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Meet the Pyro

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Salford City College
Eccles Sixth Form Centre
BTEC Extended Diploma in GAMES DESIGN
Unit 73: Sound For Computer Games
Game Title Team Fortress2 – Meetthe Pyro
Provide detailed descriptions from chosen examples of sounds that establish… Clearly state what production technique(s) you think have
been used to create specific soundtrack elements
Setting The openingtune thatplaysbefore all “Meetthe”videosisinstantlyfollowedup
withthe soundsof burning,alludingtosome sortof fire/flamebasedcharacter.
Soundsof breakingglassandspentroundsclatteringaroundcreate the scenarioof
an oldbattlefield.Woodendoorsbeingbrokencreatesthe image of asmall wooden
village ortownthat theypyroisin.Afterthe scene shiftstothe peaceful music,it
createsthe image of a verysafe place,if slightlysurrealandunnerving;bright,clear
coloursiswhat I imagine the Pyro’sdreamlandtobe like.
Foleyartistryforthe soundsof breakingglassand
spentrounds.
Software renderedorexistingassetsforthe
soundsof fire.
Mood Music witha slowbeatand lowpitchisthe firstbeatwe hearin the scene,alluding
to a war/battle andcreatinga feelingof anxietyandfear.Hissingsoundscanbe
heardeverynowand then,like aleakingBunsenburner,creatingasense of fear
since we don’tknowquite whatitis or where itiscomingfrom.
Afterthe othercharacters are done talkingthe scene becomesverysurreal inan
ironicway.The music and‘baby-esque’soundsandmusicthatplaycompletely
contradicteverythingthe othercharacterssayaboutthe pyro,as itis more calming
and enjoyablethendestructive andfeared.Thischangeshowever,asformostof the
restof the scene the musicand soundskeepswitchingbackandforth,little snippets
of whatisreallyhappeningkeepsplayingoverthe pyro’sillusionaryworld.
Instrumental recordingforthe initial music.
Foleyartistryforthe hissingandmostof the
soundsafterand duringthe secondmusic.
Existingsongusedforthe surreal part (Song:Do
You BelieveInMagic).
Game genre The scene givesawayverylittle aboutthe genre of the game,butfromthe music
usedat the beginning,itseemstobe averybattle/warorientedgame due tothe
slowwar march andthe brokenglasssounds.
Foleyartistryforthe brokenglassand weapon
shells.
Narrative There isverylittle narrative inMeetthe Pyro,butwhat’s there ismore than enough
for the scene.
The narrative isat the beginningof the scene,with3differentpeople talkingabout
the pyro.The Heavydescribeshimself assomeonewho“fearsnoman”,before
addressingthe pyroasa “thing”thenadmittingthat he is scaredof it.The Scout flat
out refusestotalkabout“that freak”,shortlybefore he discoversthatthe pyrois in
The voiceswere done bythe original VA’sforthe
TF2 characters.
Salford City College
Eccles Sixth Form Centre
BTEC Extended Diploma in GAMES DESIGN
Unit 73: Sound For Computer Games
the vicinityof himandimmediatelyleavesinapanickedstate.The Spyspeaksof the
Pyroas inhuman,sayingthathe couldnot imagine whatthoughtsliesbehindthe
Pyro’smask,“dreamsof chronicand sustainedcruelty”.Thisshowsthatnoteven
the people whoare meantto workwiththe Pyroare comfortable withtheir
existence aroundthem,preferringtoavoidthemthanacknowledge theirpresence
or what state of existence theyare in.

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Meet the Pyro

  • 1. Salford City College Eccles Sixth Form Centre BTEC Extended Diploma in GAMES DESIGN Unit 73: Sound For Computer Games Game Title Team Fortress2 – Meetthe Pyro Provide detailed descriptions from chosen examples of sounds that establish… Clearly state what production technique(s) you think have been used to create specific soundtrack elements Setting The openingtune thatplaysbefore all “Meetthe”videosisinstantlyfollowedup withthe soundsof burning,alludingtosome sortof fire/flamebasedcharacter. Soundsof breakingglassandspentroundsclatteringaroundcreate the scenarioof an oldbattlefield.Woodendoorsbeingbrokencreatesthe image of asmall wooden village ortownthat theypyroisin.Afterthe scene shiftstothe peaceful music,it createsthe image of a verysafe place,if slightlysurrealandunnerving;bright,clear coloursiswhat I imagine the Pyro’sdreamlandtobe like. Foleyartistryforthe soundsof breakingglassand spentrounds. Software renderedorexistingassetsforthe soundsof fire. Mood Music witha slowbeatand lowpitchisthe firstbeatwe hearin the scene,alluding to a war/battle andcreatinga feelingof anxietyandfear.Hissingsoundscanbe heardeverynowand then,like aleakingBunsenburner,creatingasense of fear since we don’tknowquite whatitis or where itiscomingfrom. Afterthe othercharacters are done talkingthe scene becomesverysurreal inan ironicway.The music and‘baby-esque’soundsandmusicthatplaycompletely contradicteverythingthe othercharacterssayaboutthe pyro,as itis more calming and enjoyablethendestructive andfeared.Thischangeshowever,asformostof the restof the scene the musicand soundskeepswitchingbackandforth,little snippets of whatisreallyhappeningkeepsplayingoverthe pyro’sillusionaryworld. Instrumental recordingforthe initial music. Foleyartistryforthe hissingandmostof the soundsafterand duringthe secondmusic. Existingsongusedforthe surreal part (Song:Do You BelieveInMagic). Game genre The scene givesawayverylittle aboutthe genre of the game,butfromthe music usedat the beginning,itseemstobe averybattle/warorientedgame due tothe slowwar march andthe brokenglasssounds. Foleyartistryforthe brokenglassand weapon shells. Narrative There isverylittle narrative inMeetthe Pyro,butwhat’s there ismore than enough for the scene. The narrative isat the beginningof the scene,with3differentpeople talkingabout the pyro.The Heavydescribeshimself assomeonewho“fearsnoman”,before addressingthe pyroasa “thing”thenadmittingthat he is scaredof it.The Scout flat out refusestotalkabout“that freak”,shortlybefore he discoversthatthe pyrois in The voiceswere done bythe original VA’sforthe TF2 characters.
  • 2. Salford City College Eccles Sixth Form Centre BTEC Extended Diploma in GAMES DESIGN Unit 73: Sound For Computer Games the vicinityof himandimmediatelyleavesinapanickedstate.The Spyspeaksof the Pyroas inhuman,sayingthathe couldnot imagine whatthoughtsliesbehindthe Pyro’smask,“dreamsof chronicand sustainedcruelty”.Thisshowsthatnoteven the people whoare meantto workwiththe Pyroare comfortable withtheir existence aroundthem,preferringtoavoidthemthanacknowledge theirpresence or what state of existence theyare in.