Sentences with phrase «dialogue in the game as»

There is spoken dialogue in the game as well.

Not exact matches

With coaches Ryan Giggs and Albert Stuivenberg sat alongside him, Van Gaal was in regular dialogue with his assistants, sharing opinions and views as the game progressed.

Yoshua Bengio says that another possible important application is in computerized dialogue, and Schaeffer says that in the future these programs might be able to come up with answers to abstract social issues that can be expressed as games, like national politics or international climate negotiations.

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.

By the time we reach the climax, when the survivors return to Mexico with an exorcism plan in mind, the dialogue becomes so chokingly thick with exposition, the game at hand might as well be contract bridge.

I can't think of another game so destroyed by its dialogue as Splinter Cell: Conviction; not by bad lines alone (which are nothing novel in gaming) but by the way Ubisoft's designers and programmers used them.

The second is a dialogue between two new characters as they journey to a tournament, presumably for the in - game sport of blitzball.

While the plot is considered dark by Mario standards, as in earlier Paper Mario titles, humorous dialogue and references to other games, nerd culture, popular culture, and even mythology abound.

The remake added gameplay mechanics from Metal Gear Solid 2: Sons of Liberty and cutscenes directed by Ryuhei Kitamura to the game, as well as rerecorded dialogue in higher quality.

Dialogue in video games usually comes off as wooden and feels like the voiceovers are delivered by manikins.

As evidenced above with the cringe - inducing term for your monster partners, Monstie, some of the dialogue and terms in the game fall short of the quality of the overall story, which, thankfully, holds up despite this.

The influence from previous Omega Force titles is apparent in the number of enemies you'll face in every mission (it's not an endless sea of one shot foes, but it's still sizable), and in - game elements like the HUD, the way side objectives pop - up, and the dialogue between characters as objectives are completed or new situations arise.

The game has an interesting soundtrack that probably doesn't quite fit the game too well and it literally has not audio dialogue so there's very little in the way of sound to review, you get the generic 2D crafting sound effects which are amusing however and do contribute to the game's humour a little, the gameplay itself is immersive enough that you can sink hours into the game without realising it, though the menus can be a little tiresome to navigate as you have to open a close them to remove a misplaced item or constantly scroll through all the many different items and topics you can choose from.

In SPIFFING, the dialogue is better than average, but the story is questionable, especially later on as the obvious rush to complete the game leaves a lot to the imagination.

The argosy captain for example seems to be referring to MH2's online city when he talks of his home, and Loc Lac is in the same region as Moga but the rest is anyone's guess for this game, based on npc dialogues only.

This narrative twist has been the subject of intensive theorising and fan speculation since the game's release in January, but you get the impression that Capcom weren't really aware of this, as the mystery is basically brushed aside with a throwaway line of dialogue.

As the word «cap'n» is simply short for the word «captain», the title has been used in other Mario games; an example of this is in Mario & Luigi: Superstar Saga, where the captain of the S.S. Chuckola is referred to as «Cap'n» in one line of dialoguAs the word «cap'n» is simply short for the word «captain», the title has been used in other Mario games; an example of this is in Mario & Luigi: Superstar Saga, where the captain of the S.S. Chuckola is referred to as «Cap'n» in one line of dialoguas «Cap'n» in one line of dialogue.

Predictably the dialogue and voice - acting is as bad as ever, even with new character John Morgan (who, in keeping with the game's new features, is good with boats and hand - to - hand fighting).

The 5.1 soundfield is underutilized in the Dolby Digital mix, especially in regards to crowd noise during the baseball games, but the dialogue is lamentably crisp, as are the teen pop hits.

While the dialogue is a fairly witless combination of third - hand one - liners and winking meta - jokes, the game voice cast manages to wring some chuckles out of their one - joke characters, including Jackie Chan as a murine martial - arts master, Bobby Moynihan as a joyfully immoral mayor, and Maya Rudolph and Bobby Cannavale as a pair of tough - talking pugs in love.

Make sure to keep an eye out for easter eggs and not - incredibly - subtle references to Monkey Island and other adventure games, as well as just some good old nerd jokes and 80s references sprinkled throughout the dialogue, the background, and even the titles of books in the library.

When interacting with other characters as Peter Parker the game gives you choices in dialogue but none of them ever affect the outcome of events or conversations which makes them a bit boring.

A few of the graphical problems that I found during the first two chapters was that the text on the user interface did not seem to alter in size along with the game resolution, and that some of the dialogue windows and context sensitive icons did not appear as required, but hopefully these will be ironed out before the game is released later this year.

Set in a gothic - noir universe that resembes 19th century Europe and filled with monsters, magic and strange technology, the game promises an engrossing storyline filled with wry humour and snappy dialogue as Van Helsing makes his way to Borgovia where he is to join forces with where former supernatural foes have enlisted his help to defeat a new evil.

And in a game with as much dialogue as this one, that's a real accomplishment.

- first 30 mins or so can be confusing if you haven't played the demo - Yew Geneolgia is the leader of the Three Cavaliers, who guide the Crystalguard into battle - mission of the Crystalguard is to Protect pope Agnes Oblige from harm at all costs - Agnes is captured by this game's new villain, Kaiser Oblivion - together with Cryst - Fairy Anne, they hatch a plan that becomes more apparent as you move along - one of Yew's longterm partners, Janne, has betrayed everyone and actually works for this newly formed Empire - he killed most of the remaining Crystalguard - Yew finds the final member Nikolai of the Cavaliers before his death and requests of him to simply walk away - Yew is determined to bring Agnes back from the airship she is being held captive on - Yew is young and gets easily scared - Edea Lee from the previous game returns - Magnolia Arch, a Ba'al Buster warrior who claims to come from the moon also appears - between lines of English dialogue, she speaks lines of French as well - there is a long chat between all three characters about how adventuring and camping can be a ton of fun - Party Chat makes its return, and seems a bit more humorous this time - Tiz Arrior will also join your team - some things in Luxendarc have changed since the last game - the world is more united against this common threat - if you beat all enemies in a single turn, it enables the «Bring It On!»

As always the dialogue and humor shine, this time managing to smash the fourth wall numerous times by referencing other Daedalic games and the fact that critics mentioned how the some of the humor was lost in translation from the original German in the prior Deponia games.

Players had fun playing as Roy Temperance, who had many skills and perks and could craft weapons and equipment to fight baddies, all while making dialogue choices with characters that affected the game's plot (just like Mass Effect, which also took place in space!).

As OM goes from strength to strength, run by Juanma and Vic in the UK and Trine in the US, I'm set free to concentrate more on my pet R&D projects: CDT and the GIVR methodology for game dialogue recording.

There are long dialogue sections where your avatar can interact with many of the characters from the show, as well as all the original characters in the game.

In the two latter games and certain battles of the first game, you have story act out as you fight, be it in dialogue and cinematic quick - time events or giant monster battles with large summoned beastIn the two latter games and certain battles of the first game, you have story act out as you fight, be it in dialogue and cinematic quick - time events or giant monster battles with large summoned beastin dialogue and cinematic quick - time events or giant monster battles with large summoned beasts.

It was a treat for me to play a game in which I can laugh at some of the Spanglish dialogue which is all too common for the first - generation Mexican - American such as myself, as well as seeing a ton of video game references given the Aztec art treatment.

When not making strange noises and doing dialogue stuff, Matt writes music and performs with his folk - rock band and, in what time he has left, he plays as many games as humanly possible.

As part of his role as Slightly Mad's unofficial dialogue consultant for Project CARS, Oli Webb's voice will be featured in the game's pit - to - car audio during raceAs part of his role as Slightly Mad's unofficial dialogue consultant for Project CARS, Oli Webb's voice will be featured in the game's pit - to - car audio during raceas Slightly Mad's unofficial dialogue consultant for Project CARS, Oli Webb's voice will be featured in the game's pit - to - car audio during races.

Instead of simply introducing a mechanic (such as the game's crafting system), the player will instead have to sit through a long dialogue sequence filled with hundreds of words just to get to a point that could've been summed up in a sentence or two.

While not plumbing the depths of, «As you know, your father, the king...» the dialogue, well acted as it is, is definitely aimed at those who want to lose themselves in the game and are willing to play along with some of the clunkier expositioAs you know, your father, the king...» the dialogue, well acted as it is, is definitely aimed at those who want to lose themselves in the game and are willing to play along with some of the clunkier expositioas it is, is definitely aimed at those who want to lose themselves in the game and are willing to play along with some of the clunkier exposition.

Along the way you'll play through action sequences as all the characters in the game, and hear a ton of dialogue you won't be able to understand without a firm knowledge of the Japanese language... but that's just the story mode.

Not a full sequel, but definitely more than a mere v1.5, this game has had a near - complete overhaul that puts the Zelda OoT: Master Quest version to shame as it as much as quadruples the amount of content in places, and overhauls much of the returning content (such as the reworked puzzles, and spoken dialogue being added to a game that was previously text - only).

This is much more of an issue for a game like BlazBlue as the dialogue is its central focus due to the story mode, so those who aren't fluent in Japanese (which makes up a large market of this game's western audience) will have to constantly reference the subtitles while playing.

Vault 501 is the first Game Immersive Voice Recording (GIVR) facility in North America and as such it is a showcase space for both GIVR and Creative Dialogue Tools.

There is a lot of dialogue, as any other Harvest Moon game would obviously have, but add tons of unskippable story - focused dialogue featuring uninteresting and clichéd characters, as well as gigantic versions to the aforementioned cheap polygonal models and you know you're in for a boring mess.

No game is without fault and some tiny unnatural pieces of dialogue and plot are noticeable, as is some occasional crappy animation in cutscenes, but they don't come close to scuffing Persona 5's shiny coat.

As in many BioWare games, many of the subplots and issues touched upon here have parallels in our own world, and the story will tackle different themes based on your choices in branching dialogue.

The game still takes you through 35 semi-randomly generated floors of a massive dungeon, which are tied together by means of the same dialogue and events as were found in the PC version.

The best voice acting I have experienced in a long time, and the dialogue is very well written and thought out, even the random conversations you run into as you play the game have some thought behind it.

The game's creative dialogue is not only very amusing but helps provide context for your next mission, as there is a non-linear progression where you must find certain items from previously played stages in order to continue with the story.

«While we will be making adjustments based on feedback from the beta, which is great - and we'll continue a daily dialogue with our players to make ongoing adjustments for many years to come, as this event - driven live service continues - we feel very good about the fact that you can earn almost everything in the game.

Scenes of dialogue in the game are presented with highly detailed realistic artwork by Japanese artist Shinkiro, who some might be familiar with as the character artist from games such as Dead Rising, Resident Evil: Deadly Silence and Final Fight One as well as other Capcom titles.

I was 100 % sure that it won't be as good as the first Xenoblade which was a masterpiece, I just knew it from watching a few trailers, lot's of things was off to me personally, the characters, the dialogues, the story, the art, the voice overs even the Japanese wasn't as good as the first one, the first XC had an amazing story, superb voice overs, magnificent soundtrack, dialogues full of impact that even adults can take seriously in short it was the complete opposite of XC2 were the dialogues remind a generic shonen anime from the dozen we get every year, & the most important for me the first one was full of emotion just watching a single story trailer & I said to myself back then that I must get this game, I wan na play it & experience the story, well when I watch a trailer from XC2 I don't feel like that in the slightest, that said it all.

The game moves forward through the dialogue between the main characters as it delves into their likes and dislikes and you learn what type of person they are in addition to their motivations for being Gate Keepers.