In this episode, we talk about Ludonarrative Dissonance in video games. Jon researches lute-onarrative dissonance instead of ludonarrative, then buys the instrument and records a cover of the 1982 classic, “The Safety Dance.” Sarah is told to hurry up over and over because her life depends on it, but instead, she loots all the chests and then pisses off to do a cooking quest for seventeen days. Molly tries to jump over a very tiny wall several times but is impossibly unable to clear it, so she finally uses the gate to get to the studio. And Dean goes bald.
1:45: The Origin of the Term
Dean: You kill little sisters in Bioshock to get more ADAM, and we’re told this is a bad thing.
Sarah: Yes Dean, killing little girls is bad.
Dean: Yes but we have since learned that killing little girls is totally fine.
11:31: General Thoughts
Jon: Ludonarrative dissonance is really about emotions in games.
Molly: I have lots of emotions when playing games.
Sarah: I have lots of emotions in general.
15:10: Is Ludonarrative Dissonance a Bad Thing, Really?
Jon: The coolest thing a game can provide is ludonarrative dissonance.
Molly: Yes, the coolest thing is the overwhelming feeling of despair that I get.
19:33: On Ludonarrative Consonance.
Jon: In Skyrim, you might be looting a house and the guards show up. . .
Molly (in her “guard voice”): Halt! You have committed crimes against Skyrim and her peoples.
21:47: Agency and Dissonance
Jon: I go through visual novels triggering events just to get achievements. What about that?
Sarah: Then you’re creating your own dissonance.
Jon: Are you saying I’m my own worst enemy?
28:58: Final Thoughts
“My alignment is chaotic Jontral.”
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