->''"Here is Philomène, an air hostess. Amélie keeps her cat while she is away. Philomène likes the sound of the cat's bowl on the tiles. The cat likes overhearing children's stories."''
-->-- '''Narrator''', ''[[Film/{{Amelie}} Le Fabuleux Destin d'Amélie Poulain]]''

Most works follow TheLawOfConservationOfDetail. If you see something, chances are it's important -- either for the plot, or for establishing character or setting.

However, some works thumb their noses at the Law and decide that, more than anything, they want to engage in WorldBuilding. They want to show [[RealisticDictionIsUnrealistic realistic diction]]. People may actually have to [[RockstarParking drive around for a bit to find a parking spot]]. They may actually have to [[NobodyPoops go to the bathroom]] (and not due to a PottyEmergency, either). There may be [[SeinfeldianConversation offhand conversations that have nothing to do with the plot]].

In short, these are works full of details that are pretty but not required for the story -- filigree, in fact. It's where the actual narrative is full of things that aren't really plot. Of course, a lot of things that aren't plot-relevant will still [[EstablishingCharacterMoment tell you something about the characters]]. It's also a great way for a good author to hide ChekhovsGun, as they can bury a seemingly-innocuous fact that becomes important later mixed up with any number of other little details that don't (and thus indirectly encouraging readers to start cultivating their gardens of EpilepticTrees).

SliceOfLife stories often fall into this, but not always -- some of them are a set of vignettes, with each capsule story adhering to the Law individually. Many {{sitcom}}s also apply, because jokes (at least those that aren't {{Brick Joke}}s, {{Overly Preprepared Gag}}s, or [[ChekhovsGun Chekhov's Guns]]) tend to be one-offs.

Because many video games don't have linear narratives, this trope does not categorically apply to many of them. Only the story contained in {{cutscene}}s and dialogues of the more heavily plot-based (and linear) games would qualify. [[WideOpenSandbox Sandbox-style games]], while sometimes possessing central, driving storylines, are arguably defined by the huge quantity of narrative filigree contained in them, so mentioning this trope in the context of such games is almost superfluous. If an extreme number of internally-consistent details are present, then visit DevelopersForesight for examples.

Compare EstablishingCharacterMoment, CrypticBackgroundReference, LeftFieldDescription, RandomEventsPlot, GarnishingTheStory. StoryBreadcrumbs is an inversion/opposite tropes, where plot details small enough to normally count as filigree actually relate crucial plot points.



[[folder:Comic Books]]
* ''ComicBook/CerebusTheAardvark'' has four consecutive pages of one issue devoted to the title character getting out of bed and urinating. A reader famously wrote cartoonist Dave Sim, demanding a [[FanDumb pro-rated refund]] for that portion of the issue. In another issue or two, Cerebus is portrayed with cold symptoms. This isn't a plot point; nor do he or other characters even mention it. He just happens to have come down with a cold.
* Brandon Graham's comics can go off on small tangents to give details about of the setting or background characters. The plot will also spend time with the main characters eating and even taking a leak.
* ''ComicBook/UltimateSpiderMan''. Really, any comic written by Brian Michael Bendis can be full of this, particularly in the form of dialogue loaded with stuttering and other verbal tics most writers would bypass in the name of getting to the bloody point.

[[folder:Fan Works]]
* ''Fanfic/NightsInTheBigCity'', a ''WesternAnimation/KimPossible'' {{fanfiction}}, builds an alternate universe where details casually thrown out just to give the world texture include mentions of minor {{canon}} characters in different roles, that [[UsefulNotes/AmericanCivilWar Robert E. Lee]] was the 13th President, the cars run on ethanol, the space program hasn't gone further than the Moon, and that the Pope is female and so is God. These don't have any relevance to the story, they just give a better impression of [[CrypticBackgroundReference a whole world beyond the frame]].
* Part of the reason ''Fanfic/ShinjiAndWarhammer40k'' is such a DoorStopper. Intricate attention is frequently given to insignificant details, with even the prologue, which is long enough to be its own separate story, full of things that are never mentioned again (and a few things [[ChekhovsGun that are very important later]], so the reader still needs to pay attention).
* The ''WesternAnimation/TotalDrama'' story, ''[[Fanfic/LegacyTotalDrama Legacy]]'' has a good deal of filigree in the first and last chapters, which have a "{{slice of life}}" feel. The first chapter goes into [[DescriptionPorn considerable detail]] about the condition of the camp to create an autumnal mood, and the final scene deals at some length with the [[SarcasmMode dramatically pivotal]] subject of what Heather and Duncan had for lunch.
* Numerous ancillary scenes in ''Fanfic/TheLegendOfTotalDramaIsland'' have far more detail than is strictly necessary to advance the story.
* A number of the [[http://codegeassfanon.wikia.com/wiki/Code_Geass_Colorless_Memories Fanon Wiki]] pages for ''Fanfic/CodeGeassColorlessMemories'' are these, as they contain details that while irrelevant to the main plot, add details to certain characters, Knightmare Frames and also hint to possible developments, with elements of UnreliableNarrator in places as well. This was inspired by ''Literature/TheWorldOfIceAndFire'' from Creator/GeorgeRRMartin, whom work [[https://www.fanfiction.net/u/4409941/blackmambauk blackmambauk]], the writer of most of the wiki pages, is a big fan of.
* ''Fanfic/IAmNOTGoingThroughPubertyAgain'' does this quite a bit, often going on long tangents about political and economic history or character motivations. Since it's a CrackFic, most of them are used as the set up for jokes.

[[folder:Films -- Animation]]
* Most of Creator/StudioGhibli's movies:
** ''Anime/KikisDeliveryService'': Kiki is shown drying her clothes when they get wet, or stumbling on debris while running.
** ''Anime/PonyoOnTheCliffByTheSea'': Lisa's cooking, and the extended scenes showing how they contact Sosuke's father.
** ''Anime/MyNeighborTotoro'': The house cleaning sequence.
** ''Anime/SpiritedAway'': Chihiro taking off and putting on her shoes, with minute details like squirming around to get them on right.

[[folder:Films -- Live-Action]]
* Many scenes in ''Film/TwoThousandOneASpaceOdyssey'', to the point where the middle section is practically ''nothing else''. Well, [[AIIsACrapshoot until HAL 9000 starts trying to kill everybody]].
* ''Film/{{Birdemic}}'' has a lot of driving around in it. A lot of boring, pointless conversations, too. The bit with Nathalie's mother discussing her old job and current retirement springs to mind.
* If Creator/UmbertoEco [[http://non-compos-mentis.blogspot.com/2006/11/umberto-eco-how-to-recognize-porn-movie.html is to be believed]], this is ''very'' common in pornographic films.
* In ''Film/WarGames'', the parents of Matthew Broderick's character are having dinner where the father butters his bread and then uses it to butter his corn-on-the-cob, which, he finds out, his wife didn't cook "to preserve the vitamins." He begs her to cook the corn and use pills for getting more vitamins in their diet. Nothing else is said about this scene, not even by them later.
* This trope was pretty much what amazed people about ''Film/ReservoirDogs''. It's a heist film, but the first five minutes is all the principals sitting down to breakfast, conversing about pop music and tipping.
** This actually forms a SignatureStyle for Tarantino, with notable examples including the aversion of NobodyPoops in ''Film/PulpFiction'' (three times!), Jungle Julia's irrelevant relationship with the offscreen Christian Simonson in ''Film/DeathProof'', and Mr. Orange's joke/anecdote in ''Film/ReservoirDogs'', shown onscreen and constituting five or ten minutes of runtime in an otherwise notably breezily-paced picture.
* Also forms a SignatureStyle for Creator/KevinSmith whose best-known picture, ''[[Film/{{Clerks}} Clerks]]'', is about 5% plot and 95% chat. A particularly famous digression has to do with the ethics of [[Film/ReturnOfTheJedi blowing up ''Death Star II'']].
* ''[[Film/{{Amelie}} Le Fabuleux Destin d'Amélie Poulain]]'' practically runs on this. Not only is Amélie's conception noted to have occurred at the same time as three completely irrelevant events[[note]]Specifically: a fly being killed by a car; a breeze moving an unseen tablecloth makes the wineglasses atop it seemingly dance; and a man returns from his friend's funeral and erases his name from his address book.[[/note]], but almost every character ([[UpToEleven and the occasional animal]]) is noted to have likes and dislikes, ''regardless of [[ChekhovsGunman whether they're important]] or not''.
-->''Here is Philomène, an air hostess. Amélie keeps her cat while she is away. Philomène likes the sound of the cat's bowl on the tiles. The cat likes overhearing children's stories.''
* ''[[Film/{{Nymphomaniac}} Nymphomaniac]]'' is really all about this, according to [[Creator/LarsVonTrier the director]].
* In ''Film/XMenDaysOfFuturePast'', the tour guide in the Pentagon explains that the building has twice the number of bathrooms that would be actually needed, because it was built when racial segregation was still in effect. Even though that has passed, it would cost too much to remove them. No, this info does not become useful for the plot later, it is just trivia. Of course, it ''does'' add something to the [[FantasticRacism theme of the film]].
* The film ''It's Impossible to Learn to Plow by Reading Books'' by Creator/RichardLinklater is a whole film composed of narrative filigree.

* Creator/JRRTolkien may as well be the patron saint of his trope, if not the UrExample in modern literature, as almost every fantasy series since has followed his example.
** ''Literature/TheLordOfTheRings'' is ''loaded'' with poems and discourses on genealogy and history that don't really have much to do with the main plot other than to provide background and context, and mainly serve to flesh out the world of Middle-Earth. The prologue does nothing but describe in detail the history and culture of Hobbits and the Shire, and can be skipped over without leaving the reader confused in the slightest. The Appendices are filled with timelines, dates of birth and death of all the Kings of Númenor, Gondor, Arnor, Rohan, and Chieftains of the Dúnedain, a small lesson in the Elven languages, descriptions of the writing systems, and a brief story of the romance between Aragorn and Arwen that wasn't part of the main narrative (this section was mined by Jackson for the film adaptations to flesh out their characters).
** ''Literature/TheSilmarillion'' takes this UpToEleven. Since it's essentially a history of the Elder Days, the entire book is basically Literary Filigree. Though there is a central plot (the conflict between the Elves and Morgoth over the Silmarils) the book is essentially a series of self-contained tales that are only loosely connected to each other. The book also functions as back story for ''The Lord of the Rings'', fleshing out and expanding on tales and events referenced in the previous work.
** Scores of other Literary Filigree works to ''The Lord of the Rings'' have since been published, including: ''The Unfinished Tales'', ''The Book of Lost Tales'', the ''History of Middle-Earth'' series, and ''Literature/TheChildrenOfHurin''. The latter is a further expansion on one of the stories in ''The Silmarillion'', while the others are collections of stories or notes used in writing the different works, some expanding on concepts that Tolkien only glossed over in the final published versions, or providing early or alternate versions that were ultimately abandoned.
* The ''Literature/ThursdayNext'' books are full of jokes, parodies, and satire as part of their AlternateHistory that has little to do with the plot and are simply bits of fun.
* ''Literature/TheHitchhikersGuideToTheGalaxy'' has all kinds of asides and Guide entries that are only marginally, if at all, connected to the thread of the story.
* ''Literature/JonathanStrangeAndMrNorrell''! Susanna Clarke quotes and often criticises from an academic point of view nearly half hundred books, some periodics and some essays and several folktales, all of them fictional. And even expands the information given away by the characters in casual conversation in ''really'' '''''long''''' [[FootnoteFever 185 footnotes]] (one of them is over '''5''' freakin' pages long), some of them even referring to other footnotes!
* The ''Literature/{{Discworld}}'' series's amusing digressions and attempts to be realistic about how people act and interact (even when it slows down the plot) where most fantasy series wouldn't, are some of its major selling points.
* A constant in the works of Creator/JackVance. World building is an objective in and of itself. In ''Literature/{{Lyonesse}}'' we learn the exact layout of Suldrun's garden, the names of the plants, how it looks at several times and day and times of year. For the grand plot it would suffice to simply confine Suldrun to her garden. Vance will build up a history, a religion, a race, a river or a plain, never necessarily needing it to advance the core story.
* The ''Franchise/SpiderMan'' novels by Adam-Troy Castro feature massive amounts of {{worldbuilding}} and tiny details, often by cutaways to the everyday life of people in metahuman-infested New York. In ''[[Literature/SinisterSixTrilogy Revenge of the Sinister Six]]'', there's a constant stream of news reporting on Spider-Man's efforts to prevent mass slaughter by the eponymous villains, including commercials for 'Supervillain Insurance'.
* Creator/StephenKing tends toward this in his novels.
** ''Literature/TheStand'' (especially the unabridged version) not only tries to give almost everyone the depth of {{backstory}} you'd normally reserve for the main character, but also dedicates a huge amount of space to characters and events that are, at most, tangentially connected to the main plot. This includes a large section given over to introducing characters just to show how they died as an indirect effect of the plague. Of course, we're talking about a single book that's about as long as ''Literature/TheLordOfTheRings''. In the prologue to the unabridged version, he says he felt the original abridged version failed because it was specifically lacking this trope.
--->"It's like a Cadillac, but with the paint stripped off and the chrome sanded down to dull metal. It goes somewhere, but it ain't, you know, ''boss!''"
** Early in ''Literature/TheDarkHalf'', we are treated to a full chapter dedicated to the life of the man who discovers the empty grave that sets the plot in motion. The man literally serves no other purpose and is never mentioned again.
** Toward the climax of ''Literature/TheShining'', when the novel starts to take on its true gripping nature, King does much the same with the policeman who pulls the chef over.
** In a couple of his books, such as ''Literature/TheRegulators'' and ''Literature/UnderTheDome'', King will introduce a character, explain that they are just about to die, and then proceed to unload a ton of backstory about the character.
* ''Literature/TristramShandy'' spends so much time on narrative filigree and digressions that it forgets to have an actual plot. The ''entire book'' consists of digressions within digressions within digressions, and so on. Notably, the titular narrator starts the tale with the story of his conception, but he gradually gets so sidetracked chronicling the circumstances surrounding it that he first gets around to the story of his birth well into Volume 3.
* ''Literature/BreakfastOfChampions'' has extensive narrative filigree, from describing the different sci-fi stories Kilgore Trout has written, to bizarre and inconsequential interrelationships between characters, to the penis lengths and circumferences of each male character.
-->'''Creator/KurtVonnegut:''' Once I understood what was making America such a dangerous, unhappy nation of people who had nothing to do with real life, I resolved to shun storytelling. I would write about life. Every person would be exactly as important as any other. All facts would be given equal weightiness. Nothing would be left out. Let others bring order to chaos. I would bring chaos to order, instead, which I think I have done.
* ''Literature/TheCatcherInTheRye'' falls into this sometimes when [[TheNarrator Holden Caulfield]] wanders off on little tangents about things that don't directly relate to what's going on at the moment.
* ''Literature/ASongOfIceAndFire'': It's difficult to have a series with an intended length of seven books, each of which is twice the length of an average DoorStopper, without falling prey to this a little. Each of the prologues goes to great length to bring to life a character who will inevitably die at the end of the chapter. There's also a fair amount of WorldBuilding, FoodPorn, SceneryPorn, [[FanService Regular Porn]], and characterizing side characters. Outside of this sort of description, though, Martin does a pretty respectable job of making all events and conversations important.
* ''Literature/GauntsGhosts'', ''Literature/{{Eisenhorn}}'', ''Literature/{{Ravenor}}'', and indeed near every book written by Creator/DanAbnett devotes much attention to histories, locations, technology, vehicles, animals and people, most of which has no relevance to what is happening. It also adds greatly to the AnyoneCanDie climate, as there is no way whatsoever of telling whether the recently introduced character - complete with appearance, brief backstory and glimpse of their personality - will be killed unceremoniously in the next few pages or become a major character that lasts for several books.
* ''Literature/TheNightCircus'' is largely filigree, to the point where one review called it a "cabinet of curiosities," meaning a bunch of pretty things with no story. But they ''are'' really pretty things.
* ''LARP: The Battle For Verona'' will give ''every single person'' who speaks a name and career description, even if they're never mentioned again. While it's probably meant to emphasise that everyone involved in the story is essentially just an ordinary person, not a soldier, it often ends up just disrupting the flow and gets confusing when they're mentioned by name again despite the reader having quickly forgotten about them.
* ''Literature/CharlieAndTheChocolateFactory'' has lots of this. Consider the lengthy in-story poems/songs for the Oompa-Loompas that drive the various aesops home. ''Many'' chapters are largely given over to discussions, descriptions, or even just lists of Willy Wonka's many wondrous inventions and rooms in the factory that have no direct bearing on the plot. In [[Literature/CharlieAndTheGreatGlassElevator the sequel]], when Mr. Wonka explains to Charlie that a ''full'' tour of the factory takes three weeks, one can believe it! Some of the filigree inventions are upgraded to plot-affecting ones in adaptations -- the Fizzy Lifting Drinks and Everlasting Gobstoppers in [[Film/WillyWonkaAndTheChocolateFactory the 1971 film]], for instance.
* [[Literature/TheWheelOfTime The Wheel of Time]] series is filled with this. Pages-long descriptions of dresses that are then packed into a bag and lost forever shortly thereafter. Detailed listings of everything in a room a character walks through once. It does serve as cover for a ChekhovsGun occasionally.
* So-called "maximalist" writers such as Creator/ThomasPynchon and Creator/DavidFosterWallace are known for their lengthy novels that are filled with characters, digression and excessive detail. The plots are often so layered it's sometimes hard to tell which one is actually the main story and thus how relevant each element is to it. The eschewing of the LawOfConservationOfDetail is part of the reason for their fame as "difficult" authors.
* Much of ''Literature/TheMillenniumTrilogy'' is taken up with the minutiae of Blomkvist and Salander's da-to-day lives and sketches of comparatively minor characters. Perhaps the best example of this comes in the third book, where we get a detailed history of a hospital orderly whose only role in the entire series is that Blomkvist bribes him to sneak a PDA into Salander's hospital room.
* Creator/VictorHugo, full stop. A very large part of the ''opening'' of ''Literature/LesMiserables'' describes the long and detailed life of a relatively minor character (albeit one who is vital to the story in the long run). Then there are the dissertations on argot and the sewer systems of Paris. It could perhaps be said that his stories were entirely about the country of France, and any actual ''plot'' found its way in there by accident.
* [[Creator/PaulAuster Paul Auster's]] ''[[Literature/TheNewYorkTrilogy City Of Glass]]'' goes into excruciating detail at the oddest times, even opening with a long moment-by-moment description of the protagonist's night. None of the details turn out to be important, although [[spoiler: the fact that words are being "wasted" will become [[LeaningOnTheFourthWall significant]] at the end.]]
* In the novella ''Literature/ATasteOfHoney'', the {{Technobabble}} Adónane, Perfecta and Femysade engage in upon their first meeting, as well as Femysade later on does herself, as well as various things Aqib mentions about the Menagerie or the Sovereign House don't really serve to move the plot forwards, but do a great deal of WorldBuilding on the side.

[[folder:Live-Action TV]]
* How often is the Doctor of ''Series/DoctorWho'' going to mention something completely incidental which has no purpose to the plot? A lot.
* ''Series/ThatMitchellAndWebbLook'' has a series of sketches about a director whose films consist of nothing but this, such as ''The Man Who Has a Cough and It's Just a Cough and He's Fine'', a 19th century period piece skewering the IncurableCoughOfDeath.
-->'''Interviewer:''' That was a clip from your latest film, ''Sometimes Fires Go Out'', which has been described as "unrelentingly real", "a devastatingly faithful rendition of how life is", and "dull, dull, unbearably dull". Those quotes, oddly, all from the same review.
* ''Series/PushingDaisies'', whilst only occasionally delving into moments irrelevant to the current plotline, invokes this several times per episode through [[LemonyNarrator a nigh-omniscient, eccentric narrator]] specifying time difference between events right down to years, months, weeks, days, hours ''[[UpToEleven and seconds]]''.

* ''Theatre/StreetScene'' immerses the audience in the everyday life of the urban setting suggested by its title. There are several points in the play where a couple of minor characters, usually unnamed, cross the stage conversing with each other about something not relevant to anything else in the play.
* ''Theatre/TheMikado'' explains this trope in-universe:
-->'''Pooh-Bah''': Merely corroborative detail, intended to give artistic verisimilitude to an otherwise bald and unconvincing narrative.

[[folder:Video Games]]
* ''VideoGame/DeadlyPremonition'' is a SurvivalHorror/adventure game with a murder investigation plot and a heavy ''Series/TwinPeaks'' influence. Like ''Twin Peaks'', it features a vast number of side characters, all of whom have their own lives, which will continue with or without the player's interference.
* The first half of the police station level in ''VideoGame/MaxPayne 2'' is dedicated to this. You can continue on with the story at any time, but you are encouraged to wander around the station, dicking around with people, breaking a room refreshener, listening to your colleagues bantering and [[CrowningMomentOfFunny a criminal trying to explain]] [[TheCoronerDothProtestTooMuch how his wife and her friend killed themselves and framed him for it.]]
** The original ''VideoGame/MaxPayne'', like many games, had an action button. Unlike in most games, it was rarely necessary, and instead allowed the player just to mess with things: bashing out the game's theme (poorly) on a grand piano, spinning the wheel of a ship, playing a quick fill on a drum set, et cetera.
** The various watchable television shows in both games also count: ''Address Unknown'' (a ''Series/TwinPeaks'' parody), ''Lords and Ladies'' (a SoapOpera set in the world of the British aristocracy), and ''Dick Justice'' (a blaxploitation retelling of the first game's story), among others.
* ''VideoGame/ResidentEvilCodeVeronica'' - way more objects modeled than mattered. A number of rooms were just crammed with well done object models with no game function: furniture, victrola, mannikin, vending machines, books, and so on.
* ''VideoGame/{{Fallout 3}}'' has tons of items, some of them with no apparent purpose. However, most of them can at least be picked up and used for ''something'', even if that something is the [[AbnormalAmmo Rock-It Launcher]] (a gun that fires almost anything that lands under the "Misc" category).
* ''VideoGame/{{Primal}}'': The Count's chateau has an armor museum, a library, and a chapel. All exquisitely done, but with no function whatsoever.
* ''Franchise/{{Pokemon}}'': The Pokédex counts. Each Pokémon has a short description you can read once you catch it, which changes in almost every game and has practically no impact on the game. Frequently they even fall under GameplayAndStorySegregation (such as with how Slowpoke evolves).
* ''Franchise/TheElderScrolls'':
** ''VideoGame/TheElderScrollsIVOblivion''. In most fantasy-[=RPGs=], boxes, chests, and barrels are filled with what else? Treasure! Gold! In Cyrodiil? Yarn! Grain! ''Calipers!'' In most games, {{NPC}}s who do something other than stand there are often leading the player to secret treasure, or maybe just running around in a little circle. In Cyrodiil? They have ''entire lives''. They farm, they eat meals, they even ''cheat on their spouses'' (''and'' they have nonsensical conversations and rake the carpet). Unlike Bethesda's subsequent game, ''VideoGame/{{Fallout 3}}'', where the supposedly "junk" items can all be used in some way or another (appropriate to its post-apocalyptic survivalist atmosphere), in Cyrodiil yarn is exactly that, and has about as much usefulness to an adventuring hero as you might imagine. Less, actually, since you can't even knit woolly underwear with it.
** ''[[VideoGame/TheElderScrollsIIIMorrowind Morrowind]]'' has just as much clutter if not more than ''Oblivion'', although significantly more of it is useful in some way (candles and lanterns set on tables can be picked up and used for light, for example), but there's still a ton of random stuff that never gets used for anything. And there's a huge number of books that can be read: some are related to quests, others give information on the backstory, but most are just there for world building.
** The games that Bethesda produced after coding the Radiant engine have a lot more of this than their older works (or older works in series that they took over). This is because the engine allows 'actors' to determine the optimal (according to their [[ArtificialStupidity own]] [[ArtificialBrilliance judgment]]) methods for achieving goals, which removes the need to script each and every action and allows the developers to work with a larger number of actors and goals.
* Part of what ''VideoGame/BeyondGoodAndEvil'' was praised for was its narrative filigree, as the creators worked to make a solid "world" instead of simply a setting. Thus, there are animal species, posters and billboards for events and services, fake commercials, and [=NPCs=] with their own little history that don't directly contribute to the main plot, but give some depth to the planet of Hillys.
* ''VideoGame/{{BioShock|1}}'': nearly every wall covered in posters for in-game shows or products and audio diaries from people going about their normal, non-plot-related lives.
* ''VideoGame/TheNeverhood'' has the absolutely ''massive'' Hall of Records, which takes up about 40 in-game screens of tiny text and around 100 pages of flat printing. It describes the lives and worlds of the seven sons of Quatar, precisely one of which, Hoborg, is at all relevant to the plot. (Two, sort of, if you count [[spoiler: Willie's father, Ottoborg]], but his origins aren't relevant to the plot.) The Ynts and Skullmonkeys also become important in [[VideoGame/{{Skullmonkeys}} the sequel]], but for the most part, it's just a lot of {{worldbuilding}} coupled with some truly bizarre fables -- such as the one about the talking burger box.
* ''VideoGame/HeavyRain'', particularly in the earlier chapters, lets the characters take lots of little mundane actions -- drinking coffee, using the bathroom, playing games, generally fiddling with stuff that serves no actual purpose. In the developer's previous game, ''VideoGame/{{Fahrenheit}}'', such activities ''did'' have an effect on gameplay (they raised the characters' {{Sanity Meter}}s), but in ''VideoGame/HeavyRain'' they're just... there.
* ''VideoGame/TheLegendOfHeroesTrailsInTheSky'': The trilogy, and the over all [[VideoGame/KisekiSeries Trails series]] are packed to bursting with detail. In the main plot alone, several supporting characters take up small, relatively unimportant positions that could have easily been filled in by more plot-important characters, but instead we get several details about their lives. While going across the world map, the party will have to stop at border checkpoints and fill out paperwork to pass by the security, and these soldiers have names, friendships, and details of their own. In fact, the NPC cast numbers in the hundreds, 99.9% of the time with names, personalities, rivalries, and their own little subplots that don't just avert WelcomeToCorneria, it smashes it into pieces and grounds them to dust. You can go back and talk to minor characters and with every update to the plot, no matter how small, there will be new dialogue for everyone. The main characters don't just stand and accept the information passively either, they'll engage in occasionally quite lengthy conversation that more often than not, has nothing to do with the plot at hand and will be resolved without any help from the player. Even treasure chests avert stock phrases, (at least in English versions thanks to duplicate text files) there's unique, pithy jokes that lampshade [[KleptomaniacHero the usual player habits]]. It's this attention to detail that balloons the scripts into the hundreds of thousands in word count, and that's just in the kingdom of Liberl; one small country across an entire continent that would be a few sidequests and a town in nearly any other JRPG.
* UsefulNotes/{{Wii}} RPG ''VideoGame/{{Opoona}}'' is a game that actually ''sells'' itself on its narrative filigree: It bills itself as a "Lifestyle RPG," and half the focus of the game is learning about the culture of the alien planet on which you've landed. Things such as the planet's art history, pop culture, fashions, industry, and ecology are all nonessential and "secondary" to the main plot, but they are there to be explored by the curious.
* ''VideoGame/BaldursGate'' is utterly filled with readable books, and not just the same two or three, there are dozens. There are also plenty of empty containers and vast, vast, amounts of wilderness to just wander through, with Tales of the Sword Coast adding even more. The story itself didn't need half of it and most players will never even see more than about 60-70% of the entire map. ''Baldur's Gate II'' is pretty linear by comparison.
* The majority of ''VideoGame/{{Psychonauts}}'' characters, including the asylum patients and all but one or two of the camp kids, are utterly irrelevant to the plot, but exploring and discovering their quirks is half the fun of the game. Spying on the SoapOpera-level [[PuppyLove love lives of ten-year-olds]] is way more fun than it should be.
* ''VideoGame/HitmanAbsolution'', which advertises itself as having [[http://www.youtube.com/watch?v=38TEgqFTxhU "a living, breathing world"]], contains numerous irrelevant sequences with both enemies and civilians that can be observed. For example, "Terminus Hotel" (READ: part of '''one''' level) contains: a failing shoe salesman flirting with a maid; a woman arguing with her unemployed partner (who is having a midlife/existential crisis); a territorial landlady bickering with security; a woman arguing with "an asshole" over the phone; two guards discussing an absent colleague; and two electricians discussing a friend who was struck by lightning and who can now light bulbs by touching them...
-->''Life is a wonderful thing. Full of hopes and fears. Comedy and tragedy. Thousands of lives intermingle. An intricate web of relations and situations. Desires and regrets. Plans. Allegiances. Watching from the shadows, 47 learns the most intimate of secrets.
* The ''VideoGame/DeusEx'' games have this in spades, especially the first one. There are all kinds of [=NPCs=] the player can talk to, newspaper articles and books they can read, and areas they can explore that have nothing at all to do with the main plot. All these details do a pretty decent job of building a future world full of complex politics, social unrest, and [[ArsonMurderAndJaywalking soda machine conspiracies]].
** Also applies for sequel ''VideoGame/DeusExHumanRevolution'', as when players visit foreign countries, they will sometimes find foreign emails that can be translated for humorous conversations and easter eggs.
* The ''VideoGame/{{Mother}}'' series revels in this. It's quite rare to find a character or object that actually contributes to the plot, most of the time just telling jokes, reacting to things that go on, referencing pop culture or simply saying [[AuthorAppeal they like croquette rolls.]]
* ''VideoGame/BattleblockTheater'' invokes this often through the [[LemonyNarrator rather eccentric narrator]], who has a habit of going off on tangents into details that are totally unnecessary (albeit [[RuleOfFunny funny and confusing]]):
-->''"But how did things get so bad? At one time this theater was a nice place, with flowers in every vase, and smiles on everyone's mouth-- faces. Can you believe it? I wouldn't believe it! I mean, if ''you'' told me that, I'd more than likely call you a liar and walk away. And, um... go someplace to get ice-cream to replenish the innocence you blackened with your filthy deceits! [-[[SidetrackedByTheAnalogy I like strawberry.]]-]''
* ''Franchise/TheLegendOfZelda'':
** The Gossip Stones in ''VideoGame/TheLegendOfZeldaOcarinaOfTime'' are this. Some of them share facts that are a bit relevant to the plot (one says that Princess Zelda is a tomboy, hinting at [[spoiler: her identity as Sheik]]), but most are just neat background info.
** Same thing with the stone tablets scattered across Zora's Domain in ''VideoGame/TheLegendOfZeldaBreathOfTheWild''. While several deal with the history of Princess Mipha's role as a Champion, which ''is'' more relevant to the main plot, the rest deal with less important background details such as why Zora Armor is used in marriage proposals, how King Dorephan got his forehead scar, etc.
* In ''VideoGame/StarOceanTheSecondStory'', especially at inns (and a little at castles), there's a bunch of rooms with simply nothing or no one to interact with, just copy and paste furniture. A very few of them have one or two [=NPCs=], but who doesn't say anything useful.

[[folder:Web Comics]]
* Discussed, parodied, and turned up to eleven by ''Webcomic/UnwindersTallComics'', on [[http://tallcomics.com/?id=76 this page]]. In the [[FictionalDocument in-story mystery novel]] ''The Gun and the Grapes'', author Greg Kirkpatrick describes ''everything'' in excruciating detail, to deliberately obscure the relevant clues under mountains of irrelevant ones.

[[folder:Web Original]]
* The Phase novels of the ''Literature/WhateleyUniverse''. There's tons of world building and characterization, but man, can the author go on about stuff that's not relevant to the plot. Like a detailed description of the awesome dinner the chefs prepared for Ayla, or Ayla's schoolwork.