->'''Deckard Cain''': Come! Stay a while and--\\
'''Barbarian''': It is time for shedding our enemies' blood, not idle talk.\\
'''Deckard Cain''': No one ever listens!
-->--Early ''VideoGame/DiabloIII'' demo

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 [[AllThereInTheManual 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 [[NoPlotNoProblem no plot at all]] -- the players just want to [[RuleOfFun have fun]]. Others may have a [[ExcusePlot 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 DevelopingDoomedCharacters -- 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 AssPull or ScotchTape 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 [[AllThereInTheManual contained within the manual]], in "{{feelies}}" or other [[RevenueEnhancingDevices 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 JustHereForGodzilla. Not to be confused with [[ShaggyDogStory that other kind of waste-of-time story]].

Of course, using non-skippable {{cut scene}}s 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.

%%comment%% This trope isn't inherently bad. There is nothing wrong with players who just want to get into the action, just like there is nothing wrong with players who are interested in the lore. Please don't criticize either in the examples. And conversely, don't gush over how awesome your favorite plot is just to prove how horrible people are for ignoring it.

When the exact opposite happens, that's EnjoyTheStorySkipTheGame.


[[folder:Action Game]]
* ''VideoGame/{{Bayonetta}}'': ''Another'' AncientConspiracy set up to place [[MacGuffin an object of power]] into the hands of an [[AGodAmI ego-tripping]] [[BigBad Mastermind]] ([[spoiler:who happens to be [[LukeIAmYourFather your evil father]]]]) so he can [[EndOfTheWorldAsWeKnowIt destroy the universe]] and remake it [[InTheirOwnImage In His Image]]. Or just a frame for [[SugarWiki/VisualEffectsOfAwesome the amazing visuals]], [[SugarWiki/AwesomeMusic epic soundtrack]], and the chance to kick angel ass as an [[SuperpowerLottery ungodly powerful]] [[ThirdPersonSeductress dominatrix witch]], depending on your patience.

[[folder:Adventure Game]]
* ''Ring: The Legend of the Nibelungen'' is basically ''Theatre/DerRingDesNibelungen'' [[RecycledInSPACE in space]]. Some reviews complained that the story was [[MindScrew 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 NipponIchi 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 NewGamePlus to find), you'll probably want to skip most scenes once you've seen them a few times.

[[folder:Driving Game]]
* ''Manga/WanganMidnight Maximum Tune''. The game is a [[LicensedGame 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.

[[folder:Fighting Game]]
* ''VideoGame/SuperSmashBros'':
** 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 mime}}s. [[https://web.archive.org/web/20081216032210/http://www.smashbros.com/en_us/gamemode/modea/modea17.html An update]] at [[AllThereInTheManual the official website]] clarifies these and also reveals that some exposition had to be cut out of the game entirely.
** [[DigitalPiracy 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 [[{{Wii}} 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 [[TournamentPlay tournament]] [[FightingGame fighting 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 compendium}}s trying to figure out what's {{canon}}, most just picks their character and joins the fight.
* ''VideoGame/{{Tekken}}'': [[BigScrewedUpFamily Internal family strife]], quests for vengeance, [[DealWithTheDevil deals with the devil]], concerns about "the Devil Gene" and that usual fighting game standard, a fighting [[TournamentArc 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 [[FaceHeelTurn made Jin into an evil overlord]] in ''6'', turning heads in the process. It didn't help the WildMassGuessing that arcade versions of ''Tekken'' never ever featured any storyline or cutscenes whatsoever.
* ''[[VideoGame/TheKingOfFighters 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.
* ''Franchise/MortalKombat'' 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 [[FaceHeelRevolvingDoor many of them swap allegiances constantly.]] It wasn't until ''VideoGame/MortalKombat9'' 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 SpinOff ''[[VideoGame/MortalKombatShaolinMonks Shaolin 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 [[OutOfCharacterMoment out of character moments]]. Kung Lao gets hit with this the hardest, as the game is basically one long OutOfCharacterMoment for him.
* In ''Franchise/StreetFighter'', all characters do have their motivations, but most of them are pretty simple. This was until ''[[VideoGame/StreetFighterAlpha 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.
* ''[[VideoGame/SoulSeries 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 CanonForeigner characters, such as [[Franchise/StarWars 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 fewer fights than chapters), and half the cast only appears briefly, or worse, not at all. Sadly a result of time constraints, as WordOfGod claims the planned story mode was five times the size.
* Notably ''averted'' in ''VideoGame/GuiltyGear''; despite being a competitive fighter, ''Guilty Gear''[='s=] quirky characters, bizarre plot, and odd aesthetic have all served to endear it to fans. Its SpiritualSuccessor ''VideoGame/BlazBlue'' obviously follows the suit. Even the Story Mode feels like a VisualNovel game with fighting matches in-between.
* The problem started when it became standard practice for [[CuttingOffTheBranches 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.
* The ''VideoGame/MarvelVsCapcom'' series is filled with [[ContinuityNod Continuity Nods]] from both companies that the players enjoy. But these same players don't seem to care what SpiderMan is doing working with SelfDemonstrating/DoctorDoom and [[VideoGame/ResidentEvil Albert Wesker]] to beat the crap out of [[Franchise/AceAttorney Phoenix Wright]], [[VideoGame/DevilMayCry Dante]] and ComicBook/CaptainAmerica in a version of ComicBook/DaysOfFuturePast where [[VideoGame/FinalFight Metro City]] is overrun by sentinels seemingly there to hunt down VideoGame/MegaMan. Doesn't help by the fact that the first games made some attempt at showing what happens after each certain character takes down the BigBad, but in VideoGame/MarvelVsCapcom3 half the endings have nothing to do with stopping Galactus from eating the earth. They even added in a tie-in comic that was normally AllThereInTheManual and an opening narration for the UpdatedRerelease that just gets skipped by most people.
* ''VideoGame/InjusticeGodsAmongUs'' averts this, with the robust and coherent plot being one of the most praised aspects, and a great deal of attention put into why characters are fighting each other in various locales as well as a HandWave for the PowerCreepPowerSeep, and the [[AllThereInTheManual tie-in comics]] are actually pretty popular.

[[folder:First Person Shooter]]
* ''[[VideoGame/{{Doom}} Doom 3]]'' has a story created by a novelist. Which may lead people to say, "It has a story?" The BigBad was passed up for the title of MadScientist Who Makes A DealWithTheDevil #69,105 for being too generic. A handful of {{cutscene}}s 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 ''Franchise/{{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 ExpandedUniverse exists for them.
** Its predecessor, ''VideoGame/{{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.
* ''VideoGame/BrothersInArms'' is a good example of this trope, since while they obviously put effort into the cutscenes, there's a lot of ContinuityLockout, 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.
* ''VideoGame/BattlefieldSeries'': 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 [[IdiotPlot 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 [[PlotHole barely explains jack]] doesn't help.
* ''VideoGame/ModernWarfare'': 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 ControllableHelplessness where some major plotline event happens and you die. In the first game, [[spoiler: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 ''VideoGame/CallOfDuty'' series, it killed of some plot-based characters so frequently in each game, that some fans say that [[{{Narm}} the drama just fell flat]].
* ''VideoGame/TeamFortress2'' started with a briefly sketched ExcusePlot to explain why the red and blue teams were fighting each other, but with each update and expansion it built up a generation-spanning tale of family feuds, [[AppliedPhlebotinum incredible mineral]], {{mad scien|tist}}ce, corporate malfeasance and gravel. Creator/{{Valve|Software}} say that it's developed the most in-depth plot of any of their franchises, though it's told through [[AllThereInTheManual supplemental materials]] such as [[ExpandedUniverse comics on their website]] and has little impact on gameplay.
* The first ''VideoGame/SystemShock'' 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.
* ''VideoGame/{{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 ''VideoGame/{{Borderlands 2}}''.
* ''VideoGame/Left4Dead'' 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 ZombieApocalypse, 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.
* ''VideoGame/{{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 ''VideoGame/MetroidPrime'' 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 [[EnemyScan scanning]] computer consoles, hieroglyphics, and the like, which is completely unnecessary except for HundredPercentCompletion.

[[folder:Four X]]
* ''VideoGame/MasterOfOrion III'' has a quite detailed {{backstory}}, including a bunch of stuff that's not been seen in either of its predecessors, but [[AllInTheManual 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 ''VideoGame/SwordOfTheStars'', where the richness of the lore for which seems to be one of the key reasons for fans' enjoyment of the game.
* ''VideoGame/GalacticCivilizations'': 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, [[Memes/VideoGames no items, final destination.]]
* The ''[[VideoGame/{{X}} 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 [[WideOpenSandbox sandbox]], only playing the plots to get the rewards (unique ships, a PlayerHeadquarters, the [[BlindJump Unfocused Jumpdrive]], etc.). The devs even included an optional gamestart with the plots ''disabled'' (though the Custom Start is really meant for testing mods).

* Common in [[MassivelyMultiplayerOnlineRolePlayingGame MMORPGs]] in general. In ''VideoGame/EverQuest'' and ''VideoGame/EverQuestII'', a lot of the players who enjoy the end-game raiding aspect not only don't care about the story and "fluff", but even consider it an annoyance [[PrepositionsAreNotToEndSentencesWith up with which they should not be forced to put]]. Part of the reason for the DisappointingLastLevel in the middle of the game is that they know there's no point in making elaborate storylines, because roughly ninety plus percent of the playerbase are going to skip it.
** The developers even invoke this in ''VideoGame/EverQuestII''. 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 [[TakingAThirdOption 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?"
** ''VideoGame/GuildWars'' also has this happen. Most people who engage in the [[PlayerVersusPlayer 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 [[MemeticMutation over nine thousand]] times and don't wanna hear it ''again''.)
** The same thing can happen in ''VideoGame/TheLordOfTheRingsOnline''. Some group quests vital to the main storyline requires you to talk to [[NonPlayerCharacter 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.
** ''VideoGame/WorldOfWarcraft''. 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...
* ''VideoGame/RuneScape'' varies between this and ExcusePlot. This is a more subjective example; some of the free to play quests are rather bland, but most members' quests really have a lot of detail in the history of RuneScape. Retroactively, the older quests have been integrated more closely to the main storyline while staying short and fun. For example, [[OldShame Romeo and Juliet]] has been replaced with Gunnar's Ground, about "[[InterspeciesRomance a dwarf poet that falls in love with a Barbarian chieftain's daughter]]".
* ''VideoGame/MapleStory'' has a story long and detailed enough to invoke ArchivePanic, but almost ''all'' of the players who can actually do the quests to find out the storyline are a ton of {{Munchkin}}s. The game's {{backstory}} is so easily ignored that there are some players who ''don't even know it exists.''
* ''VideoGame/AceOnline'' 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.
* ''VideoGame/EVEOnline'' 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.
* Creator/{{BioWare}} did their best to avert with with ''Franchise/StarWars'' MMORPG ''[[VideoGame/StarWarsTheOldRepublic 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 Wars'' {{canon}}... because surprise, surprise, the hardcore players ignore ''everything'', breeze right through it and then [[UnpleasableFanbase bitch that there's no content]].
%% * ''RagnarokOnline'' is actually more than killing (cute) monsters and loot drama. Granted, you need to connect the pieces to know that Rune-Midgard has a long, long history, and some parts of it are NightmareFuel hidden by the cute graphic (I'm looking at you, Light Halzen... or maybe I shouldn't have). (Very little content in this example, but it needs someone who knows about it.)
* ''VideoGame/CityOfHeroes'' 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.
** If you play in any high level Incarnate Trials, be prepared to see the introductory cutscene explaining which PhysicalGod you're taking down. If ANY person on the 16-24 person team hasn't seen it yet, the game stops everyone and automatically plays it before the Trial begins. [[GoodBadBugs At least you can spam text macros to mock the supervillain in the meantime.]]
%% * ''{{Furcadia}}''. Many people even create their own roleplaying continuities. (Almost a ZeroContextExample.)
* ''SecondLife''. There are some sims that have ''very'' detailed backstories and continuities; but very often people just go in and {{Troll}} all the roleplayers or [[{{Griefer}} cover the zone in self-replicating blocks for no good reason other than to annoy the players.]]
* Played with in ''WurmOnline''. The PVP zones ''do'' have an ongoing storyline, with a ChessGameOfTheGods and a complex backstory for the three warring kingdoms. The ''non''-PVP zones are kind of an in-universe example of this trope, lore-wise; they're populated by people who said "ScrewThisImOuttaHere" to the EndlessWar going on and declared themselves a TruceZone.
* There's an ongoing war between the people who want to watch the cutscenes in the last two story dungeons of ''FinalFantasyXIV'' 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 ''VideoGame/StarTrekOnline'' 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.
* ''VideoGame/FinalFantasyXIV'' has a mixed version of the trope. On one hand, you have fans who love the lore that the game has; there's even rich details of lore and story within the quest details and for quests involving crafting and gathering classes (both which are not central to the main plot nor are they combat focused). On the other hand, you'll have people who are either impatient and skip all the cut scenes just to be able to kill things faster so that they can get their new gear quicker (and then becoming confused about the plot later on) or skip all the dialogue and demand everyone else in the party to also skip the story so that their own time isn't wasted while they farm the dungeon over and over until the item they want drops.

[[folder:Platform Game]]
* Any ''Franchise/SonicTheHedgehog'' 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 [[BrokenBase many fans as well.]]
** Taken to a head with ''VideoGame/ShadowTheHedgehog''. That game gives the hero at least five different [[OriginStory origin stories]] and reasons for existing. The only thing fans remember? [[{{Narm}} "FIND THE COMPUTER ROOM!" "Where's that DAMN fourth Chaos Emerald!?"]]
* The ''Franchise/SuperMarioBros'' platform games typically eschew elaborate plots to avoid this trope. ''VideoGame/SuperMarioGalaxy'', however, contains a relatively detailed backstory for Rosalina and the Comet Observatory, and only because the production team snuck it in when series creator Creator/ShigeruMiyamoto 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 HubLevel), some fans didn't like this direction, and neither did Miyamoto, so ''VideoGame/SuperMarioGalaxy2'' reverted back to the plot-free gameplay of the series.
* ''[[SuperMarioSunshine 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 [[NarmCharm 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 ''Franchise/SpyroTheDragon'' game has a fairly simple plot of "rescue all the dragons and fight Gnasty Gnorc." The second and third games introduce LoadsAndLoadsOfCharacters who Spyro interacts with, making the plot very convoluted.
* Averted by ''VideoGame/{{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.

[[folder:Real Time Strategy]]
* Creator/BlizzardEntertainment. All their modern franchises (''VideoGame/{{Diablo}}'', ''Franchise/StarCraft'' and ''VideoGame/{{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 [[AllThereInTheManual supplemental materials]]. It doesn't help that the ''VideoGame/WorldOfWarcraft'' 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 GenreSavvy enough to know they can get away with ClicheStorm plots (and trailers) and only a few Tropers on this site will actually notice.
** Most people got ''VideoGame/StarCraftII'' and leapt right into Multiplayer.
* ''VideoGame/LeagueOfLegends'' 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 [[StopHavingFunGuy OMFG STOP FEEDING NOOB!!!!!]].
* ''VideoGame/DefenseOfTheAncients: Allstars'' in fact has backstories, mostly elaborated on in ''VideoGame/{{Dota 2}}''. The game's more known for it's endless fountain of AscendedGlitch that spews out goodies every few patches.
* The original ''TotalAnnihilation'' had an interesting setting but not a well-detailed plot, which was not a problem. However the sequel ''VideoGame/TotalAnnihilationKingdoms'' did have a very detailed backstory, which most players were largely unaware of (making the plot [[AllThereInTheManual utterly incomprehensible]]).
* CompanyOfHeroes: It's WorldWarTwo. You can skip all the cutscenes and not have the experience change much. All you really need is the mission briefing.

[[folder:Role Playing Game]]
* ''Franchise/TheElderScrolls'' falls victim to this to a degree.
** ''[[VideoGame/TheElderScrollsIVOblivion 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 [[BeigeProse blandly written]], woodenly voice-acted NPC dialogue also tends to make people skip through all the exposition until a quest flag is triggered.
** ''[[VideoGame/TheElderScrollsIIIMorrowind 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.
** ''[[VideoGame/TheElderScrollsVSkyrim 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.
* ''VideoGame/TooHuman'' suffers from this when playing co-op, as it automatically skips every {{cutscene}}.
* While ''[[VideoGame/BaldursGate 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 ''VideoGame/HellgateLondon''. 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.
* This was predicted to happen with ''VideoGame/DragonQuestIX'', with the 30 hour or so story, before the game was released. And it did; people approach it like it's ''VideoGame/MonsterHunter'' or an MMO rather than a more robust ''VideoGame/DragonQuestIII.''
* Whenever ''Franchise/{{Pokemon}}'' attempts a plot, it's pretty much treated as this, with only some fans even paying attention to things like [[VideoGame/PokemonColosseum Shadow Pokemon]]. They've been getting better though: after making [[VideoGame/PokemonMysteryDungeon story-heavy]] [[VideoGame/PokemonColosseum spinoff]] [[VideoGame/PokemonRanger games]], they tried their luck with ''[[VideoGame/PokemonDiamondAndPearl Platinum]]'' and, to a lesser extent, ''[[VideoGame/PokemonGoldAndSilver HeartGold and SoulSilver]]''. Also, ''[[VideoGame/PokemonBlackAndWhite Black and White]]'', which have the most intricate plot in the series so far, have already been well-received (albeit not universally so, especially from the more multiplayer-oriented players... and the [[NostalgiaFilter fans of the previous gens]]).
* ''VideoGame/DemonsSouls'', ''VideoGame/DarkSouls'', and ''VideoGame/DarkSoulsII'' 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.
* The ''KingdomHearts'' games play with due to the sheer [[KudzuPlot 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 ''VideoGame/MonsterHunter'' 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.
* ''{{Diablo}} franchise'':
** The original ''VideoGame/{{Diablo}}'' didn't have much plot to speak of (that wasn't AllThereInTheManual). [[ExcusePlot Something something kidnapped prince, something something cathedral, go downstairs and kill monsters.]] You can get some more backstory by chatting with a handful of merchants and [=NPCs=] in town, but most players don't bother. Except for [[FountainOfMemes Griswold]], anyway, who's just [[MemeticMutation awesome]].
** In ''VideoGame/DiabloII'', multiplayer mode ''skips'' cutscenes (if you don't have them installed), which doesn't help.
** ''VideoGame/DiabloIII'' has Adventure mode patched in, which allows the player to jump around the various locations from the story mode willy-nilly and auto-skips all cut scenes. In case that still sounds like too much story for you, there are Rifts, procedurally generated dungeons mashing up enemies and backgrounds from all over the game. After hitting the LevelCap, that's where you'll likely spend most of your time; playing in the game world proper is only good for farming a few endgame quests (Whimseyshire, Infernal Machine) that are themselves only there for a bit of optional variety, being suboptimal for LootGrinding which is, ultimately, what the game is really all about.
* ''VideoGame/{{Torchlight}}'' and ''VideoGame/TorchlightII'' are similar to Diablo in this respect. Both games also have map items that act like Diablo's Rifts.
* ''VideoGame/FinalFantasyX'' has a truly remarkable story that is utterly captivating the first time you see it. However, the key phrase here is "the first time". None of the cutscenes in the game can be skipped by any means, some are over 10 minutes long, and several of them happen just before boss fights with a high probability of death, thus forcing you to watch the entire scene over every time you die.

* There exists a [[http://www.youtube.com/watch?v=KD-PCYru4fE Lady Gaga song parody]] about the difficulty of trying to do this with ''Franchise/MetalGear''.
** It is possible to skip some of the Codec conversations, which you can fast forward through if have to listen, without missing too much. For example, Natasha Romanenko's [[{{Anvilicious}} lectures about nukes]] in ''VideoGame/MetalGearSolid'', or [[StrangledByTheRedString everything Rose says]] in ''VideoGame/MetalGearSolid2''.

[[folder:Shoot Em Up]]
* [[ShootEmUp Shmups]] can fall prey to this as well. [[VideoGame/SinAndPunishment Some of them]] [[VideoGame/RadiantSilvergun have detailed]], [[VideoGame/{{Ikaruga}} intricate backstories]] [[VideoGame/EXceed and stories]] [[VideoGame/DonPachi which go]] [[VideoGame/MushihimeSama mostly unnoticed]] [[VideoGame/{{Hellsinker}} by their]] [[VideoGame/{{Touhou}} players]], who are just there to test their skills against the {{Nintendo Hard}}ness. It certainly doesn't help that a lot of these shmups are in Japanese, [[NoExportForYou without any kind of official English translation.]]

[[folder:Third Person Shooter]]
* ''VideoGame/DirgeOfCerberus'' is filled with {{cutscene}}s, but being a action game, they only break down the flow. This becomes even worse later in the game as the cutscenes are even longer and filled with {{Deus Ex Machina}}s.
* Surprisingly averted most of the time in the original ''VideoGame/OperationFlashpoint'' 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 WorldWarThree and TheEndOfTheWorldAsWeKnowIt 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 SadisticChoice 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 ''[[SpiritualSuccessor 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.
* ''VideoGame/BulletWitch'' actually has quite a complex plot, regarding a guy who summoned the demons to bring back his dead daughter and how [[DarkActionGirl Alicia]] got her powers. Too bad the players only wanted to shoot stuff.
* Many ''VideoGame/GrandTheftAuto'' players will barely finish the missions and couldn't 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 ''VideoGame/GrandTheftAutoIV''; the setting is highly praised, but the plot has a tendency to force itself upon the player. ''Website/{{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 at the top of the page, Creator/PlatinumGames' ''VideoGame/{{Vanquish}}'' had a Russian plot to take over a space station and destroy the USA. Of course, you can follow the generic plotline, or you could focus on sliding around on rockets while you destroy a variety of massive robots. The fact that 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 ''Film/TheBirthOfANation'' 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, ''Film/{{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 [[WhatDoYouMeanItsNotDidactic its own trope]].
* Porn, because really, you're not watching those movies [[PornWithoutPlot for anything but people getting it on]].
* Any case where someone goes to see a movie solely because of the special effects. A lot of times the plot is just filler when the audience is JustHereForGodzilla.
* A lot of action or martial arts movies. Everyone's just there for the StuffBlowingUp.

[[folder:Tabletop Games]]
* This often happens with Tabletop games, ''TabletopGame/DungeonsAndDragons'', ''TabletopGame/{{Warhammer}}'', and even ''[[TabletopGame/MagiNation Magi-Nation]]''. Many players don't care about the material in the sourcebooks beyond feats and rules.
** This can also extend to the actual game sessions of roleplaying games, much to the frustration of {{Game Master}}s 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 JustifiedTrope 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 ''Webcomic/DMOfTheRings'' for an InUniverse 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).
** The "Spike" {{Player Archetype|s}} in ''TabletopGame/MagicTheGathering'' is characterized as only caring about the cards' stats, with no regard for flavor, verse, or the overall story.