Halo Halo TV Series Thread: This isn't the Red Flag we were hoping for.

ParadiseLost

Well-known member
Its pretty much like someone wrote their own story, and then just tacked the names of Halo characters on to it.

Its a consequence of the fact that only pre-existing IPs can get big budget shows these days - a writer/director clearly wanted to tell a sci-fi story, but he couldn't get it greenlit on its own, so he pitched it as a "Halo show" despite it having literally nothing to do with Halo, and then just switched out the original names in his script for Halo names.
 

Carrot of Truth

War is Peace
Its pretty much like someone wrote their own story, and then just tacked the names of Halo characters on to it.

Its a consequence of the fact that only pre-existing IPs can get big budget shows these days - a writer/director clearly wanted to tell a sci-fi story, but he couldn't get it greenlit on its own, so he pitched it as a "Halo show" despite it having literally nothing to do with Halo, and then just switched out the original names in his script for Halo names.


Thats a big problem now days in that there are a lot of hacks whos stories wouldn't stand on their own so instead they just do a hatchet job on an established IP.
 

Captain X

Well-known member
Osaul
Its pretty much like someone wrote their own story, and then just tacked the names of Halo characters on to it.

Its a consequence of the fact that only pre-existing IPs can get big budget shows these days - a writer/director clearly wanted to tell a sci-fi story, but he couldn't get it greenlit on its own, so he pitched it as a "Halo show" despite it having literally nothing to do with Halo, and then just switched out the original names in his script for Halo names.
You're being far too generous. I mean, this is essentially what happened, but rather than someone just having a lame-ass sci-fi story of their own, it's all about using an existing IP to serve as a platform for "the message."
 

Laskar

Would you kindly?
Founder
Its pretty much like someone wrote their own story, and then just tacked the names of Halo characters on to it.

Its a consequence of the fact that only pre-existing IPs can get big budget shows these days - a writer/director clearly wanted to tell a sci-fi story, but he couldn't get it greenlit on its own, so he pitched it as a "Halo show" despite it having literally nothing to do with Halo, and then just switched out the original names in his script for Halo names.
I dunno. It just feels so cookie-cutter, it's like someone pulled a story out of a box of crackerjacks. Like Avatar, but without the decent special effects. Time will tell, but it just feels like a mediocre writer was handed the keys to the franchise and proceeded to hammer out a mediocre story.
 

Culsu

Agent of the Central Plasma
Founder
I keep looking at this stuff and just can't figure out how in the nine hells someone can come up with such elaborate ways to screw up a setting and story in which even a 10 year old writing in purple crayons could strive. Since I don't own consoles Halo was never something I actually played. Never read the books either. The closest I've come to be in contact with Halo is "Forward Unto Dawn". And even to me listening and watching the reviews, all of this is jarring.

265 iterations of a script. Tens of millions in funding. Access to CGI that prior generations couldn't even dream of. 20 years of lore to draw from. And you get... this.

So, as effectively a total stranger to Halo, how about this:
Season 1 you get a team of ODST characters, and to balance that off you get a couple of indie characters. The season's mostly concerned with the war between the UNSC and the indies, you'd get the perspective of both sides. As the episodes progress you'll get more and more hints that something's off. Colonies fall silent. UNSC ships disappear. Rumors about a new threat emerge which at first are dismissed, since there are ODSTs/Indies to kill and missions to fullfill. Then, when things start to solidify, we get episode 9 and 10 as a two-parter season finale, in which the Covenant are revealed as the threat, and Spartans make their entrance, including Master Chief. Who keeps his friggin' helmet on. In an alliance of convenience the indies and UNSC defend the planet they are on, but get defeated despite their best efforts and amounts of firepower and hardware that both human sides were convinced would've given them a win, establishing the stakes for season 2.

In Season 2 you then could gradually shift the focus on Master Chief, the Covenant, etc., building up to a brief face reveal at the end of the season, for example.
 

Laskar

Would you kindly?
Founder
I keep looking at this stuff and just can't figure out how in the nine hells someone can come up with such elaborate ways to screw up a setting and story in which even a 10 year old writing in purple crayons could strive. Since I don't own consoles Halo was never something I actually played. Never read the books either. The closest I've come to be in contact with Halo is "Forward Unto Dawn". And even to me listening and watching the reviews, all of this is jarring.

265 iterations of a script. Tens of millions in funding. Access to CGI that prior generations couldn't even dream of. 20 years of lore to draw from. And you get... this.

So, as effectively a total stranger to Halo, how about this:
Season 1 you get a team of ODST characters, and to balance that off you get a couple of indie characters. The season's mostly concerned with the war between the UNSC and the indies, you'd get the perspective of both sides. As the episodes progress you'll get more and more hints that something's off. Colonies fall silent. UNSC ships disappear. Rumors about a new threat emerge which at first are dismissed, since there are ODSTs/Indies to kill and missions to fullfill. Then, when things start to solidify, we get episode 9 and 10 as a two-parter season finale, in which the Covenant are revealed as the threat, and Spartans make their entrance, including Master Chief. Who keeps his friggin' helmet on. In an alliance of convenience the indies and UNSC defend the planet they are on, but get defeated despite their best efforts and amounts of firepower and hardware that both human sides were convinced would've given them a win, establishing the stakes for season 2.

In Season 2 you then could gradually shift the focus on Master Chief, the Covenant, etc., building up to a brief face reveal at the end of the season, for example.
Seems a little slow, and I'm not sure it would really work well.
I'd compress it down. The first two episodes sets up a conflict between the UNSC and a mixture of Insurrectionists and mercenaries, and there's hints that something is going wrong. A company commander is informed that he and the men will have to tighten their belts, because the supply ship is six days late. But it takes four days to get here from Madrigal. If the ship was delayed, the message should have got here by now. And there's funny things happening with the satellites, which the UNSC and the Innies blame on each other.

The UNSC launches a raid on the Innies, and it all goes wrong. Something is prowling out there in the bush, picking them off. What starts out as Predator-style ambushes soon escalates. The Innies and the Marines keep finding each other's soldiers, dead from horrific burns, and it looks like they were interrogated.

By episode five, the UNSC launches a counterattack on what they think is an Innie ambush, and they find aliens.

Then the Covenant get serious.

In Forward Unto Dawn, we caught a glimpse of what looked like tunnel fighting. UNSC and rebels are fighting together underground against an unseen enemy. The UNSC is reduced to this because the Covenant are launching airstrikes and artillery barrages, and nobody knows what is going on. They have to move underground or at night until relief can show up. Fortunately, the colony is on an old floodplain, and the outpost is built on a network of drainage tunnels meant to channel flash floods.

Some comms operator reports that a bunch of freighters popped into the star system and broadcast a mayday. Apparently, Harvest is under attack, and these are refugees. Those freighters hang out for a whole episode as hope builds that they might somehow be able to evacuate the Marines and the colonists, but then they flash a distress signal. This is followed by a broadcast from the Covenant. An alien warrior introduces himself and names off his victories and his allegiances, and follows it up with "Your destruction is the will of the gods, and we are their instrument."

The final episode of the series is a two-parter called "Fire In the Heavens", and it starts out with some Marines staring into the night sky. There's thunder and lightning, high above where the clouds should be. A naval officer contacts the company commander, groks their situation, and promises that help is already on the way.

Down in the tunnels, something is tearing the Covenant a new one. The Covenant are forced to fall back, giving the Insurrectionists and the Marines time to evacuate. This is the Spartans' Big Damn Hero moment.

The leader of the colonial outpost, who had sort of thrown in with the Innies before this all went down, reports to the UNSC that before the power failed, something was trying to hack into the local intranet. The colony has a library and servers full of cached data, information that his own son was learning from. The Covenant want it. After all, they're out to destroy Humanity, and you can't destroy what you don't understand. The Covenant want to know how we think, how we fight, and where we came from.

The company commander promises to set charges and destroy the library, but the leader says that he has a better idea. He needs some equipment from the UNSC, and he needs time to round up survivors.

The final scene is a band of Insurrectionists (who were already established as having lost everything to the Covenant), some of whom have donned Marine armor, holding out in the outpost's school/eating hall. The barricaded front door blasts open and plasma fire pours in. The Innies return fire, but the windows break in too. Every last one of them is pinned to the ground or slaughtered where they stand by something they can't see.

Elites decloak, and they are lead by a zealot. The Zealot interrogates one of the Innies dressed in Marine armor, and demands to know what those things in the green armor were. They fought like demons.

The Innie spits out a wad of blood, looks the zealot in the eye, and says "They are demons, and they've come to drag your alien ass into Hell."

The zealot scoffs and promises that this planet will burn, and it is just the first of many. As he speaks, we cut to dropships landing in the outpost, dropping troops carrying special equipment. One of the Grunts is already carrying a machine into the server room and plugging it into the servers.

The zealot's speech ends as the machine restores power to the server room. The lights come on, and the Grunt spies a device in the corner. It's UNSC green and warhead-shaped, and it has a big radiation symbol on the side.

The Innie smiles at the zealot and says "Yeah. This planet is going to burn. You and your troops are going to burn along with it."

The whole colony goes up in a flash of light.

Cut to the warship that evacuated the colony, where the company commander is promised a promotion and gets a chance to thank the Spartans for saving his ass.

"You realize that this isn't over?"

"Yeah. I know. This war is just beginning."
 

Husky_Khan

The Dog Whistler... I mean Whisperer.
Founder
You know, if someone wanted to to revisit the universe and ideas from that Kurt Russel movie "Soldier" this badly, I'm pretty sure the rights to that are a lot cheaper than the right to Halo, and no one will really care if the bad guys are using AKs and Chevy.

Having a random Spartan flunkie somehow end up on Indie Trash Planet learning to be a Human after having it robbed from him when suddenly Alien Covenant invade with a genocidal hate boner seems like a more practical story then either Soldier or this TV Series.
 
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SchrodingersWehraboo

Well-known member
I keep looking at this stuff and just can't figure out how in the nine hells someone can come up with such elaborate ways to screw up a setting and story in which even a 10 year old writing in purple crayons could strive. Since I don't own consoles Halo was never something I actually played. Never read the books either. The closest I've come to be in contact with Halo is "Forward Unto Dawn". And even to me listening and watching the reviews, all of this is jarring.

265 iterations of a script. Tens of millions in funding. Access to CGI that prior generations couldn't even dream of. 20 years of lore to draw from. And you get... this.
The creative team’s lack of firsthand experience with the games is the long and short of it. Ironic that in trying to tell their “own story” they just threw in lots of cliched plot twists.
 

Husky_Khan

The Dog Whistler... I mean Whisperer.
Founder
I keep looking at this stuff and just can't figure out how in the nine hells someone can come up with such elaborate ways to screw up a setting and story in which even a 10 year old writing in purple crayons could strive. Since I don't own consoles Halo was never something I actually played. Never read the books either. The closest I've come to be in contact with Halo is "Forward Unto Dawn". And even to me listening and watching the reviews, all of this is jarring.

265 iterations of a script. Tens of millions in funding. Access to CGI that prior generations couldn't even dream of. 20 years of lore to draw from. And you get... this.

Story can't be that bad. It's not that hard to adapt.

*looks up a Wikipedia summary*

In 2552, the Covenant attack an Insurrectionist outpost on the planet Madrigal, wiping out everyone except for teenager Kwan Ha before the SPARTANs of Silver Team intervene. In a nearby cave system, the Master Chief discovers and retrieves a Forerunner artifact that reacts to his touch, displaying mysterious symbols and unlocking some of his sealed childhood memories. A surviving Covenant Elite witnesses and reports this to the Prophet of Mercy on High Charity. On Reach, Dr. Halsey clashes with Admiral Parangosky over their methods and Halsey's desire to create an AI from her own mind. After Kwan refuses to cooperate, the Master Chief is ordered to assassinate her, but he refuses and goes rogue, earning Kwan's trust by showing her his face. Cornered and facing military discipline for refusing the assassination order when returning to a UNSC base, the Master Chief touches the artifact again which disables power in the base and restores power to his ship, allowing him and Kwan to escape. In the process, the Master Chief discovers that he had drawn the artifact as a child, suggesting that he has a past connection to it.

Whut? Is this episode like three hours long?
 
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Terthna

Professional Lurker
I keep looking at this stuff and just can't figure out how in the nine hells someone can come up with such elaborate ways to screw up a setting and story in which even a 10 year old writing in purple crayons could strive. Since I don't own consoles Halo was never something I actually played. Never read the books either. The closest I've come to be in contact with Halo is "Forward Unto Dawn". And even to me listening and watching the reviews, all of this is jarring.

265 iterations of a script. Tens of millions in funding. Access to CGI that prior generations couldn't even dream of. 20 years of lore to draw from. And you get... this.
That's what you get when your talent pool consists primarily of aspiring political activists, and not people skilled in their supposed fields of expertise.
 

Battlegrinder

Someday we will win, no matter what it takes.
Moderator
Staff Member
Founder
Obozny
If the Chief got ordered to plug a kid in the head. He'd plug the kid in the head. This show is dogshit.

There's a critical point you're skipping over. Canon MC wouldn't just execute a teenager, because canon MC almost certainly wouldn't be given that order in the first place, at least not for something like this. Kwan almost got ventilated because she wouldn't do PR for the UNSC, and instead threatened to try and tar their reputation.

In the real Halo series, by this point of the war the spartan program has been public for years and they were a major feature of UNSC propaganda, and regarded as heroes by anyone that wasn't an ODST. A random teenager going "hey, actually spartans are bad" would do nothing to change that, at most the UNSC would just toss her in jail or something (she's still an innie), presuming they bothered to rescue her at all. And in 2552, they likely wouldn't, the UNSC correctly viewed the remaining innies as suicidal traitors to the war effort by that point. Executing her in cold blood, after having given the spartans orders to rescue her in the first place, doesn't make any sense if you're not a cartoon supervillain.

Which is, as people have said before, the real issue. The UNSC doing morally dubious things has been part of Halo since the beginning, but it's motives were understandable and thier actions were acknowledged as being wrong by the characters, as opposed to "ugh, teenagers, can't live with them, can't live without them, right guys?....actually wait, we can live without them, Chief go shoot that kid".
 

bullethead

Part-time fanfic writer
Super Moderator
Staff Member
Here's another good article, although from a different writing perspective that's based on design thinking:

My favorite bit is this:
Article:
Let’s start with the story aspect of Halo [TV]. One of the main problems the show has is that the story is made of components that are all generic, either in general or in Halo specifically:

Brand new focus character who exists primarily to have things explained to them.
Soldier deserts over orders to kill a civilian.
Soldier meets up with a fellow soldier who deserted years ago.
Soldier has been brainwashed by the military/government.
(Super)Soldier regains their humanity.
Ancient Alien artifact affects protagonist’s mind.
Human government internal politics.
Internecine struggles of human dissidents.
Ancient Alien artifact leads to the discovery of (a) Halo.
Character on antagonist side is foil to main character (Master Chief).

Now, you can make incredible stuff out of familiar and well worn story tropes and ideas, but… you need to execute them well, and they need to be aligned to what the audience cares about. The problem is, only the last two components do.


(The human government internal politics might too, but I’m not sure enough Halo fans care about that beyond “Office of Naval Intelligence bad, UNSC good.”)


So, you might be asking, what do Halo fans actually want? That’s a very hard to answer without extensive research, but since I’m something of a Halo fan myself, here’s a short list of story things that Halo fans do care about/like:

Space war.
Ground campaigns against the Covenant/Flood/bad guys.
The bonds between soldiers.
Grim resolve in the face of seemingly inevitable annihilation.
Underdogs pulling off incredible feats of heroism and bravery to win small engagements.
Aliens being super racist against each other.
Aliens being super friendly with each other and/or humanity.
The complex ethics of the Spartan II program.
Master Chief/Spartans willingly serving out of a sense of duty to humanity.

Most important about this list is how the first 7 items are also things that would appeal to military scifi fans. So, if you wanted to craft an experience that convinced people you understood the Halo brand, you’d lean heavily on those elements.

The writers of Halo [TV] did not, so the final product feels very generic.


This is an interesting perspective, because UX/UI stuff is heavily research based, mostly geared towards understanding the target audience for a product... and you can tell the writers & 343i don't know what or why people like Halo if you watch the show.
 

Laskar

Would you kindly?
Founder
Here's another good article, although from a different writing perspective that's based on design thinking:

My favorite bit is this:
Article:
Let’s start with the story aspect of Halo [TV]. One of the main problems the show has is that the story is made of components that are all generic, either in general or in Halo specifically:

Brand new focus character who exists primarily to have things explained to them.
Soldier deserts over orders to kill a civilian.
Soldier meets up with a fellow soldier who deserted years ago.
Soldier has been brainwashed by the military/government.
(Super)Soldier regains their humanity.
Ancient Alien artifact affects protagonist’s mind.
Human government internal politics.
Internecine struggles of human dissidents.
Ancient Alien artifact leads to the discovery of (a) Halo.
Character on antagonist side is foil to main character (Master Chief).

Now, you can make incredible stuff out of familiar and well worn story tropes and ideas, but… you need to execute them well, and they need to be aligned to what the audience cares about. The problem is, only the last two components do.


(The human government internal politics might too, but I’m not sure enough Halo fans care about that beyond “Office of Naval Intelligence bad, UNSC good.”)


So, you might be asking, what do Halo fans actually want? That’s a very hard to answer without extensive research, but since I’m something of a Halo fan myself, here’s a short list of story things that Halo fans do care about/like:

Space war.
Ground campaigns against the Covenant/Flood/bad guys.
The bonds between soldiers.
Grim resolve in the face of seemingly inevitable annihilation.
Underdogs pulling off incredible feats of heroism and bravery to win small engagements.
Aliens being super racist against each other.
Aliens being super friendly with each other and/or humanity.
The complex ethics of the Spartan II program.
Master Chief/Spartans willingly serving out of a sense of duty to humanity.

Most important about this list is how the first 7 items are also things that would appeal to military scifi fans. So, if you wanted to craft an experience that convinced people you understood the Halo brand, you’d lean heavily on those elements.

The writers of Halo [TV] did not, so the final product feels very generic.


This is an interesting perspective, because UX/UI stuff is heavily research based, mostly geared towards understanding the target audience for a product... and you can tell the writers & 343i don't know what or why people like Halo if you watch the show.
If we understand audience interest and investment in a character as a sliding scale, with 0 being the midpoint and apathy, negative numbers being negative feelings, and positive numbers being positive feelings, then most, if not all of Halo [TV]’s characters are at zero.

Teenage girl, due to talking like one of those Tweets where a parent claims their child has a profound political opinion but is in fact a statement of their own views, nudges herself a little into the negative.
*wheeze*
 

Jormungandr

The Midgard Wyrm
Founder
Except for the Halo subreddit, which are guzzling down this offering like Democrats are with CCP semen, it's being panned everywhere.

To say this is an epic flop is an understatement. I genuinely think this, alongside the growing questions of Infinite's post-launch content, is going to do serious damage to the brand.

I mean, it's fucking Halo: All the recipes for success were there in the books and games... And they let a bunch of woketard writers create a generic sci-fi show with a Halo texture, to plug in their shitty Leftard messages.

By this point, there needs to be a screening process for writers: Are you an activist in any sort of way, shape, or form? Yes? Sorry, we have other people in mind for the role.

Stop giving these hacks work.
 

Captain X

Well-known member
Osaul
Be nice if another movie industry could be set up in a red state or something. Question is, how to get off the ground?
 

Jormungandr

The Midgard Wyrm
Founder
Be nice if another movie industry could be set up in a red state or something. Question is, how to get off the ground?
Unfortunately, Hollywood has a firm grip on America's media that can't be shook off. It's such a lumbering beast that even if you killed its brain, it'd still keep going/be alive in some way (and not as a zombie, mind).

The only challengers, I think, would be Indie films that do what they (producers, actors, et cetera) can to avoid the filthy tendrils of Hollywood, and that's not really possible in this day and age, I think.
 

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