In this short thirty second clip, the most notable attribute in regards to the sound is its over all quality. Though primarily noticeable as Vork and the Game Master raise their voices to each other, it is a diegetic sound which helps inform us, the audience of our present environment: the echo of the Knights of Good Hall. Or at least it is diegetic to the characters’ avatars, for most likely no one we hear the echo from their computers. Even with headphones on, the initial sound would be masked by the quality of the speakers as other players communicate to one another via the headsets. But for these particular thirty seconds – where the series takes an even more off the wall turn – the action presented within the game serves for the moment as the action which forwards the narrative to its conclusion. Judging by the echo itself, it is obvious the quality was heightened in reverb only slightly, if not the subtlety of synchronous sound (the echo being added later enhanced in post-production). With the use of this echo, we are given a variety of information regarding the setting of the scene. For one, we can assume the size of the Hall itself by how much voices reverb off the walls. It’s unnecessary largeness adds to the absurdity of Vork’s character, in that he simply wanted a structure which would make his guild look cooler than anyone else’s. Not to mention, he almost ruined the in-game economy for the sake of an oversized fortress for six people. The nature of the reverberations also hints at the emptiness and cold interior of the hall, fitting perfectly with Vork’s almost mechanical way of thinking. The echo is a perfect example of sound perspective. We not only realize that these characters are standing in a large empty space, but we are also made aware that the echo rises once a character raises his/her voice. An even subtler addition to notice is when Codex walks over to the Game Master (the self-proclaimed Kevinator), you can hear a small echo coming from her feet stepping on the marble floor (a lavish feature which no doubt attracted Vork when purchasing the hall). However, this echo is not the only sound resonating from the hall within those thirty seconds. Under the whole of the action that takes place in that short span of time, there is a faint sound that seems to rumble as the scene goes on. Admittedly it’s a little difficult to decipher what the sound actually is. It could be the diegetic sounds of the wind blowing its way through the hall giving us a greater since of its vastness, or the crackle of the flaming blue torches which adds to the intimidating and metallic atmosphere which Vork favors, as well as adding another level to the sound perspective. If it was accidental, it would be the obviously non-diegetic sound of weak sound equipment which would pick up outside sounds such as the studio AC or the wind. Otherwise it is simply an oddly quiet (non-diegetic) underscore meant to add a medieval, Game of Thrones-style feel to the scene – most likely to parody it – as well as add a tense air to the introduction of the Kevinator. Whatever it is, whether an intended synchronous sound or a simple mistake (unlikely as that would be with a bigger budget), it certainly helps drive the finale home.