Visual Style Guide

This page presents a guide to the visual style and aesthetics of Project Daybreak. For the project's stance on using images and artwork specifically, see Image Policy.

Overall
Project Daybreak aims to set itself apart by presenting a largely self-consistent aesthetic style. This means that the project's visuals are curated to an extent to maintain that consistency. While there is no visual "canon" per se, visual representations are expected to fall within a certain standard of continuity and compatibility. Still, though a "definitive" version of Daybreak's visuals can be assumed to exist, visual canon is always subject to the ambiguities inherent to creative interpretation. One might say that all visual media is a representation of an elusive fictional "reality", but not an objective expression of that reality itself; this means there is some leeway in visual depictions, especially if they are meant to be illustrative (i.e. getting across a rough idea of what the subject would look like) rather than definitive (i.e. what the subject actually looks like in-universe). For more information on using images, see Image Policy.

Daybreak's aesthetic style takes after the project's overall theme of going back to the basics and then building on top of them. This means our visual style should be seen as a clear continuity from the original game trilogy's design direction. There is no stark transition from "war era" to "post-war era" in aesthetics and technology like in 343i's canon; designs from Halos CE-3 remain in use for years, even decades onward, only to be gradually added on and supplanted. This means that many designs introduced in the 343i era are regarded as non-canon, as they represent a visual style that is a deliberate departure from the Halo aesthetic. Some of the in-universe items those designs represent may still exist in Daybreak's version, albeit with a visual overhaul, though many do not, as they have no longer have a reason to exist (e.g. the D79 Pelican or the BR85 battle rifle).

The aesthetics of the major polities will develop, but only over time and to correspond with technological development - e.g. the post-war decades will be marked by mongrel human/Covenant technologies particularly in some sections of the surviving Outer Colonies.

Human
Human (especially UNSC) designs are utilitarian, boxy, and rugged, designed to give the appearance of functionality. They lean heavily on retro science-fiction inspirations (especially the Alien franchise; concept art by Ron Cobb for the original Alien film served as the primary inspiration for the UNSC aesthetic in the original Halo, for example). Right angles dominate the aesthetic of human tech and architecture, and forms are crude and unrefined on purpose; e.g. not every design-defining form interlocks together perfectly. Bevels and fillets should be used sparingly, especially in contrast to modern science-fiction design sensibilities. Smooth, slick, organic shapes are exceedingly rare and confined to specific pieces of exotic technology, such as the SPI armor family. Overall, most human designs (barring some exotic technologies) should look like they could be produced today with the materials available to us through relatively conventional manufacturing methods.

For example, the look of UNSC starships is dictated by blocky segments and function-based modules, as opposed to hulls predominated by a single unified form. Tactile interfaces dominate, with touchscreens existing alongside mechanical buttons and levers; holography exists solely for display purposes and cannot be used in interfaces due to technological limitations. This semi-retro theme also governs the design of military gear, weapons and vehicles more than hyper-modern or "tacticool" aesthetics; it's still futuristic, but through a lens of 80's-90's science fiction and design sensibilities.

In short, the UNSC is not a "realistic" extrapolation of what we'll have 500 years in the future according to our current developmental trends. Bungie's Robt McLees liked to say that about 200 years from now we got to the point where weapon is just a glass of water; you drink it and all your enemies die. Then we went back to the cool stuff. Thus, it's more about what makes sense within the boundaries of that aesthetic and the internal consistency of Halo's world. This doesn't mean that designs cannot or should not be somewhat justified by real-world logic, however. But it does pay to keep that underlying philosophy in mind when introducing new weapons, vehicles and whatnot to the setting.

The aesthetics in earlier eras of human history (i.e. pre-Insurrection) should be designed with the passage of time in mind. The further back you go in history (e.g. the Interplanetary War), the less overtly futuristic (or alien to our present-day reality) the aesthetics should get.

Covenant
The Covenant visual style is dominated by organic curves and shiny, iridescent surfaces contrasted with a more overtly technological core structure. Otherworldly textures and organic surfaces suggest alien manufacturing methods we can only guess at. Forms are organic-based, but also elegant and visually cohesive; care should be taken so as to not overdo the organic parallels by populating otherwise featureless surfaces with excessive organic "growths" and other visual clutter. The sheer scale of the Covenant also allows for internal variety, both within and without the Covenant hierarchy itself. While their all-encompassing religiosity permeates Covenant design, most of the internal spaces on Covenant ships are predominantly functional, civilian locations (such as High Charity's tower districts or colony worlds and habitats) show more elegant design sensibilities with ornamentation and the incorporation of natural elements. The post-war era also sees a diversification in how technologies are designed and applied among the ex-Covenant.

The "definitive" designs of the Covenant species and their armor largely take after the classic games, particularly Halos CE-2, with various design cues picked up from the later games.

Forerunner
The Forerunner aesthetic favors simple, monumental forms and interlocking geometric shapes. Their creations are not only futuristic and advanced, but should also exude a sense of deep time, with various subtle hints at their extreme age. There is a serene, almost zen quality to Forerunner spaces; they do not exist to dazzle you with technological prowess but create an eerie, mysterious, at times nearly religious feel. Even at their most technical, Forerunner spaces tend to have an elegant quality. They are dominated by a pervading stillness that only 100,000 years of abandonment could create.

Forerunner architecture also leans heavily on early to mid-20th-century architectural inspirations, such as Futurism, Brutalism and Art Deco. The use of architectonic elements such as abstract murals, stained glass windows, beamwork and cantilevers gives Forerunner structures a grounded sense of reality, rather than being entirely otherworldly and fantastical; however eerie and abandoned, one should get the sense that these spaces were once occupied by a civilization now long-lost. Another key inspiration is architect Frank Lloyd Wright's organic architecture; Forerunner relics are designed to exist in harmony with the surrounding nature and terrain, hinting at the underlying philosophies that gave form to them. This also grounds the structures in their environment and enhances the sense of place.

Materiality should also be emphasized. Forerunner relics should be tactile, showing variety in the materials and textures used as well as being imbued with the patina of time; dirt, incrustation, etc. While the degree of wear and tear depends on the state of the installation in question (on some, it can be very subtle), it is rare for structures to appear fully pristine. Surface textures should also exhibit a range of colors from cold metallic grays to warm bronze, brown and golden hues. Stonework is also used in some structures and relics, especially older ones. As an overall rule, the older the structure or construct, the more brown hues appear over blue-gray metal.

Most of the advanced technology behind the structures isn't apparent on the surface, and sparingly-used technologies such as holographic displays and interfaces form a meaningful contrast to otherwise tactile architecture. "Tron Lines" should be used sparingly, and to indicate specific points of interest rather than being applied ubiquitously; for lighting, favor discrete, often ornament-like light fixtures. White, blue-white, or yellow-tinted lighting are more common than primary colors such as blue or orange, for example. Likewise, floating elements should be used with care, often being functional (e.g. anti-gravity gondolas) or highlighting elements of importance, such as the control platform in the Ark's. Hard light is only used in specific applications, such as light bridges, some interfaces, and decor in select locations.

Forerunner constructs
Forerunner robots -- Sentinels, Enforces, etc. -- largely take after their Bungie-era counterparts. Their various appendages and manipulating arms and tools are physically attached and still visibly mechanical, as opposed to floating without physical support; as mentioned previously, floaty bits should be used with discretion. As with Forerunner structures, discrete lights should be favored over Tron Lines.

The Promethean constructs do not exist, at least not as such; if versions of them were to exist at some point, they would be reimagined from the ground-up, both in terms of visuals and lore. 343i's Forerunner designs went into a cyber horror-show direction, with the visual and narrative theming of a digital monster mash; a ghoulish freak show of grinning skulls and tortured souls. Rather than architectonic and weathered, the new Forerunner aesthetic became slick, shiny and digital. This should be forgotten about. A Daybreak reimagining of the Prometheans or analogous constructs would likely take after the aesthetic of Bungie's cut designs for the Guardian in Halo 3, with an impassive, faceless and enigmatic appearance.