Sentences with phrase «game dialogue went»

It sounds like most of the in - game dialogue went through a native speaker's translation, while other lines just took a cursory pass through BabelFish.

Not exact matches

He, but a humble cook, kept a constant dialogue going with his LORD, through a «game of days — hours — and even minutes.»

The actual reason there is very little «useful dialogue» going on in this blog is because people appear to be approaching discussion somewhat like a chess game... attempting to anticipate my moves and characterize my «style of play» based on previous experience with others.

Taking advantage of diplomatic opportunity of the Olympic games, Moon and his administration actively pursued further - going dialogue with the North.

At present, I'm supposed to talk to a merchant, but I can't seem to get the dialogue to activate with the fellow despite it being my next step, so I'm hoping this will get patched or I'm going to try restarting my game file to finish it.

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.

Game Night, directed by John Francis Daley and Jonathan Goldstein, wastes not a single second of dialogue, gives killer lines to every member of its all - star ensemble, delivers genuinely tense action sequences, and even goes for broke with style.

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.

Based on early reviews out of Toronto, Molly's Game fits the profile of a screenwriter's directorial debut, going light on visual flair but heavy on dialogue — gushing torrents of uber - witty, stylized dialogue delivered at breathtaking speed, as the case may be.

This being a summer tent pole, many of the expected complaints still stick: Much of the dialogue is too average to be memorable yet too obvious to go unnoticed, and nearly every one of the film's game - changing plot pivots takes conspicuous place at the worst time possible.

Gone are exposition - heavy cutscenes, long - winded fits of dialogue and various other tropes most commonly associated with video game narratives.

Cold Steel has just about everything you'd want from a turn - based RPG: a fun, twisty story, strategy - heavy combat, great environments, well - written dialogue, and characters who start off feeling stereotypical but show all sorts of other dimensions as the game goes on.

Miketendo64: With recording generally involving voice actors only every knowing their own lines, and not the responses, were there any scenes in the game that left you wanting to know the full extent of going on and do you have any favourite scenes / dialogue that you recorded for Detective Pikachu?

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.

I managed to get through all nine plus dates in a single sitting, and went back and dated a few of the same ghosts again, just to see how different dialogue choices changed the progress of the game.

During the day you can also check your phone and use your chat program with other characters at certain times to get some genuinely funny dialogue, or you can go into your monster - raising game and play around with that.

Audio is going to play an important part in upcoming sci - fi game Downward Spiral: Horus Station because the game is dialogue free.

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.

The game has branching story paths and dating sim elements, giving you multiple routes to beat, as well as dialogue options to sway the opinion of the girls you decide to go for.

From a story and lore standpoint, it all works rather well, even when the game takes itself more serious than it probably should, given how some of the scenes and dialogue goes throughout the campaign.

The in - game tutorials and dialogue hints at ways to combine your skills in combat or the occasional tactic for a big FOE, but the game never explicitly goes out of its way to spoil the surprise and give you exact details on how the world works.

What baffles me about this though is how in - depth this level creation goes, it has been stated that the player will be able to give dialogue to characters and cast main character from the game into their missions.

One thing I do wish this game did, however, was co-opt Guilty Gear Xrd - REVELATOR -'s «interactive» tutorial where it was almost like a game instead of the usual going from dialogue - to - dialogue box.

The easiest to point out is that the game is better looking that the original, and that characters have voices to go along with their dialogue.

The whole game is about your adventure towards the mountain in the background, though there's never anyone telling you to go there, in fact, there's no dialogue at all.

There are some stretches of dialogue in the game that went for forty - five minutes during my play - through.

It's outside of my comfort zone specifically because it betrays my internal understanding of this character's personality, and goes against what makes the game more immersive for me: reading the dialogue.

Again, with Mafia 3 being an open world game, a lot of it can be spent behind the wheel of a car as you travel to and from different parts of the city going from one objective to another and while it isn't so much of a problem early in the game, the lack of a fast travel option becomes quite a hindrance as time goes on and the further you get in the game because at times it will force you to travel huge distances to speak two lines of dialogue with someone for example and then makes you drive all the way back to where you were originally, which becomes a bit of a chore, but the car handling isn't bad and it almost feels like you are driving a car from the 60's as it feels heavy and limited as you manoeuvre certain cars around a corner.

But, despite this fevered evolution of game design, the Dialogue as a branch of game mechanics has largely been ignored, having been thought of as «good enough» from the get - go.

Upon finishing the game with the full ending from solving every mystery and finding out about that twist, you will almost instantly want to go back and play through again with that knowledge ahead of time to look and see if there are subtle clues in the dialogue or anything.

While Ys II fixes this for the most part, there's one key item in one of the final dungeons which requires players to go to a unmentioned room instead of a house in town, which is where players would assume it was located due to the game's dialogue.

The game does drop hints as to what you should do next via NPC dialogue but it isn't always clear where you should go.

I suspect the onus was on Mike to come out with another storytelling bombshell.While the plot isn't going to catch you off - guard — heck, the game might as well say «we're ripping off Robin Hood, by the way» in its Steam store blurb — the writing at the dialogue level is packed with enough warmth and wit to genuinely bring a smile to my face.

The further you progress through the game the more apparent this will be, but if you ever find the optimism a little too much in the beginning, just look to Zeri's lines — in many ways, he is the voice of the old, jaded fan who is tired of all the happy - go - lucky dialogue and just wants to get things done.

The dialogue is expertly written and the emphasis Paragon and Renegade points (the games version of good and evil) has been greatly reduced — something we're happy to report seeing as black and white morality went out of style years ago.

Just when you start forgetting you are playing a Wolfenstein game the developers are quick to remind you by either throwing you a curveball in the form of dialogue or interactions, like when you interrogate a Nazi soldier in the basement after realizing the Nazis won the war back in WW2 with a chainsaw, or when you discover that you can click the bed and go into Nightmare mode which is basically Wolfenstein 3D which lets you play the game until you dies and this lets you back out into The World Order.

What struck me straight away is how the dialogue in the game does away with the cheesy «ye olde» style of fantasy speaking and instead infuses the game with humour and comedy as Aria will both guide and entertain as the story unfolds around the action going on often with her interaction with the evil general of Lord Zane's army you whose forces you are taking down during each location.

Additional titles with multiple nominations are id Software and Bethesda Softworks» first - person shooter IP reboot DOOM (three nominations); Niantic's free - to - play, location - based augmented reality game Pokémon Go (three nominations); EA DICE / Electronic Arts» World War I inspired first - person shooter Battlefield 1 (two nominations); JAPAN Studio / Sony Interactive Entertainment's long - awaited single player action - adventure The Last Guardian (two nominations); Hello Games» open universe and action - adventure survival game No Man's Sky (two nominations); Night School Studio's narrative and dialogue - driven supernatural mystery graphic - adventure title Oxenfree (two nominations); Drool's fast - paced «rhythm violence» game Thumper (two nominations); and Thekla's 3D game set in an open - world filled with natural and man - made puzzles, The Witness (two nominations).

The only problem that pretty much every game that is quite new with a large fan - base suffers with is server issues and this is going to get better and better as the game further develops so i am not going to rant about how the only problem i have came across is so bad as the story makes up for it because the quality is amazing as the animations are beautifully done and the feeling of playing a story that isn't too driven on dialogue but more actions and feeling that you are destroying a castle and are making a difference within a massive scale war is greatly satisfying.

The game script tends to refer to these in parallel to their real - life counterparts, which can make for some amusing dialogue so long as you're aware of what's going on in the game industry.

Players with disabilities who go into the game aware of the pros and cons of the Fallout 4's accessibility will understand that while a Dialogue Camera can be set the player must go online to find a subtitled copy of the game's introduction or that the controller can be remapped but at times players must go online to learn how to do a specific task.

It's as conventional as games go, but the interesting character interactions, challenging puzzles, and appealing plot all add up to a rewarding and fun adventure game that's reminiscent of LucasArts» classic Monkey Island in both style and humor despite some tedious dialogues and pixel - hunting moments.

The reverence and care that goes into every single blade of grass, every line of dialogue, and every set piece is what puts them on their own plane of existence and makes their games feel special.

This game is a unique as far as puzzles go, a lot of I haven't come across before, and I enjoyed them very much... some took me quite a while to solve The game opened in widescreen... a definite plus, hate having to change things There are 3 modes of play: Easy - Expert - Pro... Expert players will love this game as there is no hand holding at all... no sparkles, no hints and no skips I played the Easy mode where hints charged in about 15 seconds and not much longer for skips I quite like the HOS as well... lists, silhouettes and find one thing to open or find another object but done differently than the norm There are no voice overs, which I didn't mind for a change, not an overly lot of dialogue to read either Graphics were good without being spectacular.

It features: — 3D real - time sandbox game built with Unity game engine — metallic shader, lighting, particle effects, lens flare, explosions, fx — space combat RPG with extensive skill tree — open and living universe where 600 + ships fly around autonomously — epic story with dialogue system that allows real choices — recruit 6 wingmen and 2 can fly with you at a time — even discover romance with another wing pilot — recruit 5 corporate pilots who can fly trade routes on your behalf — trade, fight, mine, pirate, scan for derelict ships and wormholes — many mission types: epic, freelance, dynamic, wingman acquisition, faction loyalty — deep combat mechanics, AI, and faction standings — 20 + ships, 180 + modules, 33 solar systems with a unique follow - through - warp mechanic — 15 + factions to vie favor or destroy — cinematic camera shows you the action when it happens — fly manually with or without Newtonian physics or use autopilots exclusively — 22 track theatrical - quality award - winning soundtrack by renown composer, Sean Beeson — cloud save lets you continue your game at home or on the go MEMORY: Dangerous uses a lot of memory during play, so if you have an older device, please close extraneous programs and reboot prior to playing.

Right from the beginning I could tell I was not going to enjoy the game's dialogue or story.

There's something to be said for simplicity, and the game does it well by keeping the core simple and taking the time to add little flourishes as you go: the defective turrets, the wall paintings and the idle dialogue make for a game that was treated with the utmost of care.

The game's narrative is fairly straight forward and doesn't go into too much depth, with the story featuring no dialogue and instead depending on a series of illustrations to tell its tale.

Senior producer Tomasz Gop and level designer Marek Ziemak were on hand to show how things are going for good old Geralt now he's in a new game engine with refined combat, improved dialogue systems and a newer and much bigger story.

It keeps a dialogue going about games - as - art, because it very directly addresses the things people see as being «missing» from games: stories that matter, writing that doesn't blow, interactions beyond running and shooting.