The Language of Videogames: Part 5 Narrative Significance and Ludonarrative Dissonance

We have already explored the symbolic and systematic basics that underline the functionality of the language of videogames. The way the game is designed is meant to guide the player on an experience of the developer’s choice. Interactive functionality with the game via “win-states” and other gameplay elements are all belonging to a larger group of ludic functionality. Ludic originating from the Latin word ludere which means ‘to play’.  Any word with the root ‘lud’ in reference to videogames and videogames study refers back to play or interactivity. Gameplay and “win-states” are types of ludic functionality that separate and individualize videogames from other media and from themselves. Genres of videogame classification are done by the games ludic functionality; shooter, platformer, puzzle. The language of videogames is ludic in design where each differing vernacular corresponds to a certain genre of game. Yet, where does the story and narrative of videogames fall? How integral a part of the experience are they if the language is designed to be ludic in function? 

As defined by the Oxford Online Dictionary narrative is “a spoken or written account of events; a story”. That definition is suitable, yet lacking. Narrative is also a framing device, the point of view through which a series of events is perceived. That is why within the world of storytelling it is called a narrator. Narrative as told through the language of videogames is no different. Videogames are another form of language through which a spoken or written account of events can be told. Videogames offer new opportunities to tell a story.

Narrative within a videogame gives impetus where “win-states” cannot. From purely gameplay or ludic perspective “win-states” are all that is necessary to make a game compelling. The prime example of this being Tetris. But once the ludic blinders have been removed the experience can fall short. Humans are creatures capable of immense perception. The sound of a subtle door creak, the smell of someplace worn and lived in, the faint brush of wind upon the back of your neck. These are the experiences that we as humans have come to recognize and associate as normal and interesting. Engagement in a purely ludic level quickly becomes tiresome. Narrative the second tool developers use to guide the player along the experience intended for them.

Form the pixilated cutscenes detailing love in Mrs. Pacman narrative has been an important part of the videogame experience. Few videogames go far without a story worth supporting. Bioshock, Mass Effect, The Last of Us are all games touted for their narrative as well as their gameplay. It is this seamless melding of ludic and narrative elements that creates the true beauty of the videogame art form. When interacting with a game the player wants not only to experience the feeling of fun brought froth via a “win-state”, they want to feel as though their actions have influence. Players do not merely wish to shoot at bad guys because it is fun; they wish to shoot at bud guys so they can save the world. It is no surprise that a majority of videogame stories are escapist, wish-fulfillment fantasies. Why would anyone simply read a book or watch a movie where their dream is fulfilled by someone else and they are left with the moderately bitter taste of vicarious enjoyment? Videogames offer unprecedented possibility. As technology increases the limits of what can be created slowly disappear. There is immeasurable potential in the merging ludic and narrative functionality to create something absolutely incredible.

As with all things of great potential there is also a treacherous downside to narrative in videogames that must be carefully navigated. Most commonly referred to as ludonarrative dissonance, it is the discrepancy between gameplay and narrative. When the ludic and narrative elements of a game do not meld the result lowers the entire experience. Recently Bioshock: Infinite has come under fire for the ludonarrative dissonance between its somber story and over the top shooter action. This is little surprise as the original Bioshock is the origin of the phrase. Clink Hocking coined it in describing how the story of Bioshock promotes selflessness by critiquing Objectivism while the gameplay encourages selfishness. The term has been applied to many games since its creation. The Uncharted series is commonly called dissonant for its portrayal of the main character. In cutscenes Nathan Drake is a charming rouge, in gameplay he is a merciless sociopath.   

 However, both Bioshocks are still considered exemplary videogames. The Uncharted series has received countless accolades throughout its time. There is a growing faction within videogame development, journalism and criticism that actively looks for ludonarrative dissonance. This group represents a growing sentiment that games deserve serious examination. The growing critical mindset is slowly becoming more prevalent, but it still remains under the majority of developers, journalists and critics that find no problem with dissonance. There has always been some dissonance in even the best of games and it has become accepted as standard. This is the story part of the game. This is the play part. For the longest time a seamless blending of the narrative and ludic elements was impossible or at best poorly done. That is why Bioshock and Uncharted are respected the way they are. Dissonance is not considered a problem. 

Ludonarrative dissonance is still a difficult concept for a large majority of the gaming populace to accept. The concept of intelligent, critical game analysis is still very new.  The transitionary stages of uncomfortable and awkward growth for videogame analysis mirror that of the game’s industry in the past. It is my best assumption that critical analysis will continue to follow the same path videogames as a total have. In the future there will no longer be critiques of games calling them out for ludonarrative dissonance, but instead ludonarrative resonance. 

The future of videogames lies in the complete and seamless melding of ludic and narrative elements. Some games have come close, others have purposely exploited dissonance to create a dramatic disconnect between player and player character, but there is still potential waiting to be achieved in ludonarrative resonance. I cannot wait.