Well, I must say, the music in Call of Duty 4 is beautiful...
...spoilers...
The music that spans across All Ghillied Up and One Shot One Kill for example. In All Ghillied Up, it portrays a sad, dreary place. In the first portion of the mission, you are offered a distant, misty view of the plant, the Bunsen Burner-like design, and the music is quiet, to show no other sign of life. As you move past the BMPs in the grass, a "tropical" approach, in other words, natural, is taken on in the music, as you try your best to blend in with the grass.
In One Shot One Kill, a sense of determination is taken on after you rappel off the hotel, and McMillan is crushed by a Havoc. The sense of determination created by the music (higher pitched notes every few bars) remains until Big Bird arrives. As you make your way through the pool, almost no music is played, only drips of water, to portray the deterioration of the place. Tension is then built up through use of violin as McMillan waits to activate the beacon. A sense of relief is then created by calm, peaceful music as you pile up into Big Bird.
All In - the "splotchy" music pattern, presents a feeling that anything could happen. Your team may abort the flight of the R2-UTTH Topol M missiles, or, the abortion codes may not be received in time.
And my final prominent observation, Mile High Club. The music is fluid, showing how precise the job of the SAS is. Moving down the plane with nothing but an MP5, several flashbang grenades and a handgun, trying to reach the VIP.
...end of spoilers...
So, does anyone agree with my observations, or have any observations of their own? :)
...spoilers...
The music that spans across All Ghillied Up and One Shot One Kill for example. In All Ghillied Up, it portrays a sad, dreary place. In the first portion of the mission, you are offered a distant, misty view of the plant, the Bunsen Burner-like design, and the music is quiet, to show no other sign of life. As you move past the BMPs in the grass, a "tropical" approach, in other words, natural, is taken on in the music, as you try your best to blend in with the grass.
In One Shot One Kill, a sense of determination is taken on after you rappel off the hotel, and McMillan is crushed by a Havoc. The sense of determination created by the music (higher pitched notes every few bars) remains until Big Bird arrives. As you make your way through the pool, almost no music is played, only drips of water, to portray the deterioration of the place. Tension is then built up through use of violin as McMillan waits to activate the beacon. A sense of relief is then created by calm, peaceful music as you pile up into Big Bird.
All In - the "splotchy" music pattern, presents a feeling that anything could happen. Your team may abort the flight of the R2-UTTH Topol M missiles, or, the abortion codes may not be received in time.
And my final prominent observation, Mile High Club. The music is fluid, showing how precise the job of the SAS is. Moving down the plane with nothing but an MP5, several flashbang grenades and a handgun, trying to reach the VIP.
...end of spoilers...
So, does anyone agree with my observations, or have any observations of their own? :)
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