O’Donnell was not only the composer but also the audio director and voice acting coordinator for the series under Bungie, with Salvatori collaborating on the soundtrack with him while also running their other business on the side, TotalAudio. In an era when shooter soundtracks generally tended to be mostly computerized and synthesized, Halo was one of the first prominent titles to feature a full orchestra and choir. Meeting in college, O’Donnell and Salvatori are responsible and most well-known for the innovative music behind the Halo series. Known for: Halo (Bungie-developed games), Destiny Martin o’donnell/Michael Salvatori O’Donnell (left) and Salvatori in an interview. Technically there will be more than six people, but credit has to go where it’s due for collaborative efforts.ġ. In this list, which is by no means exhaustive or definitive, I’m going to discuss in no particular order some of my favorite composers of our beloved interactive medium, and highlight one particular work from them that stands out to me some of the harder choices may also have runners up. When it comes to video games though, composers and audio personnel are frequently overlooked – seldom do I hear anyone speak about video game music outside of older themes like Super Mario Brother’s main theme, E1M1 from Doom, etc. Names like Hans Zimmer and John Williams are legendary in the film business, while Bear McCreary and Sean Callery are two prominent TV composers I can name off the top of my head. I can’t hear Audioslave’s Shadow on the Sun without wanting to immediately watch Michael Mann’s Collateral, in which the song appears during two of my favorite moments. Much like smell is the most powerful sense at evoking memories in real-world contexts, a familiar tune or nostalgic track is often what sends me back to a beloved game or film once again, not to mention how music fuels my creative endeavors.
Despite being about the furthest thing one can be from musically skilled, music plays a huge role in my consumption and enjoyment of media.
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