Follow TV Tropes

Following

Disappointing Last Level / Role-Playing Game

Go To

  • Betrayal in Antara's final level consists of walking through a mansion fighting dogs. It has long corridors without any towns, any NPCs, or any real plot until the very end. Fan consensus tends to be that it's the worst part of the game. Made all the worse because a bug made it impossible to access without a patch.
  • The penultimate dungeon in Baldur's Gate, the thieves' maze, is regarded as one of the worst areas in the game for its sheer dullness, terrible pathfinding and waves of Skeleton Warriors.
  • Advertisement:
  • Chapter 7 of Baldur's Gate II is a Scavenger Hunt in the midst of a battle between Irenicus' monsters and the Elves of Suldanessellar (i.e. a handful of scripted events). Finish that, and you'll finally face Irenicus, who can almost be considered an Anticlimax Boss thanks to the sheer amount of overpowered spells and weapons that can take him down effortlessly. The ending cutscene is an abrupt and confusing cutscene that features an Omniscient Council of Vagueness and doesn't factor into anything that comes afterwards - luckily, the story was transplanted to a new region for the Throne of Bhaal expansion.
  • In Crystalis, the floating tower is awfully straightforward compared to the rest of the areas.
  • The Dragon Age games frequently run into this, as the generally-expansive nature of the preceding levels gives way to boring, linear romps:
    • The final setpiece of Dragon Age: Origins (the fight through the Darkspawn horde in Denerim) is prone to this. Despite having some cool moments — namely, your tendency to inflict slow-motion kills on enemies goes way up — the area is filled with bugs, glitches and ridiculous errors. Once you make it through several glitchy areas, you're forced to go into Fort Drakon (which, depending on a certain battle earlier, may be the place you were imprisoned in and had to fight your way out of and now have to backtrack through all over again). The final fight, while large-scale, is also prone to bugs and the odd Scrappy Mechanic (namely, waiting for ballistas to circle around so you can shoot the Archdemon, while you're being harassed by Darkspawn). And if that wasn't enough, there are plenty of problems with characters not recognizing who the king you choose is, female players getting called by male pronouns and more.
    • Advertisement:
    • Like the base game, Dragon Age: Origins – Awakening suffers from a litany of bugs during its major setpiece, including a PC-specific bug (during the assault on Vigil's Keep) that can render the game Unwinnable unless you resort to console commands, and even then, the intended sequence plays out of order. If you get past that, the Very Definitely Final Dungeon is a linear slog through a horde of Darkspawn, with several abrupt endings to several storylines (like Velanna's sister and the Architect), along with a final battle that chugs even on high-end computers.
    • Witch Hunt is the final DLC produced for Origins — and it smacks of being pushed out the door early due to the then-impending release of Dragon Age II. The DLC itself is a romp through several locations which the player has already visited in the base game, with nothing much that's new and little of note besides killing more enemies. There is only one sidequest in the game (limited to a single area), the final boss arbitrarily jumps up to Nintendo Hard status, and the final conversation is an abrupt, unsatisfying affair that only gives extra content if the Warden was in a relationship with Morrigan. And even worse, some versions of the DLC import decisions incorrectly, making it so that you'll miss out on some things without even knowing it.
    • Advertisement:
    • Dragon Age II suffers from a short and abrupt third (and final act), consisting solely of a pair of starter quests that are borderline Filler before immediately starting the Mage vs. Templar finale, which is another linear slog through a city with waist-high fences and barricades. Depending on your choices previously in the game (and how overpowered your build is), the final boss is either incredibly tough or a Curb-Stomp Battle (due to a boatload of other NPCs arbitrarily showing up to help just before the final battle).
    • The last mission of Dragon Age: Inquisition consists of the Final Boss, having already lost everything else, obligingly marching up to your doorstep. This leads to a "Get Back Here!" Boss fight only broken up by his dragon.
  • Disc 2 of Xeno Gears. The gameplay is replaced by a bunch of cutscenes interspersed with occasional boss fights and one or two lackluster, short dungeons. This was not what the developers intended, as they ran out of time and money.
  • Both Knights of the Old Republic games have ending areas that feel much less well put together than the rest of the game:
    • The Star Forge in the first game can be rather annoying, depending on what sort of character you're playing or team you're with. All the diplomatic skills in the world don't matter when the game just throws seemingly endless waves of enemies at you. However, if you're playing as a Dark Consular, "endless enemies" means "all-you-can-eat buffet of delicious Life Energy." Another frustration is all those endless mooks you kill most likely won't give you any XP because of the level 20 cap. And the final boss has a collection of prisoners that he (and you) can drain the life from to restore health. That's a problem if you didn't purchase that ability, because if you didn't, you're going to have to fight the final boss over and over and over until he runs out of prisoners (although you can speed things up by destroying the prisoners' pods).
    • The final level of The Sith Lords, owing to its rushed development cycle and fragmented presentation. After being told that you have to go to Malachor V, you arrive on the planet and go off by yourself, with your teammates nowhere to be found and no explanation given for why you can't bring anyone with you. The Ebon Hawk crashes and falls into a chasm, with the only people known to have survived being Mira, G0-T0 and Bao-Dur's remote. The following levels are almost entirely comprised of the Exile fighting on their own, both through a cave system filled with monsters and an incredibly generic Sith academy with rooms that all look the same. The only challenge is presented in the form of hordes of high-level enemies who will all rush you at once. The final battle (against Kreia/Darth Traya) can be exploited in numerous ways, and after you finally defeat her once and for all, you get some cursory nods to your teammates' fates, then the Ebon Hawk inexplicably shows up to save you before the planet is destroyed. A lot of the lingering plot points and squadmates' actions were addressed in the Sith Lords Restored Content Mod.
    • Likewise, the ending section where you play as Bao-Dur's remote (a level 1 character) to switch on some consoles. It's either boring backtracking through places you've already been with your main character without anything much to do, or absolute panic as you attempt to get where you need to go without being killed by any of the monsters. Said monsters are pretty trivial for the (level 25ish) main character. For the Remote? Two hits and you're dead - if you're lucky. The fact that this is to set up a dramatic situation with no payoff at all (without mods) doesn't help. The last-minute crunch is probably to blame.
    • Star Wars: The Old Republic:
      • Corellia. While not a terrible planet, it's far too long, confusing to navigate, and its planetary storyline isn't the best. All this is compounded by it being the last level: By the time you get there, you're ready to just hit 50 and finish your class quest, not run around doing errands for people.
      • The second and final planet of the Shadow of Revan expansion, Yavin IV, was this to some people, as well. While the planet could have been great, both with its nostalgic connections to the Original Trilogy and its very strong ties to the EU lore, in practice the planet is far too small and way too short, as opposed to the far more fulfilling planet of Rishi that preceded it.
  • Chrono Cross loses track of where the plot is going somewhere after the Dead Sea area and never quite finds it again. Disc two is particularly bad; most of it is spent either wandering through Chronopolis or climbing Terra Tower.
  • The Elder Scrolls
    • The Elder Scrolls III: Morrowind heavily suffers from this right before the final boss fight in the main story, which is really a very simple Puzzle Boss. After traveling and fighting far and wide, you must individually convince eighteen people (minimum) to vote yes on you being The Chosen One. "Convincing" fourteen of them means either bribing or hitting the Persuade button enough times, and if you're not willing to fight some of the baddies, this goes up to twenty-one. Mind you, this task of convincing the dozen involves the least amount of fighting possible, irritating and tedious fetch quests, and running around all ends of the earth. Most of the people that you have to talk to recognize the fact that, hey, they really ought to comply with you in order to save the world, but no, if you want to be named Nerevarine by one of the Ashkhan, who already admits that he should, you need to find him a bride. So first you go to another town (it should be noted that none of these destinations are quickly reached, nor is the journey exciting at all), buy a slave, go to another town to get her some nice clothes, go to another town to get her some perfume, and then escort the slave all the way back to the Ashkhan while tolerating some of the worst pathfinding ever. And this quest comes shortly after some fairly exciting and intriguing quests, too. If you gain enough levels and reputation (at least level 20 and 50 reputation), you can skip this quest altogether by talking to the right people: they'll send you straight to the Archcanon instead, which starts the final quest to defeat Dagoth Ur.
    • The Elder Scrolls V: Skyrim has this with Skuldafn Temple. While the dungeon is far more interesting than the "straight line" that most of the games' dungeons have been, it just goes on for awhile. The Final Boss itself can be be beaten mostly by the NPCs aiding you.
  • Dragon Quest IX in a twist has this AFTER the game — the postgame can in fact last much longer than the main game, yet the large majority of it is simply running though random dungeons over and over with only minor story additions in the downloadable quests. The non-story quests often have you searching for hours just to find a random dungeon with the correct enemy(s), and that is even WITH a guide. That's not even getting into the literally thousands of random ingredients one must find to get and alchemize all the items and equipment in the game (made harder by the best ones having a random chance at failure... and needing the failure items as well), and boss battles that you need to fight over and over (at least 99 times each) just to face their hardest forms. Combine all this with the only reason to reset your level more than once (and taking forever, especially if you don't get to have the King Metal Slime map which is only the result of a bug) is for the sake of... better chances at harder random dungeons. And even on top of all of THIS, the game practically begs you to spend all that time with its database, yet one could easily miss many items as a result of simply not connecting to the online shop in the right week of the year... or even more, the randomize screwing you over even when you DO connect.
  • Tales Series:
    • Tales of Phantasia. Dhaos' Castle has a monstrous number of floors, doors with unmarked switches, a maddeningly recursive floor layout and multiple teleporters with exit points which have to be memorized. Sure the backgrounds are as lush as anything else in the game, and it's cool seeing the atmosphere drop away as the party climbs past those massive windows, but one tends to get sick of the same set of murals and the same flights of stairs repeated literally ad nauseum. The Bonus Dungeon is much, much worse.
    • Tales of Destiny: The Aethersphere, your second world map and world-ending engine of destruction that must be stopped, is made up of barren floating strips of land whose only feature is pyramids that teleport to each other and each contain a frustrating, confusing, visually nearly identical maze. All with a high encounter rate and little plot development. And they have to be completed in a gauntlet, one to the next, with no towns or opportunities to rest or shop in-between most of them.
    • Tales of Symphonia: the second disc has about a third as much plot of the first disc despite taking half as long to go through.
    • Tales of Symphonia: Dawn of the New World has everything after defeating Brute poorly arranged in a manner to stretch out the lack of dungeons, padding things out with several Exposition Breaks. You're then treated to a final dungeon that consists of a stairwell, a two-level "puzzle" that doesn't even require fighting (it's basically just hitting a bunch of switches you can get from a distance), and a bunch of boss fights separated by about two screens worth of enemies.
    • Tales of Legendia, primarily in regards to the 'bonus story' after the main ending. It really is a second plotline, not just extra scenes. The plot, which had been good enough until then, changes focus to a thin problem regarding insane monsters and evil doppelgangers. More jarring is that while for the entire main adventure, all major scenes have voice acting (this is because the localization team thought that everything after the first ending is just a bunch of meaningless sidequests, instead of entire second half of the game, and thus didn't bother to prioritize it and add VA to it), after finishing the sort-of-final boss and moving past the main story, all of this promptly vanishes, leaving everything feeling incomplete. It also heavily uses backtracking and monster recolors.
    • Tales of the Abyss. The latter half has the characters going around the world to talk to people. Absolutely no fighting or leveling up... just plot, plot, plot. Even with instant teleportation to the cities, it still takes a lot of time to reach the people you need to talk to deep in the city. And you have to go back and forth through the same scenery for hours and hours and hours on end... why couldn't they have kept the "Do you want to zip there now?" option from the first half? It gets better later on, though.
    • Tales of Vesperia is split into three acts, as marked by the achievements you get for completing them. Parts I & II are both quite long and are very well paced. Part III, on the other hand, has the party dropping subplots and overthinking everything in order to destroy a giant space octopus, has a grand total of two dungeons (one particularly lazy in design) prior to the final, and drops a villain on you out of nowhere just to give you someone to fight in the end.
    • Tales of Xillia has Elympios. Different from Rieze Maxia entirely, but the player can only visit four locations and they're not all that well created, making it obvious how rushed the game's end is.
    • Tales of Xillia 2 has The Land of Canaan which, while technically not very long, is incredibly obnoxious to navigate. The area is very dark and miasma is around, making it difficult to see far ahead at times, the paths are criss-crossing and some sections of the pathway disappear when you get close, so you're forced to take a detour, until you find the path that leads to the second section and repeat that game until you get to the area that leads to the Final Boss. The paths are also very narrow, so it's difficult to avoid battles, which aren't difficult battles, but annoying in this area, when you're simply trying to figure out which way to go. A very boring, obnoxiously designed last area and a huge disappointment, after the game kept shilling the Land Of Canaan as an amazing thing from the beginning.
    • Tales of Berseria paces its plot very well all the way through to the end. The problem is that 90% of sidequests only become available at the eleventh hour, as in right when the final dungeon opens up. These contain genuinely interesting Character Development for your party members and tie up a lot of otherwise loose plot threads, but the quest chains are often completed piecemeal with little indication where to start the next sub-quest, and require you to backtrack in circles around the entire game world, which can only be sped up using consumable items (which gets expensive fast), and since none of the monsters in the world have scaled, there's only two or three places where it's worth fighting anything. The upshot of all this is the plot's momentum comes to a screeching halt right before the climax for eight hours of running in circles broken up by interesting cutscenes and the occasional boss.
  • Final Fantasy:
    • A general series example: Somewhere after you get the airship but before entering the final dungeon you are left to your own devices as far as advancing the plot and basically thrown out there to complete side quests and level grind up to being able to fight the final boss. However, there is a positive aspect to this gameplay change, as the last part of the game often opens the sandbox and provides a boatload of interesting sidequests, resolution for individual character plots, and minigames to make your own fun with.
    • Final Fantasy III DS suffers from this, if only because of the differences in norms between modern games and the time the original came out. The conclusion is a long underground dungeon that leads straight to the final dungeon. It's not that you can't return to previous areas, you just really really don't want to because the trip is so long. The final dungeon itself is ludicrously long, leading up to a fake final boss, four more bosses, and then the final boss who is way too powerful compared to the last five. And since you can only save in the overworld, that is at the very least an hour of action from entering the final dungeon up to the end, with no opportunity to save and an assurance of failing in your first attempt.
    • In Final Fantasy IV, the Lunar Subterrane is a very long dungeon with twisting hidden passages, Demonic Spiders, and the last four floors have every random encounter being a Boss in Mook's Clothing.
    • Final Fantasy IV: The After Years begins its final tale with the characters heading to the final dungeon, which is a Level in Reverse of the original game's final dungeon, which was long enough as it is—but once you get to the point with the mentioned last four floors, the dungeon changes entirely and eventually totals out to forty floors full of powerful enemies and entirely random boss encounters with no purpose but to pad out the dungeon and throw powerful equipment at your party. There's also no plot development at all during all this. aside from Cecil coming to his senses a third of the way down—just short scenes to provide closure to character subplots.
    • The last disc of Final Fantasy VIII is basically a single long dungeon with an obnoxious gimmick and no character interaction or dialogue. You enter the final battle to prevent the Final Boss from unleashing "time compression"... which might have been more dramatic if we were ever given a real idea of what "time compression" is. There's better characterization for some of the Bonus Bosses than for the Big Bad.
    • On Final Fantasy IX's fourth disc, the story runs out of steam with the destruction of Terra and Garland, and descends into Mind Screw territory with the introduction of Memoria as the final dungeon, an odd pocket universe made up of the accumulated memories of the world with numerous Giant Space Flea from Nowhere bosses, including the Final Boss, Necron.
    • Inverted in Final Fantasy XIII: The first half of the game feels like it was either extremely rushed or the management at Square Enix was overcompensating for the openness XII suffered from. (One apt description being tossed around is "Final Fight RPG".) The second half has much better design, with actual sidequests and dungeons that aren't just one long tunnel. This is even mocked in Sayonara, Zetsubou-Sensei, of all places. This is apparently done deliberately; Square-Enix wanted the players to become attached to the characters, hence the more story-driven first half.
    • Final Fantasy XIII-2 plays it straight. Academia 500AF is a drawn-out platforming level with rotating platforms, many, many switches, and lots of waiting for platforms to rotate towards you. It's also full of Demonic Spiders that can decimate most characters with ease. It takes about an hour to get through a fairly small area, and several reviews criticized it for slowing the game down to a crawl right before the final boss fight.
    • This is one of the most common complaints about Final Fantasy XII. The first third of the game shows the party coming together to track down the relics of the Dynast-King to prove Ashe is royal blood and give them a leg up on inciting rebellion against The Empire of Archadia. However, once you get to the Jahara the game then sends you on a long trip to Mt. Bur-Omisace, then a dungeon, then a very long trip to Archadia through no less than four new areas and a dungeon, then a dungeon in Archadia after completing a short series of fetch quests. The plot picks up again after that, and the areas are at least Scenery Porn, but the middle stretch of the game is essentially one long Marathon Level with no real plot advancement or character development.
      • The climb in the tower near the end of the game is such a long haul that many players quit before reaching the top. Not only is the climb to the tower's top stupidly long, you're also forced to go through several floors with an ability disabled at your choosing (no items, no magick, etc.). Once you do reach the top, you're treated to a lengthy cut scene and have to fight 3 bosses one after the other with no breaks in between, similar to the fight against the Silver Dragon, Garland, and Kuja from Final Fantasy IX. If you're aiming for 100% Completion, you'll be forced to go back to the tower and explore the basement levels that aren't even on the map and are filled with Demonic Spiders.
    • Final Fantasy Tactics. To quote Pitchfork from Socks Make People Sexy:
    "After constructing a thoroughly detailed and practically airtight plot about realpolitik, war, and ethics, Matsuno loses his nerve and throws magical gems and demons into the mix. By and by, the story devolves from something unusual and refreshing into the STOP THE EVIL MAN FROM AWAKENING THE EVIL DEMON spectacle that was already worn out as a hooker on New Year's morning by 1997. As the story becomes more dominated by the Zodiac Stone/Lucavi business, it grows coextensively less interesting."
    • It also doesn't help that in the last chapter of the game you're automatically given an absolute Game-Breaker of a character who makes the rest of the game a total cakewalk.
  • In the first SaGa game (The Final Fantasy Legend in America), you suddenly have to go through the tower again but this time through an escalator. You honestly could have cut the escalators in half.
  • Paper Mario:
    • Paper Mario: Sticker Star completely drops the ball for Bowser's Sky Castle. Not only is the level very short, but it doesn't have anything going for it besides a couple empty hallways, the final fight with Kamek, and the fight with Bowser. Not only is this fight frustrating, but it's outright impossible without the right items. The last phase is a joke when you play it the way the game intends, but it's an Anti-Climax Boss even if you take the fight Off the Rails. The last world as a whole is a letdown, having half the general amount of levels a world has in this game. Besides the disappointing final dungeon, 6-1 is little more than an interactive cutscene. The second stage is the only one that happens to be complex and involved, and after the last 3 games, you'd expect much more than that.
    • Paper Mario: Color Splash has Black Bowser's Castle, which looks great and has awesome background music, but the actual level is a letdown. It consists of an empty hallway, a fight with Roy, a couple puzzles, an epic Escape Sequence, another empty hallway, and then the fight with Bowser. This fight, while being well-handled, especially compared to Bowser in the last game, still draws criticism for being Bowser again and having a timed final phase. After this is another Escape Sequence that has a Kaizo Trap if you take too long or fall behind. If you die during this sequence, you have to fight Bowser all over again.
  • Kingdom Hearts:
    • Kingdom Hearts coded and its Updated Re-release Re:Coded, which consists of going around in Castle Oblivion (the setting of Chain of Memories), speaking to NPCs and solving very easy puzzles, reaching the final boss, watching the last scene and then having the game just... end.
    • Kingdom Hearts: Chain of Memories and its remake unlock a second gameplay mode where you play as Riku. Though his style of gameplay is enjoyable, especially in the remake where it's made more unique and strategic, the progression of the game is the same system as the first playthrough — make your way through the rooms to get the gold card needed to unlock the next room so you can get another gold card to unlock the boss room. Most of the time there aren't even cutscenes, you just hit a checkpoint and are directed to the next goal. And ultimately, all the areas you explore are the same ones you just went through on the first playthrough, and the bosses are the same too. The plot is also stretched very thin, most scenes are cutaways to other characters rather than actually involving Riku, and the word "darkness" is repeated ad nauseum (and in this series, that's saying something!). There is also Riku's version of Castle Oblivion, whereas Sora's version is a long and gruelling level filled with powerful heartless along with two confronations there. Riku's version? Only three rooms long with the Final Boss at the end of the room. You could easily pass through the whole castle without encountering a single Heartless in that room.
  • Lionheart: Legacy of the Crusader: After you're transported into the final gameplay area (the desert and final dungeon), all pretenses of fairness (or any sort of polish) goes out the window. Your character will most likely be alone at this point — and if you have squadmates, they will likely die instantly from the numerous high-level scorpions prowling the desert. You can and will spend most of your time chipping away at these creatures (and conducting hit-and-run attacks) even if you're high-level. There's only one friendly NPC left in the area (a merchant), and the whole place is monotonous and lacking any visual fidelity. Get inside the final dungeon and you'll find instant-death traps, weird gameplay mechanics (run through a tunnel before it floods with lava) and hordes of enemies who have seemingly been placed as padding. Get through that and you'll face a final boss, which is either laughably easily to kill in direct combat or nigh-impossible to talk down because it relies on a speech skill that the player has been given next-to-no reason to upgrade throughout the game. This game did nothing to solve publisher Interplay's woes, and they folded right after its release.
  • Vampire: The Masquerade – Bloodlines goes massively downhill at the end, even becoming near-impossible if your character is not built for combat (in a game that generally makes non-combat characters very viable). Like many culprits, that game was also rushed in favor of Christmas sales at the end.
  • Shadowrun:
    • In the Sega Genesis game, it's all-too-easy to build up a character who is perfectly capable of handling the entire game... except the Final Boss, who'll consistently kill you without a prayer of hope if you fail to raise your Magic Resistance sky-high, in a game where Magic-wielding enemies are usually very rare and very squishy. Deckers, in particular, are virtually impossible to win with, since they usually compensate for lacking combat-skills by having access to the best and most expensive weapons and armor in the game. Armor has zero effect on magical damage, and even the best weapon won't take down the boss before he's cast enough spells to kill you 3 times over.
    • The SNES version has this to some extent. After you've defeated the Big Bad, you then have to go destroy an AI super computer in a building that operates much like the one you were just at. The enemy guarding the AI computer is little more then an Elite Mook, and the sequence inside the computer is no different from the dozens of other Matrix segments in the game. The game ends somewhat abruptly right afterwards.
  • .hack//Quarantine. Forcing you to go through the same dungeon three times, after which you must face a boss that isn't hard but is incredibly tedious - which is a shame as an otherwise decent dungeon turns into a Scrappy Level due to the plot. Giving you the best armor in the game and then pitting you against the second of Those Two Bosses immediately afterward. Giving you ten new dungeons to take on right around the time you think "I'm almost done!", give of which are mandatory. Of those five, four of them require an obscene number of high-letter Virus Cores. These had always been scarce, but until now this wasn't a problem. So you have to item grind in the hopes of eventually finding that... one... missing... virus... core. Once you FINALLY get through those four dungeons, you go to the fifth one, which you just know will be The Very Definitely Final Dungeon. Nothing else even comes close, not even the dungeon at the end of disc 1 (in which every enemy is a Goddamned Bat and the boss is one of Those Two Bosses). The Virus Core hunt is made even MORE annoying by the non-standard Game Over of using Data Drain too much. Have fun balancing out mass-Data Drain kills and avoiding death by character corruption.
  • The last level of Dungeon Siege II is at least 40 minutes (possibly an hour) of fighting the same not-very-challenging enemies over and over and over without interesting scenery, before the game deigns to give you a teleporter location to save your progress with. At least it's not something you have to repeat if the final boss kills you.
  • Star Ocean:
    • Star Ocean was rushed, and the final dungeon seems to come out of nowhere with an attendant Giant Space Flea from Nowhere. In the PSP remake, it's expanded to a few more events and dungeons, but it still completely changes the feel of the game, and what's worse, unlike the original, it refuses to allow you to return to the main game after beating it, meaning you're stuck in a tiny overworld with little exploration to do.
    • Star Ocean: The Second Story's final dungeon is a monotonous slog through a dungeon whose floors all look almost exactly the same, punctuated by a handful of boss fights (including the final boss himself) that are absolute pushovers if the player's party is near level 100, which is incredibly likely. Even more inexplicably, the process for finding the Bonus Dungeon require a series of steps so esoteric and confusing as to be nigh-impossible (including traversing back through the same dungeon to the overworld again), and the reward for it intersperses better armor and weapons for a handful of characters with another monotonous dungeon, weird and frustrating puzzles found nowhere else in the game and three bonus bosses who are virtually impossible to beat unless the player has spent hours grinding up to maximum level.
    • In Star Ocean: The Last Hope, the final dungeon requires the player to fight every single previous boss without any chance to save. If played without doing all the side missions or grabbing optional gear, the entire chain of bossfights can take up to thirty minutes, making it rather infuriating if you happen to die before reaching the final boss. You can technically avoid all the boss fights leading up to the final boss if you know what you're doing and where to go, but if you don't know this before hand you're in for an interesting surprise.
  • Lufia:
    • Lufia II: Rise of the Sinistrals - after a great game with lots of creative puzzles, just before the final dungeon you have to face three towers where it's pretty obvious that they never got around to adding the puzzles into the rooms they were meant to go.
    • The remake Lufia: Curse of the Sinistrals is better here; it's not until the final dungeon that the gameplay takes a dive. Said final dungeon consists solely of boss fights, one of which was difficult the first three times you fought it, but you've now greatly outleveled (and you likely never wanted to see it again). The next was easy the first time, and is now slightly easier. After that you have a survival boss, which is intensely boring. Then you have the final boss, who is possibly the easiest boss that wasn't designed to be an Anticlimax Boss. Then if you're playing a New Game+ you get a ludicrously difficult True Final Boss. The plot had problems a bit earlier; most of the end game is running through the towns talking to people, generally hearing more or less the same thing at each stop.
    • As per Curse of The Sinistrals example, Doom Island being retconned into a monsterless area since the second game makes it a lot less threatening with only a few floors and bosses avaliable. Lufia: The Legend Returns's final dungeon has only one Giant Space Flea from Nowhere boss residing in it, since apparently you have already killed all the Big Bads in the previous tower.
    • Lufia & The Fortress of Doom has the final dungeon being the eponymous Fortress of Doom, which lacks some of the epic atmosphere because the player already went through this dungeon in the very beginning of the game, only 99 years earlier and with a slightly different party.
  • Rogue Galaxy is great fun for most of the game as you cruise around the galaxy picking up various characters for your small-but-varied cast, and search for Eden. Things start going downhill after you beat Seed about 60% through the game, with a couple of cliched twists, but all sense of pacing or real motive trainwrecks when you enter Mariglenn, the Eden you've been searching for. The game suddenly pulls a new Big Bad out of nowhere, the only way to beat it is to suffer through last-minute exposition for every one of your characters, and then trekking through possibly one of the longest and most repetitive final dungeons ever made. When you eventually fight and defeat the suspiciously easy "final" boss, suddenly the game's previous antagonist flies in to completely muck things up, requiring you to fight a series of one-on-one battles with every single one of your characters, in which losing will make you have to do it all over again from the initial final boss.
  • There's no doubt that the ending sequence of Planescape: Torment is way too hard, especially since you're separated from your companions and must get through a massive slog of a battle against very tough enemies. It's also quite a badly structured puzzle section, and the endgame is the only area where you have to fight and a defeat a powerful opponent (which one depends on your alignment) one on one, where in every other area running away was an option. This reveals the Thief class as inviable at the very last minute. There are no shadows to hide in to attempt a backstab, you have no magic powers and your physical attributes won't be potent enough to take your opponent on. You have to hope you bought and kept the right offensive items stored in the PC's inventory, have lots of healing charms and a lot of luck. Similarly, as a magician, you won't have good armour to survive the absolutely brutal close combat-fighting enemies and you'll run out of mana very quickly before dealing with them all. Plus they resist a decent amount of magic types. On the other hand, if you played as a fighter most of the game (which is unintuitive since the game prefers brain over brawn), battling the shadows with a decent magic weapon is a cakewalk.
  • Ultima:
    • The rush to complete Ultima VII Part II: Serpent Isle resulted in the loss about the middle third (if not more) of its storyline. Certain NPCs still show evidence of what they had planned, but it was never finished. The last segment of the game instead consists of the same two or three puzzles repeated over and over again; the entire last dungeon has no NPCs and only a single group of monsters.
    • The Castle of Fire in Ultima III is even worse. Even with the marks to nullify the fire and force fields, you still face five tough battles against Griffons, Dragons, and Devils, and then in the final room you get attacked by the goddamn floor. The entire rest of the game can be completed at level 10 with starting stats, but to beat the Castle of Fire you need invest hours of Level Grinding to get to level 20 or so, plus max your stats at the shrines.
    • While it's hardly unheard of for an Ultima game to have a puzzle instead of a final boss, Ultima V may take it too far. After gathering three plot coupons and a magic word you need to reach a very long and difficult dungeon, working your way through room after room of tedious "secret door" puzzles, and reaching the center of the world ... there was a fourth plot coupon never mentioned anywhere else in the game. Didn't bring it? Hope you backed up your save, and prepare to do it all again.
  • Pokémon:
    • Pokémon Ruby and Sapphire. You spend the first two-thirds of the game exploring beautiful environments like volcanoes, beaches, and rainforests. Then, what happens after Lilycove? Water. And a lot of Tentacool/Wingull. The segments are actually quite short if you know where you're going and make a beeline, but for a first time player or one dead set on fighting all enemy trainers and grabbing all the loot, the ocean areas are exasperatingly massive.
    • Pokémon Diamond and Pearl. The level gap between the 8th Gym Leader and the Champion is one of the biggest in the entire series (50 - 66), leading to a whole heap of Forced Level-Grinding with really drags down the game just before the climax, and the path to the Pokémon League is probably one of the most boring in the series. Even worse, this comes right after the conclusion to the Team Galactic plot and the battle with your version's legendary, which is the real high point of the game. Platinum lowers the Elite Four's levels considerably to mitigate this.
    • Pokémon X and Y. After the awesome Team Flare arc, there's almost nothing significant in the plot following it, which is topped off with an Elite Four who, as with Generation V, only have four Pokémon (and they never upgrade their teams, unlike Generation V), and a Champion battle that is regarded by several to be not only an unmemorable character, but provides an even worse battle than Black 2 and White 2.
    • Other Pokémon games' Victory Roads, the paths to the Elite Four and Champion, are long gauntlets filled with trainers using high-level Pokémon with advanced strategies. In Pokémon Sun and Moon, the equivalent, Mount Lanakila, is a straight path up the mountain devoid of any obstacles and only two trainers, both of whom are main characters you've fought many times prior. Then Ultra Sun and ultra Moon made Mount Lanakila into a more fitting final dungeon.
  • Mass Effect:
    • While the series in general manages to avoid this, the Pinnacle Station DLC for (and by extension the last bit of Mass Effect many gamers played) is a cut-and-paste arena with boring enemy spam and the announcer from hell ("Get moving Shepard") made worse by being timed straight combat levels, so that level 60 engineer you have? Totally useless. Your lightly armored infiltrator? Too bad. If you are anything not a direct combat soldier, some of the challenges are nigh-impossible. And as a bonus, your no-XP kills there count for no other achievements, because it's all a hologram. Understandably, while "Bring Down the Sky" is packed in with the PS3 version, "Pinnacle Station" is left out. Pinnacle Station had been intended to be included with the PS3 version, but had to be left out by the developers because the archived source code for the X360 version wound up getting completely corrupted during the attempt to adapt it to the PS3. Even the game hated it.
    • Mass Effect 2 ends with a fairly weak DLC in the form of The Arrival. Coming off perhaps the franchise's best DLC in Lair of the Shadow Broker, and even after a well-produced DLC in Project Overlord, Arrival comes off as completely half-assed; boring linear mapping, no unique gameplay, being forced to travel alone with ONLY the help of a flat guest NPC, and no boss fights more unique than the giant-robot mook that's seen throughout the game. The last couple minutes of dialogue are, sadly, the only interesting moments of this DLC. The short conversation with the Reaper and the revelations surrounding the asteroid and Mass-Effect-Relay collision are often seen as the most memorable parts of the DLC, if only because they actually acknowledge player choice from 2.
    • The final level of Mass Effect 3 is not as enjoyable as the previous sections for a variety of reasons. To start with, people expecting something like the Suicide Mission from Mass Effect 2 will be left disappointed, as none of the war assets the player has collected make any significant appearance during the mission. London is a wrecked Earth city that we've all seen in every other modern shooter, and the gameplay mostly consists of advancing down linear, catastrophic corridors through massive hordes of husks or holding the line against waves of husks (using the same "wave" system seen in the multiplayer mode and N7 missions), and at no point are there any significant twists to this formula. The last battle is especially brutal, since it requires you to survive hordes of Marauders and Banshees while a Reaper destroyer fires a One-Hit Kill laser at you. Coming after the Cerberus Base, it's underwhelming and frustrating. In addition, the sound drops out during some cutscenes, the mission is punctuated by a pointless turret Mini-Game, and you never see any of your War Assets in action besides a short conversation with your various squadmates from the previous games. Things get even stranger when you get up to the Citadel - the subtitles stop being consistent (Anderson starts being referred to as an Admiral again), you're in a short, linear corridor you've never visited before (which displays properties that make little sense), and there's no proper Final Boss fight either, just a Cutscene Boss that can be easily killed via interrupt prompts. And that's not even mentioning the legendary backlash against the ending itself... The release of the Extended-Cut calmed the backlash against the endings to a point where most of the fans at least find the updated RGB endings and the additional Reject ending somewhat acceptable compared to outright hating and loathing the original endings. Basically, the opinion on the endings changed from "THAT WAS TERRIBLE!" to "Meh... whatever."
    • Mass Effect: Andromeda has easily the blandest and most forgettable final mission in the series. While it's at least not as arduous as that of Mass Effect 3, the end result is that it doesn't really feel too different to any other combat-focused mission in the game, outside of having a brief section where you get to play as Ryder's sibling. The Final Boss isn't really anything too memorable either, although at least this time the game actually has one. On top of all that, there aren't any decisions of any actual importance you have to make — not that it would have mattered, seeing how the game won't be getting any sort of direct follow-up — and none of the decisions you made throughout the game affect the mission in any meaningful way, short of a few bits of background dialogue being different or omitted entirely.
  • EarthBound Beginnings is very difficult and annoying with the sadistic random encounter rate it has (to be fair, running away is very easy). But in the end of the game, the enemies suddenly turn so strong that you'll need hours of Level Grinding or a Crutch Character just to be able to beat the game. The author of the game admitted that this had happened because near the end of the production he got tired and wanted to finish the game as soon as possible, so the last bits have little to no balance. It's worth noting that players who can survive Mt. Itoi long enough to get the last of the Plot Coupons are rewarded with one hell of a Wham Episode, and the ensuing final confrontation with Giygas/Geigue/Gyiyg is near-universally considered to be the highlight of the game.
  • In Valkyrie Profile 2 Silmeria, the last two dungeons are overlong, mostly-linear trudges through tough enemies and annoying battle maps that serve no real purpose other than to deplete your stock of healing items. Even more annoying is that the game keeps monkeying around with your party. First you lose Rufus, after losing your other storyline characters earlier. You get a few of them back, but until then you're forced to rely heavily on your Einherjar. Then the Einherjar themselves become useless as you get no less than four brand-new high-level party members just for the last dungeon, making you wonder why the hell you bothered raising your Einherjar to be combat-capable all game. Then, just as you're getting used to fighting with them, three of the newcomers are removed from your party for the final stretch. Finally, to top it all off, the Final Boss can only be substantially hurt with the main character's Eleventh Hour BFS. Your party is just there to help charge up the Quad Soul Crush capping Nibelung Valesti. Oh, and by the way, those crafted weapons and armor you spent forever grinding for the components to? Antiquated by stuff you find just lying around in the endgame areas. It doesn't help that the final dungeon itself—which is supposed to be comparative to the Tower of Lezard from the first game—is more or less composed of three dungeons sewn into one, with very little to offer in the way of interesting exploration or puzzles. The bonus dungeon makes up for this failing, at least.
  • Albion, while not as bad as you'd expect with most examples here, has this problem. The first act is noticeably more detailed, interactive and immersive than the rest. The later islands being much larger in comparison only means that they have the same content spread out on six times the area, meaning that most game time will be spent walking through the featureless landscape, trying to avoid the repetitive, and rather illogically placed monster encounters. The alien elements that made the first act so interesting, are almost completely abandoned in favor of the more standard medieval fantasy setting, and the game stops encouraging the player from familiarizing themselves with the other cultures, while Nakiridaani gave plenty of opportunities for that. This mainly happened because the first act was used in the demo, and the developers would obviously devote more time to it.
  • Robinson's Requiem is a notoriously Nintendo Hard "Survival Sim" where the main challenges are managing your resources and solving inventory puzzles. The last level is a crawl through some volcanic caves where you battle robots. You get an infinite-ammo heavy laser to make it fair, but the real issue is that you have to go through nearly the entire thing (plus the desert immediately before) with no way to replenish your water supply, meaning death by dehydration on the last stretch is a very real possibility. And there's the OHKs from magma pools that look almost exactly like the normal floor.
  • Fable II doesn't have the best plot, but it does at least have pacing. However, the endgame comes immediately after you recruit Reaver with no warning, and consists entirely of one long fight against generic guards and a big rock, then you one-shotting the Big Bad in the middle of his Motive Rant. And if you don't shoot him and instead wait for him to finish his rant, Reaver will shoot him instead.
    Reaver: I thought he'd never shut up. Oh I'm sorry. Were you wanting to kill him?
  • Persona 3:
    • If you succeed in finding the route to 100% Completion, then midway through December you should have maxed all but two or three social links. It's very likely you'll have absolutely nothing worthwhile to do over Christmas Vacation. After New Year's Day, the plot is all done except for the last few battles, which can't happen until the end of January. January therefore boils down to an extended Action Film, Quiet Drama Scene where there's nothing to do except Level Grinding and wrapping up the last two Social Links.
    • The "Journey" portion of FES is a well-built and challenging JRPG with memorable characters and original gameplay. The "Answer" portion is a glorified Dungeon Crawler which removes the Social Links in favor of a Postscript Season story with Nintendo Hard battles and a bit of Fake Difficulty too.
  • Persona 5
    • The Ship is the final Palace and very long, to the point of being draining. Outside from having a rather uninteresting ship design, majority of its puzzles involve the party being turned into rats and needing to press switches to move on. And those become tedious and overstay their welcome. The dungeon also contains five mini-bosses, with the last being immediately followed by a showdown with The Dragon, and finally the ruler of the palace himself. And the ruler has five phases to his battle, too.
    • The final dungeon(s) are Mementos Depths and Qulipoth World. If the player has been doing Mementos quests on the side, reaching the final floor to get to the Depths is rather simple. But Mementos Depths suffers from Check-Point Starvation in that it only has two Safe Rooms in the entire place, the only puzzles to solve are Hamiltonian Path ones, and mostly filled with cutscenes, and a bleak design. And Qulipoth World only unlocks after several, very lengthy cutscenes. The dungeon itself is only four short levels that pit the team against each of the four archangels, before getting to the Final Boss with its two phases. This means that the player has almost a dozen boss battles to get through near the climax of the game.
    • The endgame takes place in late December, earlier than in Persona 3 and around the same time for the original version of Persona 4. The final day is Christmas Eve, before plot reasons speed the in-game calender up to Valentine's Day, and finally to March, when the final cutscene shows the protagonist having to prepare to go home because his year of probation is over. It is worth noting, though, that the game has a lot more night-time Confidants than the previous two games, so that extra month may not be needed.
  • Shin Megami Tensei:
    • Shin Megami Tensei I gets to be ridiculously aggravating due to shoddy game mechanics, namely the map. The final level has one floor with a metric ton of invisible walls in a very large space, and you have no way whatsoever to tell if you're going the right way, as the dot on the map does not indicate your direction, and the game itself hands out so few clues it is possible to spend over an hour on this floor alone just trying to find the exit. Then, after finally getting to the final boss(es), you can just hit them with a Charm spell and watch them kill themselves for you. Yes, Atlus actually forgot to give them immunity to the most broken ailment.
    • Shin Megami Tensei II is slightly less painful in this regard since the map mechanics are vastly improved, but thanks to giving the player no hints whatsoever, the final dungeons of Kether Castle and the highest floors of the Tokyo Millenium have some epic Guide Dang It! floor puzzles that can make getting to the end more difficult than the bosses themselves. Given that this is Shin Megami Tensei- a series with bosses so ridiculously hard that the publisher is nicknamed "That One Company" on this site- that says something.
    • Shin Megami Tensei: Strange Journey seems alright for the first five sectors. The seventh sector is simply a mishmash of the first four sectors, narrowly Hand Waved by the endboss being a Master of Illusion, and remember the teleport maze from Sector Eridanus? You get to experience ANOTHER one! Fully half of it isn't accessible until a New Game+... and that section is a long, boring, and incredibly infuriating linear "maze" full of teleports and pitfalls, which leads into a true maze of one-way doors in the basement. However, where the similar one-way-door area in the first half let you get from any of the entrances to any other point if you took the right route, one wrong turn in this one and you have to hike all the way back from the near the start of the dungeon. On the plus side, the aforementioned last part of The Very Definitely Final Dungeon is, once you get past the Moon Logic Puzzle that you need to walk onto empty air, in the running for Best Level Ever.
    • Shin Megami Tensei IV: Getting onto the Neutral Route is a serious Guide Dang It!, to the point that most FAQs just advise avoiding all unnecessary sidequests and always picking the first option for any alignment-affecting question. So naturally as soon as you successfully get back to Tokyo on the neutral route, your next order of business is...finishing every non-DLC sidequest in the game, including unmarked ones.
    • Shin Megami Tensei IV: Apocalypse's final dungeon, YHVH's Universe, is an obnoxiously big four-floor dungeon full of teleporters to get yourself lost in. On top of that, all of the enemies are non-recruitable souped-up versions of demons you've previously encountered with their analysis data obscured, forcing you to recall from memory what their weaknesses and resistances are. Fortunately, you have Awakened Power at this point to bypass resistances (unless for one reason or another you chose not to take it up), as well as an Almighty-elemental Combination Attack with Flynn that can be activated if you're Smirking, but even without this bit of enemy-encounter Fake Difficulty and with Estoma to ward off encounters, the whole dungeon is just needlessly tedious to navigate with almost nothing particularly interesting to do aside from tying up some plotline loose ends.
  • Golden Sun: Dark Dawn has a decently paced build up in the story and the conflict, but after the Grave Eclipse event starts, you are forced to go on a series of fetch quests for several pieces of items (all that are helpful for one of your party members and are her infinity plus one equipment) and a MacGuffin or two. The story falls flat at this point and doesn't pick up again until the Final Boss fight.
  • Radiant Historia, in spite of an awesome penultimate dungeon, completely drops the ball in its endgame. For the 30 or so hours it takes to get to that point, you deal with interesting time travel puzzles and a grid based combat system. The final dungeon, on the other hand, is largely comprised of a single long corridor that is nothing but one big block pushing puzzle (with the added catch of having to kill the blocks beforehand), unavoidable, constantly respawning encounters loaded with immobile enemies which fly in the face of the most important elements of the combat system, Checkpoint Starvation, an absence of dialogue (a shocking contrast to the penultimate chapter) and a mandatory Boss Rush just before the Final Boss which is given incredibly flimsy justification and is, for the most part, comprised of bosses which already held That One Boss status. At the very least, the Final Boss and the ending are spectacular.
  • The final exam dungeon in Magical Diary suddenly changes from being a free-roaming increasingly-complex RPG where you the player have to think and solve puzzles, to being "choose from a list of strategic options" with emphasis on your interactions with other characters. The majority of the playerbase is playing the game as a Dating Sim and is happy to get on with things. The players who were enjoying the RPG aspect, on the other hand, find the last exam a massive disappointment.
  • Dragon's Dogma has The Everfall. You are endlessly falling down the same large pit over and over again, and try to cling onto ledges (which might be a Scrappy Mechanic in itself) to get into the actual chambers of the dungeon, which (except for one) all look randomly generated due to their cut-and-paste nature. Compared to what the game normally does (encouraging you to explore every last bit of a huge world map), grinding through the same few rooms with the same enemy patterns a couple of times feels a bit uninspired. Made worse by the fact that the game subtly forces you to actively farm Wakestones (instead of just earning the necessary amount to complete the quest) since selling them for 30,000 each is the only way to afford most of the best weapons which are offered down there for insane prices.
  • Dark Souls suffers from this regarding its last few areas. What makes things worse is that these zones lose a lot of what made the previous parts of the game so compelling; varied enemies with varied movesets combined with unique environmental hazards and arenas to form a gauntlet of interesting enemy encounters.
    • Lost Izalith is generally considered the worst level in the game and is divided into two parts. The first part is what bothers most people. It's a huge Lethal Lava Land filled with about 30 of the most obnoxious enemies in the game. Most players will spend about half an hour just sniping at them with a bow rather than directly engage them. There is a way to skip that part, but it doesn't make the obvious reduced quality of the zone any better. The Demon Ruins immediately afterward is even worse, and culminates in the Bed of Chaos - an infuriating boss so full of Fake Difficulty that the developers apologized for it after release.
    • Tomb of the Giants is an underground Blackout Basement filled with even more obnoxious enemies; the Feral Skeletons. One of the worst things about this game is that there are only three ways to get light into this area. Two of them are very easy to miss and the third way, the skull lantern, requires to you travel through a good chunk of the level practically blind. Thankfully, with the drop rate increase that came with one of the patches, you're much more likely to obtain a light source before entering this level.
    • The Crystal Cave is a beautiful zone which comes after the Dukes Archives, a well liked zone. It's basically one giant Bottomless Pit you have to navigate by crossing giant crystal shafts. However, about halfway down, several of the shafts turn invisible. Getting through them can take dozens of tries and comes down to trial and error, and once you get it down, it takes about a minute to run through. It's just an irritating little extra tacked on to the end of an otherwise excellent level. This is also a very popular invasion spot due to how easy it is to make someone lose their footing.
    • The very final level is a tiny (but pretty-looking) linear path filled with Black Knights right before the final fight with Gwyn, Lord of Cinder... which would be a pretty good Final Boss if it wasn't so easy to trivialize the fight via Good Bad Bugs or parrying.
  • Dark Souls 2 suffers from this trope as well. After the Dragon Aerie, the game main story has you go fight a rather easy boss before going to the Throne of Want, a short hallway with no enemies. It ends in a room with the final boss fights, the Throne Watcher/Defender and Nashandra, both of which are also disappointingly easy and followed by a rather cryptic Gainax Ending. Fortunately, the Scholar of the First Sin Updated Re-release has the more interesting True Final Boss Aldia, Scholar of the First Sin and a much more fulfilling ending.
  • Two Worlds II has a rushed and somewhat confusing final level. After making your way through the castle, the prophet you've been following all game long reveals herself to be a dragon and attacks. Rather than using the abilities and equipment you've been building up all game long, you are left to face her on the roof of the castle while firing ballistas at her while she flies around. Oh, and her fire is capable of a One-Hit Kill if you aren't careful, meaning you'll likely be replaying this level several times until you figure out her patterns.
  • CIMA: The Enemy is a Teamwork Puzzle Game mixed with an Escort Mission, yet while the main levels are a mix of ups and downs, the last level is just a straight run to bosses. And the endgame pits all your combat-capable settlers against various bosses, whether they're ready for it or not. Didn't think upgrading The Medic's stats was all that necessary? Sucks to be you.
  • Breath of Fire II while in other ways a superior RPG, absolutely fails on everything having to do with the final dungeon. It's long, monotonous, tedious, hard and lacking in save points, items or any real rewards. And it's HUGE. The fact that even getting to this dungeon is a Guide Dang It! is just insult on top of injury.
  • The PS3 version of Ni no Kuni post-Shadar - at least until the actual dungeon and the final boss battles, which are considered to be the Best Level Ever and what most people remember.
  • BattleTech: The Crescent Hawk's Inception is about as simple yet functional as a Battletech and Mechwarrior hybrid RPG-turn based tactics game gets... and after a game full of blazing 'Mech battles, daring escapes, prison breaks, gunfights, exploring, and improving your skill levels and equipment? Your last level is a long, drawn out, and involved...key card puzzle set in a dark, quiet maze of tunnels. That's right. All the time and effort you spent leveling your characters, acquiring new gear, defeating enemy 'Mechs, and upgrading your own giant war machines? Meaningless, thanks to the Unexpected Gameplay Change. There's not even a worthy combat challenge anywhere near the endgame (in fact, only one battle meant for drama is written into the game, and it comes at the end of the first act). It's not even much of an intelligence challenge—it all hinges on patience, memorization, and hoping you still have the manual, or else the last puzzle is practically unsolvable.
  • Bravely Default After you've gone on a journey to awaken the four crystals, you have to do it again ... four more times. That's not to mention the plot twist that probably everyone saw coming a mile away. There's some interesting character development, and the last dungeon/boss is pretty good, but it doesn't quite make up for having to fight all the crystal bosses four extra times each.
  • Fallout
    • It's clear that the final level of the Fallout: New Vegas DLC Honest Hearts was never fully playtested. The last leg of the game charges you with either defending the New Canaanites with their escape from Zion or helping Joshua Graham destroy the White Legs. The plot tries to present this as an important choice, but it changes nothing except some flavor text and a pair of slides at the end of the DLC - the mission is completely the same. Aside from random crashes and bugs (White Legs enemies can randomly get stuck on walls and in bridges), the entire game map is almost completely empty, there's no background music, only a pair of fights at opposite sides of the maps, a weak final boss encounter, and Joshua can randomly disappear and reappear at random despite being your companion. Worst of all, there is no fast-travel option, so you'll have to slowly walk across the entire game map with hardly any enemy encounters. And that's not even counting the unintentional hilarity of Joshua being set on fire (again) by flaming sword-wielding enemies, or his "Yesssss...." battle cry.
    • The later levels of Fallout 3, atypically for this trope, aren't actually very hard; quite the opposite. It seems that the creators wanted to keep in mind the fact that the player could potentially be entering the level having sped through only story missions, and so cranked the difficulty way, way down. The result is that you spend most of the last third of the game's story missions being escorted by Brotherhood soldiers, important NPCs, likely a major companion or two, or Liberty Prime, any of whom are capable of annihilating the meager Enclave defenses on their own. Low-level characters can basically just sit back and watch them finish the game, and mid-high-level characters (especially if they're melee characters) may find it more challenging to get in kills before their backup crew turns the Enclave into a pile of limbs. The apparent Final Boss, Colonel Autumn, is basically one unarmored guy with a pistol and two standard Enclave troops. And the ending itself is... hoo boy.
  • The Arx in Divinity: Original Sin II is this to some people. It's smaller than the previous game's last level (The Phantom Forest) and much much more straightforward. In-Universe this is one of the most important cities in Rivellon equivalent to the Vatican, yet it's a Thriving Ghost Town with an Absurdly Spacious Sewer. The game has fewer conversational options than the previous acts, fewer sidequests (so you better hope you didn't skip a bunch and end up underleveled!), and plenty of bosses that aren't hard but more annoying. Also, the game can get pretty glitchy at this point. Sometimes characters will speak to people who aren't there, not acknowledge quest items in your inventory, quests will not count as closed, quests will be unable to progress despite hitting the trigger to do so, and some more.

Top

Example of:

/

Feedback