Often times the "gameplay" part is where a genuine Faux Action Girl gets to show her skills and defeat a Big Bad on her own.Ī loosely equivalent technical term for this is "Ludonarrative Dissonance," a term coined by Clint Hocking (a former employee of LucasArts). Since large-scale cutscenes and extensive dialogue have only been present in games the last twenty years or so, gameplay and story segregation is far more prevalent from the 16-bit era onwards, especially ones in which the storyline is a focal point of the game. Accordingly, it's sometimes excused by Acceptable Breaks from Reality, but by no stretch does that justification cover all of the flat-out weird mismatches perpetrated by game makers over the years. Typically, it's done to try and make a more interesting game, since simply getting a One-Hit Kill all the time like in that cutscene would be utterly boring, while having a person who can't open doors like in that last cutscene would make the game needlessly frustrating. While this is generally forgivable due to technological limitations, egregious instances can result in the shattering of the player's Willing Suspension of Disbelief. This occurs whenever there is inconsistency in how things work or behave between the gameplay and storyline sections of a video game, the latter of which generally consists primarily of cutscenes and dialogue. South Park: The Fractured but Whole: Bring the Crunch
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