Dunn, Ben. âThe Problem With Ludonarrative Dissonance.â SUPERJUMP, 16 Aug. 2020, https://medium.com/super-jump/the-problem-with-ludonarrative-dissonance-625e7c67ed2. Accessed 3 Nov. 2022.Â
qBen Dunn talks about how he feels the term ludonarrative dissonance is often being used incorrectly and objectively with the tagline âAt what point does narrative consistency become more important than having fun?â. He describes several video games and explains how ludonarrative dissonance applies to those video games. He explains how some games do merit this criticism due to the story often saying things completely opposite to what we have been doing while playing, but plenty of games do not really warrant it due to the world or universe of that game not necessarily reflecting reality or the way we perceive things in the real world. He proceeds to talk about how âopen-worldâ games allowing us to do certain things does not necessarily make them ludonarratively dissonant since they are at the behest of the player and not the game itself and addressing this issue would mean the removal of the players mean to interact and experiment with the game world, citing the Grand Theft Auto series to be a common victim of this due to its open ended nature. Ben Dunn says while ludonarrative dissonance is a topic which does warrant discussion, throwing it around to objectively describe games people do not like only serves to make it meaningless in the long run.
Freelance writer and avid gamer Ben Dunn writes about ludonarrative dissonance with various examples and brings up some very valid points about the argument I had not really thought of. The tagline of his article âAt what point does narrative consistency become more important than having fun?â is a question which brings the usage of this concept to critique video games into perspective. Video games being an interactive medium cannot help but allow its players to do with the world as they see fit. This will undoubtedly introduce many actions which may necessarily not agree or with the plot. Games being ludonarratively dissonant is has been a very contentious topic but I think it mostly applies to story-driven games and games which are trying to portray reality. Incorrectly using the term is also something he addresses and I feel is important as it would otherwise dilute its value and relegate it to the various other terms people use to insult video game they do not like.
Dunn also addresses plenty of video games which have been critiqued or even reviewed as being ludonarratively dissonant. He brings up Tomb Raider, which does indeed aim to portray the main character Lara Croft as a frightened and inexperienced adventurer but in many sections of the game we have no choice but to mow down hordes of human enemies, which completely flips the narrative on its head. He also compares this to another similar game Uncharted which is also often critiqued for being ludonarratively dissonant. The point he makes about the world of Uncharted being different to ours and not reflecting real world perspectives is valid, but the same can be said for Tomb Raider, both worlds being supernatural and mystical in their own rights. Despite this I think the point he is trying to make is still quite valid that games require ludonarrative consistency when they are trying to realistically portray the real world.
Talking about the Grand Theft Auto games, especially GTA IV, is something very contentious but I think Dunn has explained his perspective on it very well. The game is very gritty and tells the story of a broken man trying to stray away from lifeâs horrors. As dark as the narrative is, the players are still in control and can do almost anything they want, let loose in a fictional but realistic rendition of New York City. The GTA franchise is known for its open world and giving the player complete freedom with very minimal restrictions, so removing this aspect of the gameplay just to fit the narrative is impossible, and as Dunn puts it, the actions of the player are completely their own, especially if they are not being forced to choose between any styles of play, and should be seen as completely separate from the narrative. If the player however does choose to follow the narrative without deviating from it in gameplay they will find their actions very much coinciding with the narrative and can actually experience the game for what it was meant to be. This brings up another point that games are not necessarily just a story-telling medium but an experience as well, allowing us to do things many of us would normally not even consider, like in this case skydiving from the Empire State building or driving a car inside the subway.