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* In ''SamAndMax'' games, shooting random objects always gives the same pinging bullet sound. [[LampshadeHanging Lampshaded]] at one point in ''Chariots of the Dogs'', if you shoot the right thing: "An iron pinata? I think someone is missing the point."

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* In ''SamAndMax'' ''[[VideoGame/SamAndMaxFreelancePolice Sam & Max]]'' games, shooting random objects always gives the same pinging bullet sound. [[LampshadeHanging Lampshaded]] at one point in ''Chariots of the Dogs'', if you shoot the right thing: "An iron pinata? I think someone is missing the point."


There are two broad categories of Limited Sound Effects: First, sound effects that are reused even in places where the sound may be inappropriate, and sound effects that are reused so often, (such as enemy taunts), that they [[MostAnnoyingSound become annoying]] and threaten to break the player's SuspensionOfDisbelief, as the same exact sound would never occur that often in RealLife. Possibly the most pervasive form of this trope is NPC voices, especially {{Mooks}} and their pain/death sounds or generic taunts and such. Even in the most advanced games each type of Mook tends to has a single set of stock sounds, so they all sound the same when they get shot.

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There are two broad categories of Limited Sound Effects: First, sound effects that are reused even in places where the sound may be inappropriate, and sound effects that are reused so often, (such as enemy taunts), that they [[MostAnnoyingSound become annoying]] and threaten to break the player's SuspensionOfDisbelief, as the same exact sound would never occur that often in RealLife. Possibly the most pervasive form of this trope is NPC voices, especially {{Mooks}} and their pain/death sounds or generic taunts and such. Even in the most advanced games each type of Mook tends to has a single set of stock sounds, so they all sound the same when they get shot.



* [=NPCs=] in ''VideoGame/MassEffect1'' have about three combat taunt: '''[[https://www.youtube.com/watch?v=9mi2NKZ37YE ENEMIES EVERYWHERE! GO GO GO! I WILL DESTROY YOU!!!!]]'''. They like to say a taunt about once every... 2 seconds? So you will hear those three sound clips ''[[MostAnnoyingSound A LOT]]''. Strangely, they recorded multiple voices saying the same three taunts.

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* [=NPCs=] in ''VideoGame/MassEffect1'' have about three combat taunt: '''[[https://www.youtube.com/watch?v=9mi2NKZ37YE ENEMIES EVERYWHERE! GO GO GO! I WILL DESTROY YOU!!!!]]'''. They like to say a taunt about once every... 2 seconds? So you will hear those three sound clips ''[[MostAnnoyingSound A LOT]]''.frequently. Strangely, they recorded multiple voices saying the same three taunts.


For instance, if you're driving a car around, crashing into a metal warehouse could give you a "hitting hollow metal" sound effect. Which is perfect. Then, hitting a wooden building gives you the same effect. Not quite right, but close enough. Next, you hit a dirt cliff. Same sound. At this point, the LimitedSoundEffects have become noticeable.

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For instance, if you're driving a car around, crashing into a metal warehouse could give you a "hitting hollow metal" sound effect. Which is perfect. Then, hitting a wooden building gives you the same effect. Not quite right, but close enough. Next, you hit a dirt cliff. Same sound. At this point, the LimitedSoundEffects have this trope has become noticeable.


This trope is present in almost every videogame, and is generally an [[AcceptableBreaksFromReality Acceptable Break From Reality]]. Space constraints mean that it would be impossible to have every possible sound effect a player could make in the game. And even if it were possible, the time it would take to do so is probably better spent doing something else. Besides, as games become more complex, and allow the character more actions, especially those of the DieChairDie variety, it's harder for the designers to even guess what sound effects a player might need during a game. The only real way to [[AvertedTrope avert]] this trope entirely is to make a game incredibly simple (how many sounds can you make in PacMan, anyway?) or [[NoSidepathsNoExplorationNoFreedom so linear the player can only carry out certain actions]]. (Well, you could use a sound engine where sounds are procedurally generated, but nobody's even managed to do that in sufficiently universal fashion with scientific supercomputers... [[TechnologyMarchesOn Yet.]])

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This trope is present in almost every videogame, and is generally an [[AcceptableBreaksFromReality Acceptable Break From Reality]]. Space constraints mean that it would be impossible to have every possible sound effect a player could make in the game. And even if it were possible, the time it would take to do so is probably better spent doing something else. Besides, as games become more complex, and allow the character more actions, especially those of the DieChairDie variety, it's harder for the designers to even guess what sound effects a player might need during a game. The only real way to [[AvertedTrope avert]] this trope entirely is to make a game incredibly simple (how many sounds can you make in PacMan, ''VideoGame/PacMan'', anyway?) or [[NoSidepathsNoExplorationNoFreedom so linear the player can only carry out certain actions]]. (Well, you could use a sound engine where sounds are procedurally generated, but nobody's even managed to do that in sufficiently universal fashion with scientific supercomputers... [[TechnologyMarchesOn Yet.]])


* Blocks in ''{{Wild ARMs}}'' puzzles always make the same sound when you push them, regardless of what type of material you're pushing them over. One would expect that futuristic glossy tiles, old stone floors, and dirt would all make different sounds, but no.

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* Blocks in ''{{Wild ARMs}}'' ''VideoGame/WildArms'' puzzles always make the same sound when you push them, regardless of what type of material you're pushing them over. One would expect that futuristic glossy tiles, old stone floors, and dirt would all make different sounds, but no.


* If you think recycled sound effects within a single game are bad, imagine sound effects being re-used across multiple games. This is exactly the case with ''VideoGame/ActRaiser'', ''SoulBlazer'', and ''IllusionOfGaia''. Enix re-used numerous sound effects in two or more of those games, such as taking damage, dealing damage, projectiles being fired, thunder, life bars being refilled, menu selection confirmations, cursor movements, and probably more.

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* If you think recycled sound effects within a single game are bad, imagine sound effects being re-used across multiple games. This is exactly the case with ''VideoGame/ActRaiser'', ''SoulBlazer'', ''VideoGame/SoulBlazer'', and ''IllusionOfGaia''.''VideoGame/IllusionOfGaia''. Enix re-used numerous sound effects in two or more of those games, such as taking damage, dealing damage, projectiles being fired, thunder, life bars being refilled, menu selection confirmations, cursor movements, and probably more.


* The GameBoyAdvance version of ''VideoGame/HarryPotter and the Chamber of Secrets'' uses the same cry for both the half-dozen trolls scattered throughout the various levels and the basilisk.

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* The GameBoyAdvance UsefulNotes/GameBoyAdvance version of ''VideoGame/HarryPotter and the Chamber of Secrets'' uses the same cry for both the half-dozen trolls scattered throughout the various levels and the basilisk.

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** There's also only one voice clip per PlayerCharacter that plays when they pick up an item container (whether it be rings, a OneUp, a shield etc.) - and if there are multiple containers in close proximity, the single clip plays ''every time'', such as [[http://youtu.be/JyK6tb5HbTs?t=12m43s this famous moment]] from a playthrough done by WebVideo/GameGrumps.


** And the other one voiced by [[Creator/SeanBean Boromir]].



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* Early versions of ''VideoGame/{{Doom}}'' seeked to partially avert this by [[https://www.youtube.com/watch?v=NGKbYpQv1ZE randomly shifting the pitch of any sound effects played back]]. This doesn't work in later versions due to [[https://doomwiki.org/wiki/Random_sound_pitch_removed code bugs]].


** And then there's the Arachnos Fliers (huge transport gunships) in ''VideoGame/CityOfVillains'' that, to this day, ''still'' use the creaking wooden door sound for its access hatches.

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** And then there's the Arachnos Fliers (huge transport gunships) in ''VideoGame/CityOfVillains'' that, to this day, ''still'' use the last, used the creaking wooden door sound for its access hatches.


* ''VideoGame/CityOfHeroes'' does this to varying degrees- regardless of whether you're hitting a zombie or a giant robot, you get the same sound effect for your attack. What's more noticeable (because it's limited) is the sound of walking. While there are several different sounds (metal, carpet, and a generic hard surface) these appear to be less granular than the floor detail: you can find yourself suddenly running across a linoleum floor to the muted thuds of carpet, or dashing through a particularly large planter while listening to hardwood flooring.

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* ''VideoGame/CityOfHeroes'' does did this to varying degrees- regardless of whether you're hitting a zombie or a giant robot, you get got the same sound effect for your attack. What's What was more noticeable (because it's limited) is was the sound of walking. While there are were several different sounds (metal, [[note]]metal, carpet, and a generic hard surface) surface [[/note]] these appear appeared to be less granular than the floor detail: you can could find yourself suddenly running across a linoleum floor to the muted thuds of carpet, or dashing through a particularly large planter while listening to hardwood flooring.



*** And let's not mention ''VideoGame/ChampionsOnline'', in its remarkable attempt to differentiate itself from ''VideoGame/CityOfHeroes'' actually using the exact same sound library for many of its effects. It's rather jarring to be play both games and hear the same sound effects across different powers.


** ''LittleBigAdventure'' (1994) and its sequel (1997), created mostly by the same people as ''Videogame/AloneInTheDark1992'' (under a different label), similarly use a variety of sounds for walking on different surfaces.

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** ''LittleBigAdventure'' ''VideoGame/LittleBigAdventure'' (1994) and its sequel (1997), created mostly by the same people as ''Videogame/AloneInTheDark1992'' (under a different label), similarly use a variety of sounds for walking on different surfaces.


[[AC:Out of Place Sound Effects]]

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[[AC:Out [[foldercontrol]]

[[folder: Out
of Place Sound Effects]]Effects ]]



[[AC:Overly-Repetitive Sound Effects]]

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[[AC:Overly-Repetitive [[/folder]]

[[folder: Overly-Repetitive
Sound Effects]]Effects ]]



** [[AC: I KNOW THIS HURTS YOU, SHEPARD]]

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** [[AC: I KNOW THIS HURTS YOU, SHEPARD]]SHEPARD ]]



[[AC:Other]]

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[[AC:Other]][[/folder]]

[[folder: Other ]]



* In VideoGame/PokemonRedAndBlue, due to the software limitations of the day, two sets of two Pokémon had identical cries - Charizard and Ryhorn as well as Poliwag and Ditto. Even more Pokémon had cries that were just sped-up or slowed-down version of the other's - Caterpie and Poliwag/Ditto, Fearow and Cloyster, Jynx and Exeggutor, etc. However, this was changed from [[VideoGame/PokemonGoldAndSilver Gen II]] onward, so now no two Pokémon have the same cry.

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* In VideoGame/PokemonRedAndBlue, due to the software limitations of the day, two sets of two Pokémon had identical cries - Charizard and Ryhorn as well as Poliwag and Ditto. Even more Pokémon had cries that were just sped-up or slowed-down version of the other's - Caterpie and Poliwag/Ditto, Fearow and Cloyster, Jynx and Exeggutor, etc. However, this was changed from [[VideoGame/PokemonGoldAndSilver Gen II]] onward, so now no two Pokémon have the same cry.cry.

[[/folder]]


** The studio did the same thing again on ''WhatsNewScoobyDoo'' 35 years later, using a similar small portion of the Hanna-Barbera sound effect library repeated over and over; most of the others were the studio's own effects created in-house (including many recorded just for the show.)

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** The studio did the same thing again on ''WhatsNewScoobyDoo'' ''WesternAnimation/WhatsNewScoobyDoo'' 35 years later, using a similar small portion of the Hanna-Barbera sound effect library repeated over and over; most of the others were the studio's own effects created in-house (including many recorded just for the show.)

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