Sliding Scale of Gameplay and Story Integration
Video games (and games in general) are a unique storytelling medium in that they demand active participation by the audience (read: the player) in order to advance the narrative. Historically, however, the massive age gap between traditional, non-interactive storytelling and the rapidly evolving interactive medium gave rise to a dichotomy of pure gameplay vs. storytelling, which can be defined as follows:
- Gameplay is the type of interaction between the players and the video game where the players input commands to overcome challenges the game throws at them. Historically, most common type of gameplay is combat, but it also includes puzzle-solving, stealth, Character Customization, etc., etc.
- Story is the type of interaction between player and video game where the game narrates a storynote to the player, and typically provides narrative context for the various elements of the game. Traditionally, video games narrate via cutscenes and dialogues (even though interactive dialogue overlaps with gameplay).
Another definition would be that the gameplay ultimately revolves around numbers and is governed by mathematical rules, while the story revolves around words and symbols and is governed by the rules of emotional narrative. Either way, it is virtually impossible for a video game not to have any story whatsoever
level of storylessness) and, even more so, any gameplay (though this depends on whether you count Kinetic Novels
as games), and these two aspects are usually integrated at least a little—after all, you can hardly put pony-breeding gameplay against the backdrop of a galaxy-spanning war story.
Similarly, for some elements of games it is entirely impossible to extricate the "gameplay" element from the "story" element: level design serves a practical function for gameplay, but also conveys information to the player about the game's setting, for example. It must also be emphasized that, while it is virtually impossible for a game to have no
story at all, story is not the only aspect of games that causes emotional reactions in players and it is in principle possible for raw gameplay to cause emotional reactions in its own right, independent of the context that gameplay is placed in.
But here is the catch: Despite the medium's youth, video games have already developed a rather standardized set of general and genre-specific gameplay conventions
. While definitely not as old as storytelling conventions, they are not fundamentally different and game designers borrow from them
without considering how they fit In-Universe
. Indeed, very few players stop to ponder why
the Player Character
's well-being seems to be divided into exactly one hundred equal chunks
but the only one that matters is the last
, because it's an established gameplay convention and most developers no longer feel the need to justify
it. This becomes even more obvious when the game's gameplay rules are adapted from an external source, such as a Tabletop Game
This leads to situations where gameplay rules blatantly contradict the story rules—and such instances are usually easily identifiable and are listed on Gameplay and Story Segregation
page. But again, very, very few games segregate their gameplay from the story completely: there is usually overlap at least on the contextual or thematic level. Likewise, there are practically no video games where the gameplay and the story are integrated so tightly that they become indistinguishable, simply because the technology for procedurally generated narratives does not yet exist. It is thus more accurate to speak of individual instances
of gameplay and story integration/segregation, as a single game can provide examples of both—therefore, "gameplay and story integration" is less of a dichotomy and more of a continuum, wherein games can be sorted depending on whether integration instances outnumber segregation instances or vice versa.
The Sliding Scale of Gameplay and Story Integration
is then defined as follows:
- Perfect Integration: The gameplay is the story. This is more of an idealized image to cap the scale on this end than a well-defined category, but nevertheless many Arthouse Games strive to be placed here.
- Deliberate Integration: Here, the developers take a critical look at both the gameplay and narrative conventions they employ and use one to reinforce the other. Ironically, the more formulaic the genre-specific gameplay is, the easier its formula is to adapt to a story. See below for a list of common tricks to get a game up here.
- Natural Integration: The vast majority of games falls in the bloated middle of the scale, where the gameplay and the story draw from separate convention pools but there is enough conceptual overlap for the player to just ignore small internal inconsistencies. Because it is so common, a list of games in this category would be way too long to be of any use.
- Conspicuous Segregation: Games this far down the scale are featured prominently on the Gameplay and Story Segregation page, may suffer from Play the Game, Skip the Story attitude, or have an Excuse Plot to begin with. Note that even when the discrepancy between the gameplay and the story becomes glaringly obvious this far down, the two still remain integrated at some level.
- Total Segregation: Where the gameplay has nothing to do with the story whatsoever. Like Perfect Integration, it is mostly an imaginary category to cap off the scale.
Furthermore, the degree of story and gameplay integration in a particular game is always relative to the "mean level" of it in its genre. Story-driven genres like adventures
, for instance, traditionally feature a much higher level of integration than Racing
and Fighting Games
. Ultimately, deliberate gameplay and story integration is all about recognizing a particular genre's gameplay or story formulas
and interlocking them in a way that is not expected in that genre.
Off the above scale lie the aforementioned games that lack either the story
or the gameplay of any kind, as well as the phenomenon known as "Emergent Storytelling
"—the Holy Grail
for some developers, wherein the game's generic ruleset facilitates the players inventing and enjoying stories all on their own. Some would argue that this is what the Perfect Integration sector of the scale is all about, but then again, so are non-kinetic Visual Novels
Things to look out for:
Common tricks for gameplay and story integration include:
- Translating plot-related injuries into gameplay terms, such as:
- Tweaking the AI to make characters behave differently in gameplay, not just the story:
- Individual enemy AI can be tweaked to reflect their personal agendas: e.g. an enemy may concentrate on a party member he considers his Arch-Nemesis and ignore everyone else, or, conversely, never directly attack a particular party member at all.
- Non-Player Companion AI can be tweaked to reflect their personality quirks, allegiances, and relationships. For instance, a party member may prioritize healing and buffing allies based on their Relationship Values, or spontaneously try to take a bullet for another party member.
- Using the Game System as canvas, i.e. defining plot elements in terms of the underlying gameplay rules:
- Adding alternate NPC dialogue (or even cutscenes) based on the state of the Player Character that is usually irrelevant to dialogue, such as:
- Being badly wounded or suffering from certain status effects
- Approaching a friendly NPC with weapons drawn or an enemy, with weapons sheathed
- Wearing or not wearing certain pieces of equipment (often body armor), or not wearing anything at all
- Having high Skill Scores that have no impact on normal dialogue
- Introducing a Plot Coupon That Does Something, i.e. an item that not only moves the plot along but also comes with interesting additional gameplay mechanics.
- Having cumulative Stat Meters (e.g. Karma Meter or Sanity Meter) affect both gameplay (e.g. in the abilities that the player can use) and story (e.g. in the endings the player receives).
- Basing Story Branching not only on explicit decisions but also on how the player solves challenges, e.g. on whether they prefer stealth or combat, weapons or magic, whether they kill enemies or take them down non-lethally, etc.
- Removing some of the player's abilities after plot events transpire that should render them useless.
- Taking an established genre gameplay convention (such as level linearity, Hit Points, Experience Points, Relationship Values, Super Drowning Skills, etc.) and justifying it in-universe, usually with an intent to outright deconstruct it further down the line.
- Unexpectedly Realistic Gameplay, often revolving around dangers of handling weapons the way video games usually handle them (always carrying them in the open, pointing loaded firearms at civilians, etc.).
Instances of Deliberate Integration:
open/close all folders
- Asura in Asura's Wrath has several different Super Modes, and a heavily weakened 'armless' mode, all of which are triggered by storyline events. When you're attacked by an enemy immediately after breaking your arms fighting a planet-sized enemy, you have to fight using only kicks and headbuts. In a later, similar situation, you can't counter several normally counterable attacks, because doing so would require, y'know, ARMS. Conversely, fighting someone who's seriously pissed you off is liable to make Asura break out his Six-Armed form for added asskicking... or even his Berserker Form.
- Nearly everything the player does in Iji — from how many enemies she kills to which logbooks she reads — has at least some influence on how the story unfolds, how dialogues proceed, and even how characters react to Iji's presence. Indeed, the ending of one subplot (which can only be followed by reading a series of seemingly unrelated logbooks) relies entirely on how the player treats a single specific enemy she has no way of knowing is at all significant at that point in the game.
- Just about every in-game mechanic in the Assassin's Creed series ties into the fact that the games all take place in Virtual Reality recreations of the lives of the protagonist's ancestors. When the player dies or fails a mission, he's said to have "desynchronized" (i.e. failed to accurately duplicate his ancestors' actions), he's able to retry missions because he can restart the simulation at will, he can pause or stop at will by disconnecting himself from the terminal, and 100% Completion is equated with "100% Synchronization" (i.e. recreating his ancestors' lives with 100% accuracy).
- Even the gameplay advances between games are justified in-story: in each game, Desmond accesses his ancestors' memories through slightly more advanced versions of the Animus (the events of Assassin's Creed II, for example, are played through the "Animus 2.0"), and each Animus is able to recreate certain features of the real world that the others couldn't. This is why Assassin's Creed II features much more detailed urban environments than the first game, and why Assassin's Creed III features detailed forest environments for the first time in the series.
- In most levels of Star Wars: Bounty Hunter, the "bounty-hunting" function, which forces the player to ID-scan mooks and civilians to root out ones with prices on their heads, is a simple side-quest that the player can pursue for 100% Completion. But in the final stage of the "Oovoo IV" level, one of the optional bounties turns out to be Meeko Ghintee (the criminal who the player captures in the first level as part of the main story), who is wanted dead for crimes that he committed earlier in the game. Earlier, Roz had mentioned Meeko getting "...another life sentence on Oovoo IV" before he vanished from the game.
- Also, in the final boss stage, the player can ID-scan Komari Vosa—the Big Bad of the game—to bring up a description of the bounty that started the game's main plot. Scanning her is a moot point, of course, since she's wanted dead, and the game automatically triggers a cutscene when the player kills her, but it still shows that the developers thought to factor the game's story into the ID-scanning mechanic.
- In the Tattooine level, one of the posted bounties is for a random Tusken Raider mook who turns out to be the Tusken Raider that sniped pod-racer Teemto Pagalies in the pod-racing sequence of The Phantom Menace. The description of his bounty reveals that Pagallies' family paid to have him killed in retaliation.
- In Marvel Ultimate Alliance, the player can avert the Sadistic Choice at the end of the "Mephisto's Realm" level—which forces the player to choose whether to rescue Jean Grey or Nightcrawler—by selecting Magneto for the main party. Because of his magnetic powers, Magneto can manipulate the metal in the cage that Mephisto keeps Jean and Kurt imprisoned in, allowing him to rescue both of them. If the player doesn't select Magneto for that level, the epilogue reveals that either choice will ultimately result in the X-Men disbanding permanently note .
- The utter linearity of the Half-Life series is a plot point, representing Gordon's lack of agency over the story, whether it's because of the G-Man, the Vortigaunts, or the player. Also, Half-Life 2 and its Episodes begin with Gordon not at full health, due to him being injured from a scene in the previous game.
- The original game explored and deconstructed the notion of gameplay linearity throughout its plot. It turned out that you, as the Player Character, have been mind-controlled into a single deterministic path throughout the entire game by the Big Bad.
- Also in the original game, Death Is a Slap on the Wrist because Rapture is filled with experimental "Vita-Chambers" that resurrect and rejuvenate dead tissue in their vicinity. The player character is the only one who can respawn in them because he's really the biological son of Rapture's founder, whose genetic code is specifically keyed to the chambers.
- In Super Mario Galaxy 2, during the playable credits, you can't use the Spin because the Baby Luma, who originally gave you that power, has gone home.
- The first three endings in Demon's Crest add generous amounts of Lampshade Hanging. After finishing the first level, you can either fly to the second... or head right for the Phalanx's castle. In fact, you get there so quickly the final boss hasn't even finished setting up the final Death Course, hasn't figured out how to use his crest, and dies after one round. If you go to the last level after the fourth, the level will actually be ready, and Phalanx is stronger, but he still can't use the crest fully. If you go there after finishing all the levels, he'll finally have figured out how to REALLY use it, going One-Winged Angel at long last.
- In Psychonauts, Raz's Super Drowning Skills are the result of a curse on his family which is an important part of the game's backstory. Also, if you enter the Mental World of someone with a mental disorder, the gameplay will reflect that disorder in some way, for instance:
- Boyd has Paranoid Schizophrenia, which causes almost everything in the level to look at you or sneak up on you in some way, which will make some players think that the level is trying to attack them.
- Edgar suffers from Obsessive-Compulsive Disorder, which is represented by a bull that keeps knocking you back to the start of the level, causing you to repeat parts of the world over and over again.
- Gloria has Bipolar Disorder, and you can change the mood lighting in the world to literally swing the mood of the stage between comedy and tragedy.
- The level that takes place within Raz's own head is also insanely difficult. The fact that it's nigh-impossible to solve your own mental problems without outside help is the entire reason Psychonauts exist.
- In Mega Man 7, when you first encounter Bass, you have to fight him and depending on how much damage you give/take, his opinion towards you and dialogue will change.
- In Mega Man X5:
- When X touches the floating Sigma Virus found in the levels, he'll get damaged periodically. In story, X has the "Suffering Circuit" in his system which (along with Dr. Light's 30 years of testing) will prevent him from doing unethical things and keep his mind on track. The Sigma Virus will make any of the infected slowly go insane and homicidal (as with the bosses). X, with the circuit, will resist those urges, and the programming overload results in his body slowly damaging itself. Apparently the Reploids, based on X, all have flawed Suffering Circuits courtesy of Dr. Cain's incomplete understanding of X's design.
- Meanwhile, Zero will instead get stronger and eventually invincible after absorbing enough of the virus. In story, the Sigma Virus is a derivative of the Maverick Virus found alongside Zero's hibernation capsule, and said virus (according to a flashback in Mega Man X4 and later on in the fifth game's bad ending) apparently is a key to a programming in Zero's mind which designates his purpose: the total destruction of society. There's also some hints in the game that the Maverick Virus may or may not contain the consciousness of Zero's creator, Dr. Wily.
RPG — Eastern
- In Tales of Vesperia, character AI also prioritizes healing based on personality and character relationships. Flynn will spam healing on Yuri. And the Death Seeker Lovable Sex Maniac Raven prefers to heal women over a dog over men over himself. The game also gives a explanation for the world's Ghibli Hills and all their Random Encounters: all the towns in the world are shielded underneath giant energy shields that keep monsters out, and only highly trained professionals (like the party members) are allowed outside.
- In Tales of Symphonia, Kratos loves to spam healing and support spells on Lloyd the most—and this isn't an issue of him being the tank; even if Colette is in melee range, he'll use it on Lloyd first. Because it's actually an act of a father-looking out for his son. Another example (though only tangentially related to gameplay) would be when Colette loses her voice for plot reasons, she stops Calling Her Attacks in battle and the victory quotes for her aren't shown.
- Casanova Zelos comes with an EX Skill that allows him to get free items from female NPCs by flirting with them.
- In Tales of Symphonia: Dawn of the New World, Emil's Ain Soph Aur mystic arte only works once against Richter (in a cutscene) before he learns how to counter it, both during cutscenes and in actual fights against him, where he'll just reflect it back at the party.
- In Final Fantasy VII, Rude of the Turks confesses to his partner (and the player, and the party hiding nearby) that he has a crush on Tifa, one of the heroes. In fights against the Turks, Rude will never attack Tifa, and if she is the only one standing, he'll give up and walk away.
- Final Fantasy IX:
- All of the character's classes are highly integrated into the plot. Vivi's ability to shoot stuff with fireballs with black magic becomes very important, the hidden Summons inside Garnet are a MacGuffin unto themselves, and Freya, a dragoon, is able to leap to the tops of roofs effortlessly in cutscenes as easily as she can leap into the sky to use her "Jump" ability. Sometimes even their personality traits become gameplay mechanics; Zidane, the Chivalrous Pervert, has a "Protect Girls" skill that lets him jump in front of a female party member to protect her.
- Also applies to at least two battles (one of which is mentioned below) in which the boss is coded to only target specific party members: Your three aside from Dagger in the fight with Black Waltz Number 2 (to the point were he'll cast AOE spells that in every other circumstance would hit all your party members only on those three), and Dagger specifically in a battle with the bounty hunter Lani. The former is tasked with returning Dagger to her mother, and if he succeeds in killing all of your party members aside from her, he'll cast a spell to put her to sleep and the game will end.
- Also when Dagger loses her voice in the plot. During game-play, her ability to cast spells is impaired: every couple of turns will fail with a "Can't concentrate." She gets better, though.
- Most characters will also skip their post-battle victory poses during plot circumstances that concern them in some negative way, including Garnet losing her voice described above.
- Garnet also can't summon her Eidolons on the first two discs and the in-story reason is that she is afraid of them. As a result, the MP costs for her Summons are incredibly high. When she has gotten over her fear of them by Disc 3, the MP costs are considerably lower. note
- Final Fantasy XII has one scene where Fran gets induced with extra strength and near insanity, causing her to break free from her restraints. The fight after this scene reflects this by inducing the Berserk status on Fran.
- In Final Fantasy XIII, Lightning runs around with a portable anti-gravity device in the inventory that is never used outside cutscenes... except that she is the only player character who never takes damage from falling (when hurled into the air by an enemy). This is actually a remnant of an earlier concept, where Lightning's powers were all based around gravity manipulation.
- Final Fantasy V justifies the "Nobody uses healing items to save people in cutscenes" problem in RPGs by having Galuf get killed so hard (via fighting and defeating the Big Bad at 0 HP and running on sheer willpower) that not even Cure or Life spells will save him.
- In Lunar: Eternal Blue, Lucia's character is a major example of gameplay and story integration:
- Lucia's development of human emotions happens concurrently with her developing new tactics in battle. For example, after a plot point wherein she returns to Hiro because she misses him (though she doesn't understand that), she begins casting healing and protective spells on other characters, favoring Hiro, in fact. Prior to this plot point, she would only cast these spells on herself.
- When you first get her, she's, well, a Physical God, with absurd stats and the ability to solo any group in the dungeon you find her in within a single turn. Once she's injured by Zophar, however, her stats are reduced to nearly nothing and she spends the game recovering, even in battle.
- And then there's her mana supply - or rather, the "lack" of it. Lucia is a pure spellcaster, and doesn't possess a physical attack—at the worst she'll chain-cast a single-target damage spell on an enemy. However, her MP supply reads "null", just like any pure physical-damage warrior. And then you realize... oh yeah, she's a Physical God, her mana supply is infinite. The game doesn't bother tracking it because she'll never run out.
- A rather funny, though subtle example occurs in Persona 4. Yosuke is incredibly unlucky, with him getting kicked in the nads within minutes of the game starting for breaking his friend's CD. He ends up falling off of, and crashing whilst on, his bike BEFORE he's even named, and to top it all off, his crush gets killed very early on. If you check his stat profile, you'll notice that he has the lowest Luck stat of any of your party members.
- No More Heroes as a whole is an interesting example: even though Travis imagines his life as an assassin to be awesome and glamorous, nearly every portion of gameplay outside of the ranked battles shows just how much of a loser he is by being outright boring: Santa Destroy is a frustratingly boring place with nearly nothing to do; Travis has to drive everywhere himself; he barely bothers people he runs over on his motorcycle and goes flying if it even so much as touches any solid object; he has to do repetitive, boring and irrelevant jobs in order to earn money; he saves the game on the toilet; he rummages through dumpsters for collectables (including clothes!); and at the end of the day he ends up right back at the same stinking motel he's always lived at.
- The primary motivation behind the first battle with Melody in Wild ARMs 3 is Clive's speech on true beauty. In the battle, she will always attack Clive, if he's still alive. Combine this with some liberal use of the Revive spell, and the battle becomes trivial.
- In Dragon Quest VIII, the Hero is under a curse so powerful, other curses (like the Baleful Polymorph placed on his hometown) don't affect him. He is, in gameplay, immune to the "curse" status effect. To even further emphasize this, a Bonus Boss that you can defeat to unlock the second ending has a sort of a "Seal" attack that he starts with. It will not affect anyone except the Hero because he is the one that placed the original curse that the Hero lives with.
- Pokémon Black and White make it mandatory to catch your version mascot to move the plot along. The pre-battle dialog says it's testing you, but wants to be caught; accordingly, it's fifteen times easier to capture than a normal legendary. note However, the developers didn't account for a certain sequence-break where the mascot can be skipped; even if you do encounter it later than usual, the catch rate of 45 is still there.
- A rather amusing example can be found in Pokémon X and Y. A new mechanic was added called "horde battles" which basically pits a group of 5 low-level enemies against your solo Pokemon in a Zerg Rush. Most of the time, these hordes will be a single species, but there's a notable exception — Zangoose and Seviper will occasionally show up in the same battle on Route 8. These species of Pokemon are sworn enemies, and therefore will try to attack the enemy Pokemon before they try to attack you.
- A similar example is on Route 18, where four Durant are accompanied by a Heatmor, their predator.
- In Star Ocean: The Second Story, Ashton has abyssmal luck and somehow manages to get the two-headed dragon he was trying to kill grafted onto his back: his natural luck stat is a mere 17 regardless of how high his level is, and this is in a game where most endgame stats easily break quadruple digits.
- Parasite Eve 2 does this for a lengthy cut scene that occurs before the final battle. Aya gets shot during the scene and after the scene ends, her gunshot wound has her current HP lowered to reflect this.
- In Shin Megami Tensei: Strange Journey, in some cutscenes, enemies will strike at you in mid-cutscene. To drive home the point that you're dealing with an entity you don't want to screw with, not only does the game narrate you being hit, your entire party takes damage.
- In the Touhou fangame Touhou Mother, Yuuka is described as hating high speeds. During a cutscene, you have to fly very fast to reach a certain location, and during the trip, Yuuka is described to have taken "mortal damage". Sure enough, if you check your stats after the cutscene ends, Yuuka will have just 1 HP remaining.
- In Kumatora's introductory cutscene in MOTHER 3, she uses a PSI attack to fend off some enemies (PK Freeze, I reckon, not sure). If you check her stats after she has joined the party, you can see that the corresponding PP has been deducted from her totals.
- OgreBattle 64: Person of Lordly Caliber features the Chaos Frame, a complex Karma Meter based on the Order Versus Chaos dichotomy that is affected both by your story decisions and by your conduct in the battlefield (among other things, whether you "capture" or "liberate" enemy towns—which, in turn, depends on the story-based alignment of the unit that sacks a town). Although you only learn your Chaos Frame standing at the end of the game, it determines which story branches are open to you at any time, which characters join your army, and ultimately which one of the Multiple Endings you get.
- The Final Boss of Persona 3, and how you defeat it. You sacrifice yourself to seal it away; this is represented in the battle system by the Great Seal skill. Look at the HP cost for Great Seal; sure enough, it costs all of your HP.
RPG — MMO
- EVE Online's completely player-driven nature outright deconstructs many of the common MMORPG mechanics, superbly addressing and explaining via some very elaborate and convincing-sounding tech lore. How can you constantly die? Clones. How are you singularly operating a ship with effectively no crew? Capsules. The backstory has become so in depth that it has sparked what you could describe as 'lore within the lore;' cloning has caused discussions about transferals of consciousness, and the fact that capsuleers can indefinitely clone has in-game, as well as outside consideration about the fact that since they have clones, can do anything, and cause large amounts of destruction, that capsuleers are effectively immortal, sociopathic, all-powerful demigods. To put it shortly, it's pretty much the most effective, in depth, and descriptive Hand Wave ever.
- Player characters, aka Milletians, are presented as spirits from outside the game world, who are temporarily incarnated within it. Because they are not normally part of the world, they do not "die", but simply lose the body they were using, which can be restored by a particular NPC. NPCs are aware of your status, and will casually mention it from time to time. This is actually made a significant story point for Elf and Giant characters.
- In the semi-prequel Vindictus, The fact that the Giant Polar Bear is such a popular target is referenced in a quest, where it is suddenly attacking more areas than before and you are the prime suspect because you bother, I.E. use it to grind, so much, and are thus demanded to either calm it down or prove that you weren't the one that caused it to get even more angry. You weren't the one who made it mad.
RPG — Western
- In Ace Combat 5: The Unsung War:
- The AI of your Violently Protective Wingwoman Kei Nagase will often ignore direct orders to disperse and engage enemies at will and instead stick to your tail as if the Cover command was given. This is because Nagase is still reeling from her original squadron leader Taking the Bullet for her, and this behavior actually goes away after several missions, as she mostly gets over it and accepts that you don't need her protection all the time.
- Similarly, Hans Grimm is introduced as a Child Prodigy who takes off in the middle of an air raid and holds his own despite not even completing his basic flight training. Indeed, if you check your wingman stats towards the end of the campaign, Grimm has the highest kill count of all your teammates.
- In Punch-Out!! for the Nintendo Wii, you get special damage-reducing headgear after 100 losses. In Title Defense Mode, Glass Joe, who starts the game with 99 losses before you beat him, gets the same headgear for the rematch fight, as he now has 100 losses himself.
- In the "Plant" section of Metal Gear Solid 2, the player has access to a Level-Map Display of each section of the Big Shell because of nano-machines designed to transmit maps of the plant directly into the minds of plant workers. In order to gain access to the map in each new room, the player has to stealthily activate the node that stimulates the nano-machines.
- The game's use of Hello, Insert Name Here is actually a plot point that's used to add another layer of metafictional Mind Screw into the game's deconstruction of the relationship between the player and the game. When Raiden is having his dog tags made, the game will ask you to type your own name into the keyboard screen that follows. Raiden will then comment that he doesn't recognize the name on his dog tags, which is the first hint that he's not entirely in control of his own actions. At the end of the game, when he throws his dog tags away (presumably with the player's own name printed on them), it's symbolic of him taking his life into his own hands; now that the game's over, the player can no longer control what happens to Raiden.
- During Metal Gear Solid 3: Snake Eater, the hero has his eye shot out. After that, if you go into first-person mode, the far-right of the screen is darkened and your depth perception is off, forcing you to relearn how to aim.
- Similarly, in the original Metal Gear Solid, equipping the gas mask will change the look of the player's first-person mode to simulate looking through the eye-holes of a real gas mask.
- The boss fight against The Sorrow is full of details like this. The ghosts of every character you've killed up to this point reappear to take their revenge, but one ghost in particular, that of The End, refuses to attack or avenge himself upon Snake because he died willingly. Also, note how the ghost of The Sorrow has a completely empty health meter: he's already dead.
- Ocelot's AI during his boss fight is tailored to his in-story personality. He reloads his gun in the open because he simply doesn't think he can be (seriously) harmed, and most of the time he has a chance at hitting Snake with a straight shot, he'll disregard it in favor of a fancier ricochet shot instead.
- Look carefully at the Ocelot soldiers' bodies right after their first run-in with Snake. Almost all the Ocelots have been knocked unconscious, but one soldier in particular has been tranquilized with a dart, just like in the preceding cutscene.
- One recurring theme of the series is for the supporting characters (and occasionally Snake himself) to comment on the player's progress so far, both in the short and long term, during the cutscenes. If the player takes the time to complete the VR Training missions in the first game and then aces the first level of the story mode, Snake's post-level dialogue is more favorable. Likewise, Psycho Mantis of the first game articulates how well (or how ineptly) the player has been doing up until just before his boss fight, and Colonel Volgin does something similar with the Player Character's medical history during the "let's take a look at your body" scene in the third game.
Strategy — Real-Time
- The Corruption level of your team in Dawn of War 2: Chaos Rising affects both the abilities and equipment they can use and some major plot points, like which of them turned out to be a traitor and the ending. The vanilla campaign also has Tarkus: his introduction on a loading screen image mentions he was awarded Terminator honors for his performance during the prequel's campaign.note This explains how he can pull his Big Damn Heroes moment in Terminator armor without the Terminator Honors perk other squads need to level up and unlock first.
- In Command & Conquer: Red Alert 2, the Allies use their Chronosphere to send a strike team directly to Moscow, bypassing the Soviet defenses. You can then use it during the attack itself to bypass the local defenses.
Strategy — Turn-Based
- A mild, but quite clever example comes in the DS remakes of the first Fire Emblem games. So in Shadow Dragon, you have to sacrifice one of your units to disguise as Marth and distract powerful enemies come to kill him. This unit is removed from gameplay the same way anyone who dies normally does; and it's stated that the unit died at the end of the chapter, so everyone figured that they were Killed Off for Real. Word of God has confirmed the fan theory that indeed, Frey is the canonical sacrifice due to his blue hair (making him mistakable for Marth at a distance), and how he was not in the original or even in the remake if one starts at Hard Mode. When the player gets the Aum staff much much later in the game, a lot of peoples' instinct was to use it to revive Frey, because he is the one unavoidable death in Shadow Dragon. Except that you can't, for some reason. Yet the remake of Fire Emblem III on the DS shows Frey alive and well. And his dialogue with the player character states that he was indeed the sacrifice, but upon finding out that they were duped, his captors didn't kill him, they just beat him up and left him for dead and he was later rescued. So in actuality; you couldn't use the Aum staff to revive Frey, because Frey never actually died in the first place!
- In Fire Emblem 6, Douglass, Lalam's adoptive father, will attack anyone in your army except her in Chapter 16. This makes her very useful for the purpose of blocking him into one of the rooms with only one entrance/exit, enabling you to avoid both accidentally killing him and placing one of your own at risk against his mighty Silver Axe.
- L'Arachel in Fire Emblem: The Sacred Stones is Born Lucky, to the point that she can win a coin toss even if the coin's loaded. Her stats reflect this, and she will often max out the Luck Stat. There's also Knoll, who starts with a luck stat of zero. When you first meet him after freeing him from prison, he assumed his execution date has been moved up.
- Micaiah in Fire Emblem: Radiant Dawn has "Sacrifice", which is a miraculous healing ability in the storyline, and can also be used in-game, though in-game it doesn't have any abilities beyond a simple heal staff, and as the name implies it hurts to use it. It's seen as a miracle because she can heal without being a member of the clergy. In essence, it does have power potentially superior to that of a staff, since she manages to save Lehran (if you managed to get him), who was literally an instant away from dying; whereas staves appear to function primarily on healing flesh wounds, Sacrifice uses Micaiah's own life force, which implicitly has stronger effects on living beings. In game, Sacrifice also allows Micaiah to heal status effects. Whether or not she can do this for a character at full HP, though... She's never been shown using Sacrifice in this manner in the story, however.
- In Disgaea, Laharl is allergic to large breasts and optimistic sayings. After a cutscene featuring an excess of both, his stats are cut in half for the next battle.
- Disgaea 2: Cursed Memories: Adell and Rozalin start out having a 0% combo rate on their attacks (which is more or less impossible to get with any other combination of characters), being at this point enemies and utterly unwilling to directly help each other. Their combo rate starts rising as the game goes on and the two grow closer, eventually capping at 99% near the end.
In an odd meta example Etna claims she hacked her title so it says "Beauty Queen" instead of "Demon Lord". Titles are programed in such a way that you can indeed make custom titles (rather than give a character another existing title) with a Cheating Device.
The game has a feature called "Reincarnate to Atone for Sins", which will remove your felony records. Turns out Overlord Zenon did this, setting the plot in motion.
- From Disgaea 2 onwards, particular character traits often manifest as stat alterations. For example, Adell gets a damage bonus against higher-level opponents and Tink gets +2 to movement (for running away, of course).
- The Potentials in Valkyria Chronicles tie in directly with the characters' stories, and more are opened as you learn more about the character. For example, Freesia starts out with one Potential called 'Desert Bred', marked by how she was raised and has lived in the desert areas for some time. After you learn a little more about her - that she's not used to living for anybody else and doesn't work well when people are counting on her - she gains the 'Under Pressure' Potential, cutting her defense and accuracy is she uses the last CP of your Phase.
- Many examples in Galaxy Angel. Forgetting the Cutscene Power to the Max in the first game, Eternal Lovers gives you missions where you need to destroy the enemy flagship before reinforcements arrive, thus reducing your time limit to 10 minutes instead of the usual 15. Another is after the Elsior was hit by the Chrono Break Cannon from the stolen Unit #7, and thrown into an ambush position immediately afterwards. In this battle, the Elsior starts with 60% HP unlike other battles. Then there's the conditions of your Angels; if the plot demands them to be depressed, expect them to fight poorly and vice versa.
- In Demonophobia, a game with a lot of interesting ways to die, you don't 'die and respawn' in the usual way; instead, the protagonist is revived some time later, with no memories of her deaths. This becomes important at the end of the game, where these memories are returned to her.
- Part of being a good GM for almost any Table Top Role Playing Game is realizing there should be no such thing as Gameplay and Story Segregation. Players should have the opportunity to feel that their choices matter within the story, and you should be ready for canny players to save the prince who was supposed to die, steal the data that was supposed to be given to the Corrupt Corporate Executive, or kill the villain you expected to survive a bit longer. A good GM will recycle the work he did on antagonists, introduce a new plot twist or element, and let the fun continue while still allowing the players a moment of feeling awesome. The same holds true when the players fail spectacularly. Every Game Over should be a Nonstandard Game Over. Games that end with party death are always context-specific, and failing to do that is taking away the effect the players had on the game world, even in death.
Instances of gameplay and story integration and segregation in the same game:
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- In Batman: Arkham Asylum, every move that Batman does in cutscenes is available to him in actual gameplay—except the explosive gel-powered punch (admittedly, it's implied that this breaks some bones in Batman's hand, so it only works once).
- The core gameplay element in Journey is the flying scarf, with very simple rules: it's charged up by contact with other cloth, extended by finding glowing symbols, and shortened by getting hit by the Guardians. These rules work for most of the game, except in the very end, where you lose your entire scarf to icy wind, get it restored and maxed out by the Ancients, and lose it again, just as you reach the summit. That, especially the maxing-out part, is a perfect example of gameplay and story integration, since the story mandates a dramatic change and the gameplay rules are bent to allow it in a spectacular manner. On the other hand, the White Robe has no justification in the plot and seems to have been mainly added for gameplay reasons, being a mild case of gameplay and story segregation.
First Person Shooter
Hack and Slash
- The Dynasty Warriors, Samurai Warriors and Warriors Orochi games are all about pulling off those ridiculous, over-the-top abilities most other games only have cutscenes for, to such a degree that when some of the games tried to make things more "realistic", the fans complained. However, if the plot calls for somebody to die, then they're going to die no matter what, even if they might otherwise have survived if you had full control.
- In Final Fantasy IV, Tellah's maximum MP will never go above 90, unless the player exploits a bug in certain remakes of the game. Meteor costs 99 MP, so when he needs to cast it for a scripted battle, he has to spend his life force to do so. On the other hand, spells cannot be Cast from Hit Points in the gameplay proper, making it also an example of Cutscene Power to the Max.
- Final Fantasy V:
- Early in the game, you have to get a medicinal herb for your Dragon, but you get ambushed by a pair of Hunters who are after it. In the pre-battle cutscene they shoot a Poisoned Arrow at Leena, and sure enough, she starts the ensuing fight already poisoned.
- The party members attempt to use the strongest healing items and spells at their disposal on a character who has been Killed Off for Real to no avail. Fighting at 0 HP rendered him Deader than Dead. On the other hand, it's possible for characters in that cutscene to try to use Curaga and Raise on Galuf even if they haven't gained a single level in any White Magic-related jobs. Or to use Phoenix Downs even if you don't currently have any in your inventory. As for how they got that far out without white magic, who'd actually try that?
- Chrono Trigger: Setting aside the scene where it cleaves a cliff face in two, never to display that kind of power again, there are two battles where the Masamune displays power that it was said to have in cutscenes and dialogue. In the battle against Magus, the sword, which was said to be one of the few weapons that would allow them to defeat Magus, bypasses Magus's Barrier Change trick and drops his magic defense stat. Later on, the team uses a red knife to drain Lavos' power out of the Mammon Machine. The red knife then turns into the Masamune. If you use the Masamune on the Mammon Machine when you fight it later, the sword bypasses its defense boost trick and heals Frog, by way of draining the energy from it, just like it did before. (The rest of Crono and Co's arsenal also tend to get some sort of justification for their stat boosts.)
- At one point in the game, the party is captured and stripped of all their equipment, being forced to stealth their way around until they recover their equipment and unable to even attack without weapons. Since Ayla doesn't use any weapons anyway, though, she can just punch her way through any enemy encounters if she's in your active party at the time.
- But it still doesn't explain why your Robot Buddy with the built-in laser beams or your magically-gifted party members cannot do the same.