Sentences with phrase «game dialogue needs»

Not exact matches

The game was already great on its own; it doesn't need the added aspartame sweetness of Wii - ification, which occurs via cutesy mini-games, unnecessary dialogue from Dragon Quest and Super Mario Bros. characters, plentiful purchasable outfits, and personalities -LRB-?)

As many inroads as Mortal Kombat made with its last two entries, the last thing a fighting game needs is an exhibition of dialogue and plot.

There was definitely more dialogue but with voice acting there needs to be or else the game would be boring.

Much of «True Story» consists of dialogue scenes between Michael and Christian in which the two play cat - and - mouse games to get what they need from each other.

But, you'll need to have the persistence needed to get around that if you're going to make some friends with the game's characters because there's a lot of quite dull dialogue you'll need to hammer your way through in order to build relationships.

Despite the drawbacks in the storyline, graphics, and dialogue, the gameplay was decent enough to keep me interested for 10 to 15 minutes at a time, which is often times all you need in a mobile game.

The idea is that you need to match the various design components to the genre and topic of your game, so if you were creating an RPG you'd more focus on story, dialogue and world design, whereas an action game needs heavy focus on graphics, sound and gameplay.

There is one issue that I need to discuss and that is the voice actors and the dialogue in the game.

The dialogue is subtitled so there is no voice acting to miss so doing as I did wont be a hindrance to you getting all of the info you need to play the game.

«We needed something that would test our systems, add some new art and dialogue, and add some new hooks and quests to the game.

The game places an emphasis on decision making and mistakes, both in dialogue trees and combat, meaning that this is another one of those games where the player really needs to think before they act.

Accidentally skipping or being too trigger - happy to skip the dialogue, you may get lost in figuring what tasks need to completed as the game does not provide any reminders or indicators on how to progress the story.

If you wish to 100 % this game you need to have two things, a lot of free time and a keen eye for side missions as they tend to trigger during dialogues and if you do not keep an eye on them they might also fail on you, but this is another way of adding more hours of gameplay on top of the already meaty main story which is always a welcoming feature in any game.

These issues in no way completely ruin the prospects for these and other games in need of tighter dialogue, but it's a shame to have a seemingly simple aspect potentially tarnish what were promising previews of some of the biggest titles currently in the works.

Granted, these two examples are both from Japanese games, and therefore it might be down to one of two things: either a culture difference — as dialogue is often structured differently in anime, manga and the like — or the need for better Western localisation.

Maybe it conflicts with their characters» motivations, but since Esuna is the only female character in the game and Lux's dialogue is capitalized because he's an awesome robot, the developers may have just not wanted to bother with the unique sets of dialogue that would be needed to have them fit into this scenario.

Of course, being as it's a Bioware game, Sarevok's «second act» gives him some extra, much - needed characterization, a wonderfully sharp personality, and a chance at redemption (if you choose the right dialogue options.)

Developers will learn how to evaluate their game's interactive music and sound needs, draft a contract for the best deal, and negotiate costs for music, sound and dialogue.

It is also notable that no dialogue is contained in the game and instead uses animated thought bubbles as well as a clue system for the odd hint when needed.

This impressionistic dialogue style could do wonders for games that need to skimp on voiceover work.

The Last DeadEnd is a lot of fun for the combat sections and proves to be a challenging game on it's own, but the puzzles were simplistic and the dialogue needs some work.

But with emergent narration, where much of the story is always implied and is always in - game — told through ambient dialogue, through environmental change or through the mechanics themselves — the sense of immersion can always be maintained which is after all a critical requirement if games need to get their players invested in the story.

• Eye of Obsidian adds a brand new chapter in the ReCore story • T8 - NK Corebot • 2 New Overworlds • 10 New Dungeons • Dynamic sandstorms in Shifting Sands • 3 new weapon modes for Joule's Energy Rifle • When dying reload times for combat encounters went from 30 - 60 seconds to < 5 seconds • Restarting traversals and arenas are now instantaneous • Added P - Cores for additional game play rewards • P - Core requirements fixed to a single value for the entire E-Tower • The Map displays everything that needs to be collected (audio logs, chests, prismatic cores) • The Map shows all visual parts of dungeon maps • Objective Markers improved • Fast Travel points now allow the player to complete Stash Transfers, Swap Cores and set Companion Party Configuration without having to go back to the Sandcrawler • The player can now warp anywhere there is a Fast Travel node via the Map • Intra-Level (e.g. within The Cradle) fast travel warping is now instantaneous • Added new Fast Travel nodes (Granite Steps, Lonely Basin, The Cradle) • New AoK gear for all Corebots • Armor stats now make each set vastly different from one another • Blueprint Inventory now sorts by Armor Type, Color and LVL requirement • Improved the Combo Meter • Enhanced visuals (increased resolution and HDR) • 20 New Achievements • Increased level cap from 30 to 40 • 4 new bosses and Tank challenges • Dialogue from Corebots and Violet is no longer in the Corebot language and is now readable