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<\/figure>\n\n\n\n- \n
- We accept the imaginary world as a new reality.<\/li>\n\n\n\n
- Disbelief is suspended, and we agree on norms that govern the imaginary world.<\/li>\n\n\n\n
- The author and the public pretend that the narrated events actually happened.<\/li>\n\n\n\n
- Events will be similar to the real world so that they are coherent.<\/li>\n\n\n\n
- If the above does not happen, author-public communication is broken.<\/li>\n\n\n\n
- Each genre has its own fictional rules.<\/li>\n<\/ul>\n\n\n\n
For example, what would have happened in the Lord of the Rings<\/a><\/em> series if Frodo suddenly recovered from the ring\u2019s power? Or in The Sixth Sense<\/a><\/em>, if for no reason Malcolm had randomly decided that he was a ghost? Some stories are sometimes on the thin edge of reason; more than once, we\u2019ve been at the dinner table with family or friends discussing the board at the end of Titanic<\/a>: <\/em>Could two people have fit on it?<\/p>\n\n\n\n
Thus, the fictional pact doesn\u2019t just offer us cohesion within our audiovisual experience: it immerses us. We believe in that world and that we can become part of it through our perceptions. We empathize with the characters, enjoy the good moments, and suffer through the bad ones; we laugh, we cry\u2026<\/p>\n\n\n\n
Adding Video Games to the Equation<\/h2>\n\n\n\n
And in video games? Our experience becomes more closely held and three-dimensional. Games have typical audiovisual elements like trailers, design, images, sound, music, etc., but they also have other features like text, menus, playability, mechanics, longitude, cultural\/idiomatic localization, and of course, what differentiates them from other creative works: our active participation.<\/p>\n\n\n\n
![\"\"](\"https:\/\/terralocalizations.com\/wp-content\/uploads\/2023\/10\/Life-Is-Strange-interaction-example-1024x544.jpg\")
Still from Life Is Strange<\/em>, Square Enix.<\/figcaption><\/figure>\n\n\n\n What Are the Classic Audiovisual Features Found in Video Games?<\/h2>\n\n\n\n
Music is one of immersion\u2019s most important elements; melancholic notes bring us feelings of sadness, and tenser notes allow us to feel the terror of an FPS with jump scares. However, it should be noted that video games have a big advantage: music can be adapted to the game environment, and it continues to evolve along these lines.<\/p>\n\n\n\n
For example: in the Final Fantasy VII<\/em> remake<\/a>, when walking through the Wall Market, the same song changes instruments or tones in accordance with what is happening in that place: a bossa nova-type chill style close to the restaurant, or more rhythmic sounds near the gym. Another example is the recently released Return to Monkey Island<\/em><\/a>, where the music in each scene changes in accordance with the characters\u2019 personalities: the cantina\u2019s song turns into powerful metal chords when we get to the pirate leader trio\u2019s table.<\/p>\n\n\n\n
How Trailers Allow Us to Feel Connected to an Upcoming Release<\/h3>\n\n\n\n
Trailers can show us the same things we\u2019ll see during gameplay, but there are some studios that use other clever methods to get the most out of their trailers.<\/p>\n\n\n\n
SuperGiant Games\u2019 roguelite Hades <\/em>produced an exclusive animation for its launch on Switch that allowed us to get familiar with Zagreus, the main character. <\/p>\n\n\n\n