This largely owes to the fact that a large amount of people were unsure of what
the term ludonarrative dissonance was supposed to truly mean, and because it was most often used when talking about violent games it seemed that any title with high levels of blood was targeted as being guilty.
Not exact matches
Lana Polansky also tackled Clint Hocking's famously misappropriated
term «
ludonarrative dissonance,» by formalizing and explaining a much simpler and clearer model: coherence and incoherence.
And as games grow things like
ludonarrative dissonance, or whatever
term you'd like to use, need to be tackled.
Speaking of Whack - Ass Videogame Logic it's important to realise that most things that fall under that category are not truly
ludonarrative dissonance, despite often being associated with the
term.
Because of that the
term became associated with games that had high levels of violence, and the importance of
ludonarrative dissonance was quickly swept under the rug and then largely forgotten about.
You get people going on about the Ludologists versus the Narratologists, about
ludonarrative dissonance, copping these quasi-academic
terms.
«The problem is so insurmountable that Tom Bissell, the critic who popularized the
term, now thinks that it's not worth talking about, that it is essentially impossible to do games with ambitious stories that don't contain
ludonarrative dissonance because games also, or so the industry and market have both declared, contain violence.»