4D Golf, as the name implies, has you mini-golfing through four-dimensional spaces. Alongside north/south, east/west, and up/down, you can move and rotate along the "annth/kenth" axis, watching as the bounds of the course twist and shift in and out of your view. The "floor" of the course is actually a 3D volume, which you can see in the 4D equivalent of a Top-Down View.
Alan Wake II: It quickly becomes apparent the Dark Place doesn't conform to normal geography, in some places Alan will be going in circles until he finds the right way, in others he might end up somewhere else like going down a stairwell to a basement door and coming out on a rooftop.
One of the simulation glitches you can remove in ARK: Survival Evolved: Genesis was apparently the remnant of another survivor's buildings, in which two left 90-degree turns somehow became a right.
HLN-A: ... Even I don't know how that's possible, but I guess that's why it's a glitch.
Games like Asteroids use an unwrapped toroidal universe—the environments have the same geometry as the surface of a donut. Super Mario War does the same thing by default, but because all the levels are custom-designed, you can modify it to take place in an enclosed space, or add kill zones at the sides of the game window Super Smash Bros.-style.
A lot of Video Games have impossible Non-Euclidian geometry even when narratively they are supposed to have "normal" geometry. Since many game "doors" are actually loading zones which will teleport the player to the next location, the interior of the building is not bound by the size of the structure's "outside" dimensions, so designers frequently ignore such limitations, subtlety or not so subtlety expanding the interiors to fit the game's needs outside of what should be possible.
The locations of the various areas do not add up at all. A given door might lead to one of multiple locations and be reached from multiple different routes. There are many versions of the Castle Lobby and the other floors from the original, and the beta one comes in multiple variants to further confuse players.
Unlike in the original game, it is possible to move around all of Peach's Castle from the outside, so any outdoor areas found within make no sense. The haunted back courtyard from the original in particular has two more overlapping versions and the same entry door is connected to at least six different areas.
Baldur's Gate II: leaving aside all the bizarre dimensions and obscure dungeon twist you can encounter, Athkatla has a few doses of alien geography. Notably, no matter which way you approach the bridge from, you will always enter the district from the northern end. There are only two locations on the entire map located north of the Bridge District, and there are no other apparent ways across the river without hiring a boat.
Batman: Arkham Asylum: In the first Scarecrow nightmare, you enter the morgue from a hallway. At the creepy voices' behest, you leave through the same door... and on the other side is the same exact morgue. With a few additions.
The very first Castlevania game, Vampire Killer, unintentionally had this. Since it was on the primitive MSX computer, the entire castle consisted of static screens; instead of scrolling you simply used one of the exits to go to another screen. Unfortunately not all of the rooms were connected together properly. There are several cases where when you attempt to return to a previous room by using that room's entrance you'll end up in a completely different room.
Chants of Sennaar: The finale has areas with stairs on the ceiling, among other things.
Clive Barker's Undying: Mostly happens in Oneiros, but some parts of the manor also feature this. For example, when exploring the Widow's Watch (located in the east side of the manor), you end on the great hall (placed in the west side). This was intentional, according to Word of God.
Control: The Oldest House where the game takes place is an Eldritch Location and quite possibly a Genius Loci that's used as an office building. The result is that while each room individually makes sense if not for some odd occurences (like that one office that's covered in sticky notes of the section with the self-replicating antique clocks), the way the different areas are connected to each other makes no sense, and they seem to be larger than it should be possible, especially once you get to the lower levels. The most blatant example is probably the mine, which is somehow open to a perfectly unpoluted sky despite it being underground and the Oldest House being in the middle of New York. There's a warning to employess that the management still considers that space "indoors" and thus smoking is still prohibited. Oh, and it's night there, even thought it appears it's day in the rest of the building. And did we mention those gigantic rooms with no walls, floors or ceilings that only have a pure white bridge that goes from one end to another?
Crypt Worlds seems to have shades of this. There is a 'Glitch World' containing flashing shaking spiky walls of random bright colours, fluctuation and moving out of shape all over the place. It's reminiscent of certain computer errors and bugs like Z-Fighting, and missing textures. The whole place seems to exist nowhere.
Dark Souls II has been noticed for using "impossible space". Of note is the transition from Earthen Peak to Iron Keep. You take an elevator up from the attic of a windmill... to the caldera of a volcano with buildings sinking into lava.
Heide's tower of flame is visible in the far, far distance from Majula. It's about a minute's walk down a tunnel.
From slightly above sea level in Heide's Tower of Flame, you travel down a stairwell, down a lengthy lift and down several floors of a massive, slightly flooded underground ruin, to end up slightly above sea level at the unseen path to Heide. The Lost Bastille is visible from the Tower of Flame, so it's the same sea.
In Diablo II, the Arcane Sanctuary area contains some quite Escher-esque geometry: platforms are supported by pillars that stand on other platforms which ought to be at the same height. The game gives the option of displaying in perspective (parallel lines converge at the horizon) or isometric (parallel lines remain parallel). In Arcane Sanctuary, the perspective option is disabled, due to it being impossible to draw.
In The Dig, the architecture of the Cocytans shows a lot of reverence to the 5 Platonic solids, including shapes with strange symmetries; and there also the in-universe example of space-time six — a 6 dimensional realm.
According to the characters, the Primeval Thaig in Dragon Age II, although we have to take their word for it, 'cause that's kind of hard to program. In regards to the setting as a whole, the fade is noneuclidean except on a relatively small scale. All points of the fade appear equidistant from the ominous silhouette of the black city. On a smaller scale, Bizarrchitecture is the norm.
Dwarf Fortress is a tile-based game with 2-dimensional ASCII Art graphics. You'd think that'd make it impossible for this trope to be in the game, right? Wrong. Each tile is big enough to fit 100 dragons (provided 99 of them are laying down), but small enough that two dwarves can't fit past each other should both be standing up. And to think every tunnel and room in a dwarven fortress made up of these eldritch, unknowable tiles... really, it's no wonder the dwarves are so prone to violentmass hysterias. They're already on the brink of Lovercraftian madness long before encountering their first forgotten beast.
Giygas' final form in EarthBound (1994) is fought inside what is best described as a "pocket dimension"... except Giygas' final form is also the pocket dimension itself. Rather fitting of Giygas, the Trope Namer for You Cannot Grasp the True Form.
echochrome is a puzzle game based on the works of M.C. Escher. The geometries are as weird as you might expect. To elaborate, in the game, you are allowed to "cheat" the laws of perspective because only the camera angle's perspective counts as "real". If there is a beam covering up a hole, the hole then ceases to exist. This is a necessary skill to guide the main character to safety. note You control the camera, not the player character.
In the series' lore, the island of Artaeum combines this with Bizarrchitecture and, to an extent, being an Eldritch Location. Artaeum is the home of the Psijic Order, a powerful Magical Society and the oldest monastic order in Tamriel. Artaeum shifts continuously either at random or by decree of the Psijiic Council, often in impossible ways. It can also be made to disappear entirely from Mundus.
The Daedric ruins in Morrowind fit this trope. Built by the ancient Daedra worshiping Chimer, they are massive monolithic structures constructed in some truly impossible ways.
A particular player-made map for Far Cry 2 is shaped like a cube with two sides removed and tilted on its axis. Due to the inclines that a player is able to move on without sliding off or falling, the players can run on all four of the inner faces, even though they appear to be perpendicular without close examination. This leads to strange cases of a player standing on the wall of a building and firing at someone on the street ahead of them, which is going into the sky.
Fate/Grand Order: While not actually seen in-game, Katsuhika Hokusai's skill "Pseudonym "Iseidako"" allows father and daughter to insert Alien Geometries into their paintings in order to rattle the mind of all those that see them. It helps that they're directly aided by a member of the Cthulhu Mythos.
Fez. Gomez is a 2D man suddenly gifted with the ability to shift the 2D world on the third dimension. Even better, he has an Exposition Fairy following him around that's shaped like a tesseract (a 4-dimensional shape; it's the "next level" of the cube, much like the cube is the "next level" of the square). So he's a 2D man in a 3D world with a 4D companion!
The Mobius Ring track in F-Zero GX exhibits these; the sky is always up, as the mobius has only one side. Let's not talk about the architecture.
The Game of the Ages introduces a fourth spatial dimension, which you learn to navigate.
Unintentional example in Garry's Mod. Placing certain physics constraints on a prop can cause the Havok physics engine to decide that within a single process tick, that a prop has infinite angles of orientation, which can cause some truly horrifying things to happen before the game either deletes the offending object or implodes on itself and crashes.
In Guild Wars, there is no in-game map showing the entirety of the Realm of Torment. There is a very good reason for this- direction and distance are coherent within regions of the Torment, but not between them.
The Haunted Ruins: Sometimes floors have maps where you can enter the same room from two different entrances, and they are both dead ends.
The underground in upcoming VR horror game Here They Lie regularly changes shape, has tunnels that shoot off into the sky.
In Just More Doors, as long as you only open a few doors everything seems fine, but you can rapidly find yourself in a maze that really shouldn't work like this.
In the adventure game The Labyrinth of Time, one of the many mazes within the titular complex is called the "Surreal Maze". On the outside, it resembles a spheroid, Escher-esque structure, while inside are a series of nine rooms that bear no relation to its exterior. Some of the contents within appear beyond our known geometry. And to top it all off, it's the only place where your map is of no use, and the rooms repeat infinitely unless you can find the one way out.
HyperRogue is an attempt to deconstruct the pop-cultural perception of non-euclidiean geometries (they may be a Mind Screw, but they don't "drive you mad," at least not literally), being created by an actual real life expert. It's set in a hyperbolic worldnote Which means that space itself has more actual space "stuffed in," so to speak, compared to a Euclidian world like ours, such that parallel lines gradually diverge and you can fit five squares to a corner instead of just four., which allows it to do things that are simply impossible in Euclidean space, like:
Each "land" (region) in the game is infinite. Yet, there are many straight lines called "great walls", separating different lands. These lines are ultraparallel, and never intersect.
One land is a cave maze with forking paths. Unlike in Euclidean space, here it's quite possible for the paths to fork and fork and fork ad infinitum and yet never cross the other paths.
Even a region that is fairly "small" in extent is impossible to explore completely. If each tile had area of 1 square meter, the area circle of 60-tile diameter would easily surpass the area of Earth.
Once you lose a place from sight, it's almost impossible to ever return there.
This is all based on a relatively "tame" hyperbolic grid (two hexagons and one heptagon at every vertex). R'Lyeh can be visited in the game, and its architecture with triangular and heptagonal columns works perfectly. Another popular place to visit is Hell, with its nice heptagonal sulfur pools.
An interesting loading error in Indiana Jones and the Infernal Machine once caused a corridor to loop back around itself into the same room that the player had just left without any perceivable distortion. The player who encountered the bug thought he might be going crazy at first.
Killer7 uses this for horror near the end of the game. It's already clear from your earlier visits that Harlan's trailer house doesn't exactly fit its exterior boundaries. But in the last level, you find that it has a basement. Again, it's a trailer.
The Bizarre Room in the Wonderland level of Kingdom Hearts. Entering from different points of the world — including the room itself — leads to you stand on different dimensions of the room, i.e. the walls and roof. However, the dimensions of the areas you are entering from don't change at all.
Castle Oblivion is suggested to have properties like this. In Kingdom Hearts: Chain of Memories, it rearranges itself based on the memories of those that travel through it. In 358/2 Days, Organization XIII is scouring the place for a specific room but cannot find it anywhere, despite having used the Castle as a base for years at that point. Summed up nicely in this conversation:
Saix: Did you search every room? Axel: Come on. You know as well as I do that's impossible.
The eponymous Temple of Doom in La-Mulana is non-simply connected, almost certainly deliberately. If you try to make a map that shows where all the areas are in relation to each other, taking every connection into account, you'll quickly discover that it can't be done. In particular, it's not at all clear what the lowest point inside the ruins is. The Video Game Remake makes orienting the ruins even more impossible by adding vertical Wrap Around to one of the rooms.
The most common is the classic Lost Woods. Take a wrong turn and you magically end up back at the start, even when it should be normally impossible. This happens in some other areas like Ganon's Tower in The Legend of Zelda: The Wind Waker. This also happens in the Lost Hills in the original The Legend of Zelda.
The Legend of Zelda: A Link to the Past: In the lower right corner of Hyrule's Death Mountain is a cave with a non-bottomless pit inside. Falling into it, however, lands you in front of a cave exit even higher up than where you entered. Fans have nicknamed this "Paradox Cave".
The Legend of Zelda: Ocarina of Time: In the Forest Temple in Ocarina of Time, there is a corridor which twists ninety degrees to the side, meaning you end up walking on what was originally a wall. One puzzle in the temple involves activating a switch that twists and untwists the corridor, so you can access different sides of the room. And you're still somehow oriented the same way relative to the rest of the dungeon.
The very entrance to Termina, which is also the intro of the game. Link starts from somewhere in the Lost Woods, which is already an Eldritch Location, finds a cave, then arrives at the exit of the cave which has a Bottomless Pit except that something is growing, finds himself in a clearing that's lit up even through there's no visible source of light, goes in another tunnel, finds another Bottomless Pit room except that there are giant trees and stone pillars here, and on the other side of that there's yet another tunnel that opens to the basement of the Clock Tower which is in the middle of a perfectly sunlit town. Oh, did we mention that the Lost Woods apparently stretch infinetly, and you just went trough an impossibly long drop? How is any of this supposed to work!?
The Stone Tower is built on this — it involves reversing gravity so you can run around in the ceilings of rooms. This is made even more mind-twisting by the fact that the horizontal orientation of the temple is preserved after it is flipped over — i.e. a room on the right of the entrance normally would stay on the right of the entrance when flipped — meaning the dungeon somehow inverted itself. Even the Perfect Guide writers were confused by the whole thing.
The moon, which is about the size of a city, contains an endless field with a tree in the center.
The Legend Of Zelda Oracleof Ages: The Fairies' Woods, in which moving from one screen to the next and back again winds up placing you in a completely different spot than before.
A little-known 2.5D sci-fi (considering it was made in Russia, nostalgical sci-fi) first person shooter Madspace embodies this trope, complete with this feature actually being mentioned in the manual. If you decided to dig the game out, there's one thing you should consider... never ever use the ghost cheat code.
Unlike binary space partitioning-based 3D engines, portal-based 3D engines organize spaces by where they join together rather than where they are located in space. This means that games like Marathon allow multiple entities to occupy the same location without touching under certain conditions, such as a Klein Bottle-shaped level. While the Marathon series unfortunately doesn't employ it in the actual campaign outside a few Easter eggs, the multiplayer level 5-D Space provides an example of the possibilities.
Several third-party Game Mods do this, for example one level of "Keep the Home Fires Burning" has a maze consisting a series of overlapped figure-8 corridors. And "Schmackle" in Marathon EVIL has a part where you go through a portal into an alternate version of the level occupying the same space. Sort of like the "Tier Drops" example below.
Duke Nukem 3D has a similar engine, and its quirks are used to full effect in some of the secret levels.
The level "Lunatic Fringe" is a 720-degree circular hallway around a central hub, so you have to walk around the hub twice before actually returning to where you started.
The level "Tier Drops" has four overlapping areas connected by a hallway around them and drop tubes inside. The guys at 3D Realms beat the level in just ten seconds.
A few of the game's levels actually use these quirks transparently and a number of user-made levels deliberately work to show them off or to fake architecture that's not truly possible with the game engine, mainly having rooms over rooms.
Descent can use similar techniques with user-made levels. One example was appropriately titled "4D".
A level based on these concepts exists for America's Army. A video of it can be found here
The Source engine as of 2011 has a feature that allows for something like this; they mainly just used it for testing unfinished level designs. It can produce some crazy stuff if you know how to use it right. Unfortunately, the version of the engine it's in can really only make Portal 2 add-on content for now.
Though not used extensively, The Stanley Parable actually used such features in some of the endings.
The Unreal engine is also capable of things like torus-shaped levels and endless corridors with creative application of warpzones, right from the earliest version of the engine. It's far from perfect, though: non-projectile or "hitscan" weapons can't shoot through, stacking more than four warpzones results in the engine glitching and drawing the portal surface's texture, warpzones must have the exact same dimensions at both ends or the game will crash, etc.. The level DM-Fractal even has a relatively simple "anyone falling into the floor trap falls out of a hole in the ceiling" trick.
Antichamber abuses this facet of the Unreal engine to create a sprawling, mind-bending, non-Euclidean maze, where certain invisible thresholds will cause the place you just came from to be swapped out with something else, but only while you're not looking. The above glitches can give away the positions of these invisible portals, though.
At one point, you make six 90-degree right turns in quick succession, with all turns being equally spaced out from one another.
In one puzzle, you may fall down a pit at terminal velocity for 10 seconds. To return to the room that you originally fell from, you board a not-particularly-fast elevator and ride it up for 1.5 seconds.
Frequently, two puzzles that are (presumably) spatially far apart will lead to the exact same destination. If you reach said destination via puzzle 1's path, puzzle 2's path will be nowhere to be seen, and vice versa.
Manifold Garden takes place in a world where not only can the player can switch gravity in six directions, but levels wrap around on themselves, meaning you can fall off the side of a building and land on the opposite side, above where you were, by falling forward. The portals used to travel between levels add another layer of trippiness, resulting in many Bigger on the Inside features and other oddities.
There's a game in development, called Miegakure, in which the puzzle aspect involves a 4th spatial dimension. Just trying to visualize a textual description of the game mechanics is enough to cause a headache. A three-dimensional environment can be represented by multiple two-dimensional images. Imagine taking an object, and tracing its outline on a flat surface from each side. You can get a good idea of the actual shape of the object in three dimensions by putting those images together in your head. What Miegakure does is present a four-dimensional environment in a similar fashion, in a series of three-dimensional models. You can switch the "angle" from which you view the four-dimensional environment by hiding one dimension and causing another one to become visible, similar to how a flat picture of a three-dimensional object "hides" the depth dimension. In other words, you can see three dimensions at a time — you can see three dimensions of a four-dimensional world, you just have to switch out one of your dimensions for the fourth dimension that you can't see.
Minecraft on LSD, the combination of 2 mods. YouTube it. Everything is still the same but looks extremely... peculiar. A straight line looks like a coiled rope, and then you imagine that these are supposed to be blocks doing this, but curving. And then you see the distance going on the ceiling... Although it's all visual (but can often feel like you're walking on a circular world and not a flat one) for now.
The Immersive Portals and Better Portals mods let you create seamless transitions between the overworld and the Nether (instead of the default swirling purple portals) or different locations within the overworld, so you can make buildings that are Bigger on the Inside or an Unnaturally Looping Location.
The school in Misao takes on some non-euclidean geometries. The most prominent example is falling off a busted third floor and landing head-first in a toilet bowl on the ground floor bathroom without ever meeting the floors between.
Mondo Medicals: The very first stage causes you to go in an infinite loop unless you go the opposite of where the arrows tell you.
Monument Valley and its sequel have this in the form of "Sacred Geometry". The protagonist spends the entirety of the game navigating and manipulating paths in M.C. Escher-like ruins.
The shadowy mansion in Mystery of Mortlake Mansion has the same rooms as the real-world one, but connected differently (and illogically), resulting in several isolated groups of rooms which are not accessible from each other. Travelling from one group of rooms to another can only be done by returning to the real world and using another Portal Door.
Mystery Science Theater 3000 Presents "Detective": The original game, Detective, used this trope by pure accident. Its poor writing and programming leads to oddities like doors that suddenly vanish after you walk through them and locations abruptly shifting in a similar manner. One of the most notorious examples is a closet that can only be entered from the east, and can only be left back the way you came... which is inexplicably also east. Naturally, the MST repeatedly lampshades it, with the riffers becoming increasingly confused by the lack of consistency.
The house in Layers of Fear is an example of this. If you walk through one door and then attempt to leave through it you'll find yourself in a completely different room than where you had started.
The first season of Nexus Clash ended with a world-sized Mind Screw as Marquai, the god of time and order, won the war and gradually imposed his version of reality on the world. As his victory loomed, everything became more angular - the moon was now octagonal, clouds were square or triangular, and islands and continents were sucked into the void except for a huge, perfectly angular glyph. The Maze of Mayhem several seasons later probably qualifies too, if only because the mapmaking code the game runs on is a better example of this trope than anything in the lore.
In Offbeat in Tempo, a spell distorts physical laws and reality itself. Examples include holes of black nothing appearing in the floor or rearranging the inside of entire buildings in ways that ignore the actual dimensions.
Pac-Man is a cylinder, since you can only go between left and right. Some titles, mainly later ones like the Pac-Man Championship Edition series, implement vertical wrap-around, turning it into a torus.
The Polyhedron in the Russian art-house game Pathologic. From the outside, the building simply appears to be impossible. The inside is implied to more or less be another dimension, inhabited by hundreds of children suspended in some kind of weird dream world.
This is the whole point of the city of Sigil in Planescape: Torment: a city existing on the inside of a giant rotating torus. The streets move around when they feel like it and every opening bounded on at least three sides can potentially lead you virtually anywhere (including somewhere you really don't want to go). One character talks about being transported by a hidden portal that consists of the archway that appears when approaching two trees from just the right angle. The city itself also happens to be floating at the top of a spire that is infinitely tall, which located directly in the center of a plane that stretches infinitely into all directions.
Pokémon Platinum: The Distortion World in Amazing Technicolor Battlefield form. Made into Mind Screw material thanks to the flat, unchanging background theme and the fact that there are no Pokémon in it at all except for Giratina. Not to mention the fact that holy crap the sky is upside-down.
Also "fun" in the fact that the direction commonly known as "up" seems to be on a drunken bender. Walking up and around walls and waterfalls is only the beginning...
The Pokemon Mansion in Pokémon Red and Blue has a second exit inside it aside from the main entrance/exit that somehow leads out the same front door as the other exit.
There's also the Lost Cave in FireRed and LeafGreen, in which it is possible to walk through a door, turn around, walk back through the same door, and find yourself in a room that is definitely not the one you started in.
The Psychic move Trick Room... well, look at the description. "The user creates a bizarre area in which slower Pokémon get to move first for five turns." The user warps space so that going slower makes them move faster. That's pretty alien.
Route 20 in Pokémon X & Y, not only do areas of the forest connect to other areas that are nowhere near them but getting to the Pokémon Village to progress through the game requires the player to go through exits that lead somewhere else depending on which way they went through them. It's also home to wild Zoroark and Trevenant, which may explain the abnormal geography.
Portal is based all around this idea. If you shoot a portal into a wall, and then turn around and shoot another connected one into the other wall behind you, you can see your own back. And then, if you wish, run in a straight line forever without ever leaving the space you're in. That's just for starters - try, if you place a portal well, being able to see an infinite series of your own back. It's also fun to place a pair of portals in the ceiling and floor and then fall through endlessly (and there's even an achievement related to that in the first game).
Prey (2006) is based aboard a cybernetic moon size space ship where things like gravity and even space-time are not consistent. The player character occasionally remarks on this.
Invoked in one of the epilogues in Primal Rage. When you play as Vertigo, the epilogue says she forced enslaved humans to build a palace whose alien geometries drove the human workers insane. There's an illustration with it.
There's an old Russian mod of Prince of Persia, called 4D Prince of Persia. It takes advantage of the way room connections are programmed and creates levels where normal directions don't apply: Levels that loop and wrap around, corridors where running back doesn't take you where you came from, infinite pits... The mod doesn't do it that much actually however; it only does it on palace levels, and leaves many levels unchanged. Then there are further mods and level packs inspired by 4D, and they take the idea much further.
The Milkman Conspiracy level in Psychonauts. It's a brightly-colored American suburb with white picket fences, nice homes and topiary. Or at least, it sort of looks like one after being crumpled up like a ball of tin-foil, then stretched out into a rough hollow sphere, leaving all the wrinkles and tears caused in that process in the landscape. Gravity still seems to think it's normal, though - you're always drawn towards the floor. Even if, technically speaking, that direction isn't really down.
RiME: The third level includes corridors that are different depending on camera angle, a tall vertical shaft that you can climb up to return to the room you started from at the same vertical level, and doors that lead to different places depending on switches.
In Shin Megami Tensei III: Nocturne, a certain corridor in the Fourth Kalpa of the Labyrinth of Amala is known as the Twelve Meters of Eternity. It's a perfectly straight tunnel with no side exits. Somehow, depending on Kagutsuchi's phase, it leads to four different chambers. Samael is fought in the Diet Building's main stained glass room, warped to keep spinning in an impossible axis. Likewise, the warp points between each Kalpa seem to be freefalls, but have so many bends and curves, it's really not likely they end up following a single gravity point.
In Shin Megami Tensei IV, Domains are the result of a demon folding reality to create a minor trap hole for unwary humans (slightly Bigger on the Inside), with Alien Geometries rendered as walls of demonic flesh twisting in ways they shouldn't. The largest Domains, Lucifer Palace and Purgatorium, are unspeakably vast and complex (they have their own skyline, though they are concealed within, respectively, Camp Ichigaya and Naraku, neither of which is large enough to remotely fit them inside).
SIGNALIS gets a bit weird in the mines: You can leave a room via the left exit, and enter the next room on the left again; or leave via the top and enter the next room on the top instead of the bottom. The game does not provide a map for this level.
Certain areas in the Silent Hill series, usually paired with Chaos Architecture; examples include but are not limited to: the girls' bathroom in the alternate school which leads you to the second floor when you exit it, the door between the first and second floors in Nowhere, and the convoluted space-time of the alternate Lakeview Hotel in Silent Hill 2, where the doors now teleport you around the building, and you have to find the correct one that will warp you to the otherwise inaccessible east wing. And going back in the same door leads to a different door than the one you entered. Not to mention the Historical Society, where you jump down several extremely deep holes, then take an elevator even further down, but when you come out of it on the lakefront, you're only about 20 feet below where you started. It also has Escher-esque architecture at points, e.g. the room with the hole leading to the prison (doors on the floor and walls), and the rotating room in the Labyrinth.
Spec Ops: The Line: To wit, the city of Dubai has been destroyed by a series of impossibly powerful sandstorms that continue even the game begins, an American infantry division went in to help but stop communicating, and the protagonist is a Delta Force operator sent to investigate in a Whole-Plot Reference to Heart of Darkness and Apocalypse Now. As the player character ventures further his path constantly and specifically descends, always going down, as if Dubai is The Inferno, even if you wind up walking out onto a skyscraper — it's only to rappel down the sides of a yawning chasm or fall through a cracked rooftop or clamber through corpse-strewn tunnels. If you look carefully, you'll see bottomless pits and nonsensical drops in a game that otherwise pays a great deal of attention to level design. It is possible every event you see unfold is a Dying Dream or Ironic Hell.
Stay Tooned!: The apartment building in which the game takes place, once "tooned," replaces nearly all of the rooms with different locations, most of them outdoors, and most of them expansive enough that they should theoretically overlap with each other, both horizontally and vertically. Said locations include a full-size carnival, a Wild West town, a bullfighting stadium, a train station leading to an underground mine and ancient ruins, and an entire futuristic city floating in outer space. In all of these locations, open sky is visible, with many of them showing the clear blue of daytime whereas Stay Tooned! takes place over the course of one night. All of these locations also run on Cartoon Physics, whereas the world outside the apartment building still functions as normal, suggesting they are all within the apartment building and not warps to other places.
Two areas in Submachine: Subnet Exploration Project have rooms that connect in ways they should not. Appropriately, one of them houses a fan theory that the Submachine is looped through the fourth dimension, and the other is a series of padded cells. Another area is, for no apparent reason, sideways.
Superliminal: Some areas can be connected by doors on items you can pick up and move around, such as the trailer's example of a bouncy castle leading to a brick corridor. In the game itself, this corridor leads to an air vent overlooking the pool and bouncy castle.
Super Mario Bros. - Warp Pipes ignore any physics beyond Rule of Fun, but the ones in Bowser's Inside Story are particularly weird. There are multiple, microscopic pipes inside of Bowser that, without actually going through Bowser at any point, lead outside of Bowser, simultaneously increasing the size of those who go through them to macroscopic. Though it's impossible in-game, there is nothing in theory to prevent Bowser from entering one of these pipes. What would happen if Bowser did use such a pipe? Decent people shouldn't think too much about that. Well, remember: the reason they lead in and out of them is because they are "warp" pipes. They basically teleport the user to another pipe. There's always the possibility that World 1-2 could be in another universe entirely...
Due to the anti-gravity mechanic, racetracks in Mario Kart 8 run on non-Euclidean geometry. The most well-known example is Mario Circuit, which is a Mobius strip, but Bowser's Castle has a segment near the end in which the path splits up, both running parallel. One path takes a 90-degree turn left, and the other takes a 90-degree turn right, and they both meet back up in the same direction.
Super Mario 64 has the endless staircase. However high you climb, the bottom is only a few feet behind you when you turn around. That's because the game warps you to the bottom of the staircase every time you go up. This is why the Backwards Long Jump is possible in the original version.
Super Mario RPG seemed to parody video game wraparound: the overworld actually is donut-shaped, despite there being no real reason for it.
Super Paper Mario has a unique twist. Mario exists in a 2D world (with Shout Outs galore to the first Super Mario Bros. games), but the first ability Mario learns is to "flip" between dimensions. In other words, he gains access to the third dimension. Now, this isn't any problem for the player, but what's this like for Mario? ...let's just say he needs a Sanity Meter to stay in 3D. However, the game is a sequel to the first two Paper Mario games, which were in 3D. Mario also seems to handle switching between 2D and 3D just fine between games anyway.
The Legend of Dragoon: While searching for Princess Emille, the protagonists stumble upon a painting of her which transports them elsewhere upon touching it. This strange extradimensional space is heavily distorted by magic and prevents them from transforming into their dragoon forms.
In Temple Run, the temple was surely designed by an Eldritch Abomination. Or by M.C. Escher. Or by a terrain randomizer that doesn't keep track of where you have been, so that it may happily let you take seven quick 90 degree turns to the right in a row and come to a new location each time.
A wonderful example in text adventure Trinity, which contains a Klein Bottle that you can walk through. After you do, east and west are reversed everywhere else in the game. This is useful for turning a clockwise screw into a counterclockwise screw.
Entering the main room of the Tremere chantry in Vampire: The Masquerade - Bloodlines is easy: just walk in the front door, go straight, take a left, a right, then another left. But try to reverse those directions to leave, and you end up back at the same place you started. Any wrong turn on the way out sends you back to the main hall, and the path out is not the same as the path in.
Visions & Voices has the mirror worlds. While they aren't that extreme, they can be pretty freaky — numerous characters react badly upon seeing them.
VVVVVV takes place in a Wrap Around universe. However, the Tower level is taller than the rest of the universe, but is hard to notice since said level is on auto-scroll.
The Witness: The resort unlocked in by the Easter Egg puzzle in the starting area. The walk from the entrance to the first scenic overlook is along a flat, level floor, but the overlook is about fifty feet above the entrance, and the structure is invisible from outside it. After this first overlook, there is an entrance to the mountain's caves, despite the mountain being in the opposite direction. Part of this cave features Wrap Around physics, as looking to the left or right will allow you to see The Challenge from different sides. Other scenic outlooks wrap around the entire island despite the very little distance traveled by the player, and this is before entering the Void Between the Worlds.
Karazhan is muchBigger on the Inside than it is on the outside, far more so than Space Compression can account for. On the outside, the tower is only a few stories high and rather dilapidated. Once you get inside, you come upon chambers with floorspace far in excess of the building's capacity, not to mention the extensive vertical complex that just seems to never end. Several times, you're treated to the lovely sight of Deadwind Pass out of one of the demolished sections of the tower, and never are you as high up as you would think. Inside the dome at the very tip top is the entrance to somewhere called Netherspace, an enormous expanse of... nothing. The dead grey floating rocks provide an excellent backdrop for the final boss fight against Prince Malchezaar, but it's creepy enough that you'll want to skedaddle soon after. This is justified as Karazhan was the home to one of, if not the, greatest mage in Azeroth's history who was also possessed by the spirit of a fallen Titan as well as being built on a nexus of magical energy.
The Deadmines has a little bit of this, though due to a rare moment of bad map design than an in-game example. Specifically, you enter the instance, spend the entirety of the instance heading downward, and then exit ... higher than you started. Wait, what?
X: Beyond the Frontier and its sequels plays it straight with "Spacial Compression" improving your cargo capacity.
ZZT's level editor allows any edge of any board to be connected to any other board, including itself, and the edge you enter a board from does not have to lead back to the board you came from. Game designers can easily abuse these facts to mind-screw a player with maps that repeat and overlap themselves in nonsensical ways.
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