Difference between revisions of "No Can Do"
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The interaction between the PC/player and the game world implies experimentation, at least until the rules of the game world are well understood. To signal impossible actions, designers frequently resort to sound. | The interaction between the PC/player and the game world implies experimentation, at least until the rules of the game world are well understood. To signal impossible actions, designers frequently resort to sound. | ||
| − | If we imagine of a continuum between sounds of [[Achievement]] and sounds of [[Failure]], sounds of [[No Can Do]] 'feel' somewhere between a neutral degree of [[Awareness]] and tending towards [[Failure]], although they don't get close enough to the latter to the point of being similar. A [[No Can Do]] sound is mostly informative; it does not reflect a judgement on the action of the player | + | If we imagine of a continuum between sounds of [[Achievement]] and sounds of [[Failure]], sounds of [[No Can Do]] 'feel' somewhere between a neutral degree of [[Awareness]] and tending towards [[Failure]], although they don't get close enough to the latter to the point of being similar. A [[No Can Do]] sound is mostly informative; it does not reflect a judgement on the action of the player – although it informs about something that cannot be done and, as such, which is not interesting repeating. |
Solutions for [[No Can Do]] may be diegetic or non-diegetic. In the former case, the PC usually expresses itself the impossibility through a minimal [[Dialogue]], which is sometimes accompanied by the [[Foley]] of the failing interaction. In the latter case it is common to use a [[Sound Effects|Sound Effect]] directed to the player. | Solutions for [[No Can Do]] may be diegetic or non-diegetic. In the former case, the PC usually expresses itself the impossibility through a minimal [[Dialogue]], which is sometimes accompanied by the [[Foley]] of the failing interaction. In the latter case it is common to use a [[Sound Effects|Sound Effect]] directed to the player. | ||
Revision as of 07:46, 24 May 2012
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| The card's front face | The card's back face |
Contents
Synopsis
| Signalling something impossible. |
Relationships
Context:
Awareness 
.
Close to:
Failure 
.
Makes use of:
Sound Effects 
, Foley 
, Dialogue 
.
Description
The interaction between the PC/player and the game world implies experimentation, at least until the rules of the game world are well understood. To signal impossible actions, designers frequently resort to sound.
If we imagine of a continuum between sounds of Achievement and sounds of Failure, sounds of No Can Do 'feel' somewhere between a neutral degree of Awareness and tending towards Failure, although they don't get close enough to the latter to the point of being similar. A No Can Do sound is mostly informative; it does not reflect a judgement on the action of the player – although it informs about something that cannot be done and, as such, which is not interesting repeating.
Solutions for No Can Do may be diegetic or non-diegetic. In the former case, the PC usually expresses itself the impossibility through a minimal Dialogue, which is sometimes accompanied by the Foley of the failing interaction. In the latter case it is common to use a Sound Effect directed to the player.
In Thief, when trying to conceal a body in a place that cannot fit it, Garrett emits a 'uh-uh'. In this case no accompanying visual cue exists. A similar utterance is used by the protagonists of Mini Ninjas when trying to enter an unreachable part region of the scenario.
In Half-Life 2, where it is supposed to pick or activate items throughout the world, when an item cannot be used, a Sound Effect is used. Unless captions are activated this is the only cue the player receives [pending: double check this].
Examples
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