Meet the Pyro | Team Fortress Wiki | FANDOM powered by Wikia
On the TF2 Official Blog, Jakob Jungles posted an image that referred to the Pyro as "he" in the description. Although clearly referred to as a male, the card ends. Pre-Release. In March , Robin Walker revealed in an interview with the KritzKast Podcast that Meet the Pyro will let people see the world. It reminded me that world portals are a thing in the Source engine (learned .. Nah, Valve have usually timed the releases of the Meet The Team videos this will be, if I'm not mistaken, their th official patch for the game.
This was later translated as Morse code into "Monday", which was the day Pyromania started. Dreams of Cruelty begins playing. The RED Heavy is seen almost completely in silhouette. The Scout pulls desperately on the handle. Cut again to the interview room. This time it is the RED Scout in silhouette.
I ain't, I ain't talking about that freak. He sits upright in his chair, in near panic. Fade back to the interview room, this time with the RED Spy. What dreams of chronic and sustained cruelty? There is the sound of the Pyro's breathing and a single white spot which zooms forward and splits into a binocular view. When these focus, it shows a psychedelic dreamscape.
The Pyro's flame thrower appears in its hands as an unusually-shaped brass instrumentspraying a rainbow-coloured mist over ground, causing colourful flowers to spring from the lawn in front of him.
Within this dreamscape, BLU characters appear as chubby little cherubs and sound like babies. The two converge seemingly happily. While the Pyro in the dreamscape shoves the lollipop in the Heavy's mouth, the scene cuts to the battle as he hits the Heavy with the Fire Axe.
The Pyro blows bubbles in his face in its vision, but shoots the Scout point blank with the Scorch Shot in the battle, knocking him back. The BLU cherubs salute and celebrate the Pyro. Cut back to reality. He crawls over to the ankle of a nearby person. The sound of a Dispenser and then a teleporter being destroyed in the distance is heard.
The Sniper can be heard screaming as the view zooms in on the Pyro's mask, flames reflecting off the eyepieces as the Pyro tilts its head. There are a lot of talented folks walking around the halls here, and it's incredibly helpful to show them things and get their feedback, because with each round of feedback we'll manage to solve a problem or even find some new inspiration.
When the Source Filmmaker team was working on ideas for what the "Meet the Pyro" would look like, one of the ideas stood out. Not only were we amused at the proposed world of the Pyro, but immediately were thinking of how much fun it could be to play inside it.
Of course, one of the immediate issues with this was how to bring the pastel color scheme and various whimsical storybook elements that made up Pyro's dream world into the textured world of TF2, with its more naturalistic palette and real-world setting. Achieving the Pyroland look would not only require creating a completely new texture set, but would have to be constrained both by texture memory and artistic resources.
Some of the things we ended up creating to solve this included, firstly, a replacement system that let us override the default textures in the game with an alternate version; and secondly, a new graphics shader system that we called "Pyro Vision". Here's what the final result was, but it took a few tries to get there. One of the early suggestions for how to achieve the look of Pyroland in the actual game was to do a simple color correction over the whole scene.
A quick prototype revealed a few things: Worse, the colors looked nothing like the palette in the "Meet the Pyro" short. While cost-effective, it didn't actually look very good, or come close to our original goal.
Team Fortress 2
With the concept of the simple global approach being ruled out, the next option to explore was a custom graphics shader.
Taking a closer look at the movie, two things stood out: As a test we took an existing shader called "vertex lit generic" and hacked it to show what blending against a canvas texture might look like.
In addition to this, we added a quick striping technique. While still quite far from the look of Pyroland, it at least demonstrated that this direction might have some promise.
Using this information, the artists did a quick paintover of a level image to help further refine the direction of the graphic shader's development. The iteration of the graphic shader continued to focus on taking the original diffuse image, converting it to grayscale, tinting it, then applying this canvas style image under it.
In game development it's not uncommon for programmers to create art assets that we affectionately label "Programmer Art. Sometimes it's used to spur artists to replace intentionally hideous art, while providing them with a gold mine of things to make fun of programmers for.
In this case, it allowed us to explore various effects and represent how it would affect our daily playtests. Artists like to keep programmers busy, so the next paintover iteration led us to a shift in the shader strategy. Rather than going to grayscale and then color tinting, if we were able to provide a color lookup texture against which the grayscale could be used as an index, it would give the artists a lot more flexibility.
The alteration to the shader was very simple.