Difference between revisions of "Radio"
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| v20rel2=, [[Sound Suppressing]], [[Stealth]]<br> | | v20rel2=, [[Sound Suppressing]], [[Stealth]]<br> | ||
| v20rel-tag3=Relates to:<br> | | v20rel-tag3=Relates to:<br> | ||
− | | v20rel3=[[ | + | | v20rel3=[[Recordings]]<br> |
| description= | | description= | ||
[[Radio]] devices present disparate solutions to offer audio stimuli inside the game world (i.e., in a diegetic way). | [[Radio]] devices present disparate solutions to offer audio stimuli inside the game world (i.e., in a diegetic way). | ||
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[[Radio|Radios]] may only convey [[Diegetic Music]] but many times they serve the [[Narrative]], or act as [[Helper Voice]] by providing information relevant to the gameplay. There are also cases of [[Radio|Radios]] playing a role during [[Stealth]] performance. | [[Radio|Radios]] may only convey [[Diegetic Music]] but many times they serve the [[Narrative]], or act as [[Helper Voice]] by providing information relevant to the gameplay. There are also cases of [[Radio|Radios]] playing a role during [[Stealth]] performance. | ||
− | [[Radio]]s are related but different from [[ | + | [[Radio]]s are related but different from [[Recordings]]. The latter usually present scattered and anachronical pieces of past testimonies, and serve [[Recordings|distinctive purposes]]. |
| additional= | | additional= |
Revision as of 16:37, 18 November 2011
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The card's front face | The card's back face |
Synopsis
Actual radio receivers with relevant emission. |
Relationships
Contexts:
Narrative , Helper Voice
, Awareness
, Diegetic Music
.
May relate to:
Sound Suppressing , Stealth
.
Relates to:
Recordings .
Description
Radio devices present disparate solutions to offer audio stimuli inside the game world (i.e., in a diegetic way).
It is fairly common to came across Radios in open-world games. Clearly, the inclusion of these objects in the game world is a sound design decision.
Radios may only convey Diegetic Music but many times they serve the Narrative, or act as Helper Voice by providing information relevant to the gameplay. There are also cases of Radios playing a role during Stealth performance.
Radios are related but different from Recordings. The latter usually present scattered and anachronical pieces of past testimonies, and serve distinctive purposes.
Examples
Considering that this is still a candidate pattern, we present more examples then usually, to better support the discussion.
![]() ![]() Far Cry 2: A Radio tuned in the local radio station is a common finding (Diegetic Music and some voiced pieces). There are even missions where the radio emission is central. The radio station is explicitly presented by a taxi driver in an initial Cut-Scene.
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![]() ![]() Silent Hill: In this game the radio is relevant not because of a regular emission it might receive but because it emits noise when enemies are nearby (Echolocation).
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![]() ![]() Tom Clancy's Splinter Cell: Chaos Theory: In this case the radio emission competes for the attention during Stealth action. Radios can be turned off or destroyed.
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![]() ![]() Grand Theft Auto 4: The radio contributes in a naturalist manner with Music (Diegetic Music) that completes the Acoustic Ecology. Cars are also equipped with radio and it is possible to change station.
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![]() ![]() Tomb Raider Legend: Lara is wearing a communicator (Helper Voice). The opponent is also using a walkie-talkie (Unaware NPC).
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Additional Comments
Radio in Silent Hill, Silent Hill Wiki.
In Silent Hill: Homecoming (a newer installment in the series) the radio is actually a radio transceiver (walkie-talkie) [1].