced the “spacey” ambiance from ''Uppercut'' (from the earlier track ''[[Long Night of Solace (music)|Long Night of Solace]]''), followed by a simplified melody of ''Hymn for Reach'', and ending with space ambiance. O'Donnell also tried incorporating other melodies (including ''[[Ghosts and Glass]]'') into the piece, but ultimately returned to the simplified main melody from ''"Try again again"'', played by brass instead of strings, the result of which he considered slightly more hymn-like. The piece was finalized in an attempt titled ''"Hymn for Reach strings"'', in which high strings played the main melody at a higher register. O’Donnell also anticipated choir joining in the first reprise of the melody, and the idea was actualized in the final piece.{{Ref/YouTube|8dQI6oA2Rd8|Martin O'Donnell|Reach Music Inception Part 3|Y=2020|M=12|D=20|Archive=gQL_4sv_T_Y}} | ||
*The name ''Spartans Never Die'' alludes to [[ONI Directive 930]], which banned the application of KIA status to [[SPARTAN-II Program|SPARTAN-II personnel]] - a tradition which eventually extended to the [[SPARTAN-III Program|SPARTAN-IIIs]]. The phrase was first said by [[Carter-A259]] verbatim in the [[Halo: Reach Video Games Awards Trailer|''Halo: Reach'' Video Games Awards Trailer]], and also served as the level description of ''Lone Wolf''. | *The name ''Spartans Never Die'' alludes to [[ONI Directive 930]], which banned the application of KIA status to [[SPARTAN-II Program|SPARTAN-II personnel]] - a tradition which eventually extended to the [[SPARTAN-III Program|SPARTAN-IIIs]]. The phrase was first said by [[Carter-A259]] verbatim in the [[Halo: Reach Video Games Awards Trailer|''Halo: Reach'' Video Games Awards Trailer]], and also served as the level description of ''Lone Wolf''. | ||
*The name ''Omega'' likely alludes to Rally Point Omega in the level. | *The name ''Omega'' likely alludes to Rally Point Omega in the level. | ||