Max Payne 3 and the problem of narrative dissonance

Keith Stuart at The Guardian writes on plot problems in Max Payne 3:

But here’s a problem. Throughout the game’s beautifully constructed narrative sequences, we see Payne going through agonies of recrimination and remorse…When the game begins he’s effectively drinking himself to death in his filthy New Jersey apartment. He desperately seeks some form of salvation.

…Yet he is also an accomplished killer, capable of gunning down a room full of “enemies” in a matter of seconds.

Much like an article I linked to several weeks ago, Stuart identifies an issue running through many modern games: You craft a complex, conflicted or “good” character in the main storyline cutscenes, but have no trouble murdering thousands of bad guys during the action. How do we reconcile these issues?