beautiful
isn't
it
this
is
the
primary
soundscape
of
half-life
beneath
everything
that
happens
the
gunfire
the
explosions
the
cries
of
zombies
and
combine
when
everything
dies
down
you're
met
with
the
detailed
ambience
of
whatever
area
you
happen
to
be
in
usually
this
is
what
fills
your
ears
throughout
your
time
with
half-life
but
on
special
occasions
the
game
will
go
a
step
further
that
ambience
will
be
accompanied
by
a
unique
space
ocean
of
synths
electronic
instrumentation
and
industrial
guitar
riffs
and
drums
it
sounds
close
to
home
and
yet
otherworldly
and
ethereal
this
is
what
kelly
bailey
brought
to
the
world
of
half-life
alongside
his
calculated
compositions
that
embody
the
very
essence
of
half-life's
atmosphere
and
his
utilization
of
those
pieces
and
pivotal
moments
he
also
made
the
deliberate
decision
to
leave
certain
areas
without
music
he
let
the
game
create
atmosphere
on
its
own
and
this
decision
alone
enhances
the
series's
most
intense
breathtaking
desolate
and
terrifying
moments
the
balance
he
struck
remains
one
of
half-life's
strongest
assets
and
an
example
of
how
composers
can
be
valuable
contributors
to
a
game's
design
i'm
liam
triforce
and
in
this
video
we'll
be
understanding
the
music
of
half-life
and
sometimes
the
lack
thereof
before
we
begin
i'd
like
to
thank
skillshare
for
sponsoring
this
video
skillshare
is
an
online
learning
community
with
classes
that
focus
on
a
plethora
of
creative
arts
writing
music
graphic
design
animation
game
design
almost
anything
you
could
imagine
the
platform
continues
to
expand
day
by
day
with
new
premium
classes
launching
regularly
these
lessons
are
designed
for
real-life
circumstances
so
that
you
can
stay
inspired
and
express
yourself
alongside
a
community
of
millions
to
ease
myself
into
the
various
classes
skillshare
had
to
offer
i
decided
to
start
with
skills
that
i've
already
developed
but
i
soon
began
browsing
outside
of
my
already
existing
passions
to
expand
my
creative
horizons
personally
speaking
i'd
recommend
hanifa
durakeev's
class
on
writing
for
expression
if
you
have
any
interest
in
writing
it's
an
in-depth
course
on
how
to
give
everything
you
write
an
artful
and
poetic
flair
of
course
there
are
countless
classes
to
explore
suitable
for
any
creative
interest
you
might
have
so
don't
feel
pressured
to
stick
to
one
avenue
skillshare
is
also
incredibly
affordable
costing
less
than
ten
dollars
a
month
with
an
annual
subscription
better
yet
the
first
thousand
people
to
use
the
link
in
the
description
will
get
a
free
trial
of
skillshare
premium
membership
so
you
can
try
it
out
for
yourself
once
again
thank
you
skillshare
[Music]
this
song
is
called
vague
voices
and
it
was
composed
to
introduce
you
to
the
world
of
half-life
by
all
accounts
your
tram
ride
through
the
facilities
of
black
mesa
should
have
signified
yet
another
day
at
the
office
and
the
music
seems
to
reflect
this
you
get
to
absorb
a
lot
of
information
at
a
steady
pace
unknowingly
preparing
you
for
your
upcoming
adventure
the
song
is
reflective
of
a
traditional
calm
commute
to
work
but
underneath
is
a
sinister
sign
of
what's
to
come
almost
beckoning
to
the
player
there
are
many
sides
to
the
music
of
half-life
but
it
consistently
focuses
on
being
an
audible
embodiment
of
science
fiction
to
kelly
bailey
this
meant
utilizing
a
plethora
of
different
techniques
for
vague
voices
it
was
an
ocean
of
synths
foreshadowing
the
events
to
come
but
for
this
song
the
impending
disaster
and
the
zen
invasion
are
nowhere
to
be
heard
instead
the
game
wants
you
to
focus
on
the
cool
little
suit
you
just
put
on
with
all
of
its
high-tech
features
and
everything
when
the
resonance
cascade
occurs
however
kelly
was
relentless
in
his
approach
to
horror
and
his
techniques
were
varied
and
astounding
after
fading
into
the
aftermath
of
the
incident
we
hear
what
sounds
like
steam
traveling
through
a
pipe
until
it
bursts
and
lets
loose
an
atmosphere
of
discomfort
and
oppressive
alien
sounds
this
track
is
perfectly
emblematic
of
what
occurred
in
the
test
chamber
and
the
unforeseen
consequences
it
unleashed
throughout
the
majority
of
your
adventure
in
black
mesa
music
is
rare
as
you
roam
the
halls
and
greet
fellow
scientists
there's
no
need
as
you
scramble
to
adjust
to
these
new
circumstances
you'll
confront
zombies
headcrabs
and
many
more
creatures
that
have
escaped
from
zen
but
there's
no
music
the
lack
of
music
makes
these
unexpected
bouts
scarier
the
game
isn't
telling
you
what
to
do
or
how
to
react
to
these
situations
you're
just
going
with
your
gut
and
killing
anything
that
stands
in
your
way
the
first
time
i
was
scooped
up
by
a
barnacle
no
music
just
pure
terror
as
i
frantically
figured
out
what
to
do
being
ambushed
by
vortigaunts
in
the
office
complex
no
music
just
a
lot
of
shotgunning
and
energy
blasts
you
could
go
a
half
hour
without
hearing
a
single
piece
of
music
and
when
you
do
it'll
last
for
a
minute
or
two
that's
it
this
establishes
both
the
importance
of
music
and
half-life
and
the
importance
of
the
moments
in
which
music
plays
the
space
in
between
provides
you
with
those
organic
gameplay
experiences
that
music
alone
could
never
enhance
when
music
appears
it
has
purpose
and
it
presents
itself
through
a
wide
assortment
of
compositional
techniques
that
perfectly
capture
the
essence
of
half-life
in
the
early
stages
of
your
journey
the
music
is
intentionally
designed
to
blend
into
the
environment
synths
reverberate
throughout
the
facilities
drops
of
water
fall
to
the
ground
and
the
noises
are
dissonant
and
lack
any
noticeable
pattern
there's
nothing
comforting
about
black
mesa
in
its
current
state
and
the
halls
you
once
traveled
are
alien
now
literally
this
kind
of
thing
isn't
limited
to
the
first
portion
of
the
game
either
one
of
my
favorite
ambient
pieces
is
electric
guitar
ambience
both
because
of
the
techniques
used
and
the
area
it
plays
in
there
are
snipers
situated
all
over
the
place
and
you
need
to
move
carefully
to
avoid
both
their
bullets
and
the
landmines
this
is
all
set
to
a
nice
view
of
the
canyons
and
the
blue
sky
surrounding
the
facilities
emblematic
of
the
outside
world
remaining
unfazed
and
unaware
of
the
events
from
inside
black
mesa
it
is
a
unique
atmospheric
blend
of
beauty
and
death
and
one
of
my
favorite
moments
in
half-life
[Music]
as
you
progress
the
music
of
half-life
begins
to
evolve
further
when
it
becomes
apparent
that
the
military
isn't
here
to
rescue
you
and
they
are
instead
here
to
silence
you
a
new
technique
emerges
from
kelly's
repertoire
the
military
floods
black
mesa
and
they
present
a
new
threat
to
you
and
the
weapons
you
might
have
thought
you'd
grown
accustomed
to
by
now
to
push
you
forward
in
taking
these
guys
down
kelly
composed
this
track
the
haphazard
synth
and
harsh
guitar
riffs
are
intertwined
seamlessly
as
he
created
an
aggressive
electronic
rock
track
that
forces
you
into
combat
and
maintains
the
science
fiction
horror
atmosphere
of
half-life
a
duality
that
was
achieved
through
his
unparalleled
ability
to
tie
fear
into
determination
[Music]
kelly
imbued
an
atmosphere
of
hope
into
a
game
full
of
dread
and
despair
i'll
never
forget
how
fulfilling
it
was
to
hear
drums
and
riffs
after
launching
the
rocket
at
the
end
of
honor
rail
after
such
a
long
chapter
of
stop
and
go
puzzles
and
ambushes
it
was
nice
to
give
the
world
of
half-life
some
hope
the
song
isn't
just
an
ambient
rock
piece
either
it's
underlying
guitar
tones
and
synths
with
a
low
sample
rate
still
tie
it
back
to
the
setting
here's
another
great
one
during
questionable
ethics
you'll
hear
a
security
guard
and
a
scientist
discussing
a
certain
weapon
once
you
finally
get
it
and
you
play
around
with
it
nuclear
mission
jam
plays
a
threatening
horror
sting
crescendos
into
a
badass
composition
from
what
i
can
gather
that
isn't
a
guitar
delivering
the
main
riff
it's
yet
another
synth
accompanied
by
the
trademark
percussion
and
backing
instrumentation
of
half-life
high-tech
guns
call
for
high-tech
music
that
pumps
you
up
to
use
it
on
the
next
chopper
you
see
but
perhaps
the
most
iconic
glimpse
of
hope
and
determination
comes
from
the
chapter
surface
tension
after
being
trapped
underground
for
the
majority
of
the
game
seeing
the
deep
blue
sky
and
breathing
fresh
air
could
not
be
more
liberating
it's
a
small
moment
in
the
grand
scheme
of
things
but
it
introduced
us
to
a
song
that
accomplished
a
lot
for
one
its
instrumentation
is
totally
unique
synth
soaked
in
filters
create
an
atmosphere
befitting
of
the
radiation
soaked
sewers
of
black
mesa
its
discordant
noises
and
twisted
mixing
make
it
sound
ironically
crystal
clear
and
almost
lifelike
it's
confronting
but
it's
also
very
inspiring
and
because
of
this
it
became
valve's
theme
song
and
it
still
is
after
all
these
years
i
feel
that
it
has
grown
significantly
larger
than
it
was
originally
designed
to
be
and
for
good
reason
as
we've
learned
with
the
military's
ambush
half-life
instrumentation
doesn't
limit
itself
to
synths
and
techno
beats
certain
enemies
get
their
very
own
motifs
as
the
music
introduces
you
to
their
methods
of
attack
and
their
impact
on
the
gameplay
grunge
guitars
on
a
fast
tempo
accompany
the
military
and
when
they
collide
with
gargantua
and
other
zen
forces
we
get
a
blend
of
the
two
compositional
choices
distorted
clipping
synths
and
disorderly
guitar
riffs
clashing
against
one
another
when
you
first
confront
the
tentacles
you'll
no
doubt
realize
how
dangerous
they
are
although
totally
blind
they
are
very
sensitive
to
noise
and
they'll
tear
you
apart
effortlessly
if
they
hear
you
to
illustrate
how
the
player
should
take
caution
in
approaching
this
thing
kelly
played
the
melody
for
this
track
on
a
hindu
flute
at
least
i
think
that's
what
it
is
i
could
be
completely
wrong
about
this
but
the
point
is
this
flute
both
incites
fear
in
the
player
and
clues
them
into
how
to
approach
it
due
to
its
lack
of
percussion
and
slow
concentrated
melodies
head
in
carefully
distract
it
with
grenades
and
proceed
the
gonarch
also
gets
its
own
theme
jungle
drums
i
don't
think
there
could
be
a
more
perfect
theme
for
this
thing
now
despite
how
out
there
the
instrumentation
sounds
for
half-life
thus
far
this
song
is
both
appropriate
for
the
boss
and
it
still
has
underlying
synths
and
electronic
noises
that
maintain
the
setting
of
half-life
it's
a
through
line
that
is
never
compromised
on
nepal
monastery
has
menacing
since
despite
its
flute
taking
center
stage
for
example
despite
how
absurd
and
otherworldly
some
of
the
events
are
in
half-life
it
doesn't
step
far
outside
its
initial
philosophy
an
apocalyptic
alien
invasion
that
spiraled
out
of
control
on
a
day
that
seemed
just
as
ordinary
as
any
other
but
when
it
comes
to
the
extraordinary
in
half-life
nothing
will
rival
the
feeling
of
exploring
zen
for
the
first
time
as
you
approach
the
teleporter
you
hear
the
inverse
of
a
previous
song's
theme
steam
traveling
through
the
pipes
as
the
synths
take
over
and
the
percussion
pumps
you
up
whatever
was
behind
that
portal
was
bound
to
be
both
exciting
and
endlessly
intimidating
and
then
as
the
portal
finally
opens
you
jump
inside
to
discover
zen
treacherous
terrain
an
onslaught
of
enemies
in
their
home
world
and
a
persistent
air
of
emptiness
fear
and
confusion
all
permeate
throughout
zen
all
with
very
little
music
to
accompany
you
making
it
the
most
poignant
example
of
what
the
lack
of
music
can
add
to
half-life
throughout
the
platforming
the
aliens
attacking
the
dark
caves
the
putrid
colors
of
the
walls
are
ground
and
the
brutal
challenges
that
await
you
not
a
single
living
thing
from
your
world
is
there
to
accompany
you
it's
just
you
and
your
hev
suit
the
most
comfort
you
can
find
is
in
a
healing
pool
while
you
sit
there
and
top
off
your
health
they
emit
a
cleansing
sound
that
serves
as
an
escape
from
everything
that
zen
tends
to
throw
at
you
i
could
sit
here
for
hours
[Music]
as
you
find
your
way
into
the
first
cave
you
get
a
mild
break
from
everything
with
the
song
dimensionless
deepness
emblematic
of
everything
that
zen
represents
fear
and
emptiness
in
an
unfamiliar
world
your
final
piece
of
in-game
music
is
far
from
comforting
however
as
you
confront
the
nilanth
you'll
hear
an
assault
of
low
synths
and
guttural
tones
and
noises
confusion
persists
even
in
the
final
boss
and
you'll
get
no
sympathy
from
the
game
until
the
credits
roll
kill
the
nylanth
accept
the
g-man's
offer
and
you're
rewarded
with
the
most
upbeat
song
in
the
game
since
the
very
beginning
half-life
tackled
many
atmospheres
emotions
and
themes
in
its
music
and
yet
despite
stepping
out
of
its
comfort
zone
to
make
encounters
with
aliens
and
such
more
appropriate
it
ties
everything
back
to
its
focus
on
extraordinary
science
fiction
that
feels
grounded
in
reality
it
shuts
itself
up
when
it
needs
to
and
it
encourages
entices
and
alarms
the
player
in
moments
that
need
a
composer's
touch
the
only
game
to
surpass
kelly's
thematic
exploration
of
half-life
would
be
half-life
2.
the
settings
of
half-life
1
and
2
are
both
rich
in
their
own
ways
however
half-life
2
explores
the
furthest
extent
of
the
aftermath
of
black
mesa
the
combine
of
occupied
earth
after
a
desperate
bargain
was
negotiated
by
black
mesa
administrator
wallace
breen
and
humanity
is
being
slowly
and
humanely
killed
off
to
that
end
the
music
of
half-life
2
and
the
lack
thereof
opt
to
explore
the
depressing
reality
that
the
population
is
facing
and
the
subsequent
uprising
that
gordon
freeman
would
ignite
the
techniques
that
were
used
in
the
previous
soundtrack
to
give
life
to
black
mesa
have
been
repurposed
for
subtlety
and
storytelling
although
the
black
mesa
incident
felt
like
a
grounded
science
fiction
tale
nothing
comes
closer
to
reality
than
seeing
how
an
all-powerful
alien
species
can
take
over
a
city
that
once
felt
like
home
in
your
first
moments
with
half-life
2
the
music
will
be
so
subtle
in
implementation
that
it
may
feel
as
though
it's
a
part
of
the
world
while
you're
observing
the
firm
grip
the
combine
has
on
humanity
and
seeing
their
wide
reaching
influence
on
morale
there
isn't
any
music
to
speak
of
dr
breen's
speeches
are
broadcast
in
an
attempt
to
calm
the
concerned
citizens
of
city
17
but
it's
mostly
just
propaganda
to
them
the
first
music
cue
outside
of
the
g-man's
introductory
speech
plays
as
you
step
foot
in
the
plaza
for
the
first
time
you'll
see
the
citadel
the
monitor
and
the
many
ways
the
combine
have
taken
control
it's
a
quiet
hollow
chamber
of
empty
noises
and
slight
distortion
underneath
after
the
combine
begins
to
assault
citizens
and
you
escape
to
the
rooftop
this
hollow
chamber
of
sound
becomes
filled
with
more
powerful
distortion
it
isn't
chasing
you
though
it's
merely
following
you
a
powerful
omen
representative
of
the
combines
drawn
out
process
of
weeding
out
the
population
and
exerting
control
no
matter
where
you
turn
it
doesn't
matter
how
fast
you
run
because
they'll
catch
up
to
you
eventually
this
echoing
tunnel
of
muffled
sound
becomes
more
promising
as
you
enter
dr
kleiner's
lab
it's
four
sustained
synth
notes
but
it
lights
a
spark
for
the
future
of
humanity
dr
kleiner
managed
to
set
up
his
own
makeshift
black
mesa
and
continue
his
research
despite
the
odds
being
stacked
against
him
he
set
up
a
teleporter
domesticated
a
head
crab
and
monitored
the
combine
for
who
knows
how
long
with
your
return
this
truly
is
a
red
letter
day
ambient
music
in
half-life
2
is
vastly
more
subtle
inspiring
reflective
and
disturbing
than
it
was
in
the
original
game
due
to
the
setting
in
which
kelly
had
to
work
with
him
and
a
natural
evolution
in
his
techniques
and
ideas
a
lot
of
his
compositions
tell
a
more
concrete
story
this
time
and
expand
on
the
context
for
certain
events
through
evocative
instrumentation
let's
start
by
looking
at
the
songs
that
tell
stories
about
the
people
of
city
17.
after
you
return
to
the
plaza
much
later
in
the
game
you've
signaled
the
uprising
and
people
are
ready
to
fight
a
group
of
resistance
members
succeed
in
yanking
down
that
monitor
but
as
they
celebrate
you
don't
hear
a
triumphant
song
to
accompany
them
you
hear
something
dark
and
defeating
something
warm
yet
unsettling
the
song
is
called
suppression
field
alluding
to
the
invisible
force
that
is
preventing
people
from
reproducing
a
very
subtle
detail
in
half-life
2
has
citizens
referring
to
sex
and
procreation
as
mating
not
all
of
them
do
but
those
that
have
been
affected
most
by
propaganda
forego
any
discussion
of
intimacy
due
to
brain
telling
them
that
even
the
urge
is
being
suppressed
this
has
been
going
on
for
20
years
hence
why
there
are
no
children
in
sight
a
playground
in
the
heart
of
city
17
sits
abandoned
rusted
and
filthy
this
is
the
slow
extinction
method
the
combine
has
employed
in
full
effect
leaving
the
world
a
cold
and
affectionless
place
to
grow
up
in
switching
gears
a
bit
kelly
decided
to
channel
some
positivity
into
the
adventures
of
the
resistance
after
gordon
arrives
at
new
little
odessa
and
takes
down
the
gunship
the
song
slow
light
plays
amidst
the
oppressive
and
swirling
synths
twisted
drones
echo
a
feeling
of
hope
the
name
of
the
song
implies
that
this
small
victory
is
just
a
stop
on
the
long
road
toward
the
light
at
the
end
of
the
tunnel
for
humanity
ambient
music
outside
of
meetings
with
the
resistance
members
also
reflects
the
state
of
the
world
however
with
each
piece
playing
at
sporadic
intervals
throughout
your
journey
bits
and
pieces
of
the
world
are
digested
at
a
time
for
example
broken
symmetry
is
such
a
hopeless
and
empty
song
it
plays
within
the
toxic
sewers
of
city
17.
i
reflected
on
how
much
damage
has
truly
been
caused
by
the
combine
outside
of
their
primary
goal
of
human
extinction
with
what's
being
pumped
into
the
environment
the
toxicity
or
lethal
radiation
might
wipe
humanity
out
first
in
the
same
stride
probably
not
a
problem
plays
during
a
headcrab
shelling
on
station
six
the
shells
effortlessly
tear
through
survivors
but
the
music
reflects
the
aftermath
the
spiraling
strings
being
plucked
haphazardly
emulate
the
scattering
headcrabs
while
the
horns
in
general
tone
depict
the
zombies
you
first
encounter
in
this
moment
the
result
of
headcrabs
taking
control
of
what
were
once
innocent
human
beings
calabi
yao
model
balances
mystery
with
dread
in
a
cave
far
outside
of
city
17
close
to
nova
prospect
it's
a
harsh
listen
and
in
this
moment
i
wondered
if
the
vortigaunts
and
survivors
hold
up
here
would
survive
another
night
amidst
the
combine's
reign
as
phenomenal
as
the
ambience
in
half-life
2
is
it
is
not
the
only
area
in
which
kelly
bailey
stepped
things
up
a
notch
the
combat
music
as
well
as
music
composed
for
when
you
need
to
be
light
on
your
feet
are
well-rounded
and
employ
more
varied
techniques
than
seen
previously
just
after
barney
delivers
your
crowbar
apprehension
and
evasion
plays
it's
a
techno
dance
beat
that
doesn't
attempt
to
be
aggressive
as
in
this
moment
you're
simply
evading
civil
protection
all
you
gotta
do
is
move
after
equipping
a
pistol
and
making
your
way
down
the
tracks
a
basey
prelude
will
begin
to
play
before
ramping
up
in
intensity
as
you
proceed
the
drums
pick
up
and
suddenly
you're
speeding
through
the
canals
like
no
one
can
stop
you
this
is
cp
violation
and
it's
a
fan
favorite
for
good
reason
it's
a
champion
in
pacing
and
mood
a
few
ambushes
to
follow
feature
similar
grounded
instrumentation
reflective
of
the
combine
soldiers
being
limited
in
comparison
to
some
of
the
other
enemies
you
faced
throughout
the
game
but
once
you
become
equipped
to
face
off
against
that
chopper
that's
been
tailing
you
throughout
the
canals
we
get
a
drum
and
bass
piece
to
push
back
the
chapter's
anti-citizen
one
and
follow
freeman
appropriately
feature
the
most
combat
music
in
the
game
as
you've
signaled
the
uprising
you're
fighting
alongside
the
resistance
in
the
greatest
struggle
since
the
seven
hour
war
you're
being
ambushed
by
enemies
old
and
new
desperately
trying
to
stay
afloat
my
favorite
of
these
has
always
been
lg
orbiful
at
this
point
in
the
game
you've
taken
down
a
handful
of
striders
by
the
skin
of
your
teeth
and
now
you're
running
from
one
through
the
torn
up
streets
of
city
17
and
through
ruined
buildings
and
parking
garages
suddenly
yet
another
ambush
occurs
and
you
need
to
rush
to
the
horse
statue
nearby
as
combine
flank
you
and
striders
chase
you
down
to
accompany
your
mad
dash
you
get
a
song
that
combines
larger-than-life
synths
with
pulse-pounding
drums
all
set
to
the
perfect
tempo
for
running
for
your
life
and
fighting
back
even
so
in
these
chapters
kelly
still
knew
when
to
step
away
when
you're
forced
into
condensed
areas
to
create
fear
of
the
unknown
ruined
apartment
complexes
and
infiltrating
the
claustrophobic
overwatch
nexus
all
refrained
from
overtly
implementing
music
despite
being
infested
with
combine
soldiers
music
in
those
clustered
apartment
buildings
would
likely
stress
the
player
out
due
to
their
limited
mobility
a
lack
of
music
in
the
nexus
allows
the
player
to
carefully
roll
grenades
into
the
turret
traps
and
navigate
through
the
halls
while
being
startled
by
combine
ambushes
when
they
occur
when
you
step
back
and
examine
the
music
of
half-life
2
chapter
by
chapter
or
area
by
area
you
might
realize
just
how
much
silence
adds
to
it
the
chapters
i'm
about
to
discuss
have
long
intervals
of
silence
between
its
key
pieces
of
music
allowing
you
to
absorb
everything
they
have
to
offer
let's
start
with
nova
prospect
you
begin
with
that
signature
balance
of
impending
evil
with
anxious
bewilderment
with
the
only
percussion
to
speak
of
being
a
base
that
sounds
like
a
thumping
heartbeat
it
then
crescendos
into
an
array
of
drones
to
symbolize
the
diabolical
nature
of
nova
prospect
itself
when
you
first
arrive
you
gather
that
it's
a
prison
well
if
it's
a
prison
then
why
are
all
of
the
cells
empty
why
isn't
anyone
here
what
is
this
place
the
music
embodies
this
ungodly
atmosphere
and
then
silence
silence
for
the
majority
of
the
chapter
nothing
to
comfort
you
or
inform
you
just
silence
whatever
may
await
you
in
nova
prospect
is
up
to
you
to
confront
another
terrifying
example
of
what
a
lack
of
music
can
add
rests
in
ravenholm
it's
a
route
you've
been
forced
to
take
and
you
have
no
communication
with
the
outside
world
here
not
even
the
combine
come
through
here
it
has
been
swamped
with
zombies
of
all
shapes
and
sizes
and
your
time
exploring
it
is
once
again
lacking
in
any
music
the
scares
locales
and
sharp
decision
making
necessary
for
your
survival
are
all
influenced
by
the
core
game
design
there
are
songs
at
the
beginning
and
end
of
the
chapter
though
the
introduction
sets
the
mood
with
a
lengthy
drone
accompanied
by
chimes
and
faint
distorted
whispering
it
is
unlike
anything
else
in
the
game
much
like
ravenholm
as
a
chapter
after
fighting
alongside
father
grigory
and
bidding
him
farewell
you
can
watch
him
be
endlessly
swarmed
by
zombies
as
the
bell
tolls
and
signals
your
escape
whatever
happens
to
him
now
will
never
be
seen
and
his
story
will
likely
never
be
told
still
you
can't
help
but
be
grateful
there's
a
bit
more
to
this
chapter
though
particle
ghost
plays
as
you
ascend
from
the
caverns
below
and
finally
face
some
sunlight
again
although
cleansing
after
what
you
just
went
through
it
still
delivers
a
heavily
distorted
synth
to
remind
you
of
the
danger
present
outside
ravenholm
a
different
kind
of
danger
like
waking
up
from
a
nightmare
and
realizing
that
the
nightmare
might
have
been
a
better
reality
to
exist
in
but
you
press
onward
avoiding
a
combine
sniper
down
a
corridor
and
eventually
barging
your
way
through
an
ambush
to
find
resistance
members
after
so
much
bloodshed
and
amidst
the
pained
moans
of
wounded
citizens
the
resistance
recognizes
your
return
and
for
you
this
is
the
first
ally
you've
met
outside
of
ravenholm
and
what
felt
like
ages
despite
ravenholm
only
being
an
overnight
trip
to
embody
everything
that
this
scene
represents
getting
things
back
on
track
and
hope
for
the
future
we
get
to
hear
triage
at
dawn
it
carries
with
it
a
crystal
clear
piano
melody
and
trumpets
to
echo
the
importance
of
gordon
freeman's
return
but
without
a
doubt
my
favorite
chapter
to
make
use
of
the
silence
dynamic
is
highway
17.
as
you
take
off
in
the
scout
car
and
run
over
ant
lions
you
get
some
music
to
fuel
your
race
down
the
roads
but
the
majority
of
this
chapter
is
spent
amidst
the
screeching
of
your
engine
the
sound
of
a
chopper
tailing
you
or
the
occasional
combine
ambush
but
most
importantly
the
sounds
of
nothing
but
the
wind
traveling
past
and
the
waves
crashing
below
you
in
these
moments
along
the
coast
i'd
catch
myself
thinking
about
the
people
that
used
to
live
out
here
aside
from
thumpers
and
some
property
damage
the
houses
along
the
coast
have
been
left
alone
by
the
combine
they
don't
have
much
of
a
reason
to
draw
resources
from
these
outskirts
thus
a
lot
of
what
used
to
be
here
has
been
left
intact
tire
swings
cozy
living
spaces
and
small
villages
all
make
up
a
large
ghost
town
along
the
highway
even
if
combined
soldiers
happen
to
be
in
hiding
in
some
of
these
houses
or
they
attempt
to
stop
me
from
moving
onward
there
isn't
any
music
playing
i
have
no
need
to
move
as
fast
as
possible
and
the
level
designers
intended
for
you
to
take
a
break
from
time
to
time
sometimes
implementing
puzzles
and
areas
for
you
to
solve
these
breaks
allow
the
player
to
soak
in
the
atmosphere
of
the
coast
and
think
about
the
circumstances
of
half-life
2
as
a
whole
highway
17
is
the
most
contemplative
chapter
in
the
game
i
feel
it's
rare
to
have
relaxing
moments
in
a
game
about
overcoming
an
all-powerful
oppressive
force
and
it's
also
rare
to
see
areas
that
carry
complete
unscathed
remnants
of
what
once
was
before
the
combine
took
over
so
this
is
what
the
lack
of
music
adds
to
the
chapter
what
does
music
add
in
order
to
cross
the
bridge
to
nova
prospect
you'll
need
to
disable
a
force
field
preventing
you
from
taking
your
car
on
the
train
tracks
to
do
this
you
must
cross
underneath
the
bridge
to
a
control
room
you're
doing
this
all
amongst
the
fog
far
out
from
city
17
with
barely
anything
below
your
feet
to
prevent
you
from
a
deadly
plummet
to
wrap
everything
this
chapter
encompasses
into
a
neat
little
package
the
song
lab
practicum
plays
and
it
is
without
a
doubt
my
favorite
song
in
the
game
not
because
of
some
electronic
rock
or
some
catchy
beats
and
not
because
it
tells
a
story
through
ambience
either
because
it
allows
me
to
reflect
on
half-life
2
as
a
whole
it
is
an
engrossing
soundscape
beyond
words
it
sounds
so
clear
and
yet
you
need
a
good
sound
system
or
a
nice
pair
of
headphones
to
be
able
to
play
this
back
without
clipping
or
distortion
perhaps
this
has
to
do
with
the
sample
rate
or
frequency
i'm
not
exactly
sure
i'm
not
going
to pretend
i'm
an
expert
on
this
stuff
so
i'm
fascinated
by
it
on
a
technical
level
but
i'm
also
amazed
by
it
from
an
artistic
perspective
it
sounds
like
you're
floating
in
a
soothing
yet
hauntingly
empty
ocean
and
perhaps
that
low
quality
is
reflective
of
the
fog
the
chapter
is
shrouded
in
a
fog
that
blankets
all
of
city
17.
conceptually
there
isn't
anything
this
song
is
trying
to
deliver
on
it's
a
blank
slate
nothing
and
yet
it
is
everything
i'm
thinking
about
my
nervousness
in
the
moment
as
i
traverse
the
underside
of
this
bridge
but
i'm
also
thinking
about
the
people
that
used
to
live
by
the
sea
the
city
the
suppression
field
the
combine
the
hopelessness
and
yet
the
fact
that
i
could
be
the
catalyst
for
these
people
i
could
single-handedly
change
the
world
against
all
odds
the
more
i
listen
to
the
song
while
thinking
about
half-life
2
the
more
i'm
able
to
digest
the
depth
in
its
storytelling
it
represents
so
much
more
than
it
lets
on
as
silly
as
it
may
seem
this
has
been
the
first
song
i'd
think
of
whenever
i
think
about
half-life
2
not
cp
violation
or
hazardous
environments
instead
i
think
of
an
ambient
piece
from
a
rather
insignificant
portion
of
the
game
not
because
of
that
moment
in
particular
but
because
of
how
i'm
able
to
catch
my
breath
and
just
think
about
everything
the
game
has
thrown
at
me
thus
far
it
plays
in
a
chapter
where
a
god
damn
ghost
town
allows
me
to
imagine
a
normal
life
amidst
the
combine's
reign
all
of
this
to
say
that
this
song
reminds
me
of
what
makes
half-life
2
a
masterpiece
it
is
a
beautifully
crafted
video
game
and
the
most
realistic
piece
of
science
fiction
i
have
ever
consumed
due
to
it
being
so
alien
and
yet
so
down
to
earth
and
i
think
a
lot
of
that
praises
ode
to
kelly
bailey
in
the
years
that
followed
half-life
2's
release
we'd
end
up
getting
the
last
of
kelly's
work
with
valve
half-life
2
episode
1
focused
on
the
escape
from
the
citadel
after
gordon
and
alex
you
know
blew
it
up
due
to
the
length
of
these
episodic
installments
there
weren't
many
opportunities
to
evolve
on
the
sound
or
implementation
of
half-life's
music
but
they
did
exist
and
kelly
took
them
he
previously
refrained
from
using
traditional
instruments
like
the
piano
and
guitars
unless
he
could
figure
out
a
way
to
implement
them
seamlessly
with
the
setting
of
half-life
usually
they'd
be
buried
in
distortion
or
underneath
a
layer
of
synths
but
since
the
episodes
focus
on
a
concentrated
uprising
effort
now
that
the
tables
have
effectively
been
turned
using
these
instruments
as
encouragement
or
to
uniquely
set
the
mood
of
a
scenario
felt
appropriate
as
a
result
the
combine
advisors
are
introduced
through
a
disturbing
blend
of
traditional
piano
and
guttural
warped
synths
and
the
music
that
plays
as
you
fight
through
the
hospital
isn't
afraid
to
dig
into
some
good
old-fashioned
electric
guitars
the
deadly
radiation
at
the
citadel
core
is
embodied
in
the
song
infraradian
guard
down
is
a
synthrok
piece
that
pumps
me
up
just
as
much
as
it
creeps
me
out
and
i
can
definitely
say
the
same
for
disrupted
original
which
plays
in
a
dark
tunnel
as
you
and
alex
desperately
fend
off
zombies
with
nothing
but
your
flashlight
to
guide
you
kelly's
techniques
were
slowly
inching
towards
something
exciting
for
half-life
and
they
would
be
fully
realized
in
episode
2.
the
wide
open
terrain
of
white
forest
brings
with
it
plenty
of
unexpected
threats
and
ambushes
but
it
also
carries
a
serene
beauty
and
i
believe
this
is
best
depicted
in
the
song
eon
trap
it's
an
ambient
electronic
rock
piece
that
reflects
well
in
the
small
village
gordon
and
alex
find
themselves
trapped
in
against
combine
forces
and
the
pace
of
the
song
carries
the
fight
as
you
defend
yourselves
soaked
in
beautiful
yet
antagonizing
synths
with
some
electric
guitar
strums
thrown
in
for
good
measure
the
episodic
games
tend
to
use
synths
in
place
of
guitars
to
fall
in
line
with
the
setting
but
occasionally
you'll
have
those
moments
where
kelly
isn't
afraid
to
just
go
for
it
sector
sweep
and
last
legs
are
evocative
of
combine
technology
tracking
your
every
move
but
they
also
thrust
you
into
the
action
making
me
want
to
tear
through
them
the
guitar
riffs
work
in
this
game
due
to
their
frantic
nature
the
chords
are
unusual
and
they
slip
and
slide
everywhere
underneath
the
synths
they
match
the
frenetic
combat
of
half-life
perfectly
and
play
amongst
the
backdrop
of
a
large-scale
war
in
an
empty
scenic
forest
this
is
part
of
the
reason
episode
2
is
so
incredible
on
its
own
everything
takes
place
in
what
should
have
been
an
area
far
removed
from
the
combine's
tyranny
it
harkens
back
to
the
coast
levels
of
half-life
2
but
the
tone
is
marginally
different
here
winning
against
the
combine
actually
seems
like
a
possibility
now
warranting
some
motivating
electric
guitars
perhaps
my
favorite
combat
track
in
the
game
is
vortal
combat
it
plays
during
your
defense
against
the
horde
of
ant
lions
with
so
much
going
on
and
so
much
to
pay
attention
to
i
can't
think
of
a
better
song
to
keep
me
focused
on
the
action
[Music]
episode
2
still
scaled
back
its
music
and
moments
that
don't
need
it
like
the
disgusting
antlion
grub
caves
13
years
later
these
still
make
me
nauseous
they
glow
a
putrid
greenish
yellow
with
blood
splattered
across
the
walls
and
ground
you're
supposed
to
squeeze
through
these
tunnels
while
being
chased
by
an
antlion
guard
which
is
no
easy
task
the
tension
comes
from
the
uncertainty
as
you
rush
from
tunnel
to
tunnel
hoping
that
the
guard
doesn't
catch
you
beforehand
it's
a
whole
lot
scarier
without
any
music
backing
you
up
as
you
might
have
guessed
i
also
couldn't
get
enough
of
how
serene
and
relaxing
the
driving
segments
were
in
episode
2.
much
like
with
highway
17
although
i
had
no
idea
what
lay
ahead
nor
the
dangers
i'd
have
to
confront
i
found
solace
in
the
scenery
of
white
forest
checking
buildings
fighting
the
occasional
monster
and
solving
puzzles
for
weapon
caches
may
have
been
part
of
a
grand
adventure
but
to
me
it
was
nothing
more
than
a
leisurely
drive
through
a
calm
portion
of
an
otherwise
war-torn
world
no
music
necessary
here
just
take
it
all
in
while
you
can
another
poignant
moment
in
which
music
was
withheld
was
during
the
launching
of
the
rocket
the
portal
is
neutralized
and
everyone
celebrates
everything
this
scene
represents
didn't
need
to
be
depicted
in
music
in
the
face
of
the
ongoing
war
between
the
resistance
and
the
combine
silence
is
golden
and
after
launching
that
rocket
it
was
nice
to
have
some
time
to
reflect
the
moments
that
followed
however
weren't
quite
as
peaceful
the
final
song
in
the
game
plays
just
as
you're
about
to
board
the
helicopter
and
search
for
the
borealis
i'm
sure
you
all
know
what
happens
next
so
i'll
spare
you
from
seeing
it
again
the
song
is
called
dark
interval
and
it
is
without
a
doubt
one
of
the
most
unnerving
songs
in
half-life
you
have
this
rustic
chime
echoing
as
the
advisors
draw
closer
and
these
sharp
industrial
sounds
ringing
out
eventually
fade
into
a
somber
synth
piece
eli's
final
message
the
uncertainty
that
came
with
searching
for
a
teleporting
ship
and
the
effect
that
this
would
have
on
alex
are
all
wound
into
this
song
anxiously
setting
the
player
up
for
whatever
the
episodic
trilogy's
conclusion
would
be
but
you
all
know
the
rest
episode
3
never
came
out
for
over
a
decade
we
were
forced
to
sit
in
silence
agonizing
over
eli's
death
and
the
continuation
of
both
this
series's
story
and
gameplay
half-life
was
going
places
but
it
was
looking
like
we'd
never
get
to
see
those
places
kelly
bailey
left
valve
after
a
short
while
with
mike
moroski
becoming
the
lead
composer
at
the
company
he
worked
on
team
fortress
2
left
4
dead
and
portal
2
establishing
his
own
identity
and
sound
within
their
games
and
after
a
long
while
he
would
also
be
tasked
with
revitalizing
the
sound
of
half-life
on
november
21st
2019
we
got
our
first
look
at
half-life
alex
the
first
half-life
game
in
over
10
years
mike
did
everything
he
could
to
make
sure
that
his
music
would
live
up
to
the
series
reputation
consulting
with
kelly
bailey
while
working
on
the
game
in
the
end
i
feel
that
he
did
the
series
justice
in
ways
that
were
only
possible
through
him
[Music]
something
about
the
first
chapters
music
and
half-life
alex
seemed
to
click
with
me
despite
how
noticeably
different
it
was
i
mean
it
sounds
far
more
orchestral
and
grandiose
than
anything
kelly
bailey
had
ever
composed
i
wasn't
sure
of
how
i
felt
about
strings
and
brass
being
pumped
into
songs
that
didn't
necessarily
need
them
previously
the
beginning
of
half-life
2
was
almost
entirely
silent
and
those
moments
that
attempted
to
evoke
a
feeling
of
intimidation
did
so
synthetically
they
were
still
vivid
soundscapes
in
lieu
of
a
studio
orchestra
but
in
the
context
of
the
long-awaited
revisitation
of
city
17
i
came
to
love
the
music
that
plays
throughout
this
first
chapter
it's
just
as
lovely
as
it
is
somber
to
be
placed
in
combine
oppression
once
more
and
this
is
reflected
through
the
string
melody
the
citadel
is
under
construction
and
the
combine
are
in
the
process
of
turning
city
17
into
their
central
hub
reflected
in
the
synths
and
electronics
strewn
about
the
chapter's
music
mike
discussed
creating
pacing
through
music
and
one
of
the
commentary
notes
in
chapter
one
and
this
is
demonstrated
as
civil
protection
begins
rounding
up
citizens
the
music
subtly
pushes
you
forward
through
percussion
but
not
so
much
that
it
forces
you
to
do
anything
this
is
because
level
pacing
is
usually
dictated
through
stems
remember
how
i
mentioned
kelly's
work
made
him
a
vital
asset
to
half-life's
design
well
with
stem-based
compositions
mike
moroski
essentially
is
a
game
designer
the
prime
example
being
the
fight
with
the
strider
in
the
parking
garage
the
music
starts
with
an
uncertain
synth
beat
during
your
rush
to
the
elevator
before
exploding
into
technological
grunge
there's
a
moment
of
calm
before
you
are
once
again
thrust
back
into
a
chase
as
the
strider
smashes
into
the
crumbling
apartment
complex
after
turning
the
corner
you'll
meet
a
few
combine
soldiers
as
the
synths
turn
determined
and
violent
as
the
strider
loses
you
things
become
more
calculated
as
you
have
to
pick
off
a
few
more
soldiers
in
manhattan
then
after
you
catch
your
breath
the
chase
continues
it's
a
mad
dash
for
that
turret
while
shooting
at
the
strider
that
first
melody
returns
and
everything
fades
out
once
you
deal
the
final
blow
this
scene
has
like
14
stems
in
total
all
subtly
focusing
you
on
a
task
through
differentiated
composition
another
chapter
that
tackles
this
point
extraction
never
dull
moment
in
this
chapter
and
the
same
can
be
said
for
the
music
the
stems
are
twisted
and
barely
held
together
by
any
sort
of
time
signature
or
structure
always
surprising
and
always
attempting
to
emulate
the
mind-boggling
layout
of
your
journey
through
the
extracted
apartment
buildings
only
as
you
approach
the
vault
does
it
finally
regain
some
semblance
of
a
structure
as
the
synths
rip
through
your
ears
to
reflect
on
the
energy
pumping
through
the
vault
that
even
the
combine
are
afraid
of
[Music]
the
strider's
music
also
taps
into
a
motif
from
the
original
half-life
enemy
themes
striders
have
that
grunge
sound
to
match
their
stature
their
dangerous
movement
and
their
attack
methods
ant
lions
have
synth-based
percussion
beats
to
synchronize
with
their
skittering
as
they
inch
towards
you
huge
fights
with
a
variety
of
enemies
take
on
a
full
orchestra
which
works
well
in
a
combat
scenario
like
that
and
the
soldiers
get
the
combat
music
that
probably
challenged
mike
the
most
when
composing
for
half-life
alex
usually
once
the
sound
for
a
game
is
nailed
there
will
be
a
process
in
which
composers
create
music
that
ends
up
becoming
associated
with
the
game
mick
gordon
went
through
this
process
with
both
of
his
doom
games
giving
us
songs
like
bfg
division
and
the
only
thing
they
fear
is
you
for
mike
this
meant
creating
something
immediately
identifiable
that
both
kept
the
player
engaged
in
combat
and
lived
up
to
the
infinitely
recognizable
stuff
that
kelly
bailey
had
put
out
in
the
past
in
the
end
he
delivered
in
your
first
real
bout
with
overwatch
soldiers
you'll
get
to
hear
the
song
anti-citizen
which
perfectly
balances
haphazard
synth
and
guitar
riffs
with
the
traditional
rock
elements
of
some
of
kelly's
finest
since
the
series
is
inception
this
is
the
kind
of
sound
that
i
will
forever
associate
with
combine
soldiers
and
the
pacing
of
half-life
combat
half-life
alex
also
reuses
music
from
the
original
game
when
appropriate
half-life
2
did
this
as
well
and
it
made
for
a
few
tender
and
nostalgic
moments
electric
guitar
ambience
plays
as
you
approach
eli's
lab
dubbed
black
mesa
east
vague
voices
returns
during
your
tutorial
with
the
gravity
gun
making
an
already
fantastic
learning
process
feels
safe
and
comforting
as
you
play
fetch
with
dog
in
half-life
alex
these
reuses
are
few
and
far
between
but
they
are
welcome
at
one
point
you
raise
a
garage
door
to
reveal
an
entire
room
rigged
with
trip
mines
and
explosives
if
they
explode
they
take
the
whole
building
down
you
have
to
carefully
disable
the
trip
mines
while
steaming
the
pipes
plays
it's
a
nice
blast
from
the
past
amidst
a
soundtrack
so
concerned
with
sounding
bombastic
and
modern
but
it
also
maintains
the
game's
focus
on
creating
pacing
through
music
for
all
of
these
reasons
the
soundtrack
of
alex
succeeds
as
a
half-life
soundtrack
but
there's
something
missing
like
i've
illustrated
there
is
a
lot
of
music
in
half-life
alex
stems
consistently
create
pacing
for
the
game
and
they
introduce
new
elements
as
you
progress
through
the
level
and
encounter
new
challenges
even
in
chapter
1
there
are
stems
for
a
strider
towering
over
you
and
a
gunship
flying
through
the
air
there
aren't
nearly
as
many
moments
of
calm
although
they
do
exist
in
areas
where
the
game
feels
like
you
can
handle
things
on
your
own
and
i
savor
those
moments
but
losing
regular
moments
of
silence
diminishes
a
primary
philosophy
established
time
and
time
again
in
previous
soundtracks
with
that
said
there
is
one
chapter
that
understood
the
importance
of
silence
in
half-life
jeff
if
you've
seen
my
half-life
alex
retrospective
you'll
know
that
i
adore
this
chapter
it
is
entirely
based
on
sound
and
pushing
yourself
into
doing
things
that
you
would
otherwise
be
very
uncomfortable
with
the
stems
in
this
chapter
are
subdued
acting
as
validation
of
the
player's
fear
during
your
search
for
the
three
batteries
the
music
only
takes
a
break
from
fear
outside
in
your
only
safe
haven
one
of
the
most
soothing
synth
melodies
in
half-life
history
plays
out
here
as
the
game
allows
you
to
take
a
break
and
stare
out
into
the
sunset
jeff
can't
hurt
you
out
here
but
at
some
point
you
must
throw
yourself
back
into
the
action
while
not
complete
silence
as
seen
previously
in
half-life
the
compositions
in
this
chapter
allow
for
the
player
to
breathe
in
what
is
unarguably
the
most
stressful
scenario
in
the
game
it
acknowledges
past
half-life
games
and
their
techniques
in
creating
organic
tension
but
it
also
goes
in
a
new
and
admirable
direction
and
to
me
that
describes
the
game
and
it's
ending
pretty
well
we
all
had
our
own
form
of
closure
with
episode
3's
demise
mark
laidlaw
let
us
know
how
the
story
was
supposed
to
end
and
unleashed
a
plethora
of
fan
projects
that
aim
to
finally
close
out
the
still
unfinished
episodic
trilogy
for
half-life
alex
creating
something
that
changed
the
ending
fans
had
grown
accustomed
to
would
be
jarring
to
say
the
least
as
such
the
writers
took
things
in
a
new
direction
from
when
eli
was
supposed
to
die
with
the
g-man
seeing
continued
promise
in
alex
fans
with
alex
placed
in
stasis
most
of
us
probably
felt
confused
betrayed
or
even
upset
and
this
is
reflected
in
the
piano
melody
that
follows
the
scene
but
this
piano
melody
eventually
descends
into
a
ballad
of
hope
through
intense
drums
and
a
badass
electric
guitar
and
then
after
fading
back
in
we
grabbed
the
crowbar
as
gordon
freeman
i
don't
think
the
writers
intended
for
people
to
soak
this
ending
in
immediately
especially
considering
the
um
heavy
implications
but
the
more
i
thought
about
what
this
ending
could
represent
the
more
i
realized
that
i
wouldn't
have
it
any
other
way
and
this
is
all
reflected
in
that
credits
theme
it
represents
something
greater
than
just
a
bridge
into
the
continuation
of
the
half-life
story
it
represents
the
return
of
something
that
half-life
fans
were
struggling
to
maintain
for
the
longest
time
hope
for
the
first
time
in
what
felt
like
an
eternity
half-life
was
assured
to
be
an
ongoing
franchise
its
story
continues
and
its
legacy
lives
on
it's
funny
how
the
silence
between
games
ended
up
mirroring
the
silence
between
songs
in
a
half-life
game
with
valve
keeping
their
lips
sealed
for
so
long
and
with
the
time
it
takes
for
a
half-life
game
to
finally
come
out
we
were
expected
to
fend
for
ourselves
just
like
the
silence
that
sits
between
its
pivotal
compositions
we
were
forced
to
wade
through
ravenholm
or
barrel
through
white
forest
with
nothing
to
accompany
us
but
our
wits
and
i
believe
that
inspired
me
most
when
it
came
to
the
various
landmarks
of
half-life
and
the
silence
on
valve's
part
inspired
me
too
just
as
the
silence
spawned
countless
passionate
fan
works
between
half-life
games
ironically
the
silence
became
the
spearhead
for
storytelling
as
it'd
go
on
to
inspire
more
people
than
i
believe
valve
ever
dreamed
it
could
and
to
the
same
extent
the
most
memorable
songs
in
half-life's
history
have
always
become
known
for
more
than
they
were
originally
intended
to
be
what
would
eventually
become
valve's
theme
song
a
song
that
plays
at
the
beginning
of
nearly
every
valve
game
to
date
represents
the
collective
community
that
was
born
from
the
games
that
valve
created
all
of
the
art
music
mods
and
stories
all
stem
from
a
song
that
when
heard
signals
some
of
the
greatest
ideas
to
come
out
of
the
game
industry
vague
voices
allowed
people
to
bask
in
the
wonder
that
came
with
not
just
half-life
but
the
gold
source
modding
community
as
a
whole
cp
violation
pumped
people
up
back
in
2004
as
they
got
to
control
gordon
freeman
in
something
new
after
six
years
of
waiting
and
now
it
becomes
synonymous
with
the
gameplay
of
half-life
2.
then
after
episode
2
we
received
nothing
half-life
floated
in
limbo
for
years
lab
practicum
became
my
comfort
food
whenever
i
dream
about
the
future
of
the
series
its
blank
canvas
of
sound
allowed
me
to
escape
for
whatever
reason
i
needed
and
perhaps
most
significantly
triage
at
dawn
like
its
intended
purpose
in-game
signaled
the
eventual
return
of
gordon
freeman
although
it
seemed
more
and
more
unlikely
as
the
days
went
by
it
was
a
beacon
of
hope
that
fans
held
onto
no
matter
how
difficult
the
weight
might
have
been
and
now
we've
received
hope
we
received
a
full
game
on
top
of
hope
any
inconclusiveness
amidst
the
end
of
half-life
alex
is
accompanied
by
the
simple
notion
that
gordon
after
many
years
finally
has
some
work
to
do
[Music]
i'm
sure
you
all
have
stories
attached
to
the
music
of
half-life
and
what
it
represents
to
you
and
that's
the
beauty
of
these
soundtracks
they
embody
both
the
rich
and
detailed
settings
of
the
games
and
the
emotions
of
the
people
that
played
them
grew
up
with
them
and
lived
with
them
for
many
years
and
i'd
love
to
hear
those
stories
so
feel
free
to
let
me
know
in
the
comments
on
twitter
or
through
email
what
the
music
of
half-life
means
to
you
and
some
stories
you
have
with
it
for
now
i've
been
liam
triforce
and
i'd
like
to
thank
you
for
watching


it had been 20 years since the NBA had seen a trade involving so many players but had been 57 years since the league had seen the team willing to go so small for so long when the Rockets traded their lone productive big man to the Atlanta Hawks a lot of people might have scratched their heads in confusion after all the Lakers and Bucks have gotten bigger and longer and clearly Daryl Morey wants to compete with them for titles but a closer look at the numbers they value so much might just explain why they had to do this trade plink capela has been a double-double machine for three seasons now and the anchor of a defense whose mediocre defensive rating would plunge even lower without him however one look at some of the deep stats and you can see why Daryl Morey felt the need to pull the trigger on a trade with capela in street clothes for 11 games this year the Rockets won 10 of them including big wins over Indiana Miami Utah and Dallas and that's just the beginning of the issues when he was on court the offensive rating would drop 5.8 points more importantly as russ has found his offensive grooves the last 12 games the difference when Capello is on the floor dropped over 11 points in offensive rating his role in the offense has radically changed this year setting fewer and fewer ball screens negating the vertical spacing he used to give them as a slammer downer of law passes as a result he spends his time in the dunker spot on the weak side near the rim and it allows his man to help out on plenty of drives with zero spacing as his shooting threat he became an albatross weighing the offense down oh and while defensive rating for individual players as all sorts of noisy I can bet Moray was looking at his on court effect on this number and if you go back the last three seasons you can see his effect has been negligible despite his ability to block shots and rebound among starting centers this year his defense of the opponent's field goal percentage in the restricted area has skyrocketed to over a 65 percent the dirty little secret is that since he became the starter this percentage has always been way higher than the top starting centers you would think putting Russ Harden Eric Gordon PJ Tucker and capella together would be their best lineup in fact this was their third most played lineup and it was getting blown out every time they got on the floor together with these numbers in mind you might wonder what took mores so long to trade in and perhaps there's another reason why he's on his way to Atlanta maybe he wasn't fresh enough in the lower shorts region and that's where our sponsor man escapes comes in the only men's brand dedicated to below the waist grooming and hygiene the perfect package essential kit comes with their brand new lawnmower 3.0 trimmer and just as importantly the crop preserver anti chafing ball deodorant and crop Reviver refreshing spray maybe capela would still be on the Rockets had he been using man escapes you know after eighteen plus months of research and development the lawn mower 3.0 at the 7000 RPM motor with quiet stroke technology extended battery life up to 90 minutes and a diamond textured no slip grip handle with an extremely useful LED light that illuminates the areas of your body that rarely get sunlight I couldn't get over how great the 3.0 is and I use it everywhere a new and improved perfect package 3.0 kit includes the cordless and waterproof lawn mower 3.0 anti chafing boxers perhaps another reason capella had a go and a luxury travel bag since Quinn is already on the road heading to the Hawks as a subscriber to manscape you get 20% savings instantly on your order and a new replacement plate refill delivered to your door every three months get 20% off and free shipping of your perfect package 3.0 kit when you use my code b-ball 20 at manscape calm if you do I promise you won't get traded to another team because you're not working well enough with the four best players on the roster however it's not like those four guys we're doing awesome without capella when Tucker went to center that four-man lineup was in negative territory in net rating plugging in guys like house rivers and McLemore simply wasn't working well either so it would make sense that a change was necessary and setting their sights on Robert Covington appears to be a pretty good solution first off he has some ability to shoot the three ball there have been stretches where he's tantalize us with almost elite shooting from back there but he's never fulfilled that promise and I have no doubt Mike D'Antoni is convinced that in his space and Chuck offense he'll improve most of Covington's threes come on the catch and shoot variety perfect for the one-two onslaught that is James Harden and Russell Westbrook who simply asked their teammates to wait patiently until they pass in the ball and send up those missiles however he has shown some improvement putting the ball in the deck and releasing shots in the lane this has been a struggle for guys like rivers so of Covington to give them even a little boost in production in this area off the dribble the Rockets will be very happy but that's only part of the package while their team defense has never been elite there was a moment back in 1718 when they had a few defensive minded players and their defensive rating vaulted into the top seven covington brings that same mindset to the defensive end and is going to need it folks if he's going to be part of a lineup with Tucker at center don't be surprised to see Covington pick up the other teams big man off of rotations and switches and you know what he's tucked down there he could hold the position to get stronger players and he's got some of the fastest hands in the league if a big man thinks he's got an easy lane off a spin Covington has a real penchant for knocking the ball away from behind it he can be the defensive stopper this team has been desperate for on the wing willing to guard the other team's best player his ability to make them work for it puts him at the top of the list for perimeter defenders in the NBA it remains to be seen if the Lakers will destroy them on the offensive glass or if the Rockets would be more than happy to trade to is for threes and walk away with a victory but the clock is ticking for everybody in Houston as it always seems to be and they haven't been able to solve the puzzle that is fitting the pieces around James Harden properly perhaps the solution requires getting out of the box or in this case making the Box much smaller will it work depends on what your definition of success is can they maintain their spot in the middle of the pack in the West sure will that mean they'll make a deep run in the playoffs I can still see them playing Rudi off the floor in a potential first-round matchup against the Jazz and not getting hurt with Tucker at center but that sets them up for a second round series against the tallest frontcourt in the league and wouldn't you know it we'll get some answers when these two teams face off tonight if you like this video please give it a thumbs up and subscribe to p ball breakdown so you can get alerted right away when we drop a new video this season will be filled with incredible content so don't miss it you


sweetness when seth macfarlane leaned into the microphone to make a special announcement during san diego comic-con 2019 a lot of fans knew something was coming social media had been abuzz all morning Seth was going to announce something big and we all know that big news is almost always good news speculations spread across the internet like wildfire the Orville is getting a season for some said others replied with how about four five and six others excitedly reported that a movie deal was being announced and some even fantasized that Elora was returning to the show no that's not it no just drop it okay so when Seth announced the Orville was moving from Fox to Hulu for season three the fandoms house party records scratched and the music suddenly stopped as a moment of confused silence slammed into Orville fans as they tried to process the information and what it might mean the initial response was fractured with uncertainty but as the cloud of confusion cleared and the news really sunk in a large majority of the fanbase accepted it and gave Seth their trust which he'd earned by embracing fans during the first two seasons of the show bingo but there were others who were upset the Orville was going behind a paywall to say the show has a large following of Star Trek fans would be an understatement the Orville has been described as a love letter to Star Trek although it's carved out its own personality after two very successful seasons and it's this Star Trek quality that brought droves of fans to the show initially referring to the Orville as Seth Trek and the trek we need many of those people were also happy to support the Orville after CBS announced all new Star Trek would be available only behind the new CBS all access pay wall already disappointed with the new iteration of Star Trek some fans felt like having to pay for it added insult to injury and as a result fans are raising a skeptical eyebrow over moves to streaming services in just a moment we are going to show you why the move to Hulu is exactly what was needed for the future success of the Orville and we'll show you why Hulu is the first streaming service you should pay for if you're paying for any of them first we want to thank our sponsor for this video the Amino app we recently partnered with Amino and we are really excited about this new way to share stories with you the Amino app is free and it allows you to search up a variety of communities filled with individuals who share the same interests as we do if you haven't tried Amino download it right after watching this video and give it a try the folks over at Amino recently invited us to share our stories and we're excited to be uploading new content on their platform our newest video the top 5 Orvil episodes and why they are probably your top 5 episodes too is available right now so download the Amino app and search for the podcast and follow us there so you get that great exclusive content it's fun it's short form videos and you won't want to miss it so we appreciate you supporting us over on the Amino app when the news dropped that the Orval is moving to hulu most people were concerned with how that would impact their ability to watch the show or how much extra it might cost them for a new streaming service but most people weren't asking why why was the Orval moving to hulu if you go back to the second half of the Orval season 2 we were all waiting and waiting and waiting for the Orval to get it's season 3 announcement there was a real fear that after two seasons we'd already seen as much as we were going to see of the Orval there was a lot of speculation that Disney's takeover a fox was the reason or that the show had poor ratings but the reality is that behind the scenes things were very friendly Fox was happy with the show and they wanted it renewed for a third season as well one of the hold ups was about ad runtimes we'll show you in a second what this has to do with Hulu but keep in mind Tom Cosentino a co-producer editor and fan favorite Twitter follower for the Orval often described the show's rating as good for a streaming style show so even before the move to Hulu the show was considered a streaming show on network TV during the Orville's first season the show operated in a very standard 43 to 44 minute runtime with ads filling out the rest of the hour but prior to the fall of 2018 and the Orville's second season Fox rolled out an advertising concept known as a jazz pod this just the A&Z pod of advertising blocks was designed to decrease the amount of time viewers had to sit through ads Fox was ahead of the game because according to Indy wire network executives across the board were stunned at the huge drop in the number of viewers ages 18 to 34 during primetime broadcasting last fall the 15 percent plunge of young viewers was way more than expected and after conducting surveys industry experts said the number one complaint was ads with Fox correctly guessing the market their jazz pods were put in place to air during Orval broadcasts giving Seth almost 49 minutes of runtime the additional four plus minutes of content gave the creative minds behind the Orval a little more time to weave deeper stories and create incredible visual effects the result was a more in-depth rich and meaningful season - the most important thing you can take away from what's happened with the Orval so far in respect to Fox Hulu or even making the show in the first place is that Seth MacFarlane above all else wants the Orval to be done right so when Fox offered this extra time to Seth he made the most of it and now it's an emmy-nominated show so when the renewal for season 3 was being negotiated one of the things Seth wanted was for the orville to have the same flexibility as it did with season 2 and the same runtime the show needed to be done right in the end the deal got done but networks need flexibility in advertising so they can pay to have the shows made and science fiction shows with heavy visual effects and complicated sets can be much more expensive to make than other genres of shows another complicated cog in keeping the Orval on the air was the Disney buyout of Fox not that Disney had any nefarious plans for the show but because the Fox network would become a part of a new entity called the Fox corporation this new smaller Fox is rumored to be relying more heavily on live programming sports and news leaving it with fewer hours of traditional television programming if this ends up being true the Orville's move to hulu just saved the show think about it for a second if Fox is focusing on live programming sports and news why would it do that because this model is the only way broadcast television is going to be viable going forward the wave of cord cutters people who ditch their cable for online streaming platforms is growing rapidly at the end of 2017 there were almost 200 million pay TV cable subscribers with an estimated 35 million cord cutters at the end of 2018 and an estimated 39 million more in 2019 that 200 million could be cut in half before the end of 2020 and what's the most difficult thing for cable cutters to replace live shows sports and news coincidence absolutely not advertisers may seem like they throw their money away but they know when advertising is working and when it's not the flood of advertising to youtube and other streaming platforms buy the movie car and entertainment industries is not a fad it's a sign of the times people get older not younger and that means purchasing power is getting younger and younger people are moving to streaming so with the Orval moving to hulu it's following the flow of viewership which is key to the success of any show if you recall from season two the Orville's Nielsen ratings was often doubled and even tripled by streaming numbers before the airing of the next show with the bulk of those views coming from Hulu which aired both season one and season two of the Orval only hours after its initial broadcast on Fox and moving with the flow of viewership isn't the only benefit for the show moving to Hulu while runtimes are expected to be similar to season two there is no longer a requirement to stick to a specific length of time if Seth needs more time to complete an episode that feels short like say Priya which many people thought would make a good two-parter then he can do that the need to force production into a small window that either fits a fall or midseason release is no longer required season 3 of the Oroville is expected to be ready to go by late summer 2020 and they will be able to launch immediately on Hulu instead of waiting until October to air on Fox some might argue that the move to Hulu will make the show less available to viewers initially and while that's true Fox is still paying for the show to be made and even if it's on Hulu the marketing machine will be in full effect but do you want to know the biggest reason the Orval moving to hulu is good for the show star trek Firefly Stargate space above and beyond alphas almost human heroes dark matter ok any science-fiction show that was cancelled before its time and what's the number one reason these shows are canceled money ratings is what you'll usually hear but the truth is a show can only live as long as it can pay for itself and an hour of science fiction is usually a lot more expensive than say an hour of Grey's Anatomy so if a 60-minute drama with a potentially large fan following experience as a ratings drop it might survive because it's cheaper to make let's face it networks and bean counters often put sci-fi series on thin ice and look for reasons to cancel them but you may be saying look at Star Trek 1987 to 2005 and what about Stargate 1997 to 2011 or how about Doctor Who or the x-files there are examples of great sci-fi that exceeded ratings and cost but just looking at these alone there is no Star Trek The Next Generation without for exceedingly successful Star Trek movies before it started to air at all because some insane executive at Showtime gave them a guaranteed 44 episodes and even after that producer said the show barely paid for itself over the years Doctor Who is a flagship BBC show and that network wanted it on air but unless you were a fan of PBS you didn't watch it in the United States until sci-fi started airing it in 2007 and as amazing as the x-files is it isn't terribly expensive to film David to cover tiptoeing through deserted buildings in the dark for a lot of science fiction shows to make it there usually requires a bit of luck imagine if Lucille Ball hadn't overruled her board of directors there would be no Star Trek and how many shows did Star Trek inspire luck it turns out plays a big part in expensive TV shows and the Orville may have just found its own little piece of luck Fox and Disney both owned 30% of Hulu now that Disney owns Fox the mouse has controlling interest in Hulu this means Hulu is a safe place for the Orville Hulu needs more original content and because Disney and Fox are footing the bill that's exactly what the show is now Hulu original content this may have been the luck we needed and perhaps we'll still be talking about the Orville on Hulu a decade from now now that we've explained why the move to Hulu is good for the show let us explain why this move is good for you according to rancor comm 12 of the current top 20 TV shows are all behind paywalls on Netflix Hulu or HBO just take a look at this year's Emmy Awards in the special effects category the Orville is the only show that wasn't behind a paywall which is a testament to what the team was able to produce still on network television but when you look at the list of Emmy nominations HBO and Netflix crushed it with 137 nominations and 117 respectively NBC managed fifty eight nominations but Amazon is right there on its heels at 47 Hulu even had a modest twenty Emmy nominations so if you're not watching a paid streaming service then you likely don't have access to the best television but you might say well I already have Netflix because I've had it forever and I have Amazon because there's no other place to shop on the planet why should I also pay for Hulu well first off everyone should own hulu hulu should have to pay us for what we're about to say but we love the Orval so much we want you guys to feel good about the move so here's some free advertising Hulu of all the streaming services Hulu has the largest selection of Current TV yes you can catch old seasons of some shows on Netflix and you can Eve by some current seasons of shows on Amazon but Hulu provides access to most major Network shows aside from CBS don't get us started and they also provide a handful of cable shows the day after they air it has a number of original shows and even has a joint venture with the BBC on programmes I mean even if you want to watch Voltron defender of the universe it's on Hulu there are some people out there on rabbit ears and fixed budgets we get it the current cost of a Hulu monthly plan is $5.99 per month and for $11.99 per month you can get it ad free Hulu drops they're originals weekly so this means you would have to come up with a minimum of twenty three dollars and ninety six cents to have a Hulu subscription for four months and watch season 3 of the Orval each week we cut our ties with cable a long time ago we had cable Netflix and Amazon when we turned off our $80 cable bill and added a twelve dollar Hulu bill we still save sixty-eight dollars a month we didn't need local news so the loss of cable didn't mean much for us when the Superbowl comes around or the Emmys will activate Hulu live TV and pay forty $4.99 for a month or two after two years of being cable free we've saved almost fifteen hundred dollars and still get to watch the major live events we want during the year but we realize getting rid of cable isn't for everyone so here are a couple of ideas forty-four million households have DVRs on their cable boxes at an average cost of $8.99 per month turn in your DVR next year for four months while the Orval is airing and you'll even pocket three dollars a month you'll also find out pretty quickly you don't need a DVR because most shows are already on Hulu and if you're one of those households without DVR on your cable and you don't want to cut your cable here's an easy way to pay for four months of Hulu okay grab a kitchen trash bag and hang it out of the way every time you finish a can of soda beer bottle of water or anything you pay a recycling fee for at the store throw it in that trash bag fill up four or five of those bags take it down to the recycling center and you'll have enough to cover the tire Orval season still not convinced are you one of those people that said but we're going to have to start paying for Disney Plus soon - yes we've all heard the news that Disney is going to start recalling all of its content much to the despair of Netflix which means if you want to keep watching Disney stuff you will have to subscribe to Disney Plus if that's the case for you then like the Orval you just fell into a bit of luck as well starting November 12th you'll be able to get Disney Plus as a bundle with ESPN Plus and that's right Hulu for only $12.99 a month we can sense that everyone watching this video just started recycling and last but not least for all those people that say they already have Netflix or another streaming service that allows for binge watching original content if that's the case great subscribe for a month binge watch and then unsubscribe for a month do that every month and you'll have plenty of money for a season of the Orval on Hulu also if you're one of those Netflix diehards that won't give it up so they can watch The Office and friends over and over again those days are numbered with Disney content leaving the platform CBS is doing its own thing and Fox and ABC are on Hulu Netflix will be struggling for content here in the future Disney Plus is going to hurt Netflix but AT&T who owns HBO and Warner is planning its own streaming service in 2020 not to mention NBC is starting its own streaming service and they are pulling the office which is the most viewed show on Netflix still not convinced well unlike Amazon Prime you can stream two devices simultaneously on Hulu so until they change the rules find someone you can share a subscription with you shouldn't have a hard time finding three dollars and change in your couch or car to get your subscription going feel free to matchmake in the comments below I haven't paid for HBO in years thanks to Brian and of course our last-ditch suggestion is to pay a visit to a friend who subscribes to Hulu the night the Orval airs make an excuse to come over and then park it on the sofa asking for the remote to your friend smart TV how do you afford a Smart TV the most important thing we can leave you with is that if you love the or and you want to see it come back every year be there to support it no matter where it's airing when we think back to the shows we loved that left us too soon ask yourself this question would you pay a little bit to keep it alive so you could keep watching it I think Stargate fans would how about Firefly once they take our shows they almost never give them back so supporting the show while it's airing is the best way to keep it on the air the Oroville has a bright future Seth MacFarlane and his team will have more creative space than ever before we are the ones that will keep the fires of fandom lit Seth Tom and the rest of the crew have put their fans first on this journey we're on that includes comic-con the Orval experience signing autographs or interacting with fans on social media this community is very special and different than many others other productions are breaking their arms to pat themselves on the back forgetting that without the fans to watch there is no show but not the Orval they know the dinner table is set by fans and they know where their bread is buttered now someone passed the cake corner pieces only if you enjoy the orville and other content like this subscribe and hit the notification bell to get our next video and of course if you liked this video smash that like button like isaac decapitating Kalon and make sure you share this video with any machlin chain-smoking friends also consider supporting our channel at patreon.com slash podcast guys or subscribe Starcom slash the pop cast so we can continue bringing you videos that tickle your Orval bone and until next time jalaja my friends [Music] [Applause] [Music]