Sliding Scale of Gameplay and Story Integration
aka: 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 various elements of the game. Traditionally, video games narrate via cutscenes and dialogues (even though interactive dialogue overlaps with gameplay).
- 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, then employ 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.
Things to look out for:Common tricks for gameplay and story integration include:
- Translating plot-related injuries into gameplay terms, such as:
- A plot injury limiting gameplay options in a unusual way: if the Player Character breaks a limb or two, certain abilities or even actions may be disabled for a few levels; after suffering a (partial) blindness or brain damage, massive Interface Screw can be expected; being suddenly rendered mute may prevent the character from casting spells, initiating dialogue, and playing automatic voice snippets (like battle cries and victory quips).
- Alternatively, injuries sustained during cutscenes/dialogue can simply stick with the character in form of a Hit Point loss or Standard Status Effects that are ordinarily sustained in regular combat. This is usually done immediately before a fight for additional challenge.
- 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 they consider their Arch-Enemy 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:
- Accurately reflecting characters' story characterization in their gameplay stats and, conversely, the stats in their story-relevant abilities. While it is trivial that a melee fighter would have a high Strength score, it is much less common for him to use that strength for anything except bashing skulls (e.g. for lifting a fallen tree to free someone trapped under it). Particularly common is the use of the Luck Stat to reflect a character Born Lucky or Unlucky, since the latter tropes can be exploited for a number of subplots or simple Running Gags.
- Giving individual supporting characters unique perks or special abilities that reflect their Back Story and/or Character Development.
- Having characters use the same abilities in cutscenes as they would in actual gameplay—better yet, have them only use said abilities to the extent that they have developed them in gameplay terms up to that point.
- Adding alternate NPC dialogue (or even cutscenes) based on the gameplay state of the Player Character, 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 functional 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.).
- Themes and narratives which reflect the gameplay; e.g. Video Games and Fate, in which the strict linearity of the gameplay is a plot and thematic element as well as a gameplay contrivance.
- An Adventure-Friendly World, a fleshed out setting with details tailor-made to make aspects of the gameplay "make sense" in the context of that setting.
- Framing the game's Changing Gameplay Priorities as the result of specific plot developments, or vice versa.
Instances of Deliberate Integration:
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- 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 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. Meanwhile, every gameplay mechanic from the Swiss Army Weapon to Road Runner PC is explained in the narrative, usually via logbooks.
- 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: 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 lets the player 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. And in the final boss stage, the player can ID-scan Komari Vosa to bring up a description of the bounty that started the game's main plot. Scanning her is a moot point, since she can't be captured alive, 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 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 .
- In Star Wars: Battlefront, aside from having a few special units per faction, there is generally very little difference in how the various factions play on the battlefield. A notable exception is the Polis Massa map in the second game, where the Separatist faction has a major strategy advantage. Why? Polis Massa is located on an asteroid, and part of the map extends to the asteroid's surface, which is unprotected from the vacuum of space. Separatist battle droids are the only units that can move freely across the surface without vehicles (giving them a good shortcut into enemy territory), since they don't need to breathe.
- Traditionally, Link in The Legend of Zelda begins the game with only three hearts. The Link in Skyward Sword is an exception; he starts out with a full six. That's because this incarnation of Link has been explicitly training as a knight. He's more physically fit and has more stamina than the other Links. This also applies to Hyrule Warriors to a degree where Link is a soldier in the Hyrulean army and starts off with 10 hearts, but so does everyone else, even Agitha whose defining feature is and combat abilities revolve around the motif "likes bugs a LOT". Furthermore, everyone can currently get up to 40 hearts, double the amount normally available in any other Zelda game.
- In BlazBlue, the characters have voice-acted sound bits for the beginning of a battle, the end of a battle, taunting, blocking, getting hit, and executing attacks (and other things if the character is the loudmouth, Bang). If the character is fighting someone who is strongly tied to his or her character arc, what they say will be different in all of these instances.
- Injustice: Gods Among Us. The game provides more subtle examples of deliberate gameplay and story integration, such as Batman's health not regenerating between consecutive fights and providing in-story justifications for individuals of different Super Weight to fight on equal footing.
- Magical Girl Lyrical Nanoha As Portable games give each playable character unique advantages ("skills") that accurately reflect their position in the Lyrical Nanoha canon: for instance, the Lady of War Signum profits from easier and longer combos, the Glacier Waif Vita gets a damage bonus to all melee attacks, and the Combat Medic Shamal's health regenerates automatically.
- Tons and tons and tons of this in JoJo's Bizarre Adventure: All Star Battle, from the vampiric Dio and the Pillar Men not being able to be used in outdoor daytime stages, to Made In Heaven (which accelerates time) causing the timer to countdown faster, to Killer Queen's "Bites the Dust" ability (which can cause a temporal loop) forcibly resetting any Stand evolutions that happened during the fight.
- Street Fighter handles Akuma this way with a generous dose of Fridge Brilliance. Because he is far and away the most powerful character in story, and since he only fights worthy opponents he both deals and receives double damage. Beating him as in a normal fight is his way of testing to see if you are worth fighting his Super-Powered Evil Side.
- 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 GMan, 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.
- 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 BioShock 2 the Vita Chambers kick off the whole plot, as they've been re-purposed to recognise Delta, which allowed him to return from death ten years after the fact. Thus, Lamb uses a scheme to stop Delta's heart and wait for him to die naturally, because killing him violently would just resurrect him at the nearest chamber and start the whole thing over again.
- Bio Shock Infinite continues the party:
- The plot is driven by Elizabeth's ability to create tears to alternate dimensions. This manifests as a core gameplay mechanic where the player can ask her to summon allies, ammo, cover, or distractions from an alternate reality on command.
- Similarly, when Booker dies while Elizabeth is not present, the cutscene and dialogue strongly imply that it is simply the Luteces pulling yet another Booker from yet another timeline to continue the story from the exact same point.
- 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.
- In the Call of Duty: Black Ops level "Rebirth," Hudson is forced to don an NBC suit to guard against a Nova 6 gas attack. During that section of the level, the series staple Regenerating Health is averted, as he can't shrug off a hole in his protection.
- The final scene in Call of Duty: World at War has the Russian player character Dimitri Petrenko take what seems to be a lethal wound from a single pistol bullet, after the aforementioned regenerating health has let him shrug off countless far, far worse injuries across the entire campaign, not to mention injuries he's taken offscreen that the player walks off as gameplay starts. Possibly a form of Cutscene Incompetence... or perhaps an application of the game's use of Arbitrary Gun Power, where in extreme close range the comparatively-tiny bullets from pistols actually do deal equal or even greater damage than the full-size rifle rounds fired by the semi-auto and bolt-action rifles, which are already nearly a one-hit kill.
- 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 the structure of the Mental World depends on the owner's personality, and the gameplay will reflect this and any disorders that character has:
- Sasha is The Spock who advocates rigid mental control, so his mind is a blank featureless box that expands into specific memories on command.
- Milla is a bubbly Manic Pixie Dream Girl who treats everything like a party, so her mind is a huge, winding seventies disco with bright colours that you get around by bouncing or gently floating.
- 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 frustratingly difficult. The fact that it's nigh-impossible to solve your own mental problems without outside help is the entire reason Psychonauts exist.
- Raz's Super Drowning Skills are the result of a curse on his family which is an important part of the game's backstory.
- 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.
- 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.
- In Sonic Adventure, Chao who are properly cared for are granted Resurrective Immortality and come back to life as babies at the end of their life cycle, out of sheer love for their owner. This crops up in the game itself when we see that Chaos' Chao friends have been successfully resurrecting through the years since Chaos was sealed—and when Sonic returns him to his normal form, they finally get to play with their favorite caretaker again.
- In Deadly Rooms of Death, the plot determines which monsters show up in which areas, and there's a lot of background information relating to the creation of the monsters that explains their gameplay behaviour and weaknesses. This also applies to some of Beethro's abilities, for example the temporal resonator he acquires in The Second Sky.
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.
- 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. Meanwhile (though only tangentially related to gameplay) 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.
- In at least two battles (one of which is mentioned below) 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.
- In a similar instance to the above, the rematch against Black Waltz Number 3 has similar stakes; they are tasked with returning Dagger to Brahne, and if they succeed in killing the rest of the party, instead of attacking, it will start hitting itself due to a combination of its mission (the only foe left is the one they're supposed to bring back alive) and some rather severe malfunctioning, by virtue of having their ass handed to them earlier. It's possible to win the fight by just letting your other members get killed, then wail on it with Dagger until it kills itself.
- 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 skip their post-battle victory poses during plot circumstances that concern them in some negative way, including Garnet losing her voice described above.
- Garnet 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
- The biggest example of this is probably the Trance State. After witnessing Mog transform into Madeen using Trance, Kuja deduces that Trance is the key to unlocking a Super Mode for himself. He's right, and he does... by having you defeat him in battle. It also ties directly into Zidane's Dyne abilities, all of which are a miniaturised Earth-Shattering Kaboom. Quite an unusual skill-set for a Thief-type character... when he finds out that he was intended to be Kuja's successor and Garland's tool for annihilating Gaia, this suddenly makes much more sense.
- Final Fantasy X:
- Similar to Final Fantasy IX above, some characters' abilities are integrated into the plot; Yuna's summoning abilities are the crux of the whole storyline until the 3/4 point, and the whole first half of the game is about travelling to temples to obtain more summons for her. Tidus' Overdrives (and default skill-set) are all based around speed, precision and acrobatics - all essential skills for a star Blitzball player. He also learns Time Magic.
- When hit by a Lightning-spell in battle, most of your party simply grunt. Rikku, on the other hand, screams. This is either a nod to or Foreshadowing of her Fear of Thunder (depending on when you first see it). In the sequel, where she's over it, she doesn't do it anymore.
- At one point Lulu suggests she learn some elemental magic to help her master her fear. Rikku's Sphere Grid runs straight into Lulu's, which starts with basic elemental magic.
- A very subtle one; when fighting Seymour's first two forms, if Yuna and/or Tidus are out on the field, he will direct the majority of his attacks at them, which makes sense considering his rather awkward fixation on Yuna. This can be advantageous if you focus on keeping one of them alive and present (easily done with Haste and Nul-spells) while wailing on him with everyone else.
- Final Fantasy XII:
- One scene has Fran get 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.
- Manufactured Nethicite and Dawn Shard are plot-central items that are said to interfere with Mist, which is the game's source of magic: as a result, they can be equipped as accessories and increase magic defenses, but also put the wearer under permanent Silence status and reduce their MP to 0, respectively.
- 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.
- There is a rather sneaky example early on, which becomes this in hindsight. All party members begin with 2 ATB-slots, except Vanille, who has 3. After becoming l'Cie, they all gain 1, again - except Vanille, who still has 3. She's been a l'Cie for waaaaay longer than everyone else...
- 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.
- Bravely Default Flying Fairy: Just before the fight with Red Mage Fiore De Rosa, it is established that he uses pheromones to make women do what he wants, with them remembering none of it afterwards. Edea was captured just prior to this. Appropriately, she begins the battle with Charm status, and will attack the party instead of 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.
- Wild ARMs 3:
- The primary motivation behind the first battle with Melody 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.
- At a later point when the party is on route to attack the villians at their base, Virginia gets struck by a poison by the main villian during a cutscene event. She is treated for it, but her Vitality gague is drained and cannot be refilled due to the poison's lingering effects. After they beat the villians, Virginia gets time to fully recover from the poison, and as such restore her Vitality gague.
- 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 Gold and Silver:
- These were the first games in the series to feature a real-time clock, and with them, they introduced the idea that certain Pokemon are nocturnal and certain Pokemon are diurnal. This affects the time of day you can find them. You can also use the attack "Headbutt" in the field to shake trees and find Pokemon hidden within them. If you attack trees at night, you can find bird Pokemon normally only found in the daytime... but already Asleep.
- This is also used to show your rival's Heel-Face Turn: throughout the game he fights with a Zubat, which later evolves into Golbat. Golbat can evolve further, into Crobat, but only if it is extremely happy with its trainer. This doesn't happen to your rival's Golbat until after he realizes the error of his ways and starts treating his Pokemon better, showing that he has indeed changed.
- 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 are a few exceptions:
- Zangoose and Seviper will occasionally show up in the same horde 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.
- Sometimes on Route 20 there are a group of Trevenants, walking trees, with a Sudowoodo, a Rock-type Pokemon that just pretends to be a tree.
- Omega Ruby and Alpha Sapphire has both Groudon and Kyogre changing the weather. For Alpha Sapphire, the heavy rainfall in a way changes it to nighttime(if you played it in the daytime) with heavy rain, while Omega Ruby's drought changes it to daytime(if you played at night), with the sky burning. The effect of both weather carries on in the overworld and battles until you defeat or catch either legendary.
- 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. If you check her stats after she has joined the party, you can see that the corresponding PP has been deducted from her totals.
- The "mortal damage" system allows a character to continue acting after receiving damage that would reduce their HP to zero until their HP rolls all of the way down (or they're healed). When the Masked Man (Claus) performs a Heroic Sacrifice, the prompt "Claus took mortal damage!" appears, and Claus is able to stagger to and embrace Lucas, speaking one last farewell before dying.
- 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.
- Persona 3:
- How you defeat the Final Boss: You sacrifice yourself to seal it away, 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.
- When Junpei's Persona evolves, it does so by merging with Chidori's, after Chidori uses the last of her life force to heal Junpei's gunshot wound. After that, he regenerates hit points every turn, to reflect the influence of her healing powers.
- The Game Boy Colour adaptation of Harry Potter and the Chamber of Secrets. Just like in the book, Ron's wand is damaged and will occasionally backfire. (And in the few occasions where he fights alongside you before his wand is damaged, it won't backfire.) Similarly, Harry cannot use his spells during the final battle.
- In Breath of Fire II, Katt/Rinpoo is often described as fairly stupid (and hotheaded), particularly compared to pretty much everyone else in the cast. This is reflected in her having the lowest Wisdom stat of all the playable characters - and, by proxy, the lowest natural AP count by a fairly large margin, yet she learns several high-end spells once leveled high enough...that she can't cast normally due to her low AP. In fact, the only ways to up her AP enough to cast at least ONE of her spells is to either recruit a character into your town to raise it for her, and/or fuse her with the proper Shaman combination for a temporary boost. On top of that, the three spells she learns are fairly high-level and powerful. She didn't bother with the smaller stuff she might actually be able to utilize. She went right into wanting to do the high-damage, hurty spells without realizing it might take a lot of smarts and concentration to be able to USE them effectively.
- In the first Paper Mario game, the local Recurring Boss, Jr. Troopa, is so dead-set on defeating you that, when you travel to a far-off island, he swims across the entire ocean twice just to reach you. When he finally catches up with you, he reveals his brand-new upgrades that make him one of the fully defended enemies in the game... except that he's so exhausted from swimming across the ocean, his HP plummets to a fairly low number. Something that he's quite shocked to find out, actually.
- In Opoona, there are a specialized group of people, the Rangers, whose job it is to fight against the monsters in the overworld, and the titular Opoona is recruited into them. The monsters outside of the First Town are the weakest in the game because said First Town is the place where new Rangers are trained—naturally, they'd be trained in a place where the local monsters are fairly weak before moving into places with tougher quarry. The monsters get more difficult as the game goes on because later locations are explicitly much closer to the dark half of the planet, where monsters are spawned from. Later in the game, you find yourself with a level 1 character yet again, but in a different part of the world. However, the monsters there are also conveniently weak because said place is the home of a person with huge amounts of holy power, as well as many sacred fairies and spirits. They've already driven out all the stronger monsters.
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.
- Final Fantasy XIV:
- Linkshells are devices that allow people to communicate over long distances, basically like having a cell phone. In gameplay, these functions as basically chatrooms for other people with the same linkshell to talk in, but you also recieve a linkshell in the story from Minfillia when you join the Scions of the Seventh Dawn, and at multiple points she or others will contact you over them.
- NPCs will remember you if you've interacted with them before, this can be as minor as the leaders of the city's adventurer's guild remembering you if you started in that city when you visit them for other quests, to as major as class and job trainers acknowledging your membership if you go there on quest-related business not related to the guild itself. Even the one off holiday events show signs of the latter. Yugiri in the main story will even change her dialogue accordingly if you're a Ninja when you meet up with her again ("You should train to be a Ninja" to "You fight like one of us, I'm proud of you".)
- Members of the Garlean Empire are biologically incapable of casting magic, therefore the only casters you find in Garlean strongholds tend to be Lalafell or Highlander humans (who were drafted after their countries were conquered) and tend to be low ranked at that, or use shock-sticks, in which case they can only cast thunder and paralyze. In story quests where you're fighting alongside Cid, a Garlean who defected to Eorzia, instead of using a cure spell on you like most NPCs in the same type of story battle, he'll use a powerful Aqua Vitae potion that accomplishes the same effect.
RPG — Western
- Planescape: Torment seems to build the premise of its vast story on integrating desired RPG gameplay conventions:
- Death Is a Slap on the Wrist: a great of the plot revolves around around finding out why the main character comes back to life if killed. In addition, said character can gain an ability to resurrect other party members without using a spell, because he has power to draw tormented souls to himself, and they all fit the bill. Also, Intentionally springing death traps and getting yourself killed repeatedly is required to solve one puzzle in the game which was built so only that person could solve it.
- Amnesiac Hero: the other great plot axis is recovering the nameless main character's lost memories and piecing back his identity. This also explains why the character can have such powerful unknown rivals and caches waiting specifically for him, while starting as a weakling.
- The main character is the only one who can raise attributes and switch classes, apparently because he had these different classes and attributes in past lives and can focus on remembering them.
- Karma Meter: True to Dungeons & Dragons form, Character Alignment exists, and characters can discuss and sometimes sense it. It effects and is effected by both gameplay and story choices. The character's previous incarnations are also divided by alignment, and Arc Words are "What can change the nature of a man?".
- Character attributes: all attributes effect both gameplay and story. Mental attributes emphasize opening more dialog and story choices and provide some gameplay benefits (experience point gain, learning spells, shop prices), while physical attributes mostly provide combat bonuses and have occasional effects on dialog options (such as physical threats and catching pickpockets in the act). Different dialog choices can also raise characters' attributes.
- A Dance with Rogues has some impressive instances of integration, ranging from your attributes (including primarily combat stats like Strength and Dexterity) and Skill Scores (including Pickpocketing and Tumble) having major impact on the outcome of dialogue, to integrating the Player Inventory into the story (e.g. if you wear a Spy Catsuit in public, the guards will come after you; if you carry weapons in the open, they will demand that you unequip them—unless you are of the Ranger class, then they leave you alone, since Rangers are considered law enforcement; some puzzles can only be solved by taking off your armor, but if you are caught without it outside in the rain, you get the Decease status effect—and NPCs will comment on your cold, etc.).
- Knights of the Old Republic II: The Sith Lords:
- The Relationship Values are the gameplay manifestation of a plot ability that the main character is revealed to have—namely, to subtly manipulate people that they're close to. As a consequence, the more influence you have with a party member, the more their alignment mirrors your own and vice versa (with due consequences to bonuses/penalties to Light- and Dark-Sided Force powers). This veers into "story and story segregation" territory sometimes, since even if you turn a Light-Sided character to the Dark Side with your influence, they will still object to your Dark-Sided decisions and lose affection for you.
- The XP system, where you grow more powerful by killing enemies, is revealed to be the result of the main character's "rift in the force" growing more powerful by feeding on the destruction she causes. Pretty rough revelation if you are a Light-Sider.
- Some of your party member's characterization traits turn up as actual abilities in battle. Atton has improved saving throws the closer he gets to knocked out from half health and below, and he can get back up in battle from being knocked out, provided somebody else is still standing, Kreia provides EXP bonuses to the party, Mandalore is immune to mind-affecting powers (though the only enemies that use such things are bosses the player character fights solo), and that's just the start.
- Obsidian turned "I have a bad feeling about this" (a Catch Phrase used in every Star Wars movie) into a gameplay mechanic—namely, signifying that you should save your game at that point.
- Early in the game, Kreia loses a hand while fighting Darth Sion, leaving her incapable of equipping two-handed weapons and Dual Wielding for the rest of the game, even if you had her take the perks needed for that. Similarly, Bao-Dur lost an entire arm in the Back Story, so he uses a prosthetic and can only equip a select few armor suits because of it.
- Battle Meditation is spelled out in the first game as a technique for increasing the skill and harmony of a military force, although in that game Bastila couldn't use it for squad-level combat like every fight you get into. If you learn it in the second game, where it's an available power, you can use it to support your chosen side in the final battle on Onderon.
- The Elder Scrolls:
"Those wounds you've incurred are nothing compared to what you'll receive if you continue to bother me!"
- In The Elder Scrolls III: Morrowind, Dagoth Ur's rising power doubles as Anti-Grinding, with stronger ash creatures and blighted fauna appearing more and more as you keep leveling up.
- In the Imperial Legion questline, your superiors will refuse to give or accept quests unless you are in uniform—i.e. wearing body armor of a specific type that Legionnaires must wear while on duty.
- Non Player Characters sometimes recite unique dialogue depending on how much health you have left. For example:
- You start off in The Elder Scrolls IV: Oblivion without a class, but after you complete the Tutorial Level, one of your allies will guess your preferred class based on how you beat the tutorial (e.g whether you sneaked past the enemies or fought them, whether you used magic or weapons, etc.). Your class plays no further role in the story, but the NPC's dialogue changes dramatically.
- At the start of The Elder Scrolls V: Skyrim, you can't understand dragons...but later on, they start speaking to you in English. This is actually because as the Dovahkiin, you start learning words of the Draconic language—which are, in gameplay terms, combat superpowers.
- The Thalmor are vaguely Nazi-like elves that nobody, absolutely nobody cares for. If at any point you murder a Thalmor agent in cold blood in a township or city, you'll just receive the relatively cheap bounty for assault, instead of the massive bounty for murder, and if the township is owned by the Stormcloak rebellion, you won't even get that.
- In The Elder Scrolls III: Morrowind, Dagoth Ur's rising power doubles as Anti-Grinding, with stronger ash creatures and blighted fauna appearing more and more as you keep leveling up.
- Similar to Planescape: Torment, Fallout 3 gives you a few occasions where a sufficiently high Strength stat allows you to intimidate certain NPCs into submitting to your will. Fallout: New Vegas adds the Terrifying Presence perk, which gives you the option to frighten NPCs in dialog by reminding them how tough you are.
- In The Witcher, your amulet starts vibrating when there are hidden monsters or magic sources nearby, to warn you of an imminent attack while exploring. However, when it suddenly starts vibrating next to your Quest Giver, you know something is fishy. And indeed, it turns out that your contact was killed and replaced by the Big Bad hiding under an illusion. On another occasion, you make an actual Story Branching decision via gameplay: when fighting a Striga (Princess Adda in relapse), you can either kill it, like every other monster, or keep fighting it without dealing the final blow until sunrise (tracked by the In-Universe Game Clock!) to lift its curse. Either resolution has a profound impact on the plot.
- Mass Effect
- At the very end of the trilogy, it's heavily implied that the series' trademark Dialogue Trees and Multiple Endings exist because the whole series is being narrated by an elderly man to a child, thousands of years after Shepard saved the universe from the Reapers. Because so much time has passed since war with the Reapers, "The Shepard" is now so Shrouded in Myth that the specifics of his/her life—including his/her personality, appearance, and gender—are uncertain, and there are multiple conflicting stories about how his/her adventures really happened. Every time you replay the games and make different choices, you're playing through a different version of the story.
- In the second game, Shepard has a customizable appearance because he/she is resurrected by Cerberus in the first act and given facial reconstructive surgery to perfect his/her appearance after a seemingly fatal spaceship crash. During the obligatory "customize character" sequence, you're actually controlling the Cerberus operative saddled with the task of rebuilding Shepard's body. Cleverly, Shepard's face is covered by a helmet during the prologue sequence before his/her death, so you never see what he/she really looked like before the surgery (if you skipped the first game, that is).
Shoot Em Up
- Touhou integrates all the gameplay mechanics into the plot and backstory. The frequent incidents that each game starts with are an essential part of Gensokyo, as youkai need to antagonize humans to exist, but killing people isn't sustainable so the spell card rules were implemented instead, hence all the Non Lethal KOs. The spell cards manifest as clouds of colorful bullets and lasers and such, hence all battles being fought with Bullet Hell. Everything Trying to Kill You is in effect because Gensokyo is full of Blood Knights looking for a good fight, as well as weak, Too Dumb to Live fairies that gather around powerful beings. And the extra lives aren't the characters dying and resurrecting note , they represent all the chances the player character has to pass the opponent's spell cards; hence the continues, as the opponent just gives the player character the option to try again.
- Ace Combat 5: The Unsung War:
- The AI of your Violently Protective Wingmate 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 outright tells you and the rest of the squad on two separate occasions that no matter the circumstances she is not going to lose another flight lead. This behavior goes away after several missions, as she mostly gets over it and accepts that you don't need her protection all the time.
- 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.
- Depending on how one defines story, the life sim and management sim genres could be a rare example of the "perfect integration" ideal, the complete opposite, or something in between. On one hand, there are rarely any specific characters that the player does not themselves create or story arcs that the player does not themselves set in motion via the play mechanics, but on the other hand...that's sort of the appeal of those genres: you shape most of the events in the game. The game doesn't dictate anything narrative-related to you except the mechanics. The traditional delineation between the mechanics of the game and the themes of the story simply isn't there because the gameplay essentially is the story, and its mechanics are the themes (e.g. what it takes to successfully manage a city or nation, what makes people happy and successful and what it takes to achieve those things, etc.).
- 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.
- 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 and then aces the first level of the story mode, Snake's post-level dialogue is more favorable. Likewise, Psycho Mantis 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.
- Metal Gear Solid 2: Sons of Liberty:
- In the "Plant" section, 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 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. At the very end of the game, Raiden will 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.
- Metal Gear Solid 3: Snake Eater:
- Snake has his eye shot out during one scene. 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. And in the 3DS remake, the 3D effect is removed in first person mode after this point.
- 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 (and will typically offer some commentary on the specific method the player used to kill themnote ), 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.
Strategy — Real-Time
- In the expansion Warcraft III: The Frozen Throne, a lot of the returning heroes from the main game are already maxed out at level 10 since they've already done plenty of fighting during the Third War. King Arthas is a particularly interesting example of this. He starts off at level 10 in the undead campaign. But once the Lich King starts losing power, so does Arthas, who in the game starts to LOSE levels as the campaign goes on. By the final levels he's just a measly level 1 Death Knight and has to work his way back up.
- Dawn of War II:
- Tarkus' introduction on a loading screen image mentions he was awarded Terminator honors for his performance during the Dark Crusade 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.
- The Corruption level of your team in 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.
- 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 Fire Emblem Akaneia 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: Binding Blade, 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.
- Fire Emblem: Radiant Dawn:
- Micaiah 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.
- While earlier games in the series often have recruitable enemies suffer from what fans refer to as Matthis Syndrome (they attack their friends/family/loved ones just like a normal enemy), Radiant Dawn thoughroughly averts this. Various characters are programmed to never attack certain other characters, for example Brom will never attack his daughter Meg and vice-versa. Videogame Cruelty Potential isn't an option either, move one of those characters next to another and the 'Attack' option won't even appear in the menu.
- 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.
- In a rather unexpected example, Front Mission 3 has a certain stage in Alisa's route, where in order to activate a cargo elevator in a sewer, Ryogo has to dismount from his Wanzer and activate it from a control panel. This means that instead of the 4 Wanzer limit, you have 3 Wanzers and Ryogo on foot (which makes him a very squishy target). However, if you have bothered to download the sewer maps and use a certain image-enhancing software on that map at any time during the game before that mission, then the party figures out how to operate the elevators by themselves without putting Ryogo in harms way and thus, you can start the mission with 4 Wanzers as you usually do.
- Ada's scenario in Resident Evil: The Umbrella Chronicles deals with her escape after the events of Resident Evil 2. The heavily wounded Ada begins the level in critical condition.
- Haunting Ground: A minor example with the Panic-meter mechanic. Normally, it raises when Fiona is experiencing emotional distress during gameplay (i.e. when one of her stalkers is after her). Of course, since she sees/experiences many, many, many distressing sights during cutscenes, she tends to immediately fly into a panic as soon as some cutscenes end.
- 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 Tabletop RPG 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 Non-Standard 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.
- The text boxes in Wadanohara And The Great Blue Sea change depending on Wadanohara's appearance and eventually, alignment. At the start of the game, it is white with a dark blue line and ribbon, matching her Sailor Fuku. When her fuku is changed into a blue one with red and white ribbons, the box adds a red stripe and changes the ribbon to match. When the box is narration from the older Wadanohara shown at the prologue, it is deep blue with fancier adornments (reflecting her older self's Frilly Upgrade). In the endings where Wadanohara becomes either the Red Witch or the Blue Witch, the boxes change to match her alignment.
- This is used for foreshadowing in one Nancy Drew game. When you speak to a character again, she asks who you are since she doesn't remember you. A clever-eyed person would realize that This girl has a lock of hair on the other side of her head than the one you spoke to earlier - because you're actually speaking to her twin!
- Uplink very nearly manages to achieve Perfect Integration. It makes sense that stats are divided into discrete numbers, because they all reflect computer hardware. More expensive abilities are better because they make use of more efficient coding and algorithms. It even comes close to having a procedurally-generated story, as the player is given extensive control over how quickly they wish to develop their hacking career, and which side (if any) they want to take over the future of the Internet
- This is the entire point of the RPG Mechanics Verse settings.
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.
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 One Piece Pirate Warriors 2, several of the manga's rules are discarded for the sake of gameplay. In the manga, Logia Devil Fruit users are normally intangible unless one uses Haki (or that element's main weakness), but everyone can hit them just fine unless they enter their Super Mode in this game. However, one convention is kept: Sanji's refusal to harm women. Sanji can't deal damage to them directly: the only way to do so is to have a partner deal with them via Crew Strike Combo.
- 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 Lenna, 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.
- Mass Effect: while an Engineer Shepard solves most problems with the same blend of gunplay and powers that marks any other class, there are certain circumstances where this class is given a unique option stemming from their brainpower and technical skill - Engineers in 2 gain an increasing discount on research costs from their class-specific passive skill, since they have enough of a grasp on the science behind the things you're making to help Mordin design and build them without needing as much material, and in the Omega DLC for 3, they have the only class-specific interrupt in the franchise, allowing them to make a reactor dance to their tune rather than having to spend some time programming it to do what you want or sacrifice thousands of civilians to save a crime boss. On the other hand, this is a series where a Cerberus team to a derelict Reaper apparently has at least a hundred members who became Husks, everyone wields an M-8 Avenger in cutscenes even if they're equipped with a different assault rifle or can't even equip them, characters who suck against YMIR mechs can destroy four of them in ten seconds when you first meet them, people clone ancient creatures and send them into battle within four seconds of you providing them with a fossil, and you can instantly kill anyone, no matter how durable, with a pistol shot during a cutscene. Yeah, integration isn't exactly perfect.