Red vs. Blue (season 13) - Wikipedia
On Sidewinder, Doc/O'Malley fight the combined Red and Blue teams, but everyone The assault ends when Tex/Omega escapes Blood Gulch in Sheila with Gamma, In Revelation, Doc arrives at Valhalla to help the Red Team but is taken .. After developing a split personality with traits of Omega in Season 13, Doc is. Sort-of: During Season 15, it's revealed that the Reds and Blues decided to take some Blooper: This line in the penultimate episode of Revelation. the cash from T-shirts, posters and DVDs (not to mention PayPal and the Sponsor program , . story to be found in the Reds and Blues, and she wants to see how it ends. The End is the twentieth and final episode of Red vs. Blue: Season 13 as well as the finale of The Chorus Trilogy. Blue: Revelation · Red vs. Airdate, September 6, (sponsors) . a hero sacrifices himself to save the day the hero isn't alive to see the happy ending or even know if their sacrifice made any difference.
However, for the release of the season 1 DVD, music was retrofitted into earlier episodes, often during transitions. Trocadero's "Blood Gulch Blues", whose last few measures are now heard during each episode's title sequence, is used as background music for the character introductions on the Red vs.
According to Trocadero's website, the song's lyrics are intended to highlight episode 2's joke about the Warthog and the notion that there is as much bickering and fighting within each team as there is conflict between the two sides. In fact, "Blood Gulch Blues" never mentions Red vs. The band's style is alternative rocktaking influence from elements of bluesalternative rockand western types of music. Trocadero continued to provide music for the show from their second and third albums, Ghosts That Linger and Flying by Wire.
Revelationthe main score for each season has been crafted by Jeff Williams, the former keyboardist of Trocadero, in addition to many of Trocadero's songs being reused. Williams's soundtracks have genres containing mixed elements of score musichard rockand sometimes electronic and rap.
The soundtracks also feature several parody songs, and some songs included are heard in PSAs and Rooster Teeth shorts. With the release of season elevenWilliams moved away from providing music for Red vs. Trocadero returned as the sole-provider of Red vs. Blue's score for the first time since season seven, also providing a new theme song "Contact" effectively replacing "Blood Gulch Blues".
Blue is mostly filmed using a number of networked Xbox consoles. As the games evolved and Rooster Teeth grew, consoles were changed to eight connected Xbox s and later sixteen Xbox Ones. Within a multiplayer game session, the people controlling the avatars "puppet" their characters, moving them around, firing weapons, and performing other actions as dictated by the script, and in synchronization with the prerecorded dialogue.
The camera is simply another player, whose first-person perspective is recorded raw to a computer. Durandal were also used in Season 3 for scenes that occur in the distant past; this has the effect of making the graphical quality of the series an indication of time's progression throughout the story.
The first five seasons of Red vs. Blue were later reshot in high definition using the PC ports of Halo: Combat Evolved and Halo 2,  which have also been featured in later seasons whenever those games were required. In the interview on The Screen Savers, Burns described the use of machinima techniques to film the show thus: At the same time, changing the perspective the head would bob, giving the impression that the character was talking.
The glitch also either made vertical movement limited or returned the character's appearance to normal, so characters would have to estimate movements, since they were always looking down. Bungie eliminated the bug in Halo 2so that the on-screen characters appear to look up or down correctly.
Bungie also implemented a new feature that made it possible for Rooster Teeth and others to achieve the same effect as the original bug.
In Halo 2, pressing down on the D-Pad of the Xbox controller makes the player character appear to hold his or her weapon in a neutral position, without aiming it at anyone, while looking straight ahead. This also allowed them to move the heads up and down to achieve a more dynamic appearance for some scenes. This reticle appears because, as with most machinimathe camera's view is from the perspective of a weapon-wielding player. The exception to this is footage recorded by killing the camera player's avatar.
Footage made using Halo: Custom Edition allowed for a player to act as a free roaming camera, and thus contained no reticle. In Halo 2, a bug in the Oddball multiplayer mode allows the player to drop all weapons, causing the weapon reticle to disappear. This bug has been used in all Halo 2 footage from episode 46 onwards. Later, they found it more practical to stand the cameraman on other characters in the game. This trick has also been used for other purposes, such as standing Donut on two characters to create the illusion that he could jump higher than is possible in the game.
When the flag used among different coloured characters, it is only shown with a standard red or blue character, mixed with scenes with other characters behaving as if it is present.
During filming, there was an issue with the Blue Team's deceased leader, Church. Church appears as a ghost for portions of the show, and he needed to appear transparent to the viewer. To achieve this, all scenes with ghost-Church had to be filmed twice, once with Church in them and once without him. After the switch to Halo 2, Church's ghost form was portrayed using the "Poor Camo" Armor enhancement.
Another difficulty when filming in Halo 2 was the enormous shadow over Red Base in the map Coagulation. This shadow had a detrimental effect on the appearance of the characters. To avoid this, late in Season 4 a glitch was discovered that allowed a character to appear lit even in a dark area.
Burnie Burns stated in the Season 4 audio commentary that the glitch was something they kept noticing a lot while filming the episodes, and when they discovered how to replicate it they utilised it extensively. During the first five seasons, the videos were mostly filmed on the Halo map Blood Gulch and its Halo 2 counterpart, Coagulation, although later episodes have increasingly been filmed on other maps.
Episodes that have been made with the games starting with Halo 3 have used the theater mode camera.
This series provides examples of:
The Forge Mode from Halo 4 onward also helped by providing a green screen and the creation of entire areas for certain scenes. For this, they teamed up with animator Monty Ouma fan of the series. Making the show more ambitious and reliant on computer animation led to extensive planning — fight choreography, storyboards, animatics — for episodes that take months to be completed, in contrast to machinima ones that are done in just a week.
Adobe After Effects is also used, typically by Hullum, to create animated props not found in the regular game engine. Examples of these extra props include tombstones in episode 20 and ornaments, presents, and lights in the Christmas video. As the camera player's view has a heads-up display HUDblack bars are added in post-production to hide the top and bottom portions containing irrelevant in-game information, creating a letterbox effect.
Most machinima is made with computer games, which often have HUDs that can be easily disabled in one way or another. Console games such as Halo and Halo 2 are often more limited in this respect. InRooster Teeth Productions released a remastered edition of The Blood Gulch Chronicles that removed the black bars and aiming reticle existent in previous versions of the series, which was done by re-shooting the first four seasons in the PC versions of Halo and Halo 2.
Other media[ edit ] A book based on the series, titled Red vs. The Ultimate Fan Guide, was published November 17, Blue attracted interest immediately; the first episode was featured on SlashdotPenny Arcadeand Fark on the same day, and had 20, downloads within a day.
Blue also "had a broader appeal than we anticipated", gathering a female following along with the expected demographic of young adult males. Although the crew had feared that any contact would be to force an end to the project, Bungie enjoyed the videos and was supportive;  one staff member called the production "kind of brilliant".
Blue continued to attract more attention, and, by AprilKevin J. Delaney of The Wall Street Journal estimated that weekly viewership was betweenand 1, Blue content was also included with a premium "Legendary" edition of Halo 3.
Blue was widely acclaimed within the machinima industry. Blue "riotously funny" and "reminiscent of the anarchic energy of South Park ". Blue is hysterical in large part because all the characters are morons, and so the seemingly intense conflict with the opposing base doesn't exactly work the way you'd think it would.
Bruno Starrs as an anti-war film. The Gulch crew are usually apathetic or even outright pleased about the rampant danger their fellows often end up getting into, which regularly degenerates into teammates casually taking potshots at each other. Whenever one of them gets seriously injured, though, their compatriots are horrified, and moving away from this mindset above a surface level banter informs much of their Character Development.
Comparing how the Reds and Blues act towards each other in season 1 to the final act of the Chorus trilogy, if it weren't for keeping their armor colors and core personalities they're almost unrecognizable. Each season gets one, complete with Hilarious Outtakes. Inverted starting with Reconstruction. Each season is created as a movie, then gets split into individual episodes for serialization.
Red vs. Blue / Trivia - TV Tropes
The complete, original movie is then released for purchase. The Reds repeatedly put layabout Grif in charge of their ammo, a task he never performs. Eventually, they expand Simmons' duties to "bringing extra ammo for when Grif forgets. A few of them, starting with the very first of the series, as Church is team-killed by a tank. Other highlights are the flashback Church has of Sidewinder Jimmy getting beaten to death with his own skullSarge possessed by Church getting shot by Caboose, the Funhaus Reds blowing themselves up, and an actor Sarge killed.
The Reds and Blues don't have to use the other team for target practice or anything. They've got each other for that. As Seasons 9 and 10 reveal, Project Freelancer wasn't much better, though they didn't outright attack each other. At least until the end One of the most common themes of the series from Season 3 onwards. Despite being at least on paper opposing enemies in a pointless war, the Reds and Blues are consistently forced to work together to take down a greater evil.
You brought [the Reds]? Are we killin' each other today? Or pretending to work together? Uh, the pretending version. The trope is also deconstructed in Season 13, as Wash notes that even though The New Republic and Federal Army of Chorus are working together, they still aren't working together. Lots of characters go out saying "Son of a bit-". Epsilon last words "ain't that a bitch? Grifball, which became so popular, less than three years after its inception, it was the only sport played.
Especially evident in the seasons from 6 onward, but the various conflicts that the Reds and Blues of Blood Gulch go through outside of their own personal war with each other have, by the time of Season 10, made them into a combined Badass Creweven complimenting members of opposing "teams".
By the time of Episode 21 of Season 10, even Carolina defrosts to them. By the final shot of season 13, it's no question that they're a family. Tropes Are Not Badas this led to characters like Caboose, Simmons, and Donut who had some personality traits that weren't quite unique enough to set them apart cranked Up to Elevenironically giving them more fleshed out personalities in the process.
Church goes from being a kind of bad shot with his Sniper Rifle to full on Imperial Stormtrooper Marksmanship Academy with any gun he gets his hands on, unable to hit anything except by Accidental Aiming Skills.
Caboose goes from being a bit slow at the start of the series to borderline insanity, unable to follow a simple train of thought. In his case, this is due in part to the massive battle that goes on inside his head early on causing brain damage. Also, apparently Church and Tucker rebooted his armor once and didn't manage to turn it back on right away.
He said he didn't think it caused any lasting damage so of course it did. Tucker goes from being a flirtatious lady's man of questionable success to a Casanova Wannabe who attempts to sleep with any girl that'll listen to him for more than ten seconds.
Sarge's bullying of and threats to kill Grif start as attempts at murder and escalates to a psychotic obsession with making his life as miserable and humiliating as possible, at times being his single character trait in some scenes. Grif's apathy that doesn't in some way have to do with eating, napping, and making up excuses to avoid work morphed into a trickster who comes up with cunning schemes and Loophole Abuse to avoid work or risking his life, even if said schemes are more complicated to execute than the orders he's given.
Donut goes from being ambiguously effeminate to Tucker's Camp Gay counterpart in sexually suggestive dialogue and attempts to sleep with any male soldier in his line of view. Simmons goes from teacher's pet to groveling sycophant with occasional Servile Snark. This trait is actually getting dialed down a bit as of the Chorus trilogy; he kisses Sarge's butt a lot less than he used to and even makes sarcastic remarks to him.
This is probably because getting promoted to Captain and being put into a leadership role himself has helped him become a bit more self-confident Tex goes from being a skilled special-ops soldier to a legendarily powerful badass. Doc begins as a neutral pacifist without extensive medical training but nevertheless treats Caboose during an active shootoutand ends up a man panicked by any sign of conflict and with complete incompetence in his supposed area of expertise. However, this is zigzagged according to the needs of the plot when someone who's critically injured needs to be kept alive.
Seasons 8 and on present an interesting case when this is reverted back to giving the Reds and Blues subtler traits while sticking to their core personalities. Grif's intelligence and knack for getting out of dangerous situations is shown to make him a very pragmatic survivor in combat that's willing to suck up his shame and bite the bullet if there's no way out of a mission that precludes death.
Church's occasional moments of compassion and downplaying his anger particularly as the Epsilon AI have made him one of the most empathetic members of the cast. For all of Sarge's blundering about and questionable sanity, the reason why he's stuck around as a soldier for so long is apparent with his leadership and charisma with his men when things are at their worst in a fight. He's also willing to overlook Grif's existence and has Took a Level in Kindness since Revelation, probably because when it comes down to it, murder's not what he's in the army for and he's an honorable soldier when confronted with those that are in it for the killing.
Tucker may be the biggest example. His moments of being The Straight Man to the Reds and Blues have drastically increased his competence as a fighter, leading to his skill with the sword as a weapon he's comfortable with and being a quick and decisive strategist.
Even Wash admits he's not the same miserable excuse of a human being he was in Blood Gulch. In Reconstruction, we learn that Church was an AI unit and that was why he survived being seemingly killed, was able to jump from mind to mind, and had a 'ghost' form.
Just before The Reveal by Wash, there's a quick scene showing the relevant clips just to hammer it in.
Guess who else shared those exact same characteristics. The "war" between the Red and Blue armies, in Blood Gulch at least, aren't really fighting so much as slacking off at opposite ends of the box canyon, and it only feels like they've been there forever, but if there's one thing they can all agree on, it's that neither side has any clue why they're supposed to be fighting, or what the actual benefit would be of "winning".
Eventually justified when it turns out that they aren't actually at war, and are just simulation troopers to train Freelancers for actual wars. Both sides always end up teaming up with each other to take down a larger enemy, and the war isn't even really being waged except in Sarge's mind after Season 5, excluding Season 9 and Season Seriously though, why are we out here?
As far as I can tell, it's just a box canyon in the middle of nowhere. No way in or out. The only reason that we set up a Red Base here, is because they have a Blue Base over there.