Game of Twisted Shouting

Abstract

This article takes a deeper look at the notion of ludo-narrative dissonance (henceforth LND), a popular term that refers to the perceived clash between the ludic and the narrative aspects of games. We wish to argue that a better understanding of the nature of LND and the reasons it appears in games enables us to look at this phenomenon from a new perspective that was not, as of yet, considered in game studies literature or the popular discourse. The typical approach to LND presents it as a problem or a design flaw that needs to be avoided by the developers. In contrast to this, we suggest that LND can be seen as a source of inspiration for the creators as it inherently invites the developers and the players to reflect on the game structure. We start with a closer look at the notion of LND and present three ways it can be interpreted. In section two we analyze the reasons LND can appear in games (regardless of the developers’ intentions). Section three goes through some of the existing methods of dealing with LND. Here we argue that embracing LND as a result of some of the necessary tensions of game design can result in the creative victory of the developers. We finish the paper, in the fourth section, with a longer case study of Manhunt which we see as a good exemplification of the reinvigorating power of LND.

Digital Games as Media for Teaching and Learning: A Template for Critical Evaluation

“…Such cases have been termed ludo-narrative dissonance (Hocking, 2007) and it has long been an accepted truth in game design that, for the sake of consistency, such cases should be avoided. However, recently scholars have pointed to the artistic potentials of tensions between narrative and rules that can have estranging and therefore engaging implications for players and audiences of gameplay (Murphy, 2016; Backe, 2018; Grabarczyk & Walther, 2022). Such possible tensions can be an important area of inquiry when preparing game-based teaching sessions.…”

Figures et mondes impossibles en jeu vidéo

“…La majorité des auteurs s'intéressant à des figures explicitement « impossibles » et à leurs effets en jeu vidéo, ou plus largement dans des environnements graphiques animés par ordinateur, se concentrent sur un type bien précis d'impossibilités appliquées à des formes et des espaces géométriques (voir Khoh et Kovesi, 1999 ;Olivieri et Feriozzi, 2018 ;Petrovits, 2013 ;Savransky et al, 2003 ;Scott, 2003 ;Suma et al, 2012). Des figures impossibles sont aussi envisageables ailleurs dans des cas tout aussi spécifiques, comme à travers l'idée de dissonance ludonarrative, d'abord proposée par Hocking (2007) puis reprise par d'autres auteurs en études du jeu (Grabarczyk et Walther, 2022 ;Genvo, 2020). Celle-ci implique des écarts significatifs entre les actions commises durant les phases de jeu et celles évoquées par l'histoire (par exemple lors de cinématiques), pouvant entre autres être imaginés comme des manifestations d'identités contradictoires de l'avatar.…”