Sentences with phrase «dialogue choices do»

If story and dialogue choices don't bother you, it's hard not to recommend for any sniping / shooter fan.

He's a fully voiced character and dialogue choices don't offer much room to craft his personality, other than occasionally driving him toward one end of the moral spectrum or the other.

- No puzzles or inventory management - Less than three dialogue options in the whole game - Dialogue choices do not affect story - Game can be completed in less than 30 minutes

Sometimes making what seems like an indifferent comment will suddenly drop your morality rating, while another time genuinely offensive or brash dialogue choices don't.

Not exact matches

There are so many things wrong with this game, first of all the plot is too linear you play as Mario throughout the whole game you don't get to play as peach or bowser, there are no new characters other than kersti, all the characters in the game are from the Mario platformers, there are no exp so you can't level up and if you run out of stickers you have no choice but to run away, peach only has about five lines, bowser is the main antagonist and he has no dialogue, in the previous installments the main antagonist always had dialogue, and one of this game's worst problems is that luigi went from being a playable character to a glorified cameo, I have no idea what nintendo was thinking when they made this game.

Plot branches and dialogue choices are very limiting, often offering only one or two ways of doing something and begrudging experimentation.

Even if the show didn't give its guest stars enough great dialogue or room to showcase their acting chops in every episode, it's obvious they know their audience because they consistently cast the perfect guest star in these choice roles.

The opening act in Toronto feels like a standard indie comedy about (yet another) white male's arrested development, the piano - based score and aversion to dialogue feels indebted to silent films, and once the film transitions to the wilderness it goes into European arthouse territory (the title card doesn't appear until James ends up in BC, a choice that implies this is where the film really begins).

I love interactive story - based games, especially those done by Telltale because you're given the chance to play as your own character right from the start with multiple dialogue choices and story decisions.

In fact Peeta, who is still something of a liability during the actual games (he does temporarily die, after all), thanks to some sensitive writing, gets to deliver some decent dialogue that suggests his independent thought processes, and makes it clear that Katniss, to her credit and that of the film, has a choice to make not between Hottie 1 and Hottie 2, but between two different young men who are defined by different things in the wider world, and not just their relationship to her.

The booth is manned by John McEnroe and Pat Cash who do a decent job of letting you know what's going on, but there amount of dialogue choices is far too short for anyone planning to put some series hours into the game.

Phone Booth does some falling down of its own, with Farrell's slippery accent, Schumacher's understandable but ugly choice of picture - in - picture (I preferred the split screens), and Cohen's sometimes unbearably silly dialogue.

Whereas readers would probably prefer fiction IF that moves along based on dialogue choices and actions like what Inkle does.

You will encounter the same FTL - style random events several times, often even showing you unavailable choices and dialogue options that require ship modules belonging to a ship you don't even have yet.

While there are dialogue choices in some stories, there are only maybe two chances to do so in the entire game.

There is a dialogue tree included, but more often than not it has one choice leading me to wonder why the damn conversation didn't just play out instead of making me click a button for no reason.

Some choices are admittedly inconsequential (different dialogue options, for example, can prompt only slight variations in response), and seeing that a trying exchange doesn't lead anywhere can take the magic out of the experience.

I don't knock the developer's choice to use a fictional language and therefore subtitle the entire thing, but it felt more budgetary then creative, especially when the dialogue was so bad that it had me bashing the circle button to skip cut scenes at points throughout the game.

Kinda like in Dragon Age, but instead of dialogue choices, Trico will respond to everything you do.

Huge open world, good crime story with three different endings, three playable characters each with their own special ability and dialogue, lots of weapon choices, fun things to do during or after the story (parachuting, shooting range, racing, and going to the movies just to name a few), often funny and bizarre «Strangers and Freaks» side missions, and all kinds of vehicles to drive around the huge open world.

Across the game, you'll be doing an RTS - style of invasion across the World Map and encountering Clan Bosses through VN - style dialogue choices.

There are some dialogue choices dotted in here and there, which do seem to affect the way the dialogue goes, but don't seem to have any effect on what happens later.

Despite some strange dialogue choices, I did enjoy chatting with a range of characters.

So if you don't want to see them, don't mouse over the dialogue choices but if you do, be sure to do so!

Devil Survivor 2's implementation is much more simplistic as almost all of the choice require a single «correct» choice to be picked up gain any Fate points and some of the «wrong» choices don't deviate the dialogue as much as one would expect and throw off the «this is the right choice, this is the wrong choice» deduction.

These do change based on your choices as Serene, but by shooting some moments ambivalently (and without dialogue) they're able to reuse footage by having off - screen elements (such as a news cast) be the difference.

For those who don't know, Telltale Games create episodic story - driven adventures that feature a wealth of different dialogue choices that let you, the player, tailor the story via the choices you make.

But Alpha Protocol has a whole bunch of genuinely good elements too, like its snappy dialogue and its emphasis on player choice, so I don't think it fully fits in the so - bad - it's - good category.

You can now choose from up to four emotional responses during conversations, allowing for a much more natural flow to dialogue, although situations where you're only provided two options that are practically identical do crop up far too often, and this element of «choice» is more of an illusion than an actual dialogue tree.

The developers have also added timed dialogue choices when you meet NPC's which does dictate how the conversation may go, including any repercussions, not to mention encounters!

You do have some choice - dialogue you are able to do and it adds to the human element of the game, but the choices you're presented are oriented towards the characters personality very well.

Dialogue options are featured to add some degree of control to the story, but Leck's choices don't require or promote any sort of deliberation.

She feels more like «me» than Commander Shepard did, and I'm playing her with a mix of Logical and Casual / Humorous dialogue choices.

These dialogue choices can open up many quests or other dialogue options, or alter the course of the story itself, if done properly.

You don't choose how the story plays out, but you use dialogue choices to shape what kind of man Henry is.

The dialogues now have multiple choice variants, but, predictably enough, it doesn't really affect the story in any significant way.

Unfortunately, the dialogue choices that you make do not seem to have a huge effect on the overall outcome of the story, though they do affect your relationships with your companions.

And the stretch of time I had available, insufferable as it could sometimes be, did allow me to immerse myself in this sheer possibility: exploring dialogue choices or narrative tangents, becoming entangled in side quests, wasting hours with reading material in virtual bookshelves, practicing augmented skills and character improvements, and piecing together the convoluted cyberpunk lore.

So the early interactive works, you thought you were having a dialogue and making a choice, but you didn't because they were all pre-programmed.

LHL: They were combinations of things I did before, like performance (Roberta), hotel rooms (Dante), site specific pieces, but they combined time and interactivity and took into account a «user» (a term I invented then) and created a dialogue about choice change, and the politics of dialogue.