Difference between revisions of "Address Others"
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| ex1=<mt p="AddressOthers" g="AssassinsCreed2" altg="Assassin's Creed 2" w="{{R16by9W}}" h="{{R16by9H}}">Ezio addressing hired people either using [[Dialogue]] or by whistling, with semantics equivalent to "stay" and "come". </mt> | | ex1=<mt p="AddressOthers" g="AssassinsCreed2" altg="Assassin's Creed 2" w="{{R16by9W}}" h="{{R16by9H}}">Ezio addressing hired people either using [[Dialogue]] or by whistling, with semantics equivalent to "stay" and "come". </mt> | ||
| − | | ex2=<mt p="AddressOthers" g="Uncharted 2" w="{{R16by9W}}" h="{{R16by9H}}">Nathan can exchange compliments with the villagers or even pet a yak, using [[Dialogue]].</mt> | + | | ex2=<mt p="AddressOthers" g="Uncharted 2" altg="Uncharted 2: Among Thieves" w="{{R16by9W}}" h="{{R16by9H}}">Nathan can exchange compliments with the villagers or even pet a yak, using [[Dialogue]].</mt> |
| ex3=<mt p="AddressOthers" g="Ico" w="{{RPS2W}}" h="{{RIcoH}}">Ico calling Yorda is a [[Signature]] of this game. It has high impact in the [[Emotional Script]].</mt> | | ex3=<mt p="AddressOthers" g="Ico" w="{{RPS2W}}" h="{{RIcoH}}">Ico calling Yorda is a [[Signature]] of this game. It has high impact in the [[Emotional Script]].</mt> | ||
| ex4=<mt p="AddressOthers" g="Heavy Rain" w="{{R16by9W}}" h="{{R16by9H}}">Ethan calling his son while seeking for him in the middle of the crowd in a shopping centre.</mt> | | ex4=<mt p="AddressOthers" g="Heavy Rain" w="{{R16by9W}}" h="{{R16by9H}}">Ethan calling his son while seeking for him in the middle of the crowd in a shopping centre.</mt> | ||
Revision as of 16:57, 19 July 2012
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| The card's front face | The card's back face |
Contents
Synopsis
| Enabling the PC to use sound to address NPCs. |
Relationships
Context:
Consequent Sound 
.
May imply:
Sound Input 
.
Often uses:
Dialogue 
, Foley 
.
Description
Some games preview the possibility of the PC being able to address the NPC (diegetically) through a sound stimulus. Solutions include short Dialogue, singing and playing (e.g., Sing to Act), whistling, and car honking. Motivations may relate to the gameplay, or simply be part of the exploratory dimension of the experience.
Examples
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