Clint Hocking, a former creative director at LucasArts, coined the term on his blog in October 2007, in response to the gameBioShock. He claimed that it promotes the theme of self-interest through its gameplay while promoting the opposing theme of selflessness through its narrative, creating a violation of aesthetic distance that often pulls the player out of the game. Jonathan Blow also used BioShock as an example in his 2008 talk. Writer Tom Bissell, in his book', notes the example of ', where a player can all but kill their digital partner during gameplay without upsetting the built-in narrative of the game. Jeffrey Matulef of Eurogamer used the term when referencing the Uncharted series, saying "Uncharted has often been mocked for being about a supposedly likable rogue who just so happens to recklessly slaughter hundreds of people". acknowledged the criticism with a trophy called "Ludonarrative Dissonance" that is awarded to the player for killing 1,000 enemies. The game's co-director Neil Druckmann said that in Uncharted 4 the studio was "conscious to have fewer fights, but it came more from a desire to have a different kind of pacing than to answer the 'ludonarrative dissonance' argument. Because we don't buy into it." In 2016, Frédéric Seraphine, semiotician and researcher specialized in game design at the University of Tokyo wrote a literature review about the notion of ludonarrative dissonance. In this article, developing on debates sparked by Hocking's blog post, Seraphine identifies the reason of ludonarrative dissonance as an opposition between "Incentives" and "directives" within the "ludic structure " and the "narrative structure ".
Debates on the potential positive use of the notion
Some game scholars and writers are challenging the supposedly negative nature of ludonarrative dissonance. Nick Ballantyne, managing editor at GameCloud Australia, in an article from 2015, argues:
"What if it could be used to a dev’s advantage? Video games can force players into uncomfortable situations, and ludonarrative dissonance can help foster that uncomfortableness. Faux glitches have been used as ludo/narrative tools before , so why is ludonarrative dissonance avoided so much? If your intent is to unsettle or confuse a player, then ludonarrative dissonance seems perfect, but this relies heavily on the player."
While acknowledging the potential of ludonarrative dissonance to create what he calls "emersion", defined as opposed to "immersion" as the "sensation of being pulled out of the play experience", Seraphine agrees with Ballantyne on the possibility to purposefully use ludonarrative dissonance as a storytelling device. Seraphine concludes his article with: "It seems that more games in the near future might use ludonarrative dissonance as a way to tell more compelling stories. In essence, stories are about characters and the most interesting stories are often told with dissonant characters; as it is the surprise, the disturbance, the accident, the sacrosanct disruptive element, that justifies the very act of telling a story." In a 2013 Game Developers Conference talk, writer Walt Williams argued that embracing ludonarrative dissonance allows the developer to portray the character as a hypocrite and force the character to rationalize their actions.
Ludonarrative consistency
The Dead Space series is noted for having a consistent ludonarrative. Brett Makedonski of Destructoid states of the series, "The gameplay aptly conveys the sense of sheer terror and loneliness that the narrative expertly strives to establish."
