When I joined the Halo Infinite × Monster Energy campaign, the larger initiative—titled “Bank Now / Play Later”—was already structured around XP redemptions, AR filters, and sweepstakes. But what it lacked was a visual, narrative-driven hook that could connect emotionally with the Halo fanbase and feel true to the franchise’s worldbuilding.

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The brief was simple:
Create cinematic teasers that feel like they belong inside the Halo universe—without revealing any of the game’s story.

With that in mind, I saw an opportunity to craft micro-worlds that reflected the ideological divide between the UNSC and The Banished. Rather than leaning into traditional promotional visuals, I pitched a three-part teaser series—each film designed to convey the tone, symbolism, and worldview of its faction.

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One of the core creative challenges was integrating the limited-edition Monster cans in a way that felt natural, not forced. Monster Energy understandably wanted the product featured, but I wanted to avoid breaking immersion or disrupting the integrity of the world. My solution was to treat the cans as mysterious artefacts—discovered, guarded, or studied by each faction’s characters.

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This concept aligned closely with Halo’s deeper narrative DNA. The franchise isn’t just about combat; it’s about discovery, ancient relics, and lost knowledge left behind by civilizations like the Forerunners. I leaned into that mythology—having Master Chief and his marines protect the can like a recovered relic, while Atriox and his forces approached it with cautious intent. The cans became objects of reverence or suspicion, depending on the faction—a symbolic focal point rather than a branded insert.

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Due to the secrecy around Halo Infinite’s release, our access to environments was tightly restricted by 343 Industries. We were provided just two approved settings: a grassy plain surrounded by mountains, and an arid desert. To visually distinguish the teasers while working within these constraints, I anchored the final teaser—the symbolic standoff between Chief and Atriox—in the grassy plains. The other two teasers were set in the desert: one under harsh daylight for the Banished, and the other in a cooler, more contemplative night setting for the UNSC.

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Each teaser was designed specifically for mobile-first platforms like TikTok, Instagram, and Discord. That meant every frame had to be vertically composed, load fast, and hook immediately—all while maintaining cinematic tone, brand visibility, and narrative subtlety. The end result was a series of teasers that felt true to the universe, respectful to the fans, and meaningful to both the brand and the IP.