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"At this stage in production, we in concept start with a very loose idea that has trickled down from the writers or studio creative director and begin chipping away at the problem as if trying to reveal a sculpture from marble." - Sparth, p. 26, in reference to very loose concept sketches
"The overall art direction of the Infinity falls in line with contemporary UNSC design languages. The artistic objective of the massive ship is to offer the viewer a narrative 'home base' for the level of advancement the human race has achieved while simultaneously showcasing sophisticated sci-fi visuals that we as artists (and fans) yearn to see and share with the world." - Dorren Bacon, p. 46
"If there's no plausible story behind something, it shouldn't be there. For example, in the image below, we originally wanted a fountain. Through multiple discussions, we decided that maybe a fountain isn't the best fit for a mining town. So we have a tree instead. We felt there is no better symbol for nature than a tree. You have this very bleak landscape with all these industrial buildings around, but then there's this fake tree in the middle of it. It's almost comedic, but it's also logical-if you're forced to live in a barren landscape but have the technology to simulate nature, it's logical to do so." - Kory Lynn Hubbell, p.67, referencing a concept for Meridian with a large, holographic tree
"This is the first time that we go to the Elite home world, so we wanted to explore some of their indigenous culture-what their culture would have been like before the Covenant came to extend their influence over it. So we had a lot of influences emerging from ancient, unconventional, martial cultures in human history." - Glenn Israel, pg. 72
"In designing an environment, you take what you know about the civilization and work outward from there. Glenn Israel, who has done a lot of work on Sanghelios, starts with really specific things when he begins designing a new world. For example, he'll ask himself what the hands of the indigenous species looks like. Then he builds out from there. Once you know what the hand looks like, then you know what their writing might look like and that informs the architecture, which informs everything else." - Dorren Bacon, p. 78
"From an aesthetic standpoint, we don't normally see the Spartan's faces. Most of the time, we're going to see them with their helmets one, in badass mode. This is what we focus one. We want them to be badass. That's the important thing." - Sparth, p. 111
"Locke is probably the most super badass guy in Fireteam Osiris. He's also secretive, with a spy-like attitude. His goal is to search out and find Master Chief, so he reflects that visually. The design of his armor is very nonintrusive. He doesn't have any bright tones. He's gray and dark to amplify the very nondisruptive nature of his armor." -Sparth, p. 115
"Physically, Vale is very sturdy, but she's also extremely agile. This is reflected not only in her armor but also in her form, which is quite slick. The magenta color of her armor is also significant, as it implies nervousness and aggression." - Sparth, p. 117
"As for males and females, I think we did a good job of trying not to identify a gender based on the way the armor is shaped, which makes sense from a military perspective, where uniforms aren't gendered. Vale is discernably female, but Kelly and Linda aren't noticeably female, which was a goal of ours." -Justin Oaksford, p. 124
"Throughout Halo, scale is very important. Verticality is a key word we use very often when we want to create a scenario where the player is forced to look up. The Forerunner Guardian is part of that. The Guardian is very imposing-something you want to reach but is so much bigger than you are." - Sparth, p. 141
"The Guardian is a brand new thing. There were many early versions--bipeds with tentacles, bird-like iterations. Building something like this for the game is very, very challenging. The Guardian is massive, and we have to detail it and give it a complexity to match its size." - Kolby Jukes, p. 143
"The new Scorpion is a complete redesign, but we needed to keep a lot of the features, especially when it came to the way the turret is places. It needed to be pretty high--if you put the turret too low and there's a character riding on the tank, the cannon is going to collide with them--so we needed to work around that. Even though we had to work within constraints, we still managed to have a great-looking vehicle." -Sparth, p. 166