I simply wished to comment that you appear to be seeking to impose the stages of grief upon the player. This is an interesting concept that I've played with before. However, it is important to note that the 'five stages' Kubler-Ross model has drawn some very valid criticism. Most importantly, not all people experience the same stages nor is the order necessarily consistent. Furthermore, it is quite possible to move back and forth between stages, rather than progress in a linear manner.
This doesn't invalidate presenting the stages sequentially, but it does raise some problems for any attempt to impart those same emotional states onto the player, as the player may react differently to the events of the game than would be predicted by the model. As general recommendations, I would recommend attempting to impart the stages vicariously, rather than by, or in concert with, observation of the character's emotions or by emotive techniques such as music.
People react very differently to the emotional state of others than they do to direct emotional stimula. As noted, we also cannot necessarily predict a player's reactions to direct emotional stimuli, at least with respect to complex reactions such as the 'stages of grief.' So, I propose two possible solutions. Firstly, attempt to engender in the player a direct connection with the character or, secondly, break down the stages of grief into their components.
People react differently to emotional stimuli because they process that stimuli in different ways. They have different thought processes, memories and learned behaviours that they use in processing stimuli and formulating both an emotional and practical response. One way to overcome these differences is to attempt to standardise them by providing the player direct insight into the character's "emotional pipeline." If you can convey to the player the reasoning behind the character's response, and the factors being considered in concert, then the player will have a lens through which they can respond, and very closely empathise with the character. This can be done using a variety of reasonably simple techniques. Cutscenes and flashbacks, for their flaws, allow the player to construct a narrative and emotional context. Techniques can be more subtle, such as flashed imagery, voice over, momentary audio cues or even as simple as demonstrating changes in expression in response to stimuli. Text, diegetic or otherwise, can be quite effective.
The alternate approach is to break down the response you wish to illicit into its components. Bargaining, for example, requires the player to have accepted the fact of an imminent problem. The player must be emotionally motivated to avoid the consequences of that problem. However, the player must maintain a (tenuous) illusion that this fate is avoidable. In short, the three primary requirements are a belief that, in this case, death is imminent; some frustration at the failure of efforts to change the course of the game; and a belief that there remains some option to pursue. This last point might have significant game-play implications. By attempting to construct the response you desire, rather than provoke it, you can once again somewhat bypass the differences between people. I believe that game-play will have a much larger role in this approach, as the stages of grief require a perceived degradation of agency.
Anyway, my apologies for such a long post with only a handful of actual (obvious) techniques. I hope that it might be somewhat helpful.