Some games are sprawling epics centered about a cast of compelling characters and emotional twists and turns. Some paint pictures of entire new worlds with considerable background material and long and involved histories. The amount of detail that goes into some games' storylines can rival a big budget movie or television series. Other games are made with no plot at all — the players just want to have fun. Others may have a bare minimum of one.
But then there's this: an especially unfortunate attempt where it is clear that the developers genuinely did spend a lot of time and effort on a game's plot. They clearly were trying for, if not greatness, at least competence. Unfortunately, nobody else cared. The story might be ham-handed and laughable, the cutscenes might be jerky and unconvincing. All too often, though, maybe the company's only "mistake" was developing the story of a game designed around or played primarily for multiplayer, competitive, or online play. Either way, the story goes unnoticed, since most of the player base finds it completely irrelevant to actually playing the game.
Often results in a different form of Developing Doomed Characters — nobody's paying attention to the story, all they care about is "Shut up whoever you are".
Sometimes, people might actually point out that something looks like an Ass Pull or Scotch Tape in the story, which doesn't make sense to them because it's either a) elaborated in a pocketbook, comic, some other canon material that they haven't read (sometimes a larger case), b) explored in a previous game that is ignored by newcomers, c) elaborated on in the manual or earlier in the game, and ignored by the player (since most people don't actually read the manuals that much anymore; a lot of the stuff they tell you upon can be accessed in-game in case you lose the manual, which happened a lot in the earlier days... when most games didn't have tutorials); or even d) mentioned in the backstory, but not crammed down your throat, which especially happens in more non-linear games (if you want to tell a story, you more or less have to be linear, since non-linear storytelling often winds up with an incomprehensible mess or players skipping most of it).
This often happens to games with multiplayer or where the metagame / multiplayer is pretty much the main source of enjoyment for some people.
If the vast majority, or indeed, all of the story is contained within the manual, in "feelies" or other supplemental material, then yeah, the company did pretty much waste its time writing it. Similarly, it really feels this way when plot information is detailed in optional content to reward exploration. Related to Just Here for Godzilla. Not to be confused with that other kind of waste-of-time story.
Of course, using non-skippable cut scenes is not a fan-approved way of making sure people pay attention: it will piss off people who want to get to the action, people who've seen it before, or people who just don't like the story as it's presented.
Ring: The Legend of the Nibelungen is basically Der Ring des Nibelungenin space. Some reviews complained that the story was almost impossible to get, except maybe if you are both a gamer and a Wagner fan, but oddly for an Adventure game, it's not that hard to finish the game without getting it.
Most Nippon Ichi games have skippable cutscenes. Since the games have a lot of hidden content that occur outside of the main plot (and may require entering the postgame or New Game+ to find), you'll probably want to skip most scenes once you've seen them a few times.
Wangan Midnight Maximum Tune. The game is a video game adaptation of a manga series. However, most players don't bother reading the Story Mode text or expressing interest in the source material, seeing Maximum Tune as simply yet another arcade racing game. To make matters worse, many players don't even know there's a manga or anime series.
In Brawl, the overarching plot of The Subspace Emissary was mostly ignored by players. It doesn't help that a great deal of detail is left vague due to all of the characters being heroic mimes. An update at the official website clarifies these and also reveals that some exposition had to be cut out of the game entirely.
Pirated versions of this game usually cut out the Subspace Emissary cutscenes (among other things), so the game can fit on a single-layer disc. And since it's one of the most popular games for the most pirated seventh generation console, there's probably a lot of players who can't play the story even if they wanted to.
Almost every single tournamentfighting game in existence. There are detailed backstories, different endings per character, and even events in sequels that tie in to past story elements. But with the exception of some hardcore fans who care about such things and compile vast universe compendiums trying to figure out what's canon, most just picks their character and joins the fight.
Tekken: Internal family strife, quests for vengeance, deals with the devil, concerns about "the Devil Gene" and that usual fighting game standard, a fighting tournament with a huge prize. Never mind that, though, fight! By Tekken 6, there are more characters than Namco can fit into the main plot, so many of them have been reduced to having joke plots and endings or simply unrelated to the main story. Yet Namco was probably aware of this trope happening, so they made Jin into an evil overlord in 6, turning heads in the process. It didn't help the Wild Mass Guessing that arcade versions of Tekken never ever featured any storyline or cutscenes whatsoever.
The King of Fighters pretty much epitomizes this, with an incredibly byzantine storyline centered around the tournament that most players neither know nor care about, as long as they get to beat the crap out of people.
Mortal Kombat has a convoluted and ludicrous backstory incorporating numerous gods, planar beings, rivaling clans of robot ninjas, etc. Most players probably don't realize which characters are the good guys, not least because many of them swap allegiances constantly. It wasn't until Mortal Kombat 9 when it turned things around with a long, detailed, and very popular story mode. What sets it apart is that every character plays a part in the larger story, and you play as all the good Kombatants. The beat 'em up Spin-OffShaolin Monks gets this reaction from the Mortal Kombat fanbase anyway. The gameplay is solid, but the story is filled with continuity errors, characters getting killed off for no reason other than getting in the protagonists' way, and out of character moments. Kung Lao gets hit with this the hardest, as the game is basically one long Out-of-Character Moment for him.
In Street Fighter, all characters do have their motivations, but most of them are pretty simple. This was until Street Fighter Alpha 3 was released, which has the most complex story in the series. Ironically, the game also has some of the most controversial story elements in the series.
Soulcalibur (and its prequel Soul Edge/Blade) gets confusing, with the title weapons changing hands a few times; Soul Calibur changes hands once, while Soul Edge changes hands twice. And then a single character splits into two, which is utterly confusing unless you read the story. And all the non-canon endings in story mode don't help much. It also doesn't help that there are Canon Foreigner characters, such as Yoda, Darth Vader, and Galen Marek in IV. When the story was being paid attention to, it was a good story... until Soulcalibur V, where there is a short 20 episode story mode (with less fights than chapters), and half the cast only appears briefly, or worse, not at all. Sadly a result of time constraints, as Word of God claims the planned story mode was five times the size.
Notably averted in Guilty Gear; despite being a competitive fighter, Guilty Gear's quirky characters, bizarre plot, and odd aesthetic have all served to endear it to fans. Its Spiritual SuccessorBlazBlue obviously follows the suit. Even the Story Mode feels like a Visual Novel game with fighting matches in-between.
The problem started when it became standard practice for one character's ending per game to be "canon." That means that all but two or three characters' stories are completely irrelevant. It's tough to care about Julia Chang's environmental crusades or E. Honda's attempts to popularize sumo when there's no chance of seeing any resolution. The best way to make players care is to present each character's story as a part of the big picture. Guilty Gear solved the same problem by having several plotlines going at once. Everyone runs into everyone in the course of their storylines, but while some endings are canon and some aren't, there is no overriding canon ending, and typically elements from all endings are considered at least semi-canon.
Doom 3 has a story created by a novelist. Which may lead people to say, "It has a story?" The Big Bad was passed up for the title of Mad Scientist Who Makes A Deal with the Devil #69,105 for being too generic. A handful of cutscenes and numerous audio logs of people who complain about hearing "strange noises" create an atmosphere, but not necessarily a story. Besides, most players listen to audio logs just to get to the needed passcodes anyway, and those are usually near the end of the log.
In Halo, there's two groups of players: those who deeply care about the story, and the ones that are indifferent to it altogether. The former wants to shoot people and immerse themselves in the backstory, the mythology, and characters and all. The latter see the former as dorks for being so enthralled by the story, while the former hold them in equal disdain as low-brow fools who spam Xbox Live. Thankfully for the former group, the Expanded Universe exists for them.
Its predecessor, Marathon, has a complex and highly-detailed backstory that is still being investigated by fans to this day... almost none of which is essential to actually play the game, as it's contained mostly in incidental data screens in out-of-the-way locations.
Brothers in Arms is a good example of this trope, since while they obviously put effort into the cutscenes, there's a lot of Continuity Lockout, iffy voiceacting, and difficulty in distinguishing between characters. The games are just too short to support a cast that big. The end result is confusion.
Battlefield Series: The Bad Company series averts this trope because the single player campaign features cool characters, interacting with each other in funny and memorable ways and interesting overarching plotlines. When the main Battlefield series had single player introduced with the 3rd game, many people ignored it or just ploughed through because it had a generic and frankly idiotic afterthought of a storyline with uninteresting characters that switches point of view so many times you just stop caring about them. The fact it barely explains jack doesn't help.
Modern Warfare: The storyline and political messages in the game are fairly interesting and make a pretty good plot; too bad most people jump straight to the multiplayer, or play the single-player with the mindset of "shoot whoever shoots back, pick up/bomb the objective, etc."
Single player does make some efforts to make the storyline interesting. You have bouts of Controllable Helplessness where some major plotline event happens and you die. In the first game, it serves to cement your hate against Ultranationalists using nukes, and in the second, against the general who burns you alive. Sadly after the three spin-off games for the Call of Duty series, it killed of some plot-based characters so frequently in each game, that some fans say that the drama just fell flat.
The first System Shock game had this as an option: if players wanted, they could turn off all plot elements, meaning that the original audio logs would still be there but stripped down to game-related info only.
Borderlands is an odd case, as its first version had a lot of emphasis on plot, but when the devs decided to switch directions the plot was de-emphasized (though still present and interesting enough to catch some fans attention). The plot is a much bigger deal on Borderlands 2.
Left 4 Dead has a minimal story to avoid getting in the way of the multiplayer action, but there's still plenty of material through graffiti and the environment to decipher on what went on in the Zombie Apocalypse, or at least much as a person on the ground trying to avoid being zombie feed might pick up. Despite this, and a detailed comic showing what happened in the ending of Left 4 Dead, most people don't care about how the zombies came to be and only care about blowing their brains out, leaving some people a little confused on how the survivors arrived at the southern part of the U.S. in "The Sacrifice" campaign.
Painkiller has a number of (often fairly long) cutscenes that set up the reasons for what you're doing, but very little is lost for merely jumping in and attacking anything that isn't you.
All three Metroid Prime games have copious amounts of backstory detailing the history of the settings you spend the game romping through. However, if you're not the type to care about it, then you can just dive right in and start exploring the humongous worlds. Backstory is revealed through scanning computer consoles, hieroglyphics, and the like, which is completely unnecessary except for 100% Completion.
Master of Orion III has a quite detailed backstory, including a bunch of stuff that's not been seen in either of its predecessors, but aside from the manual it doesn't matter, at all. The only references to it in the actual game is in occasional "color text" from the advisers, which has no bearing on how the game actually plays. Of course, the only part that could conceivably even matter still is the empire the Antarans at the height of their power were afraid of, and even the remnant in the game will ruin your creations when they come out of their capital. If they showed up, everyone on the map would be dead in a few turns.
Averted with Sword of the Stars, where the richness of the lore for which seems to be one of the key reasons for fans' enjoyment of the game.
Galactic Civilizations: the backstory has a few minor impacts on the events in a game, but most of the time people and the AI just run on cold hard realpolitik. There's also a campaign mode, that most people just ignore in favour of Gigantic galaxies, no items, final destination.
The X-Universe games have an extensive backstory going back over five billion years, as well as decent (not spectacular) plots, but most of the fans play it to screw around in the sandbox, only playing the plots to get the rewards (unique ships, a Player Headquarters, the Unfocused Jumpdrive, etc.). The devs even included an optional gamestart with the plots disabled (though the Custom Start is really meant for testing mods).
The developers even invoke this in EverQuest II. Normally, when you hail a quest giver, you're given two dialogue boxes: accept the quest or leave. They're well aware of all the players who didn't like having to click through 5-6-7-8-12 dialogue boxes just to get to the quest, so with the "Sentinel's Fate" expansion pack, they started adding in a third dialogue option that basically amounts to "Yeah, yeah, skip the story. Do you have any work for me or not?"
Every MMORPG with a team mechanic falls prey to this. "Hey guys, wait up, I want to read the history of Doomy McEvilton and why he wants the MacGuffin of Glory to... ah nuts to this, where's my XP?"
Guild Wars also has this happen. Most people who engage in the PvP aspect of the game probably have never seen any of the cutscenes in the game. On the plus side, though, it's possible to play through the story campaign yourself, where you don't have a message saying 7/8 members of the group want to skip the scene and getting yelled at by everyone else for making them sit through it. (Often justified with runners, who've probably seen the cutscene over nine thousand times and don't wanna hear it again.)
The same thing can happen in The Lord of the Rings Online. Some group quests vital to the main storyline requires you to talk to NPCs to get the quest going, but the first one who gets there can activate the NPC without the rest of the group getting a chance to read whatever plot information that NPC were willing to share. One example is in Moria, where the players are heading into a dungeon to find a powerful axe, and ends up fighting the Watcher in the Water. If one person gets there before the rest and activates the Watcher, it's not impossible that players don't realize they just saved a NPC who was taken by the Watcher and presumed dead earlier in the storyline, until they actually talk to him again. Lately the game has been steering away from this, making most of the main storyline solo-playable so that people can enjoy the story in their own pace.
World of Warcraft. The quest writers intentionally try to keep the quest descriptions brief because people will just ignore them anyways. Even in Cataclysm, which made all the zones have their own unique story arcs, many of which even tie into later zones or even end-game content, a lot of quests are just ignored since people level up alts with heirlooms and barnstorm through the zones. Unless they're Thousand Needles, which people stopped and enjoyed their ride through (or skipped the zone altogether, depending on play style). Another problem occurs with fully scripted events instead of quest texts: While these might be powerful in their own right, the fact that most players will see them over and over again quickly tires their effect out. Because of this, they are usually kept brief, skippable by some means, allow players to carry on as they play out, or a combination of these. Even the flight paths, a quick and cheap way to get around, took some flak for being too scenic instead of going in a straight line, even though before the introduction of flying mounts they were far faster than anything else (outside of summoning, portals and hearthstones anyway). Although taking the same inefficient route over and over again would get boring...
MapleStory has a story long and detailed enough to invoke Archive Panic, but almost all of the players who can actually do the quests to find out the storyline are a ton of Munchkins. The game's backstory is so easily ignored that there are some players who don't even know it exists.
Ace Online has a relatively long and interesting plot spanning all three episodes, from the colonists starting Bygeniou City (BCU) in Episode One, to the machinations of the Shrines and Phillons and the defection of Arlington City (ANI) in Episode Two (which introduced the Nation Wars mechanic), to the new frontiers and the breaking of an uneasy truce between ANI and BCU in Episode Three. Most players just pick a nation with their friends and go warring/mobhunting, ignoring walls and walls of political cloak-and-dagger text in the mission briefings.
EVE Online has an incredibly detailed gameworld with four factions who each have their own unique history and the constant political squabbles between them. The website is regularly updated with short stories which further flesh out the game world. All this background detail has little to no impact on the actual game, and roleplayers are few and far between. For a long time there has been only one roleplayer faction holding any 0.0 space and that was due to a "gentlemen's agreement" amongst PvP-oriented factions that they be left alone. A change to game mechanics made them too inviting a target and this tacit understanding subsequently collapsed.
BioWare did their best to avert with with Star Wars MMORPG The Old Republic. With a huge amount of story in place and nearly every line fully voiced, they want people to care about the story of the game. When in a party with other players, every player gets their chance to shine and direct the conversation.
Quite a few players believe that this effort has bitten them in the behind as the team has had a hard time getting new parts of the story out in time to please hard-core content burners while still keeping it at a high enough standard to remain part of Star Warscanon... because surprise, surprise, the hardcore players ignore everything, breeze right through it and then bitch that there's no content.
City of Heroes has, in its Mission Architect, absolutely brilliant stories written by players (many of which are dev-sponsored), with custom enemies, fairly unique plots, et cetera. Most players seem to just jump for the grindfests set up for the sake of easy leveling.
There's an ongoing war between the people who want to watch the cutscenes in the last two story dungeons of Final Fantasy XIV and those that want to complete them as quickly as possible for the reward at the end. This is not helped by the game freezing out characters in the middle of cutscenes, leading to fights with people missing.
There's a certain expectation in Star Trek Online that you only really play the Federation side for the story and race a Klingon character to 50 for PVP, PVE events, and other endgame content. This is not helped by how, after a certain point, the different factions all have basically the same storyline only with a slightly different explanation on why they get involved, to enable all factions to be involved in the overarching plot. People end up bolting through the missions just to get the gear and experience rewards. Not helped by the Klingon content being a bit... lackluster during early years and only recently catching up, due to most of the devs' attention going to the Feds.
Any Sonic the Hedgehog game that attempts to have a story more complex than "Sonic fights Eggman" is immediately met with scorn by pretty much any professional reviewer and many fans as well.
The Super Mario Bros.. platform games typically eschew elaborate plots to avoid this trope. Super Mario Galaxy, however, contains a relatively detailed backstory for Rosalina and the Comet Observatory, and only because the production team snuck it in when series creator Shigeru Miyamoto wasn't looking. Even though the backstory was brief and fairly easy to skip (it can only be found in a completely optional room in the Hub Level), some fans didn't like this direction, and neither did Miyamoto, so Super Mario Galaxy 2 reverted back to the plot-free gameplay of the series.
Sunshine's plot wasn't very elaborate, but kicked things off with a 5+ minute unskippable cutscene. Unlike the later scenes, the first one didn't feature Bowser hamming it up with his polarizing voice, either, making it much more likely for a player to leave the room and make a sandwich.
The first Spyro the Dragon game has a fairly simple plot of "rescue all the dragons and fight Gnasty Gnorc." The second and third games introduce Loads and Loads of Characters who Spyro interacts with, making the plot very convoluted.
Averted by Valis, which was one of the first series of action games to emphasize cutscenes as a storytelling medium. Indeed, Super Valis IV is a disappointing entry to many fans because it eliminated most of the cutscenes.
Real Time Strategy
Blizzard Entertainment. All their modern franchises (Diablo, StarCraft and Warcraft) do in fact have stories, and there are the hardcore "lore-fans" who spend time debating of them, but most players ignore tfhem completely. All three franchises also have loads of supplemental materials. It doesn't help that the World of Warcraft plot is governed by the need to ultimately have almost every major character arbitrarily turn evil so the players can fight them. Of course, as a result, they became Genre Savvy enough to know they can get away with Cliché Storm plots (and trailers) and only a few Tropers on this site will actually notice.
On Diablo II, multiplayer mode skips cutscenes (if you don't have them installed), which doesn't help.
Most people got StarCraft II and leapt right into Multiplayer.
League of Legends has a surprisingly deep and complicated story for the League, the various factions and many of the champions. You'd never know from playing the game, though, as most of the lore is on their website, and the story unfolds in the Journal of Justice newsletter, most people only know of it's story as OMFG STOP FEEDING NOOB!!!!!.
The original Total Annihilation had an interesting setting but not a well-detailed plot, which was not a problem. However the sequel Total Annihilation: Kingdoms did have a very detailed backstory, which most players were largely unaware of.
Company of Heroes: It's World War II. You can skip all the cutscenes and not have the experience change much. All you really need is the mission briefing.
Oblivion contains numerous books full of expository text which most players ignore, "reading" it only to see whether or not you get a skill point from it. The blandly written, woodenly voice-acted NPC dialogue also tends to make people skip through all the exposition until a quest flag is triggered.
Morrowind had no voice acting to speak of beyond simple greetings and taunts, yet something like six times the written text of Oblivion, in the form of both NPC dialogues and books.
Skyrim has a lot of different texts and loads of small story arcs that people pretty much ignore.
All of these games have been turned into sandboxes for mods by the playerbase on the PC releases. With every new game, the number of people who only care about mods gets bigger and bigger.
Too Human suffers from this when playing co-op, as it automatically skips every cutscene.
While Baldur's Gate II is a game almost entirely built on a very solid foundation of plot, it tends to fall under this trope in case of the numerous cutscenes of either Irenicus' and Imoen's fate after being captured or dream sequences featuring both of them. While quite endearing the first time you play the game, if playing again only for the class and race oriented quests, it's just plain boring and irritating.
This was part of Hellgate: London. Although part of the unfortunate reasons the game died, the more unfortunate reason was that the company went bankrupt before most everyone got a chance to beat it.
Demons Souls, Dark Souls, and Dark Souls II have a lot of lore with tragic history and tragic characters. A lot of people are simply content to just go demon and god killing given how unintrusive the story is in each game.
OFF manages to invert this one, what with the engaging story and the autoplay option for the battles, which can get a little tedious sometimes. It's quite clear the focus was the story on this one.
The Kingdom Hearts games play with due to the sheer WTF plotlines. However, because most of the games are on so many platforms and are driven by a game that would be released a year later after a certain point, people simply don't play the games if they haven't followed the story because it is very likely the gameplay doesn't remain consistent from one to the next.
The Monster Hunter world is filled with robust wildlife with unique traits, various habitats and lots of locales, many of which aren't even visited. Looking at the quest descriptions can paint a pretty good picture of the type of society the world is, and how the hunters effect them. There are also various sentient races that aren't monsters, like Wyverians, Felynes, Melynxes and Shakalakas. There are even what are presumably maps of the world at the base camps in some locations. Even the weapons and armors have colorful descriptions, especially in regards to the origins of the weapons or the cultures they come from. But go on any forum and 99.9% of what you'll see is how to fight a monster or where to get what material. All ANYBODY cares about is the gameplay.
Even more apparent with Monster Hunter 4, which was announced to have a greater emphasis on story with the player character being part of a travelling caravan that has various colorful characters. This didn't stop western players from importing japanese copies and not caring a bit about not being able to read one bit of the text.
Surprisingly averted most of the time in the original Operation Flashpoint series, especially its expansion pack Resistance. Though the game would at first seem as a no-thrills no-nonsense military sim, the story and characters are compelling on their own and heavily intertwined with what's generally going on, which lends the whole affair a very personal and immersive feel about being a soldier, instead of "playing as a soldier who just shoots everything that remotely moves." Note that the main plot of Cold War Crisis is about the eruption of a short war between two small garrisons of NATO and Warsaw pact soldiers stationed in a Ruritania nobody cares about... which could get out of hand and lead to World War III and The End of the World as We Know It if the player didn't work to stop it. The aforementioned Resistance expansion makes you really feel like the leader of a band of freedom fighters and makes no qualms about how under-equipped and vulnerable you are compared to the enemy. There's also a Sadistic Choice you have to go through in one of the first missions. Simply put, you can't escape the game's overarching story even if you go frag-hunting on an enemy patrol. The ARMA series, while not having such a thrilling background to the overall story, still maintains a similarly in-depth-personal-and-asskicking-at-the-same-time narrative structure.
Bullet Witch actually has quite a complex plot, regarding a guy who summoned the demons to bring back his dead daughter and how Alicia got her powers. Too bad the players only wanted to shoot stuff.
Many Grand Theft Auto players will barely finish the missions and could care less about the rather-intriguing storylines in each game, just creating mayhem instead of moving the plot forwards. This has led to the unfortunate stereotype where non-fans are surprised to learn the games even have plot. This is one of the most common criticisms of Grand Theft Auto IV; the setting is highly praised, but the plot has a tendency to force itself upon the player. Cracked went as far to say that the multiplayer is superior to the single player specifically because it just let you run amok in the city without constantly bothering you to complete missions.
Like Bayonetta, all the way up the top of the page, Platinum Games' Vanquish had a Russian plot to take over a space-station and destroy the USA. Course you can follow the generic plot-line or you could focus on sliding around on rockets while you destroy a variety of massive robots. The fact you're rated on speed shows that they knew players would do the latter.
Non-video game examples:
In a non-game context, many classic movies are treated this way by film historians and students. Nobody teaching The Birth of a Nation in a film class wastes any breath on the plot; they just focus on the film's many stylistic tropes, and if they have time make mention of the historical context and heavily racist overtones. Similarly, Metropolis is watched today for its groundbreaking special effects, futuristic architecture, and kickass robot - not its romantic plot or political message (as the screenwriter intended). This often ties in with its own trope.
This can also extend to the actual game sessions of roleplaying games, much to the frustration of Game Masters with players who are only interested in hacking-and-slashing and not the Game Master's campaign storyline or even actual role-playing (hence the ironic term "roll-playing"). That said, it is sometimes a Justified Trope if the Game Master has made their own world to use with an establish ruleset; when this is done, then you don't want to confuse yourself with official lore.
See DM of the Rings for an In-Universe example of the above. Almost any time the DM starts trying to tell them about the backstory or do NPC monologues, the players completely ignore him (though their hatred of his blatant railroading is also a factor; the DM is basically telling the story like a JRPG).