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Story to Gameplay Ratio
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Just about every game released has at least a little story in it. Some games are almost nothing but story, such as Visual Novels — like Ace Attorney or Hotel Dusk: Room 215. Does this work? It depends. Games with great gameplay and no story, such as the Super Smash Bros. series, sell fantastically. Games with bad gameplay and no story tend, unsurprisingly, not to last. Games with bad gameplay but a high Story to Gameplay Ratio, especially if the story is considered great, sell to those who are willing to slog through the boring game to get at the crunchy story bits and Cutscenes. Enough of those people exist to make many of these games profitable, though with the exception of a few popular ones, most of these never go anywhere near a bestsellers chart. Many modern Role-Playing Games have a high ratio. Many modern Action Games have a low ratio. Periods where a game takes control away from the player for the purposes of advancing the plot or tutorials are known as Exposition Breaks. See also Play the Game, Skip the Story; Enjoy the Story, Skip the Game; Excuse Plot; Just Here for Godzilla; Checkpoint Starvation and the various Interactive Storytelling Tropes. Please note: This list is ranked. That means the closer is an item to the top, the more gameplay it has; the closer to the bottom, the more story it has. So, if you know about a really, really plot-heavy game don't place it under "Lowest Story to Gameplay Ratio"; instead, place it right above "Highest Story to Gameplay Ratio". |
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| Story to Gameplay Ratio / int_11292d9c | type |
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Dreamfall: The Longest Journey: The first and last few chapters in particular consist almost exclusively of steering your character around from one cutscene to another. | |
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Nintendo in general makes many games of that kind even today. If there is any real depth to the story, chances are that those parts are completely optional, like the Metroid Prime scans. | |
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Starcraft is in an odd place in that has two distinct fanbases, one that loves the story and lore and one that skips this altogether and just plays multiplayer. The last few entries actually had different game mechanics for single and multiplayer. | |
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Hellsinker is notable for being incredibly plot-heavy for a Shoot 'Em Up... if you can understand it. | |
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Rivals of Aether has a story mode where the gameplay is largely irrelevant to the story being told. For example, Zetterburn's episode begins with him returning to the Fire Capitol to find it in mourning, then the gameplay commences with an utterly disconnected battle against Maypul at Treetop Lodge, then the story resumes with Zetterburn learning his half-brother Forsburn supposedly killed their father. That said, each individual chapter ends with its last stage actually reflecting the plot, with the last stage's opponent in some cases being a dark doppelganger of another character. | |
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Kingdom Hearts II deserves a mention here, even by the standards of the series. Entering a new room? Cutscene! Wait, it's just a corridor. Regain control of your character long enough to walk down it for three seconds. Next room: Cutscene! Goofy says something, monsters appear, regain control to fight them, the battle ends, Cutscene! "That sure was a tough battle, Sora..." and so on. (Ironically, KHII allowed players to skip cutscenes much like in Chain of Memories, likely in response to how long certain cutscenes in the original could run—doubly so if they preceded particularly hellish boss fights.) The prequel Kingdom Hearts: Birth by Sleep has a similar situation. | |
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Uncharted is quite high on story AND gameplay. This is part of its appeal. | |
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N: Even after being cleverly embellished to sound like a grand quest, the page describing the ninja's basic goal (getting gold, avoiding enemies, and reaching the exit) is quite tiny. | |
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The X-Universe games have a plot (specifically) Kyle Brennan trying to get back to Earth in X: Beyond the Frontier and X-Tension], defeating the Kha'ak invasion in X2: The Threat and X3: Reunion, and the rising tensions between Earth and the Commonwealth, culminating in full-scale war, in X3: Terran Conflict and X3: Albion Prelude, but 99% of the game is screwing around in the Wide-Open Sandbox and building a trade empire. | |
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Tales Series games have their praise and fanbase in each game's storylines. Character backgrounds are diverse and very detailed, mostly explained through cutscenes and sometimes into the side-conversations between characters known as "skits". For most games, the Lore of the worlds may even be explained in these cutscenes and skits as well. | |
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The majority of Shin Megami Tensei games are usually very plot-driven (even the NES games have surprisingly high content in story), but they rely on the player grinding through several hours of dungeons to progress. In fact, they average out at the approximate center, but they rely on gameplay more than a story. Exceptions to this are the Devil Survivor games, which are actually higher in the story than gameplay. | |
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Wario Land: Shake It! has this, to probably the most minimal point ever. You've got an intro scene, an ending movie... and after watching them just once, you never get forced to see them again (going straight in an optional bonus menu). Same for the credits. | |
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Guilty Gear Xrd and Strive doesn't even bother putting fights in between cutscenes for its story mode. The entire thing is one 4-5 hour long Kinetic Novel. | |
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Rule of Rose had a really intriguing, complex, and fleshed-out storyline, but mediocre at best gameplay. Almost everyone who played it and enjoyed it did so solely for the story; unfortunately, since it sat closer to the gameplay end of the scale, many reviewers gave the game bad scores because they felt that the gameplay took away from your ability to enjoy the story. | |
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Half-Life has a low to moderate ratio: there is story and dialog, yes, but you never lose control of Gordon Freeman during any dialog or event. On the other hand, because you often can't move Gordon to the next area until the dialog is completed (which is usually when the person talking unlocks the door or whatever is in your way), these scenes can arguably be thought of as semi-interactive unskippable cutscenes. | |
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A staple of the series has been interrupting gameplay with unskippable cutscenes and quick-time events to further develop the game's story. Some of the games in the series have more character development and story than others, on top of the unskippable cutscenes. | |
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Super Mario 64 is a perfect example of this. A voiced intro, a voiced ending, and nothing else except the occasional snippet of dialog from an NPC. | |
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Asura's Wrath: It's far from boring however, being basically an interactive action Anime. | |
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Final Fantasy VII spin-off Dirge of Cerberus is one long cutscene with occasional Third-Person Shooter elements. | |
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When Final Fantasy XII was released, they cut down the cutscenes; and the fans didn't like it one bit. | |
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While Final Fantasy XIV is no slouch with the gameplay, there is a lot of story to delve into. Going by the main scenario alone, you can expect a lot of exposition with some combat against minor enemies in between and then getting paired up with other players to complete a dungeon or trial which is where the story tends to ramp up. | |
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World of Warcraft is a little odd in this regard. There's lots of story in terms of dialog from NPCs and other characters, but all of it can be (and often is by most players) ignored by those who just want to jump into the quests. | |
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Marathon, Bungie's first FPS series, is also high on the list due to story and worldbuilding delivered through the terminals, during the time when the plot of FPS games amounted to "kill monsters." The series's story writer Greg Kirkpatrick responded to complaints about Marathon's "confusing and unnecessary story" with an answer that is the opposite of John Carmack's own view on this near the top of this list: "Read my lips: Computer games tell stories. That's what they're for." | |
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The Star Fox series typically has a 1-2 minute long cutscene at the beginning and end of each stage. Most of the plot comes from in-game transmissions that take place during gameplay. | |
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Eversion has this one-line description of a plot hidden away in the readme file: "Princess is kidnapped. You must save princess", but it has pretty much no impact on gameplay. | |
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Cave Story is interesting in that regard. While there is a who, where, when, why, and how, and a very charismatic set of characters to carry those nicely, it's not given to the player at all until they're at least out of the Noob Cave. And even then the plot trickles slowly, yet increasingly. The semblance of a serious storyline only comes to light by the third stage, for example. | |
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The Silent Hill series. The cutscenes don't go on for too long and are spaced out reasonably. Yet a lot of stories are contained within those scenes. | |
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The Trauma Center series has long dialog scenes before and after operations, but after you've beaten the operation once, you can skip right past them. | |
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Metal Gear Solid 4: Guns of the Patriots, a game which deserves a special place, due to the sheer length and quantity of its cutscenes being substantially greater than the previous games in the series. Granted, there's plenty of gameplay, but the ratio against cutscenes is vastly balanced towards the latter — it's less like one game and more like five full-length movies. The game was even awarded two Guinness World Records for "longest cutscene in a video game" (at 27 minutes) and "longest cutscene sequence in a video game" (at 71 minutes). Notably, while it tends to overshadow the previous games due to its sheer amount of cutscenes, Metal Gear Solid 4 actually has a much lower and more balanced Story to Gameplay Ratio compared to the earlier games in the series due to having longer gameplay sequences. For a counter-example, check out Metal Gear Solid 2: Sons of Liberty, which has about one hour of gameplay for every two hours of cutscenes. | |
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Fahrenheit, also known as Indigo Prophecy in the USA, has been defined as an "interactive movie" by its creators. Its gameplay and story very much overlap and complement each other. Despite being almost entirely focused on its plot, the story is surprisingly flexible and control is only very rarely taken away from the player due to the almost entirely contextual control scheme. | |
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Tomb Raider has a plot, but it's very minimal by having cut scenes only happening at the end of each "chapter" and said cut scenes are mostly just the plot explained in a simple form. The majority of the game is focused on the gameplay itself. The second game slid further down the ratio by having even fewer cutscenes than the first game, but the third game onward moved the scale in the opposite direction by having a cutscene for almost every level's end. | |
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Dwarf Fortress is an odd, hard-to-place example. The world you play on has an extremely rich and detailed backstory that's completely procedurally generated, but in Fortress Mode they're largely irrelevant, unless you find yourself with a situation where you're the last surviving settlement of a Vestigial Empire that everyone else is at war with. | |
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Borderlands. It had a plot way back in preproduction, but it disappeared right about the time the dev team decided to cel shade everything to hide graphical flaws. The game is ten hours of chest farming and collecting MacGuffins to get to the next zone, framed by an Excuse Plot. (However, Borderlands 2 and Borderlands: The Pre-Sequel! cared significantly more about their plot and characters, and Tales from the Borderlands is mostly focused on plot, due to being a Telltale Games spin-off.) | |
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Halo sits much higher on the list than one would expect with its rather frenetic violence and combat. This is mostly because, in addition to a lot of cutscenes, the games make a point of having plenty of exposition and dialogue taking place during the levels. Additionally, all the games from Halo 3 onward have terminals, datapads, and audio logs scattered throughout the levels which give lots of additional information on the background lore, with several actually being complete stories in their own right. | |
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1.0 | |
| Halo (Franchise) | hasFeature |
Story to Gameplay Ratio / int_755b343f | |
| Story to Gameplay Ratio / int_7988cb68 | type |
Story to Gameplay Ratio | |
| Story to Gameplay Ratio / int_7988cb68 | comment |
Mass Effect sits a bit lower down than some would expect, as a lot of its dialogue is skippable. However, it is quite hefty on the talking side of things, but still has plenty of action. Well, not to mention that the dialogue is playable, so it's really not gameplay. | |
| Story to Gameplay Ratio / int_7988cb68 | featureApplicability |
1.0 | |
| Story to Gameplay Ratio / int_7988cb68 | featureConfidence |
1.0 | |
| Mass Effect (Franchise) | hasFeature |
Story to Gameplay Ratio / int_7988cb68 | |
| Story to Gameplay Ratio / int_858da35d | type |
Story to Gameplay Ratio | |
| Story to Gameplay Ratio / int_858da35d | comment |
The Panzer Dragoon series is a shooter series with a vast amount of backstory, but most of it is optional, aside from 2-minute cutscenes at the beginning of each stage. | |
| Story to Gameplay Ratio / int_858da35d | featureApplicability |
1.0 | |
| Story to Gameplay Ratio / int_858da35d | featureConfidence |
1.0 | |
| Panzer Dragoon (Video Game) | hasFeature |
Story to Gameplay Ratio / int_858da35d | |
| Story to Gameplay Ratio / int_85daf5da | type |
Story to Gameplay Ratio | |
| Story to Gameplay Ratio / int_85daf5da | comment |
Vietcong. The briefing and debriefing cutscenes are rather long, but the rest of the game is mostly a standard jungle FPS. | |
| Story to Gameplay Ratio / int_85daf5da | featureApplicability |
1.0 | |
| Story to Gameplay Ratio / int_85daf5da | featureConfidence |
1.0 | |
| Vietcong (Video Game) | hasFeature |
Story to Gameplay Ratio / int_85daf5da | |
| Story to Gameplay Ratio / int_8d862a74 | type |
Story to Gameplay Ratio | |
| Story to Gameplay Ratio / int_8d862a74 | comment |
Melty Blood in its first two releases, much like the visual novel it's based on, has a story which is as lengthy as one, with large amounts of text to read between a handful of fights. | |
| Story to Gameplay Ratio / int_8d862a74 | featureApplicability |
1.0 | |
| Story to Gameplay Ratio / int_8d862a74 | featureConfidence |
1.0 | |
| Melty Blood (Video Game) | hasFeature |
Story to Gameplay Ratio / int_8d862a74 | |
| Story to Gameplay Ratio / int_8ec33a86 | type |
Story to Gameplay Ratio | |
| Story to Gameplay Ratio / int_8ec33a86 | comment |
And in a twist of irony, Xeno-creator Tetsuya Takahashi specifically described Xenoblade Chronicles 1 (no relation to previous Xeno-titles) as being on the exact opposite end of the scale from his (in)famous previous works, calling the pursuit of excessive story-to-gameplay ratio "a dead-end". In fact, Xenoblade has long cutscenes and a complex plot... but it's set in one heck of a Wide-Open Sandbox. Basically, they made the gameplay big enough to contain the story. That Takahashi is now working with Nintendo (see above) may or may not have anything to do with this new direction. | |
| Story to Gameplay Ratio / int_8ec33a86 | featureApplicability |
1.0 | |
| Story to Gameplay Ratio / int_8ec33a86 | featureConfidence |
1.0 | |
| Xenoblade Chronicles 1 (Video Game) | hasFeature |
Story to Gameplay Ratio / int_8ec33a86 | |
| Story to Gameplay Ratio / int_91209b29 | type |
Story to Gameplay Ratio | |
| Story to Gameplay Ratio / int_91209b29 | comment |
The Xenosaga series, which is essentially several movies with occasional interactive parts. Just to show how bad it was in the first game, in the first few hours, playtime was only about a fifth of the cutscene time. And the scene when you first get on to the ship you're going to be going around in for the rest of the game, is thirty minutes long, and they even let you save mid-scene. The second game was slightly better, but not by much. | |
| Story to Gameplay Ratio / int_91209b29 | featureApplicability |
1.0 | |
| Story to Gameplay Ratio / int_91209b29 | featureConfidence |
1.0 | |
| Xenosaga (Video Game) | hasFeature |
Story to Gameplay Ratio / int_91209b29 | |
| Story to Gameplay Ratio / int_924b6d63 | type |
Story to Gameplay Ratio | |
| Story to Gameplay Ratio / int_924b6d63 | comment |
Xenogears is similar, being essentially a part of the same series. Not only does the game interface come off as somewhat hastily assembled (and it probably was), but the game's story is extremely involved. Disc 2, which the dev team didn't even have time to finish, is essentially one huge cutscene interrupted by a couple of dungeons. You finally get access to the world map just before the final dungeon, for the sake of sidequests. Most egregiously, towards the very end of the first disc there's a cutscene that's about an hour long. | |
| Story to Gameplay Ratio / int_924b6d63 | featureApplicability |
1.0 | |
| Story to Gameplay Ratio / int_924b6d63 | featureConfidence |
1.0 | |
| Xenogears (Video Game) | hasFeature |
Story to Gameplay Ratio / int_924b6d63 | |
| Story to Gameplay Ratio / int_93133ff6 | type |
Story to Gameplay Ratio | |
| Story to Gameplay Ratio / int_93133ff6 | comment |
Beyond: Two Souls is much closer to Asura's Wrath in the sense that it made Heavy Rain an interactive (sometimes action) Drama. It is more accurate to call it a "five-six hour movie with some interaction" than a video game as well. According to the commentary, they even minimized the interface from Heavy Rain and made it almost without a UI in the game proper. | |
| Story to Gameplay Ratio / int_93133ff6 | featureApplicability |
1.0 | |
| Story to Gameplay Ratio / int_93133ff6 | featureConfidence |
1.0 | |
| Beyond: Two Souls (Video Game) | hasFeature |
Story to Gameplay Ratio / int_93133ff6 | |
| Story to Gameplay Ratio / int_a2c37f38 | type |
Story to Gameplay Ratio | |
| Story to Gameplay Ratio / int_a2c37f38 | comment |
Planescape: Torment isn't so much an actual game so much as it is a highly interactive novel. | |
| Story to Gameplay Ratio / int_a2c37f38 | featureApplicability |
1.0 | |
| Story to Gameplay Ratio / int_a2c37f38 | featureConfidence |
1.0 | |
| Planescape: Torment (Video Game) | hasFeature |
Story to Gameplay Ratio / int_a2c37f38 | |
| Story to Gameplay Ratio / int_a6543322 | type |
Story to Gameplay Ratio | |
| Story to Gameplay Ratio / int_a6543322 | comment |
The Touhou Project series features dialogue just before each boss fight... and that's about it unless you have the Japanese manual. And much of that dialogue doesn't have anything to do with the main plot until the last 2 or 3 stages. This gives its vibrant fanbase plenty of room to come up with all sorts of fanon. | |
| Story to Gameplay Ratio / int_a6543322 | featureApplicability |
1.0 | |
| Story to Gameplay Ratio / int_a6543322 | featureConfidence |
1.0 | |
| Touhou Project (Franchise) | hasFeature |
Story to Gameplay Ratio / int_a6543322 | |
| Story to Gameplay Ratio / int_a81325d3 | type |
Story to Gameplay Ratio | |
| Story to Gameplay Ratio / int_a81325d3 | comment |
Modern Final Fantasy games: Final Fantasy VII spin-off Dirge of Cerberus is one long cutscene with occasional Third-Person Shooter elements. Final Fantasy X thus far has the highest ratio of its series; the hero goes along a linear path from one scene to the next, with occasional boss fights in between. It's only when you're ready to face the Big Bad that you finally have the freedom to travel about at your leisure, which, like Xenogears, is pretty much for sidequests, Optional Bosses, and extra scenes. Final Fantasy XIII rivals the tenth entry for cutscene ratio; it's even been called an interactive 50-hour film. While Final Fantasy XIV is no slouch with the gameplay, there is a lot of story to delve into. Going by the main scenario alone, you can expect a lot of exposition with some combat against minor enemies in between and then getting paired up with other players to complete a dungeon or trial which is where the story tends to ramp up. |
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| Story to Gameplay Ratio / int_a81325d3 | featureApplicability |
1.0 | |
| Story to Gameplay Ratio / int_a81325d3 | featureConfidence |
1.0 | |
| Final Fantasy (Franchise) | hasFeature |
Story to Gameplay Ratio / int_a81325d3 | |
| Story to Gameplay Ratio / int_a895e9d3 | type |
Story to Gameplay Ratio | |
| Story to Gameplay Ratio / int_a895e9d3 | comment |
Portal 2, while keeping the physics-warping puzzles from the first game, expands beyond the test chambers and has quite a bit more story, mostly through the dialogue of the A.I.s and recorded messages you hear throughout. The co-op campaign, however, is really just many more puzzles that GLaDOS wants you and a friend to complete. | |
| Story to Gameplay Ratio / int_a895e9d3 | featureApplicability |
1.0 | |
| Story to Gameplay Ratio / int_a895e9d3 | featureConfidence |
1.0 | |
| Portal 2 (Video Game) | hasFeature |
Story to Gameplay Ratio / int_a895e9d3 | |
| Story to Gameplay Ratio / int_ab3a6a48 | type |
Story to Gameplay Ratio | |
| Story to Gameplay Ratio / int_ab3a6a48 | comment |
Heavy Rain is especially notable for this; not only is it worse than its predecessor for being more movie and "Quick Time Events" than game, it was even marketed as an "interactive storytelling experience." note (i.e. a Visual Novel with choices dressed up as a movie) | |
| Story to Gameplay Ratio / int_ab3a6a48 | featureApplicability |
1.0 | |
| Story to Gameplay Ratio / int_ab3a6a48 | featureConfidence |
1.0 | |
| Heavy Rain (Video Game) | hasFeature |
Story to Gameplay Ratio / int_ab3a6a48 | |
| Story to Gameplay Ratio / int_abdc8c7c | type |
Story to Gameplay Ratio | |
| Story to Gameplay Ratio / int_abdc8c7c | comment |
Bangai-O Spirits does not even pretend to have a plot in contrast to its predecessor which at least had an Excuse Plot. The little character interaction that there is tends to include discussions of this issue. | |
| Story to Gameplay Ratio / int_abdc8c7c | featureApplicability |
1.0 | |
| Story to Gameplay Ratio / int_abdc8c7c | featureConfidence |
1.0 | |
| Bangai-O (Video Game) | hasFeature |
Story to Gameplay Ratio / int_abdc8c7c | |
| Story to Gameplay Ratio / int_ad1ffac9 | type |
Story to Gameplay Ratio | |
| Story to Gameplay Ratio / int_ad1ffac9 | comment |
Similarly, Virtua Fighter gives no importance to its story at all. Oh, there is the whole thing about the machinations of J6, but they're All There in the Manual; none of that actually makes it into the game. In fact, the only thing in the game that reminds you that J6 even exists is that Goh wears their name on the back of his gi. (Note that Goh didn't debut until the Updated Re-release of the fourth game, which first hit arcades in August 2002—close to nine years after the series first hit the fighting game scene.) | |
| Story to Gameplay Ratio / int_ad1ffac9 | featureApplicability |
1.0 | |
| Story to Gameplay Ratio / int_ad1ffac9 | featureConfidence |
1.0 | |
| Virtua Fighter (Video Game) | hasFeature |
Story to Gameplay Ratio / int_ad1ffac9 | |
| Story to Gameplay Ratio / int_b178a190 | type |
Story to Gameplay Ratio | |
| Story to Gameplay Ratio / int_b178a190 | comment |
Siege of Avalon uses the tagline "Played any good books lately?" for a reason. | |
| Story to Gameplay Ratio / int_b178a190 | featureApplicability |
1.0 | |
| Story to Gameplay Ratio / int_b178a190 | featureConfidence |
1.0 | |
| Siege of Avalon (Video Game) | hasFeature |
Story to Gameplay Ratio / int_b178a190 | |
| Story to Gameplay Ratio / int_b55b8015 | type |
Story to Gameplay Ratio | |
| Story to Gameplay Ratio / int_b55b8015 | comment |
The 3D Ninja Gaiden games, which seem to have taken the opposite approach to their predecessors; the story is incomprehensible, uninspired, and entirely uninteresting, but strictly relegated to cutscenes that are short, flashy, and far-between. The main incentive for the players to keep going is simply to challenge themselves. It works for what it is, but it's ironic and somewhat sad that the reboot of a series that helped pioneer the concept of the story in action games would completely abandon such a defining feature of its predecessors. | |
| Story to Gameplay Ratio / int_b55b8015 | featureApplicability |
1.0 | |
| Story to Gameplay Ratio / int_b55b8015 | featureConfidence |
1.0 | |
| Ninja Gaiden (Video Game) | hasFeature |
Story to Gameplay Ratio / int_b55b8015 | |
| Story to Gameplay Ratio / int_b650d342 | type |
Story to Gameplay Ratio | |
| Story to Gameplay Ratio / int_b650d342 | comment |
Chronophantasma veers even heavier towards the story side. Gameplay in the story mode has been reduced to single-round combat, and many times, the fight will end when the enemy A.I. has barely lost half of their health. | |
| Story to Gameplay Ratio / int_b650d342 | featureApplicability |
1.0 | |
| Story to Gameplay Ratio / int_b650d342 | featureConfidence |
1.0 | |
| BlazBlue: Chrono Phantasma (Video Game) | hasFeature |
Story to Gameplay Ratio / int_b650d342 | |
| Story to Gameplay Ratio / int_b8e5dfd9 | type |
Story to Gameplay Ratio | |
| Story to Gameplay Ratio / int_b8e5dfd9 | comment |
Disco Elysium takes this concept to the next level, by not even featuring a combat system. | |
| Story to Gameplay Ratio / int_b8e5dfd9 | featureApplicability |
1.0 | |
| Story to Gameplay Ratio / int_b8e5dfd9 | featureConfidence |
1.0 | |
| Disco Elysium (Video Game) | hasFeature |
Story to Gameplay Ratio / int_b8e5dfd9 | |
| Story to Gameplay Ratio / int_c0d295c4 | type |
Story to Gameplay Ratio | |
| Story to Gameplay Ratio / int_c0d295c4 | comment |
Team Fortress 2 had literally no story when it was first released. The "Meet the [Class]" movies give the characters some additional dimensions, and it's implied in a couple of places that RED (Reliable Excavation Demolition) is a demolition company and BLU (Builders League United) is a construction company, but that's about it. This page adds a bit more background to the teams, but essentially the story boils down to "two companies that control the world have hired mercenaries to kill each other. Go help them." Now, it has much more story with this comic and this page, the latter which describes how the whole mess started. The plot still pretty much remains in the background, however, and when a plot point actually does appear in-game, it usually just takes the form of a taunt or response line. |
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| Story to Gameplay Ratio / int_c0d295c4 | featureApplicability |
1.0 | |
| Story to Gameplay Ratio / int_c0d295c4 | featureConfidence |
1.0 | |
| Team Fortress 2 (Video Game) | hasFeature |
Story to Gameplay Ratio / int_c0d295c4 | |
| Story to Gameplay Ratio / int_c221b0c3 | type |
Story to Gameplay Ratio | |
| Story to Gameplay Ratio / int_c221b0c3 | comment |
Parodying this, SubTerra has a short story that intentionally has nothing whatsoever to do with the game. | |
| Story to Gameplay Ratio / int_c221b0c3 | featureApplicability |
1.0 | |
| Story to Gameplay Ratio / int_c221b0c3 | featureConfidence |
1.0 | |
| SubTerra (Video Game) | hasFeature |
Story to Gameplay Ratio / int_c221b0c3 | |
| Story to Gameplay Ratio / int_c2463c55 | type |
Story to Gameplay Ratio | |
| Story to Gameplay Ratio / int_c2463c55 | comment |
Final Fantasy X thus far has the highest ratio of its series; the hero goes along a linear path from one scene to the next, with occasional boss fights in between. It's only when you're ready to face the Big Bad that you finally have the freedom to travel about at your leisure, which, like Xenogears, is pretty much for sidequests, Optional Bosses, and extra scenes. | |
| Story to Gameplay Ratio / int_c2463c55 | featureApplicability |
1.0 | |
| Story to Gameplay Ratio / int_c2463c55 | featureConfidence |
1.0 | |
| Final Fantasy X (Video Game) | hasFeature |
Story to Gameplay Ratio / int_c2463c55 | |
| Story to Gameplay Ratio / int_c3711ee9 | type |
Story to Gameplay Ratio | |
| Story to Gameplay Ratio / int_c3711ee9 | comment |
On its surface, Thomas Was Alone doesn't look like much more than a puzzle/platformer where you move blocks with differing abilities around. The real charm in this game is the surprisingly deep story about an artificial intelligence named Thomas awakening and becoming self-aware enough to develop lasting friendships with other A.I.s. | |
| Story to Gameplay Ratio / int_c3711ee9 | featureApplicability |
1.0 | |
| Story to Gameplay Ratio / int_c3711ee9 | featureConfidence |
1.0 | |
| Thomas Was Alone (Video Game) | hasFeature |
Story to Gameplay Ratio / int_c3711ee9 | |
| Story to Gameplay Ratio / int_c74f2d3c | type |
Story to Gameplay Ratio | |
| Story to Gameplay Ratio / int_c74f2d3c | comment |
The Warcraft universe, in general, has really good story-lines but it is safe to say that the game's immense popularity is not because of its plot. The game would likely still be as popular as it is even if it had virtually no story. The same can be said about Diablo. | |
| Story to Gameplay Ratio / int_c74f2d3c | featureApplicability |
1.0 | |
| Story to Gameplay Ratio / int_c74f2d3c | featureConfidence |
1.0 | |
| Diablo (Video Game) | hasFeature |
Story to Gameplay Ratio / int_c74f2d3c | |
| Story to Gameplay Ratio / int_c9633211 | type |
Story to Gameplay Ratio | |
| Story to Gameplay Ratio / int_c9633211 | comment |
No More Heroes: No More Heroes has several-minute-long cutscenes before and after boss fights, but most of the game is spent doing odd assassination jobs around the city, exploring the city, fighting through the levels, etc. Its creator's previous game, on the other hand, was notorious for having well-directed, stylish cutscenes (and a lot of them) and an extremely complex and ambitious story... juxtaposed with highly linear and questionably interesting gameplay. And by contrast, No More Heroes 2: Desperate Struggle has (mostly) shorter cutscenes and more gameplay than ever, which has earned it greater praise from critics but mixed responses from fans. |
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| Story to Gameplay Ratio / int_c9633211 | featureApplicability |
1.0 | |
| Story to Gameplay Ratio / int_c9633211 | featureConfidence |
1.0 | |
| No More Heroes (Video Game) | hasFeature |
Story to Gameplay Ratio / int_c9633211 | |
| Story to Gameplay Ratio / int_d18cf67d | type |
Story to Gameplay Ratio | |
| Story to Gameplay Ratio / int_d18cf67d | comment |
Mother 3 has a great story especially when you get to thinking about it. Its gameplay is still challenging and/or enjoyable, but the story is the reason why half of its pages even exist. It's the darkest of the Mother series but still keeps the quirky charm of its predecessors, if that's even possible. | |
| Story to Gameplay Ratio / int_d18cf67d | featureApplicability |
1.0 | |
| Story to Gameplay Ratio / int_d18cf67d | featureConfidence |
1.0 | |
| Mother 3 (Video Game) | hasFeature |
Story to Gameplay Ratio / int_d18cf67d | |
| Story to Gameplay Ratio / int_d502170c | type |
Story to Gameplay Ratio | |
| Story to Gameplay Ratio / int_d502170c | comment |
Pokémon Sun and Moon is an interesting example of this, especially for the Pokémon series, which typically relies on Excuse Plots. Most of the story is done with indecently long cutscenes before having to go somewhere. The ending is also about an hour long and due to the lots of cutscenes the game is roughly 30 hours long compared to other Pokémon games which had it roughly being 18 hours long so there is almost 2x the amount of story to gameplay. This escalates at the end of the third island where most of the story is told then. | |
| Story to Gameplay Ratio / int_d502170c | featureApplicability |
1.0 | |
| Story to Gameplay Ratio / int_d502170c | featureConfidence |
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| Pokémon Sun and Moon (Video Game) | hasFeature |
Story to Gameplay Ratio / int_d502170c | |
| Story to Gameplay Ratio / int_d5c8b37a | type |
Story to Gameplay Ratio | |
| Story to Gameplay Ratio / int_d5c8b37a | comment |
Though the sequels have more developed plots, Turok: Dinosaur Hunter is one of the most extreme examples of this side of the scale. Apart from a short hint that appears when you load or start a new game, and a dialogue-less ending, it has no discernible plot whatsoever. | |
| Story to Gameplay Ratio / int_d5c8b37a | featureApplicability |
1.0 | |
| Story to Gameplay Ratio / int_d5c8b37a | featureConfidence |
1.0 | |
| Turok (Video Game) | hasFeature |
Story to Gameplay Ratio / int_d5c8b37a | |
| Story to Gameplay Ratio / int_d607c683 | type |
Story to Gameplay Ratio | |
| Story to Gameplay Ratio / int_d607c683 | comment |
And by contrast, No More Heroes 2: Desperate Struggle has (mostly) shorter cutscenes and more gameplay than ever, which has earned it greater praise from critics but mixed responses from fans. | |
| Story to Gameplay Ratio / int_d607c683 | featureApplicability |
1.0 | |
| Story to Gameplay Ratio / int_d607c683 | featureConfidence |
1.0 | |
| No More Heroes 2: Desperate Struggle (Video Game) | hasFeature |
Story to Gameplay Ratio / int_d607c683 | |
| Story to Gameplay Ratio / int_d67b1b80 | type |
Story to Gameplay Ratio | |
| Story to Gameplay Ratio / int_d67b1b80 | comment |
Meteos has an opening cutscene and an ending based on which mode you play, and nothing else. This doesn't stop what little amount of story that shows up there from being amusing. It also has brief descriptions of each world, typical of games that like to have a bit of story without getting in the way of the action. | |
| Story to Gameplay Ratio / int_d67b1b80 | featureApplicability |
1.0 | |
| Story to Gameplay Ratio / int_d67b1b80 | featureConfidence |
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| Meteos (Video Game) | hasFeature |
Story to Gameplay Ratio / int_d67b1b80 | |
| Story to Gameplay Ratio / int_da72cf97 | type |
Story to Gameplay Ratio | |
| Story to Gameplay Ratio / int_da72cf97 | comment |
The selling point of the Trails Series is its detailed and very rich Worldbuilding and character-driven plots. How detailed? The first trilogy alone is larger than the Mass Effect trilogy combined. There's a staggering amount of text in every game, dialogue scenes are frequent and just as frequently go on for a good twenty minutes. While there's typically a lot of sidequests to do and dungeons to crawl, it's typically a breather for an hour before you dive back into the plot. Even then, every NPC has a name, personality, and backstory, and they'll be happy to explain why they need your help. Scripts never fall below 300000 words in length, and can easily go way above that. It's also fond of making duologies and trilogies of one interconnected plot, just getting through these is the equivalent of several novels. What's more, unlike most Eastern RPG developers, every game takes place at the same time and place with crossover plotlines. As a result, the sheer length and interconnected nature of the series that increases with each new installment has become the biggest barrier of entry to newcomers. | |
| Story to Gameplay Ratio / int_da72cf97 | featureApplicability |
1.0 | |
| Story to Gameplay Ratio / int_da72cf97 | featureConfidence |
1.0 | |
| Trails Series (Video Game) | hasFeature |
Story to Gameplay Ratio / int_da72cf97 | |
| Story to Gameplay Ratio / int_dc25de3f | type |
Story to Gameplay Ratio | |
| Story to Gameplay Ratio / int_dc25de3f | comment |
Portal tells most of the story through the passive-aggressive ravings of an AI and the implications of the environment. Most of the game is about performing physics-warping puzzles and getting from place to place — and yet the game's writing was one of its biggest selling points, being pitch-dark and very, very funny. | |
| Story to Gameplay Ratio / int_dc25de3f | featureApplicability |
1.0 | |
| Story to Gameplay Ratio / int_dc25de3f | featureConfidence |
1.0 | |
| Portal / Videogame | hasFeature |
Story to Gameplay Ratio / int_dc25de3f | |
| Story to Gameplay Ratio / int_e3f9004b | type |
Story to Gameplay Ratio | |
| Story to Gameplay Ratio / int_e3f9004b | comment |
Dragon's Lair is basically a movie where the player has to press certain buttons at certain times or die. | |
| Story to Gameplay Ratio / int_e3f9004b | featureApplicability |
1.0 | |
| Story to Gameplay Ratio / int_e3f9004b | featureConfidence |
1.0 | |
| Dragon's Lair (Video Game) | hasFeature |
Story to Gameplay Ratio / int_e3f9004b | |
| Story to Gameplay Ratio / int_e59bb04e | type |
Story to Gameplay Ratio | |
| Story to Gameplay Ratio / int_e59bb04e | comment |
Vanish has a very minimalist plot. You're thrown into the sewers by unknown people, and you have to find the exit. Also, there are plenty of subterranean monsters in the way. No further explanation is present. | |
| Story to Gameplay Ratio / int_e59bb04e | featureApplicability |
1.0 | |
| Story to Gameplay Ratio / int_e59bb04e | featureConfidence |
1.0 | |
| Vanish (Video Game) | hasFeature |
Story to Gameplay Ratio / int_e59bb04e | |
| Story to Gameplay Ratio / int_e5da0fa0 | type |
Story to Gameplay Ratio | |
| Story to Gameplay Ratio / int_e5da0fa0 | comment |
Myst and most of its sequels/imitators. There is a story, but it definitely takes a back seat to wander around beautiful, lonely worlds solving fiendish puzzles. (Individual sequels waver a bit — Myst gives you almost nothing to start with, and each subsequent game adds a little more story and a little fewer puzzles.) The split between Myst and its sequels is because of the story. In Myst, all of the stories are backstory and you only really learn it at the very end. The only storyline in the game itself is "go fetch" and there's only one decision in the game that's story-driven, so the puzzles and the pretty pictures are all gameplay. In all of the sequels, you're an active part of the ongoing story and the puzzles are part of (or drive) the storyline, so they belong much farther down this list. |
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| Story to Gameplay Ratio / int_e5da0fa0 | featureApplicability |
1.0 | |
| Story to Gameplay Ratio / int_e5da0fa0 | featureConfidence |
1.0 | |
| Myst (Video Game) | hasFeature |
Story to Gameplay Ratio / int_e5da0fa0 | |
| Story to Gameplay Ratio / int_e5db468b | type |
Story to Gameplay Ratio | |
| Story to Gameplay Ratio / int_e5db468b | comment |
The first video games ever made, like Pong, had no story due in large part to technological limitations of the time only allowing for the gameplay itself, resulting in a lot of All There in the Manual for early games. | |
| Story to Gameplay Ratio / int_e5db468b | featureApplicability |
1.0 | |
| Story to Gameplay Ratio / int_e5db468b | featureConfidence |
1.0 | |
| Pong (Video Game) | hasFeature |
Story to Gameplay Ratio / int_e5db468b | |
| Story to Gameplay Ratio / int_e5feb1e | type |
Story to Gameplay Ratio | |
| Story to Gameplay Ratio / int_e5feb1e | comment |
The Ace Attorney series is essentially a story that you help move forward by doing the right pre-determined things. It's slightly more interactive than a traditional Visual Novel, but not much more. | |
| Story to Gameplay Ratio / int_e5feb1e | featureApplicability |
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Story to Gameplay Ratio | |
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Virtual-ON has an even lesser ratio than the other typical fighting games. Whatever the Excuse Plot might say, the sole purpose of the game is to entertain the Gundam-maniacs; the mechas, save for Fei-Yen, do not even have a personal story of their own. MARZ met with backlash for trading stripped-down gameplay for an intense storyline, however. | |
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| Story to Gameplay Ratio / int_e9cb2780 | comment |
Gears of War had quite a few cutscenes, but they were never very long, and there wasn't much story behind them. The sequel had a more in-depth storyline, but the cutscenes were still not very long, with most of the plot being told in in-game transmissions. | |
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Final Fantasy XIII rivals the tenth entry for cutscene ratio; it's even been called an interactive 50-hour film. | |
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| Story to Gameplay Ratio / int_ebaa5450 | comment |
Crimzon Clover: While most shmups will try to at least throw an Excuse Plot into why you're shooting down these bad guys or what they are, the creator flat-out admits the game has absolutely no narrative. No Plot? No Problem! indeed. | |
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| Story to Gameplay Ratio / int_ef215943 | comment |
PAYDAY: The Heist is all about the action. Sure, there's character bios you can find online and you're told what you have to do for each heist, but in the end, you're only playing to shoot at all the cops and take all the money. | |
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BlazBlue: BlazBlue has a very large, very complex plot, especially for a fighting game. A character's story usually consists of about six or seven short matches and up to an hour of text. Chronophantasma veers even heavier towards the story side. Gameplay in the story mode has been reduced to single-round combat, and many times, the fight will end when the enemy A.I. has barely lost half of their health. |
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The Witcher games, is based on a literature novel series and featuring adaptation that's true to its source material and many, many story-driven quests — but as the game goes on, the exploration becomes wider to the point that the third game features a Wide-Open Sandbox with many things to do and lots of story and interaction driven quests. | |
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Meta example: classic 1982 ZX Spectrum text adventure The Hobbit. Gameplay was heavily reliant on the story for direction and atmosphere, it's just that said story had been published 45 years previously. | |
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Left 4 Dead. There are small cutscenes at the beginning of each campaign that lasts under a minute. There is dialogue throughout the levels, but they take place during the actual gameplay. Not to mention there is writing on the walls which are optional for the players to look at. Nothing Is Scarier in effect. With this game and its sequel, much of the cause and backstory of the ensuing Zombie Apocalypse is only in the footnotes. The characters only meet at the start of the game (or at least a week earlier in the case of the first game), meaning that not all of them are exactly open to sharing their personalities and getting attached, as you never know who's going to turn next. Drops closer to the story-heavy end with the release of The Sacrifice and the accompanying comic. |
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