Some games feature little more than an Excuse Plot to justify their core gameplay. Some games, conversely, feature virtually no gameplay and focus almost exclusively on storytelling. Then there are games which actually put quite a bit of effort into their story, but the story is nevertheless ignored or overlooked by most in favor of the gameplay.
This is the Opposite Trope of the latter case: games which significantly feature both story and gameplay, but most players, critics, etc. largely ignore the gameplay in favor of its storytelling, characters, setting and so on. There are many reasons why this might happen: sometimes, the game might have an unusually well-constructed narrative but rather samey, unoriginal gameplay; sometimes the gameplay might have significant problems, making the story superior by default; and sometimes it's purely subjective taste.
Story-to-Gameplay Ratio matters here: just as a game must have a significant story focus in order to qualify as an example of Play the Game, Skip the Story, so a game must have significant gameplay focus to qualify for this trope. Visual Novels, Environmental Narrative Games, and some experimental art games don't qualify for this, as there's little meaningful gameplay to start with (with certain exceptions listed below). That said, an argument can be made that the ENG genre is the Logical Extreme of this trope, focusing so purely on the storytelling and World Building that traditional gameplay beyond exploration is outright removed from the equation.
If the developers realize that many players may be playing the game just to experience the story and don't much care for the gameplay, they may offer a special difficulty setting to accommodate them: a Story Difficulty Setting.
Note: Please follow the Rule of Cautious Editing Judgment when adding or editing examples. Try, whenever possible, to limit examples to cases where there is evidence that criticism or fan reaction towards the game in question focuses more on the story at the expense of the gameplay, rather than just games where you personally thought the story was better than the gameplay.
- Asura's Wrath is an example of a game perfectly aware that it is just a glorified cutscene. The gameplay's very simplistic and repetitive, but it isn't the main interest of the game, which is essentially an interactive Anime about an overly muscular six-armed god punching planet-sized monsters in space accompanied by Classical Music. Some of the game's DLC chapters are literally anime shorts with no gameplay more interactive than occasional Quick-Time Events.
- Deadpool received mixed reviews, with most complaints directed towards the schizophrenic difficulty, short length, and terrible boss battles. The main thing that drew attention to the game was Deadpool himself, at long last making his debut as the leading man outside of a comic book, where your average Joe finally got to experience all the crass comedy and batshit-lunacy that comes with The Merc with the Mouth.
- The earlier entries in the Legacy of Kain franchise were widely praised by critics for both their gameplay and their storytelling (especially in the second entry in the series, Soul Reaver), but the gameplay of each subsequent entry was less and less positively received until by the time of the release of the fifth entry, Defiance, multiple critics said that the only reason to play the game was for its story.
- It is widely agreed that the whole point of killer7 is the bizarre plot, with the shooting, monster killing and inventory puzzles serving as little more than filler between story points.
- L.A. Noire almost encourages this, with the game giving the option to skip over difficult shooter scenes if the player has trouble so that they can go back to the Film Noir investigative gameplay that makes the game more popular.
- Murdered: Soul Suspect's investigative, adventure game aspects were considered generally well done; the lackluster stealth combat against patrolling wraiths that regularly interrupted said investigative sections was likewise heavily criticized.
- We Happy Few's gameplay is largely just Fetch Quests, gathering tons and tons of useless items, the occasional Stealth-Based Mission, and a monumentally repetitive and clunky combat system, but the story and the characters are very engaging and enjoyable and its themes and setting have garnered near universal praise. Unsurprisingly, Dark Horse Comics and Golden Circle Films have already announced plans to make an art book and a feature length film, respectively.
- The first season of Telltale Games' episodic The Walking Dead game is excellent at being an interactive storytelling experience, and middling at best / terrible at worst whenever it tries to have game mechanics more involved than the occasional Quick Time Event. Occasional Stealth Based Missions and a couple of truly regrettable shooting sequences keep the game just barely outside of the category of "interactive fiction" by a strict definition, but the story is definitely the thing to play it for, not the gameplay. It's telling that later works by the same developer, including subsequent seasons of The Walking Dead itself, largely drop or severely downplay these action set pieces, focusing almost exclusively on story.
- I Have No Mouth and I Must Scream has what is wildly considered a great story (adapted from the original story with direct involvement from the author Harlan Ellison), but lackluster point-and-click gameplay, relying on a Moon Logic Puzzle just too many times.
- Them's Fightin' Herds. Most fans of the game are more interested in the world of Foenum and the backstories of the six ungulate fighters than the actual fighting gameplay, especially since both the world and characters were made by the same woman behind My Little Pony: Friendship Is Magic. This is actually encouraged by the game devs and one of the main reasons behind the creation of the visual lobby mode, where players can explore the world, watch matches, and other stuff even if they are bad at fighting games.
- SNK vs. Capcom: SVC Chaos is seen as a lackluster fighter especially compared to its Capcom-developed counterpart, Capcom vs. SNK 2: Mark of the Millennium. For players, its most outstanding element is the pre-battle dialogue; every possible combination of combatants has a unique conversation to go with it, many of which are very entertaining to read. And yes, the game will even acknowledge Mirror Matches, with the resulting conversations lampshading the matchup.
- Compared to the sequels, the first Dragon Ball Z: Budokai has relatively shallow and repetitive gameplay. The story mode, however, is a very admirable cinematic recreation of the manga's story from the Saiyan Saga to the end of the Cell Saga that was Truer to the Text than the original anime series, making it a combination of Dragon Ball Kai and Mortal Kombat 9 before they were even made.
- Dragon Ball FighterZ zig-zags this. It's an extremely fun and well made fighting game, and the story mode is largely well-written, with entertaining character interactions and an original plot featuring an intriguing villain. So, initially, it wouldn't seem to be either this trope or Play the Game, Skip the Story - however, the story mode itself suffers from a tedious, repetitive structure, being overly easy, and generally far too long, meaning that even those who enjoy the game generally just go on YouTube to watch the cutscenes.
- BioShock attracted much praise for its story, setting and themes, but also received criticism for its radically simplified game mechanics in comparison to the game's spiritual predecessor, System Shock 2, which were widely perceived as having been intentionally "dumbed down" for the benefit of the console market. It also attracted significant criticism for its heavy use of Fetch Quests and its Disappointing Last Level. Edge magazine went so far as to describe it as "an uninspired FPS with inspired presentation".
- BioShock Infinite was similarly received: extensive praise for its storytelling, but criticism for its gameplay, which had been simplified even further from its predecessors. Much like the first BioShock it was also criticized for its Disappointing Last Level. This image◊ illustrates the gradual simplification of the series over time, from the original System Shock to Infinite.
- The actual gameplay parts of 80 Days are so overshadowed by the quality of the story that The Times named the game one of the best novels of the year.
A term that cropped up in an effort to categorize the type of games Quantic Dream became famous for. Since interactive movies focus on story over gameplay by definition and most of them originate from the same studio, their characteristics are as identical as they fit into this trope: the player basically plays a movie with only marginal and very unobtrusive input, usually in the form of QTEs which non-player observers often don't even notice. The focus absolutely rests on enjoying the compelling story and the games' well-written, professionally voiced and, more often than not, A-list-actor-MoCapped characters. Specific examples include:
- Puyo Puyo has a quite a following of fans who care more about the characters and lore than the gameplay. Not that there's anything wrong with the gameplay, it's just that many of the characters are cute, charming, quirky, and hilarious that many people have a few favorite characters. The lore is surprisingly very deep, too, and Madou Monogatari (the RPG/dungeon crawler series that Puyo is a spinoff from) introduces some of the crazier stuff that happens that surprises many fans to this day. To said fans' credit, the series has largely gone into Mission-Pack Sequel territory since (at the very least) 2006's Puyo Puyo! 15th Anniversary, so the stories are one of the primary things that differentiate the games.
- Homeworld had this issue with its slow pace, 3D mechanics and tricky interface; but the story in the manual was some really good reading, as was the story in the cutscenes.
- Love Live! School Idol Festival isn't exactly seen as an innovation or refinement of the Rhythm Game genre; many fans are in it for the story segments and hundreds of Costume Porn-laden cards to collect.
- Persona 4: Dancing All Night has been praised for its storyline, but not as many people enjoy its rhythm gameplay. It doesn't help that a good portion of the playerbase, fans of the Persona series, may be more interested in RPGs than rhythm games.
- Most of the praise for the Drakengard series has gone to its story, pitch black tone, and memorable cast. The games themselves tend to have extremely poor gameplay, with repetitive and monotonous combat on the ground, and even worse controls during the air missions. This trope was part of the reason NieR: Automata was a collaborative effort with PlatinumGames in an attempt to deliberately avert this and actually have a game in the series with genuinely good gameplay.
- The Kingdom Hearts franchise is a curious Crossover between Disney and Final Fantasy, which of course brings legions of fans from both fandoms. Unsurprisingly, these fans tend to play the games primarily to watch their favorite characters rather than for the gameplay, which is solid but unremarkable. The main story and the original characters themselves are also really popular and continue to bring players back, despite a general impression of repetition among critics.
- The Neptunia series is known for its quirky characters and parody-stuffed writing that lampshades every RPG trope in the book with cute versions of your favorite gaming console or franchise as characters. The gameplay in the first game was downright terrible, and even with improvements made in the following titles, the combat is still button-mashy busywork with formulaic dungeons and repetitive sidequests. The first game's resounding success came from the humor and characters, and definitely not from the gameplay. While the series gradually got better about this, the lighthearted story is what fans come back for in each installment.
- EarthBound and the other games in the EarthBound series that only came out in Japan are remembered more for their story than for their clunky gameplay and user interface, which were archaic even for its time.
- The Pokémon Mystery Dungeon series is generally considered to have So Okay, It's Average gameplay by both fans and critics, but they developed a dedicated fanbase due to their suprisingly deep plots by Pokémon standards. Some even considering their storylines better than most of the main series games.
- By far the most praised aspect of the Trails Series is its insanely thorough World Building. The plot begins as a Cliché Storm of familiar tropes, only to ground them and its characters into a setting so realized with politics, a meticulous history, the effects of a stock fantasy world getting swept up in the social, technological, and governmental upheaval, and the day-to-day lives of hundreds of Non Player Characters that the continent of Zemuria is rich with detail. Every NPC has their own subplots running throughout the games with new dialogue added between story events, it's this detail that has players replay the games for hundreds of hours to explore the world and the hundreds of characters that live there. The gameplay isn't bad, it's actually pretty fun at times, but the sheer volume of text ensures it's little more than some battles and several sidequests between story and NPC dialogue. Trails in the Sky FC seems to have realized this, as the Cloak Quartz can be found just before The Very Definitely Final Dungeon which skips all encounters, and can be carried on to a New Game+.
- Fallen London has been praised by multiple critics for its great, immersive writing and complex world-building — which is the main reason a number of players get frustrated about having to complete repetitive tasks and wait over 3 real-life hours to get another full candle of actions to read more of the game's writing.
- While Star Trek Online's gameplay gets very repetitive after a while (shoot some ships, beam down, shoot bad guys, beam up, shoot more ships...), the storyline gives continuity for Trekkies on what happened in the Prime universe after the supernova event depicted in Star Trek (2009).
- Star Wars: The Old Republic: The mechanics aren't anything special, and handles a lot like a clone of World of Warcraft. The game's primary selling point is the eight basic storylines, the Imperial/Republic storylines from levels 50-65, and the Knights of the Fallen Empire and Knights of the Eternal Throne arcs, which are all but a single-player campaign. All of these having full voice acting, multiple branches of the storyline depending on player choice, and a unique companion mechanic for PvE.
- An interesting example with GURPS: while the game doesn't really have a default setting note , its various genre supplement tend to be extremely well-researched and full of information useful for games in that genre regardless of the system used. As such, many roleplayers buy the supplements for the game and use the information therein for their own campaigns using other games, as GURPS itself has a somewhat unfortunate reputation for being a Master of None game that attempts to run all genres of fiction but ends up doing none of them very well.
- The setting of Rifts, as well as the various other RPG's in the Palladium Games Multiverse, is a very diverse, complex setting that runs on Rule of Cool and being Trope Overdosed. Unfortunately, the game itself is based on the Palladium Megaversal System, a set of rules derived from creator Kevin Siembieda's Advanced Dungeons & Dragons house rules that is a bit of a kludgy, unbalanced mess gameplay-wise. As a result, the general advice from fans is "read the books for the setting info, and then run your campaign using a different system altogether."
- Finally averted as of 2016 as an official port of Rifts to the Savage Worlds system marries the Rifts setting to an actually playable RPG.
- The Cult Classic RPG Skyrealms Of Jorune, as a game, is a rather uninspired ripoff of RuneQuest that uses d20's instead of d100's. What draws people to the game, however, is its setting, which is a vibrant Planetary Romance world with colorful races and a unique magic system.
- Most reviewers at the time agreed that the main issue with Siege of Avalon was already summed up in its own promotional tagline: "Played any good books lately?" Its main drawing point was the expansive Low Fantasy storyline, filled with political intrigue and conspiracies, but as an RPG it was somewhat underwhelming.
- Planescape: Torment is noted for its excellent story, characters, and loads of freedom and roleplaying options, but the combat is not the game's strong point. Luckily you can solve most problems with dialogue options rather than fighting (the entire game has a total of three unskippable fights).
- Arcanum is another RPG with an excellent story but at best mediocre combat gameplay. The combat can get in the way of the story, as there are a lot more unskippable fights and the fights can be quite hard, especially at the beginning when the player character can die in a few unlucky hits.
- Darkened Skye is regarded, gameplay-wise, as an underwhelming RPG with shaky controls, poor animation, lots of Hitbox Dissonance, and a significant amount of bugs. The story, however, is the game's highlight, as it's basically the writers' giving a giant middle finger to the executives that told them to make a game about Skittles. Yes, Skittles. They're the source of all magic, didn'tcha know?
- Mass Effect is praised for its deep setting, well-written characters, and extensive lore, but panned for its mediocre combat and poorly-designed inventory system. Many players prefer to set the game to its easiest setting in order to steamroll through the combat without having to pay as much attention to inventory management so that they can enjoy the story and, incidentally, create a save to import into the sequels, which have much-improved game mechanics. The third game in the series even includes a difficulty setting specifically designed to facilitate players who just want to experience the story. Some of the biggest criticisms for Mass Effect: Andromeda revolve around how while the gameplay is some of the best the series has to offer, the story and especially characters feel lacking compared to the original trilogy.
- Like with the above, Dragon Age: Origins is widely seen as one of the best games made by Bioware because of the strong writing, world-building, and the way your player characters race and actions affect almost every detail in the game. Gameplay is seen as one of the weakest areas however, because it uses Dungeons & Dragons mechanics and gimmicks, with semi-MMO elements, resulting in tedious and frustrating gameplay mechanics at times that can bog down many who are less familiar with the mechanics of it. And just like Mass Effect, while the series has improved the gameplay, the story quality has been notably heavily criticized for dumbing down the complexity in favor of just simply being approachable.
- The gameplay of OFF is average for an RPG Maker game up through Zone 3 where it starts becoming a lot more frustrating, and almost every boss is a Damage-Sponge Boss with little challenge. However, this is compensated for by the auto option being pretty useful. The real focus of the game is on the story, and to some extent the puzzles.
- South Park: The Stick of Truth is like a few brand-new quality episodes of the show, with some mostly bland gameplay added in. Most of the fun of the battles comes from the hilarity and strangeness of the moves and environmental hazards. The gameplay itself is choosing attacks by-the-numbers without much in the way of strategy, buying new weapons from time-to-time, and equipping them with strap-ons through a clunky menu system. The easiest difficulty allows the player to blow through battles fairly quickly and enjoy the story without needing to configure equipment too often.
- The gameplay in Albion is... you know, okay. A bit clumsy but playable. But boy can you ever spend a lot of time talking to people to learn about Iskai culture or Dji Cantos philosophy. It's not even the main plot as the world-building that's so focused on. As of this writing, the Wikipedia page for the game consists mostly of a description of the world.
- Undertale may have a pretty unique battle system that combines a turn-based RPG with a Bullet Hell game, but the overworld puzzles are pretty trivial, and even the battles tend to wear thin on subsequent playthroughs. It's the complex plot and characters that keep players coming back for more, along with the one gameplay mechanic the game doesn't tell you about: the game's recording quite a bit more than you'd expect, and this data persists across deaths, soft-resets, and file resets, affecting the course of events. Fortunately, the game's also pretty short, so getting through the more tedious elements doesn't feel as much like a chore, and you can always sit back and watch a Let's Play. Not that the game isn't above actively making fun of you for doing so.
- Max An Autistic Journey is a look into the mind of an autistic boy first and an RPG second, as significantly more effort is put into showing how autism affects one's daily life than balancing the abilities or providing deep RPG mechanics. Many Steam user reviews praise the story, but note that the gameplay isn't anything special.
- Privateer 2: The Darkening has an enjoyable dark mystery story in a science fiction setting, outstanding visual design with an all star-cast which includes Clive Owen, Christopher Walken, John Hurt and David Warner. The gameplay on the other hand is a clear step down from its predecessor and the rest of the Wing Commander series, with tedious grinding for money and annoying random battles which are virtually impossible to escape from.
- Most Touhou fans don't consider the Touhou shooting games bad, but they are designed by a man who thinks if you beat his games after only 20 hours of trying, it's too easy, so the difficulty can turn them off. To them, it's more fun to indulge in the characters, the lore, the connections to various East Asian mythologies, and the massive universe of fanworks surrounding those elements. Additionally, some fans who do play the games prefer the fighting game spinoffs. This is perhaps why the general scrolling shooter fanbase has a beef with that of Touhou, as many shooter fans feel that stories are completely irrelevant to shooters.
- Silent Hill 2 is often held up as the pinnacle of the series and one of the best examples of the Survival Horror genre. However, most of its acclaim was focused on its story, atmosphere and visual design, with many critics less impressed by its awkward, repetitive combat and nonsensical, unintuitive Moon Logic Puzzles. Interestingly, the game actually featured an option to disable its combat altogether, allowing players to experience the game solely for its story and puzzles.
- Deadly Premonition is a 2010 survival horror which critics made sure to point out (even overtly negative reviews) that despite the outdated graphics, bad sound effects and broken gameplay, is worth playing to follow a downright bonkers story with the "Holy Shit!" Quotient up on the roof, be it for hilariously clunky dialogue or just plain weird moments.
- The first two Five Nights at Freddy's games have very simple game mechanics; you flip between static screens and activate a couple of extremely simple controls -security doors in the first game, a mask and a wind-up music box in the second- to avoid one of a small number of ways to die. And yet the game is amazingly tense and atmospheric and the lore is detailed, genuinely interesting and comes with a healthy dose of Adult Fear.
- The gameplay of Rule of Rose is an intricate, beautifully scored vehicle for the game's story. As a vehicle for actual fun, however, it fails completely and miserably. The protagonist is a young child and fights like one, combat is no more detailed than 'hack at your enemies and try not to die', many of the more powerful weapons are hidden off the beaten track, and most of the gameplay itself consists of unintuitive Fetch Quests which the player will have to delay finishing if they want to find out what the hell is going on. Even the developers seemed to acknowledge this trope: all of the game's climactic moments either don't involve direct combat (such as Jennifer taking down Wendy, which occurs in a cutscene) or combat at all (The Golden Ending path, which is achieved by not responding to Stray Dog's attacks and convincing him to commit suicide).
- There is a good portion of the Warhammer 40,000 fanbase that follows the game's background and universe through novels like Ciaphas Cain, video games, RPGs, and lore in the Codices without actually playing the wargame. This isn't surprising, as actually building, assembling, and painting a viable army is an expensive and time-consuming hobby, and the universe is very detailed and intricate, appealing to many who may not have the time, money, or interest to invest in the game.
- Spec Ops: The Line was widely praised for its story, but most critics were less impressed by its bland, mediocre cover-based shooting. The game seems to be aware of this, even criticizing you if you enjoy playing this kind of thing. It also doesn't help that in order to set up the tropes it intends to brutally deconstruct later, the game spends its opening levels pretending to be a generic brown shooty game where you shoot brown people in brown places. On the other hand, a less intentional example is probably the most poorly-received element of the game: its multiplayer mode, which features no narrative elements at all (and wasn't even designed by the development team behind the single-player mode, who hated the Executive Meddling addition).
- Kid Icarus: Uprising is best-known for a top-notch script especially in the localized versions that keeps players entertained the whole way and having one of the most lovably hateable villains in existence, yet has an unconventional and polarizing control scheme that demands dexterity, especially during its Land Battle segments.
- Fire Emblem Echoes: Shadow of Valentia has received praise for its story, voice acting and characters. On the other hand, some are critical of its gameplay, particularly for the bland map design, outdated gameplay mechanics and other flaws.
- It's generally agreed by the Super Robot Wars fanbase that the series is mostly about crossover plots and highly-choreographed attack animations. The strategy gameplay is merely a vehicle to tell said stories and heavily uses balance by imbalance so that players can, for the most part, run their favorites instead of worrying about which units are viable.