This enemy is musically in between the other examples, her music is not a global cue like the tanks music, it is present when only near her, likened to an environmental hazard. with the WITCH there are 3 different levels of intensity, FAR, NEAR and Getting killed by layers of music. įinally here is an in game example of another ‘Special Infected’ the WITCH. This system also controls the dynamic mix system-another feature unique to Left 4 Dead. Most of the more prominent musical cues are thus ‘reactive’ results from rule sets processing this input–making the musical experience specific to each player.
Working from artificial life work our audio designers had done on Lord of the Rings and the Matrix sequels, we implemented a simple system to examine what’s going on in the player’s immediate environment, then added the appropriate reactive, scalar rule-sets to control the music and its volume level. We base the music on what the player is actually experiencing and not what on what we want them to experience. These are the musical motifs for each ‘Special’ Infected enemy in the game Left 4 Dead 2
The following examples relate very closely to the JAWS theme in terms of tonality,length and instrumentation. “‘ take themes and reshape them and put them in a major key, minor key, fast, slow, up, down, inverted, attenuated and crushed, and all the permutations that you can put a scene and a musical conception through.” (Williams. The James Bond theme is a good example of this, but a modern composer who has had great success with memorable motifs in all his scores is John Williams (Jaws, Star Wars, Harry Potter) One of the reasons that we find film music memorable is that it uses distinctive melodic motifs to ‘catch’ the main characters it describes. The use of motifs in film is a common practice used for characterisation and memorability. The resulting tunes are deceptively complex–easy to remember but difficult to sing accurately.” (Buren.B, 2008) At the very least, the pieces seem to spring from the same musical universe. This scale is not absolute, and some notes outside the scale are used occasionally to achieve even greater dissonance but by using this singular and very chromatic scale, almost any piece written in it will generally dovetail pretty decently with any other. This theme, representing the near death of humanity as it fades to a distance only to be accessed through a radio, is an incremental melodic modulation collecting up all the notes used along the way. “ All the mu sic in Left 4 Dead –themes, motifs, hits and effects–are based on a hybrid scale derived from the main opening menu theme.
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