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The game world of Halo 3: ODST is dictated by a lot of combining factors, but none glue it together more perfectly than its score and the sound engineering. There are the obvious dynamics of fights and flashback missions that echo the series' rockier, more rhythmic elements. But there's also this undercurrent of jazz and atmospheric sounds, subtle piano and solo saxophone sequences, connected by long, sweeping strings. These haunting strains accompany the feeling of loneliness you experience as the wandering Rookie, stealthily moving along unfamiliar streets with danger everywhere and limited resources.The sounds of New Mombasa spill out everywhere, from the ringing telephones and the attention-grabbing machines the AI sets off to tell Sadie's Story, to the chirps of the health stations. The greatest achievement though, and one that really encapsulates that isolated feeling, is the sense of distance evident in the audio design. There's no rain in ODST, as the engine couldn't render it—but it's out there, beyond the city. You'll hear it, as you're walking around after dark. It snaps you into the moment, into the game, into the Rookie's shoes, and is a true triumph of the Halo series. ODST is one of only three FPS games to win in the Best Original Music award at the (formerly Spike) Video Game Awards, the others being BioShock and Destiny, with the latter composed by the same team.