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** Killing Papyrus in a neutral route causes more changes than if you killed any other character. Sans will no longer show up throughout the game except in the Last Corridor, where his judgement will include him calling you out for killing his brother. Additionally, Undyne's dialogue before her boss battle will be a lot more serious than her usual [[LargeHam overly dramatic speech]], even if you had killed other characters besides Papyrus.
** If you spare Undyne by running from her until you reach Hotland and she collapses, but you don't revive her with the water that's conveniently nearby, then you'll be locked out of getting the GoldenEnding even if you spared everyone else, because you'll be unable to befriend her since she's too unwell. There's no indication that you only have one chance to do this and she'll disappear if you leave the area and return immediately after.
** If you spare Undyne by running from her until you reach Hotland and she collapses, but you don't revive her with the water that's conveniently nearby, then you'll be locked out of getting the GoldenEnding even if you spared everyone else, because you'll be unable to befriend her since she's too unwell. There's no indication that you only have one chance to do this and she'll disappear if you leave the area and return immediately after.
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** Killing Papyrus in a neutral Neutral route causes more changes than if you killed any other character. Sans will no longer show up throughout the game except in the Last Corridor, where his judgement will include him calling you out for killing his brother. Additionally, Undyne's dialogue before her boss battle will be a lot more serious than her usual [[LargeHam overly dramatic speech]], even if you had killed other characters besides Papyrus.
** If you spare Undyne by running from her until you reach Hotland and she collapses, but you don't revive her with the water that's conveniently nearby, then you'll be locked out of getting the GoldenEnding even if you spared everyone else, because you'll be unable to befriend her since she's too unwell. There's no indication that you only have one chance to do this and she'll disappear if you leave the area and return immediately after. Since the next room has a save point, it's easy to accidentally save over it as well.
** Downplayed with the Monster Kid. During the part where they almost fall off the bridge, you can either go towards Undyne, stand there and do nothing, run away, or help them back up. If you do either of the former two, they'll believe that you're not a good person, and while it won't ruin your Pacifist route, they'll tell you to leave them alone in the epilogue.
** To start a No Mercy route, which changes the game's plot the most drastically as the majority of the Underground will hide from you, you have to continuously walk around the Ruins and kill every monster you encounter until you get the message "But nobody came". There's no indication that this will happen, so first time players who aren't aware of the message might end up doing a really violent Neutral route instead. Thankfully, once you leave the Ruins, the game will make it clearer what you need to do to continue the route.
** If you spare Undyne by running from her until you reach Hotland and she collapses, but you don't revive her with the water that's conveniently nearby, then you'll be locked out of getting the GoldenEnding even if you spared everyone else, because you'll be unable to befriend her since she's too unwell. There's no indication that you only have one chance to do this and she'll disappear if you leave the area and return immediately after. Since the next room has a save point, it's easy to accidentally save over it as well.
** Downplayed with the Monster Kid. During the part where they almost fall off the bridge, you can either go towards Undyne, stand there and do nothing, run away, or help them back up. If you do either of the former two, they'll believe that you're not a good person, and while it won't ruin your Pacifist route, they'll tell you to leave them alone in the epilogue.
** To start a No Mercy route, which changes the game's plot the most drastically as the majority of the Underground will hide from you, you have to continuously walk around the Ruins and kill every monster you encounter until you get the message "But nobody came". There's no indication that this will happen, so first time players who aren't aware of the message might end up doing a really violent Neutral route instead. Thankfully, once you leave the Ruins, the game will make it clearer what you need to do to continue the route.
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* ''VideoGame/{{Deltarune}}'': There's a secret route in Chapter 2 known as the Weird Route (or Snowgrave Route by fans) that is barely hinted at and only becomes available after Noelle joins the party. To initiate it, you have to do the very specific action of getting Noelle to use "Ice Shock" on every enemy you encounter, culminating in her [[spoiler:using "Snowgrave" on Berdly and possibly killing him or worse]]. You also have to choose certain dialogue options during the cutscenes to stay on this route, though thankfully in these instances the game will let you know if you screwed up, and you're locked into the route once you've done the aforementioned act of [[spoiler:freezing Berdly]], where it will turn out that [[spoiler:Spamton has taken over Queen's Mansion, and instead of fighting Queen like you would normally, you end up fighting Spamton NEO alone as Kris, while on the other route he's an OptionalBoss fought with Susie and Ralsei in the party]].
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* ''VideoGame/{{Undertale}}'': The game makes it clear early on that there will be changes depending on if you kill or spare certain enemies, but there are exceptions:
** Killing Papyrus in a neutral route causes more changes than if you killed any other character. Sans will no longer show up throughout the game except in the Last Corridor, where his judgement will include him calling you out for killing his brother. Additionally, Undyne's dialogue before her boss battle will be a lot more serious than her usual [[LargeHam overly dramatic speech]], even if you had killed other characters besides Papyrus.
** If you spare Undyne by running from her until you reach Hotland and she collapses, but you don't revive her with the water that's conveniently nearby, then you'll be locked out of getting the GoldenEnding even if you spared everyone else, because you'll be unable to befriend her since she's too unwell. There's no indication that you only have one chance to do this and she'll disappear if you leave the area and return immediately after.
** Killing Papyrus in a neutral route causes more changes than if you killed any other character. Sans will no longer show up throughout the game except in the Last Corridor, where his judgement will include him calling you out for killing his brother. Additionally, Undyne's dialogue before her boss battle will be a lot more serious than her usual [[LargeHam overly dramatic speech]], even if you had killed other characters besides Papyrus.
** If you spare Undyne by running from her until you reach Hotland and she collapses, but you don't revive her with the water that's conveniently nearby, then you'll be locked out of getting the GoldenEnding even if you spared everyone else, because you'll be unable to befriend her since she's too unwell. There's no indication that you only have one chance to do this and she'll disappear if you leave the area and return immediately after.
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* ''VideoGame/TalesOfSymphonia'' has one of these, commonly referred to as the "hard path", and it can be tough for new players as it's [[GuideDangIt possible to lock yourself into it accidentally.]] If you head north to Hima instead when the story prompts you to take the boat at Izoold to Palmacosta, the boat will leave and you won't be able to go to Palmacosta and complete the Water Seal StoryArc until you finish the Wind Seal arc (which is higher-level and is intended to be done after Water).
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* ''VideoGame/TalesOfSymphonia'' has one of these, commonly referred to as the "hard path", and it can be tough for new players as it's [[GuideDangIt possible to lock yourself into it accidentally.]] If you head north to Hima instead when the story prompts you to take the boat at Izoold to Palmacosta, the boat will leave and you won't be able to go to Palmacosta and complete the Water Seal StoryArc until you finish the Wind Seal arc (which is higher-level and is intended to be done after Water). The upside is this causes Sheena to join the party earlier, which is helpful if you're going for her RelationshipValues with Lloyd.
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* ''VideoGame/TalesOfSymphonia'' has one of these, commonly referred to as the "hard path", and it can be tough for new players as it's [[GuideDangIt possible to lock yourself into it accidentally.]] If you head north to Hima instead when the story prompts you to take the boat at Izoold to Palmacosta, the boat will leave and you won't be able to go to Palmacosta and complete the Water Seal StoryArc until you finish the Wind Seal arc (which is higher-level and is intended to be done after Water).
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[[folder:First-Person Shooter]]
* ''VideoGame/CallOfDutyBlackOpsII'' features a moment where you're told to snipe Raul Menendez. Two supposedly allied {{Mooks}} take him out to the open with a bag over his head, and your CO orders you to shoot him in the head. You ''can'' do that, or you can shoot his legs. Either way, you're treated to a cutscene where it turns out "Menendez" is actually Alex Mason, and you've basically been tricked into shooting one of your {{best friend}}s. Whether you shot him in the head or the legs determines whether or not he turns up alive in the ending.
* Early in ''VideoGame/FarCry4'', BigBad Pagan Min leaves the player character alone to make a phone call. While the game clearly intends the player to make a break for it while Min is distracted, they can indeed do as Min asked and wait ([[WaitingPuzzle a very, very long time]]) for him to get back. Doing so leads to a secret ending that skips right to the final reveal of the game and strongly implies that the player character joins forces with Min.
[[/folder]]
* ''VideoGame/CallOfDutyBlackOpsII'' features a moment where you're told to snipe Raul Menendez. Two supposedly allied {{Mooks}} take him out to the open with a bag over his head, and your CO orders you to shoot him in the head. You ''can'' do that, or you can shoot his legs. Either way, you're treated to a cutscene where it turns out "Menendez" is actually Alex Mason, and you've basically been tricked into shooting one of your {{best friend}}s. Whether you shot him in the head or the legs determines whether or not he turns up alive in the ending.
* Early in ''VideoGame/FarCry4'', BigBad Pagan Min leaves the player character alone to make a phone call. While the game clearly intends the player to make a break for it while Min is distracted, they can indeed do as Min asked and wait ([[WaitingPuzzle a very, very long time]]) for him to get back. Doing so leads to a secret ending that skips right to the final reveal of the game and strongly implies that the player character joins forces with Min.
[[/folder]]
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[[folder:Shooter Games]]
* ''VideoGame/SpecOpsTheLine'' has many moments like this, usually centered around the shooting mechanic. For example, in one scene, you are asked to execute one of two criminals: a water thief or a murderer. This seems like a regular PlayerPersonalityQuiz, but the game also correctly recognizes your message if you instead shoot the soldiers presenting you with the choice. Later on, you are surrounded by an angry mob of civilians who just murdered your friend and have to scare them away with gunfire. The game does not tell you how to do that but gives you different [[VideoGameAchievements Achievements]] depending on whether you shoot into the crowd, or into the air or the sand. For more discussion of this, see [[https://www.youtube.com/watch?v=cJZIhcCA2lk this]] ''WebAnimation/ExtraCredits'' episode.
* ''VideoGame/CallOfDutyBlackOpsII'' features a moment where you're told to snipe Raul Menendez. Two supposedly allied {{Mooks}} take him out to the open with a bag over his head, and your CO orders you to shoot him in the head. You ''can'' do that, or you can shoot his legs. Either way, you're treated to a cutscene where it turns out "Menendez" is actually Alex Mason, and you've basically been tricked into shooting one of your {{best friend}}s. Whether you shot him in the head or the legs determines whether or not he turns up alive in the ending.
* Early in ''VideoGame/FarCry4'', BigBad Pagan Min leaves the player character alone to make a phone call. While the game clearly intends the player to make a break for it while Min is distracted, they can indeed do as Min asked and wait ([[WaitingPuzzle a very, very long time]]) for him to get back. Doing so leads to a secret ending that skips right to the final reveal of the game and strongly implies that the player character joins forces with Min.
* ''VideoGame/SpecOpsTheLine'' has many moments like this, usually centered around the shooting mechanic. For example, in one scene, you are asked to execute one of two criminals: a water thief or a murderer. This seems like a regular PlayerPersonalityQuiz, but the game also correctly recognizes your message if you instead shoot the soldiers presenting you with the choice. Later on, you are surrounded by an angry mob of civilians who just murdered your friend and have to scare them away with gunfire. The game does not tell you how to do that but gives you different [[VideoGameAchievements Achievements]] depending on whether you shoot into the crowd, or into the air or the sand. For more discussion of this, see [[https://www.youtube.com/watch?v=cJZIhcCA2lk this]] ''WebAnimation/ExtraCredits'' episode.
* ''VideoGame/CallOfDutyBlackOpsII'' features a moment where you're told to snipe Raul Menendez. Two supposedly allied {{Mooks}} take him out to the open with a bag over his head, and your CO orders you to shoot him in the head. You ''can'' do that, or you can shoot his legs. Either way, you're treated to a cutscene where it turns out "Menendez" is actually Alex Mason, and you've basically been tricked into shooting one of your {{best friend}}s. Whether you shot him in the head or the legs determines whether or not he turns up alive in the ending.
* Early in ''VideoGame/FarCry4'', BigBad Pagan Min leaves the player character alone to make a phone call. While the game clearly intends the player to make a break for it while Min is distracted, they can indeed do as Min asked and wait ([[WaitingPuzzle a very, very long time]]) for him to get back. Doing so leads to a secret ending that skips right to the final reveal of the game and strongly implies that the player character joins forces with Min.
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*
* ''VideoGame/CallOfDutyBlackOpsII'' features
* Early in ''VideoGame/FarCry4'', BigBad Pagan Min leaves
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[[folder:Simulation Games]]
* ''VideoGame/YesYourGrace'': The availability of in-game resources is limited enough that more often than not, petitioner demands from a given week will outstrip what the player has available, forcing them to chose which of two similar demands to fulfill. In addition to that, choices from a few turns earlier can result in the player having either an excess or a deficit of something compared to what the game is expecting them to have during the current turn, which can lead to being able to help both or none of the petitioners with similar demands. Who exactly gets the help can affect the rewards received, the penalties for ''not'' providing the help and sometimes whether the help ends up being outright wasted or not.
[[/folder]]
[[folder:Turn-Based Strategy]]
* ''Franchise/FireEmblem''
* ''VideoGame/YesYourGrace'': The availability of in-game resources is limited enough that more often than not, petitioner demands from a given week will outstrip what the player has available, forcing them to chose which of two similar demands to fulfill. In addition to that, choices from a few turns earlier can result in the player having either an excess or a deficit of something compared to what the game is expecting them to have during the current turn, which can lead to being able to help both or none of the petitioners with similar demands. Who exactly gets the help can affect the rewards received, the penalties for ''not'' providing the help and sometimes whether the help ends up being outright wasted or not.
[[/folder]]
[[folder:Turn-Based Strategy]]
* ''Franchise/FireEmblem''
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*
[[/folder]]
[[folder:Turn-Based Strategy]]
* ''Franchise/FireEmblem''
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[[folder:Third-Person Shooter]]
* ''VideoGame/SpecOpsTheLine'' has many moments like this, usually centered around the shooting mechanic. For example, in one scene, you are asked to execute one of two criminals: a water thief or a murderer. This seems like a regular PlayerPersonalityQuiz, but the game also correctly recognizes your message if you instead shoot the soldiers presenting you with the choice. Later on, you are surrounded by an angry mob of civilians who just murdered your friend and have to scare them away with gunfire. The game does not tell you how to do that but gives you different [[VideoGameAchievements Achievements]] depending on whether you shoot into the crowd, or into the air or the sand. For more discussion of this, see [[https://www.youtube.com/watch?v=cJZIhcCA2lk this]] ''WebAnimation/ExtraCredits'' episode.
[[/folder]]
* ''VideoGame/SpecOpsTheLine'' has many moments like this, usually centered around the shooting mechanic. For example, in one scene, you are asked to execute one of two criminals: a water thief or a murderer. This seems like a regular PlayerPersonalityQuiz, but the game also correctly recognizes your message if you instead shoot the soldiers presenting you with the choice. Later on, you are surrounded by an angry mob of civilians who just murdered your friend and have to scare them away with gunfire. The game does not tell you how to do that but gives you different [[VideoGameAchievements Achievements]] depending on whether you shoot into the crowd, or into the air or the sand. For more discussion of this, see [[https://www.youtube.com/watch?v=cJZIhcCA2lk this]] ''WebAnimation/ExtraCredits'' episode.
[[/folder]]
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* ''VideoGame/SaintsRow2'' has not so much story branches, as entire story missions hidden behind promptless triggers -- most prominently, "Revelation", where the players [[spoiler:confront Julius Little, their TreacherousAdvisor from the [[VideoGame/SaintsRow1 first game]], to get some closure for the DownerEnding of that game]]. To start this mission, you have to follow several cryptic hints that the current chief of police has been investigating the sudden collapse of the 3rd Street Saints between games one and two, walk into a heavily guarded police station, activate several data logs, and then call a specific phone number you find. Smaller examples include several hitman and car theft contracts, where you often have to deduce which generic gameplay actions would lure out your targets from their rather sparse descriptions (like leaving your car in the middle of a road to make a meter maid spawn). Lastly, there is a number of phone numbers you can dial on your cellphone for certain goodies, e.g. [[spoiler:calling a voodoo circle to bring Carlos back as a zombie]], with said numbers only present as non-interactive textures scattered around the city.
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* ''VideoGame/SaintsRow'':
** The very first mission of ''VideoGame/SaintsRow1'' ends with a minor branching point: [[PlayerCharacter Playa]] gets [[InitiationCeremony "canonized"]] by a dozen or so of fellow Saints, and the game expects you to lose the fist fight against them, with a consolatory cutscene and a $100 reward at the ready when you do. However, if you manage to fend them off and win, an entirely different cutscene plays instead, where the Saints express their respect (except [[BloodKnight Johnny]], the only other Saint who was still standing after his own canonization and who cockily claims that it took him half the time that Playa needed), and your mission reward is upped to $1000.
** ''VideoGame/SaintsRow2'' has not so much story branches, as entire story missions hidden behind promptless triggers -- most prominently, "Revelation", where the players [[spoiler:confront Julius Little, their TreacherousAdvisor from the [[VideoGame/SaintsRow1 first game]], to get some closure for the DownerEnding of that game]]. To start this mission, you have to follow several cryptic hints that the current chief of police has been investigating the sudden collapse of the 3rd Street Saints between games one and two, walk into a heavily guarded police station, activate several data logs, and then call a specific phone number you find. Smaller examples include several hitman and car theft contracts, where you often have to deduce which generic gameplay actions would lure out your targets from their rather sparse descriptions (like leaving your car in the middle of a road to make a meter maid spawn). Lastly, there is a number of phone numbers you can dial on your cellphone for certain goodies, e.g. [[spoiler:calling a voodoo circle to bring Carlos back as a zombie]], with said numbers only present as non-interactive textures scattered around the city.
** The very first mission of ''VideoGame/SaintsRow1'' ends with a minor branching point: [[PlayerCharacter Playa]] gets [[InitiationCeremony "canonized"]] by a dozen or so of fellow Saints, and the game expects you to lose the fist fight against them, with a consolatory cutscene and a $100 reward at the ready when you do. However, if you manage to fend them off and win, an entirely different cutscene plays instead, where the Saints express their respect (except [[BloodKnight Johnny]], the only other Saint who was still standing after his own canonization and who cockily claims that it took him half the time that Playa needed), and your mission reward is upped to $1000.
** ''VideoGame/SaintsRow2'' has not so much story branches, as entire story missions hidden behind promptless triggers -- most prominently, "Revelation", where the players [[spoiler:confront Julius Little, their TreacherousAdvisor from the [[VideoGame/SaintsRow1 first game]], to get some closure for the DownerEnding of that game]]. To start this mission, you have to follow several cryptic hints that the current chief of police has been investigating the sudden collapse of the 3rd Street Saints between games one and two, walk into a heavily guarded police station, activate several data logs, and then call a specific phone number you find. Smaller examples include several hitman and car theft contracts, where you often have to deduce which generic gameplay actions would lure out your targets from their rather sparse descriptions (like leaving your car in the middle of a road to make a meter maid spawn). Lastly, there is a number of phone numbers you can dial on your cellphone for certain goodies, e.g. [[spoiler:calling a voodoo circle to bring Carlos back as a zombie]], with said numbers only present as non-interactive textures scattered around the city.
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This trope is a staple in the ImmersiveSim genre, which commonly eschews {{Dialogue Tree}}s in favor of interpreting and reacting to player's actions. It is not to be confused with "Cumulative Story Choices", where the branching occurs based on the cumulative effect of multiple plot or gameplay choices throughout the game (cf. FractionalWinningCondition): the most obvious example would be a game picking from among its AlignmentBasedEndings based on the player's final KarmaMeter score.
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This trope is a staple in the ImmersiveSim genre, which commonly eschews {{Dialogue Tree}}s in favor of interpreting and reacting to player's actions. It is not to be confused with "Cumulative Story Choices", AlgorithmicStoryBranching, where the branching occurs based on the cumulative effect of multiple plot or gameplay choices throughout the game (cf. FractionalWinningCondition): the most obvious example would be a game picking from among its AlignmentBasedEndings based on the player's final KarmaMeter score.
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** '''Finishing certain sidequests''' before a PointOfNoReturn of some sort is similar to the above, in that the {{sidequest}}s are skippable by definition, but doing so may entail [[NeglectedSidequestConsequence hefty consequences in the main story]] or lock away [[LastSecondEndingChoice potential endings]].
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** In a smaller example, in the first level (after the tutorial) you're told to head to the helicopter pad ASAP in order to begin the mission. This seems like an example of TakeYourTime and savvy players might wander around the expansive headquarters for a while instead, collecting goodies. However, there's a hidden timer; take more than seven minutes to start the mission and [[spoiler:some of the hostages will already have been killed by the time you get there.]]
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* ''Not doing anything''' is a very counter-intuitive behavior in games, therefore the devs can use the fact that the player [[WaitingPuzzle stays in a certain location for a set amount of time]] as a trigger for alternative story progression.
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* ''Not '''Not doing anything''' is a very counter-intuitive behavior in games, therefore the devs can use the fact that the player [[WaitingPuzzle stays in a certain location for a set amount of time]] as a trigger for alternative story progression.
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* ''Not doing anything''' is a very counter-intuitive behavior in games, therefore the devs can use the fact that the player [[WaitingPuzzle stays in a certain location for a set amount of time]] as a trigger for alternative story progression.
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* At the conclusion of the ''VideoGame/Cyberpunk2077'' story quest "Give Me Danger", the house you are in is attacked by elite Arasaka goons and you are knocked out for a short while. When you come to, the game tells you to {{escape|Sequence}}... but neglects to inform you that [[spoiler:your {{Ronin}} companion Goro Takemura is also still alive, but will die unless you go back into the house, unprompted, and pull him from the rubble. If saved, he will occasionally contact you on the phone throughout the remaining game, and will become a major character and a NonPlayerCompanion during the [[MultipleEndings Arasaka ending]]]].
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* ''VideoGame/Cyberpunk2077'':
** At the conclusion of the''VideoGame/Cyberpunk2077'' story quest "Give Me Danger", the house you are in is attacked by elite Arasaka goons and you are knocked out for a short while. When you come to, the game tells you to {{escape|Sequence}}... but neglects to inform you that [[spoiler:your {{Ronin}} companion Goro Takemura is also still alive, but will die unless you go back into the house, unprompted, and pull him from the rubble. If saved, he will occasionally contact you on the phone throughout the remaining game, and will become a major character and a NonPlayerCompanion during the [[MultipleEndings Arasaka ending]]]].ending]]]].
** The secret ending "Don't Fear the Reaper" is unlocked by maxing out V's relationship with Johnny over the course of the game then refusing to accept any of the [[LastSecondEndingChoice ending options he offers V]] for [[WaitingPuzzle several real-time minutes]]. Doing so will make him conclude that [[spoiler:you cannot bring yourself to endanger any of your friends, so he instead offers you the final, desperate option to storm the Arasaka Tower by yourself]]. Moreover, the following mission itself features promptless branching itself: if you die at any point, the game will not let you reload a save as usual, but will instead immediately the ([[TheLastDance slightly modified]]) "Suicide" ending (whereas successfully completing the mission leads to "The Path of Glory" ending).
** At the conclusion of the
** The secret ending "Don't Fear the Reaper" is unlocked by maxing out V's relationship with Johnny over the course of the game then refusing to accept any of the [[LastSecondEndingChoice ending options he offers V]] for [[WaitingPuzzle several real-time minutes]]. Doing so will make him conclude that [[spoiler:you cannot bring yourself to endanger any of your friends, so he instead offers you the final, desperate option to storm the Arasaka Tower by yourself]]. Moreover, the following mission itself features promptless branching itself: if you die at any point, the game will not let you reload a save as usual, but will instead immediately the ([[TheLastDance slightly modified]]) "Suicide" ending (whereas successfully completing the mission leads to "The Path of Glory" ending).
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* The secret ending of ''VideoGame/FarCry4'' can be unlocked by simply waiting ([[WaitingPuzzle a very, very long time]]) until Pagan Min finishes his cellphone call during the intro. Doing so skips right to the final reveal of the game, and strongly implies that the player character joins forces with Min in this ending. The game, however, fully expects the player to make a break for it instead while Min is distracted.
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* The secret ending of ''VideoGame/FarCry4'' Early in ''VideoGame/FarCry4'', BigBad Pagan Min leaves the player character alone to make a phone call. While the game clearly intends the player to make a break for it while Min is distracted, they can be unlocked by simply waiting indeed do as Min asked and wait ([[WaitingPuzzle a very, very long time]]) until Pagan Min finishes his cellphone call during the intro. for him to get back. Doing so leads to a secret ending that skips right to the final reveal of the game, game and strongly implies that the player character joins forces with Min in this ending. The game, however, fully expects the player to make a break for it instead while Min is distracted.Min.
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Changed line(s) 61 (click to see context) from:
* At the conclusion of the ''VideoGame/Cyberpunk2077'' story quest "Give Me Danger", the house you are in is attacked by elite Arasaka goons and you are knocked out for a short while. When you come to, the game tells you to {{escape|Sequence}}.. but neglects to inform you that [[spoiler:your {{Ronin}} companion Goro Takemura is also still alive, but will die unless you go back into the house, unprompted, and pull him from the rubble. While Takemura plays no major role in any later events, either way, he will occasionally contact you on the phone if he survives]].
to:
* At the conclusion of the ''VideoGame/Cyberpunk2077'' story quest "Give Me Danger", the house you are in is attacked by elite Arasaka goons and you are knocked out for a short while. When you come to, the game tells you to {{escape|Sequence}}..{{escape|Sequence}}... but neglects to inform you that [[spoiler:your {{Ronin}} companion Goro Takemura is also still alive, but will die unless you go back into the house, unprompted, and pull him from the rubble. While Takemura plays no major role in any later events, either way, If saved, he will occasionally contact you on the phone if he survives]].throughout the remaining game, and will become a major character and a NonPlayerCompanion during the [[MultipleEndings Arasaka ending]]]].
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* ''VideoGame/MegaManX3'':
** If you defeat both Bit and Byte with the weapons they are weak against during the eight Maverick stages, they will die instead of teleporting away, and the first fortress stage will have a completely different boss (if you only kill either Bit or Byte but not the other, you'll still fight their merged form as the level boss).
** If you defeat Vile with his weakness in the factory, he will die there and the second fortress stage will be flooded in some places as well as having a different boss instead of a Vile rematch. You can fight this new boss as Zero instead of X; if you beat it as Zero, he'll be severely injured by the boss's destruction and will give X his Beam Saber after the battle.
** The ending alters slightly depending on whether or not the player died while playing as Zero at any point after the opening stage - if Zero survives, he will show up in the ending to upload the anti-virus to Sigma and then watch Doppler's fortress collapse along with X; if he dies, Doppler himself instead gives Sigma the anti-virus (at the cost of his own life), and X watches from the cliff alone. The latter is easy to miss simply because Zero is a CrutchCharacter who becomes nearly useless after X gets any one of his own upgrades, so players are likely to just ignore Zero completely - unless they are going for X's Beam Saber upgrade as described above.
** If you defeat both Bit and Byte with the weapons they are weak against during the eight Maverick stages, they will die instead of teleporting away, and the first fortress stage will have a completely different boss (if you only kill either Bit or Byte but not the other, you'll still fight their merged form as the level boss).
** If you defeat Vile with his weakness in the factory, he will die there and the second fortress stage will be flooded in some places as well as having a different boss instead of a Vile rematch. You can fight this new boss as Zero instead of X; if you beat it as Zero, he'll be severely injured by the boss's destruction and will give X his Beam Saber after the battle.
** The ending alters slightly depending on whether or not the player died while playing as Zero at any point after the opening stage - if Zero survives, he will show up in the ending to upload the anti-virus to Sigma and then watch Doppler's fortress collapse along with X; if he dies, Doppler himself instead gives Sigma the anti-virus (at the cost of his own life), and X watches from the cliff alone. The latter is easy to miss simply because Zero is a CrutchCharacter who becomes nearly useless after X gets any one of his own upgrades, so players are likely to just ignore Zero completely - unless they are going for X's Beam Saber upgrade as described above.
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* At the conclusion of the ''VideoGame/Cyberpunk2077'' story quest "Give Me Danger", the house you are in is attacked by elite Arasaka goons and you are knocked out for a short while. When you come to, the game tells you to {{escape|Sequence}}.. but neglects to inform you that [[spoiler:your {{Ronin}} companion Goro Takemura is also still alive, but will die unless you go back into the house, unprompted, and pull him from the rubble. While Takemura plays no major role in any later events, either way, he will occasionally contact you on the phone if he survives]].
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* ''VideoGame/WarriorsTheRoadToImmortality'' does not allow the player more than two opportunities to succeed at hunting. If you fail, that failure becomes part of the narrative. Immersive, sure, but frustrating if you need to practice the game mechanics or [[GuideDangIt don't know that pressing the spacebar allows your character to walk]], when RunDontWalk has been the norm up till then.
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* At the end of ''VideoGame/MassEffect3'''s extended cut, [[spoiler:you can shoot the Catalyst rather than talk to it, which triggers the Refuse ending.]]
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* ''Franchise/MassEffect'':
** The ''VideoGame/MassEffect2'' finale opens with a series of cutscenes depicting the ''Normandy'' approach the Collector Base, during which several of your squadmates may suffer PlotlineDeath -- but whether they do actually depends on whether you have have researched and purchased specific upgrades for the ''Normandy'' at any point before launching the SuicideMission. The significance of these particular upgrades to the StoryBranching is not telegraphed to you in any way beforehand, especially given that there are half a dozen other upgrades to be researched in much the same manner that ''don't'' alter the story in any way.
** At the end of ''VideoGame/MassEffect3'''s extended cut, [[spoiler:you can shoot the Catalyst rather than talk to it, which triggers the Refuse ending.]]
** The ''VideoGame/MassEffect2'' finale opens with a series of cutscenes depicting the ''Normandy'' approach the Collector Base, during which several of your squadmates may suffer PlotlineDeath -- but whether they do actually depends on whether you have have researched and purchased specific upgrades for the ''Normandy'' at any point before launching the SuicideMission. The significance of these particular upgrades to the StoryBranching is not telegraphed to you in any way beforehand, especially given that there are half a dozen other upgrades to be researched in much the same manner that ''don't'' alter the story in any way.
** At the end of ''VideoGame/MassEffect3'''s extended cut, [[spoiler:you can shoot the Catalyst rather than talk to it, which triggers the Refuse ending.]]
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[[folder:Shoot 'em Ups]]
* In ''VideoGame/StarFox64'', most stages have optional objectives beyond just finishing the level, and completing those objectives allows you to proceed to a different (and harder) level afterwards rather than the default. It varies from level to level just how clearly telegraphed those optional objectives are. Sector X is a relatively clear example: if you take too long defeating the boss, then Slippy gets shot down and crash-lands on Titania, so you must go there in the next level to rescue him. But if you can beat the boss before Slippy goes down, you proceed to Sector Z instead. And Corneria's an obtuse example: if you can keep Falco alive through the whole level, then fly through all the stone arches (?), Falco shows you the way to a completely different boss fight than the usual. To fight the TrueFinalBoss (and therefore get the best ending) you need to complete enough of these optional objectives to reach the final level, Venom, by way of Area 6 rather than through Bolse.
[[/folder]]
* In ''VideoGame/StarFox64'', most stages have optional objectives beyond just finishing the level, and completing those objectives allows you to proceed to a different (and harder) level afterwards rather than the default. It varies from level to level just how clearly telegraphed those optional objectives are. Sector X is a relatively clear example: if you take too long defeating the boss, then Slippy gets shot down and crash-lands on Titania, so you must go there in the next level to rescue him. But if you can beat the boss before Slippy goes down, you proceed to Sector Z instead. And Corneria's an obtuse example: if you can keep Falco alive through the whole level, then fly through all the stone arches (?), Falco shows you the way to a completely different boss fight than the usual. To fight the TrueFinalBoss (and therefore get the best ending) you need to complete enough of these optional objectives to reach the final level, Venom, by way of Area 6 rather than through Bolse.
[[/folder]]
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Most StoryBranching in modern video games follows the {{Gamebooks}} model of framing their branching points as explicit choices for the player to make, accompanied by obvious prompts like mutually exclusive options in a DialogueTree or branching level design (go left for story branch A, right for branch B). This trope is about games that instead interpret and react to the player's use of their primary mechanics to determine which branch the narrative will follow.[[note]]A contract lawyer would describe this interaction as an [[https://en.wikipedia.org/wiki/Implied-in-fact_contract "implied-in-fact contract"]].[[/note]] This is particularly noticeable when games toy with the player's expectations by letting them interfere with "story content" through always-available mechanics, e.g. by ''not'' confining them to ControllableHelplessness during what seems to be a PlotlineDeath of an NPC, and later by [[GameplayAndStoryIntegration having that NPC's dialogue and cutscenes recognize their actions]] to show that this was not a case of ScriptBreaking but something [[DevelopersForesight the devs thought about]].
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Most StoryBranching in modern video games follows the {{Gamebooks}} {{Gamebook|s}} model of framing their branching points as explicit choices for the player to make, accompanied by obvious prompts like mutually exclusive options in a DialogueTree or branching level design (go left for story branch A, right for branch B). This trope is about games that instead interpret and react to the player's use of their primary mechanics to determine which branch the narrative will follow.[[note]]A contract lawyer would describe this interaction as an [[https://en.wikipedia.org/wiki/Implied-in-fact_contract "implied-in-fact contract"]].[[/note]] This is particularly noticeable when games toy with the player's expectations by letting them interfere with "story content" through always-available mechanics, e.g. by ''not'' confining them to ControllableHelplessness during what seems to be a PlotlineDeath of an NPC, and later by [[GameplayAndStoryIntegration having that NPC's dialogue and cutscenes recognize their actions]] to show that this was not a case of ScriptBreaking but something [[DevelopersForesight the devs thought about]].
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Most StoryBranching in modern video games follows the ChooseYourOwnAdventure model of framing their branching points as explicit choices for the player to make, accompanied by obvious prompts like mutually exclusive options in a DialogueTree or branching level design (go left for story branch A, right for branch B). This trope is about games that instead interpret and react to the player's use of their primary mechanics to determine which branch the narrative will follow.[[note]]A contract lawyer would describe this interaction as an [[https://en.wikipedia.org/wiki/Implied-in-fact_contract "implied-in-fact contract"]].[[/note]] This is particularly noticeable when games toy with the player's expectations by letting them interfere with "story content" through always-available mechanics, e.g. by ''not'' confining them to ControllableHelplessness during what seems to be a PlotlineDeath of an NPC, and later by [[GameplayAndStoryIntegration having that NPC's dialogue and cutscenes recognize their actions]] to show that this was not a case of ScriptBreaking but something [[DevelopersForesight the devs thought about]].
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Most StoryBranching in modern video games follows the ChooseYourOwnAdventure {{Gamebooks}} model of framing their branching points as explicit choices for the player to make, accompanied by obvious prompts like mutually exclusive options in a DialogueTree or branching level design (go left for story branch A, right for branch B). This trope is about games that instead interpret and react to the player's use of their primary mechanics to determine which branch the narrative will follow.[[note]]A contract lawyer would describe this interaction as an [[https://en.wikipedia.org/wiki/Implied-in-fact_contract "implied-in-fact contract"]].[[/note]] This is particularly noticeable when games toy with the player's expectations by letting them interfere with "story content" through always-available mechanics, e.g. by ''not'' confining them to ControllableHelplessness during what seems to be a PlotlineDeath of an NPC, and later by [[GameplayAndStoryIntegration having that NPC's dialogue and cutscenes recognize their actions]] to show that this was not a case of ScriptBreaking but something [[DevelopersForesight the devs thought about]].
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*** Within one of those maps, the current combined levels of certain units in your party[[labelnote:*]]If the sum of Priscilla, Serra, Lucius, and Erk's levels are higher or lower than the sum of Dorcas, Guy, Bartre, and Raven's levels[[/labelnote]] determines which boss (an Assassin or a Bishop) you get to fight, as well as the map's layout. If your magic units are stronger, you get the latter, otherwise you get the former.
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*** Within one of those maps, the current combined levels of certain units in your party[[labelnote:*]]If party[[note]]If the sum of Priscilla, Serra, Lucius, and Erk's levels are higher or lower than the sum of Dorcas, Guy, Bartre, and Raven's levels[[/labelnote]] levels[[/note]] determines which boss (an Assassin or a Bishop) you get to fight, as well as the map's layout. If your magic units are stronger, you get the latter, otherwise you get the former.
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*** Within one of those maps, the number of doors opened before a certain number of turns elapsed determines whether Harken or Karel will show up.
*** In that same map, the current combined levels of certain units in your party[[labelnote:*]]If the sum of Priscilla, Serra, Lucius, and Erk's levels are higher or lower than the sum of Dorcas, Guy, Bartre, and Raven's levels[[/labelnote]] determines which boss (an Assassin or a Bishop) you get to fight, as well as the map's layout. If your magic units are stronger, you get the latter, otherwise you get the former.
*** In that same map, the current combined levels of certain units in your party[[labelnote:*]]If the sum of Priscilla, Serra, Lucius, and Erk's levels are higher or lower than the sum of Dorcas, Guy, Bartre, and Raven's levels[[/labelnote]] determines which boss (an Assassin or a Bishop) you get to fight, as well as the map's layout. If your magic units are stronger, you get the latter, otherwise you get the former.
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*** Within one of those maps, the number of doors opened before a certain number of turns elapsed determines whether Harken or Karel will show up.
*** In that same map,the current combined levels of certain units in your party[[labelnote:*]]If the sum of Priscilla, Serra, Lucius, and Erk's levels are higher or lower than the sum of Dorcas, Guy, Bartre, and Raven's levels[[/labelnote]] determines which boss (an Assassin or a Bishop) you get to fight, as well as the map's layout. If your magic units are stronger, you get the latter, otherwise you get the former.former.
*** In that same map, the number of doors opened (or number of promoted enemy units killed, depending on what boss you're facing) before a certain number of turns elapses determines whether Harken or Karel will show up.
*** In that same map,
*** In that same map, the number of doors opened (or number of promoted enemy units killed, depending on what boss you're facing) before a certain number of turns elapses determines whether Harken or Karel will show up.
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** ''VideoGame/FireEmblemTheBlazingBlade'' used the same level method as its predecessor. A later pair of maps in the game determine which one you'll visit by how high your Lords' levels are: if they add up to a certain number, it's one route, if not, the other. Within one of those maps, the number of doors opened determines whether Harken or Karel will show up. Even later, Bartre's level combined with simply being on Hector's route determines whether Karla will appear or not.
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** ''VideoGame/FireEmblemTheBlazingBlade'' used the same level method as its predecessor.
*** A later pair of maps in the game determine which one you'll visit by how high your Lords' levels are: if they add up to a certain number, it's one route, if not, theother. other.
*** Within one of those maps, the number of doors opened before a certain number of turns elapsed determines whether Harken or Karel will showup. up.
*** In that same map, the current combined levels of certain units in your party[[labelnote:*]]If the sum of Priscilla, Serra, Lucius, and Erk's levels are higher or lower than the sum of Dorcas, Guy, Bartre, and Raven's levels[[/labelnote]] determines which boss (an Assassin or a Bishop) you get to fight, as well as the map's layout. If your magic units are stronger, you get the latter, otherwise you get the former.
*** Even later, Bartre's level combined with simply being on Hector's route determines whether Karla will appear or not.
*** A later pair of maps in the game determine which one you'll visit by how high your Lords' levels are: if they add up to a certain number, it's one route, if not, the
*** Within one of those maps, the number of doors opened before a certain number of turns elapsed determines whether Harken or Karel will show
*** In that same map, the current combined levels of certain units in your party[[labelnote:*]]If the sum of Priscilla, Serra, Lucius, and Erk's levels are higher or lower than the sum of Dorcas, Guy, Bartre, and Raven's levels[[/labelnote]] determines which boss (an Assassin or a Bishop) you get to fight, as well as the map's layout. If your magic units are stronger, you get the latter, otherwise you get the former.
*** Even later, Bartre's level combined with simply being on Hector's route determines whether Karla will appear or not.
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[[folder:Wide Open Sandbox]]
* ''VideoGame/SaintsRow2'' has not so much story branches, as entire story missions hidden behind promptless triggers -- most prominently, "Revelation", where the players [[spoiler:confront Julius Little, their TreacherousAdvisor from the [[VideoGame/SaintsRow1 first game]], to get some closure for the DownerEnding of that game]]. To start this mission, you have to follow several cryptic hints that the current chief of police has been investigating the sudden collapse of the 3rd Street Saints between games one and two, walk into a heavily guarded police station, activate several data logs, and then call a specific phone number you find. Smaller examples include several hitman and car theft contracts, where you often have to deduce which generic gameplay actions would lure out your targets from their rather sparse descriptions (like leaving your car in the middle of a road to make a meter maid spawn). Lastly, there is a number of phone numbers you can dial on your cellphone for certain goodies, e.g. [[spoiler:calling a voodoo circle to bring Carlos back as a zombie]], with said numbers only present as non-interactive textures scattered around the city.
[[/folder]]
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Not all mechanics are suited for use in StoryBranching, since repeatable and/or inconsequential actions like chugging a health potion or looking in a certain direction lack the necessary commitment value to base the story progression on. Instead, mechanics commonly used as branching triggers include:
* '''Traversal''' mechanics on their own would fall under the "repeatable, inconsequential actions" label, except in specific cases:
* '''Traversal''' mechanics on their own would fall under the "repeatable, inconsequential actions" label, except in specific cases:
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Not all mechanics are suited for use in StoryBranching, since repeatable and/or inconsequential actions like chugging a health potion or looking in a certain direction lack the necessary commitment value to base the story progression on. Instead, mechanics commonly used as branching triggers include:
are usually "conclusive" actions like:
*'''Traversal''' Traversal mechanics on their own would fall under the "repeatable, inconsequential actions" label, except in specific cases:
*
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** The same applies to ''House of the Dead 2'', though not to the same extent. You always end up in the same areas with the same bosses, but the path you take there sometimes depends on whether or not you save survivors at certain sections. Like the first game, a survivor at the start is about to be killed by zombies: kill the zombies and you take the more rewarding (points-wise) path; fail, and you take a detour that doesn't provide any advantages that succeeding would have.
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Most StoryBranching in modern video games follows the ChooseYourOwnAdventure model of framing their branching points as explicit choices for the player to make, accompanied by obvious prompts like mutually exclusive options in a DialogueTree or branching level design (go left for story branch A, right for branch B). This trope is about games that instead interpret and react to the player's use of their primary mechanics to determine which branch the narrative will follow. This is particularly noticeable when games toy with the player's expectations by letting them interfere with "story content" through always-available mechanics, e.g. by ''not'' confining them to ControllableHelplessness during what seems to be a PlotlineDeath of an NPC, and later by [[GameplayAndStoryIntegration having that NPC's dialogue and cutscenes recognize their actions]] to show that this was not a case of ScriptBreaking but something [[DevelopersForesight the devs thought about]].
to:
Most StoryBranching in modern video games follows the ChooseYourOwnAdventure model of framing their branching points as explicit choices for the player to make, accompanied by obvious prompts like mutually exclusive options in a DialogueTree or branching level design (go left for story branch A, right for branch B). This trope is about games that instead interpret and react to the player's use of their primary mechanics to determine which branch the narrative will follow. [[note]]A contract lawyer would describe this interaction as an [[https://en.wikipedia.org/wiki/Implied-in-fact_contract "implied-in-fact contract"]].[[/note]] This is particularly noticeable when games toy with the player's expectations by letting them interfere with "story content" through always-available mechanics, e.g. by ''not'' confining them to ControllableHelplessness during what seems to be a PlotlineDeath of an NPC, and later by [[GameplayAndStoryIntegration having that NPC's dialogue and cutscenes recognize their actions]] to show that this was not a case of ScriptBreaking but something [[DevelopersForesight the devs thought about]].
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* ''VideoGame/TheElderScrollsVSkyrim'' has a lot of moments like this. For example, at the start of the [[MurderInc Dark Brotherhood]] quest line, its leader kidnaps you and forces you to execute one of three (largely) innocent [=NPCs=] to prove your worth. However, if you turn on her instead and manage to kill her, the game starts a whole new (albeit much shorter) questline where you help the Imperial secret service wipe out the rest of the Brotherhood in Skyrim. At other times, you may interrupt a [[PlotlineDeath scripted murder]] in progress (e.g. of Arivanya in Windhelm and of Margret in Markarth) by killing the killer as he sneaks up onto the victim: far from breaking the respective questlines, the game lets you continue on them, correctly accounting for the killer's death, while the victims later recognize you as their savior. In Morthal, meanwhile, if you can avoid killing Hroggar when he attacks you on the Alva's command and instead go on to wipe out the vampire coven she belongs to, Hroggar will be freed from the vampires' control and has some unique dialogue for you in this branch.
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* ''VideoGame/TheElderScrollsVSkyrim'' has a lot of moments like this. For example, at the start of the [[MurderInc Dark Brotherhood]] quest line, its leader kidnaps you and forces you to execute one of three (largely) innocent [=NPCs=] to prove your worth. However, if you turn on her instead and manage to kill her, the game starts a whole new (albeit much shorter) questline where you help the Imperial secret service wipe out the rest of the Brotherhood in Skyrim. At other times, you may interrupt a [[PlotlineDeath scripted murder]] in progress (e.g. of Arivanya in Windhelm and of Margret in Markarth) by killing the killer as he sneaks up onto the victim: far from breaking the respective questlines, the game lets you continue on them, correctly accounting for the killer's death, while the victims later recognize you as their savior. In Morthal, meanwhile, if you can avoid killing Hroggar when he attacks you on the Alva's command and instead go on to wipe out the vampire coven she belongs to, Hroggar will be freed from the vampires' control and has will have some unique dialogue for you in this branch.after completing the quest.
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* ''VideoGame/TheElderScrollsVSkyrim'' has a lot of moments like this. For example, at the start of the [[MurderInc Dark Brotherhood]] quest line, its leader kidnaps you and forces you to execute one of three (largely) innocent [=NPCs=] to prove your worth. However, if you turn on her instead and manage to kill her, the game starts a whole new (albeit much shorter) questline where you help the Imperial secret service wipe out the rest of the Brotherhood in Skyrim. At other times, you may interrupt a [[PlotlineDeath scripted murder]] in progress (e.g. of Arivanya in Windhelm and of Margret in Markarth) by killing the killer as he sneaks up onto the victim: far from breaking the respective questlines, the game lets you continue on them, correctly accounting for the killer's death, while the victims later recognize you as their savior.
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* ''VideoGame/TheElderScrollsVSkyrim'' has a lot of moments like this. For example, at the start of the [[MurderInc Dark Brotherhood]] quest line, its leader kidnaps you and forces you to execute one of three (largely) innocent [=NPCs=] to prove your worth. However, if you turn on her instead and manage to kill her, the game starts a whole new (albeit much shorter) questline where you help the Imperial secret service wipe out the rest of the Brotherhood in Skyrim. At other times, you may interrupt a [[PlotlineDeath scripted murder]] in progress (e.g. of Arivanya in Windhelm and of Margret in Markarth) by killing the killer as he sneaks up onto the victim: far from breaking the respective questlines, the game lets you continue on them, correctly accounting for the killer's death, while the victims later recognize you as their savior. In Morthal, meanwhile, if you can avoid killing Hroggar when he attacks you on the Alva's command and instead go on to wipe out the vampire coven she belongs to, Hroggar will be freed from the vampires' control and has some unique dialogue for you in this branch.
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* ''VideoGame/CallOfDutyBlackOps2'' features a moment where you're told to snipe Raul Menendez. Two supposedly allied {{Mooks}} take him out to the open with a bag over his head, and your CO orders you to shoot him in the head. You ''can'' do that, or you can shoot his legs. Either way, you're treated to a cutscene where it turns out "Menendez" is actually Alex Mason, and you've basically been tricked into shooting one of your {{best friend}}s. Whether you shot him in the head or the legs determines whether or not he turns up alive in the ending.
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* ''VideoGame/CallOfDutyBlackOps2'' ''VideoGame/CallOfDutyBlackOpsII'' features a moment where you're told to snipe Raul Menendez. Two supposedly allied {{Mooks}} take him out to the open with a bag over his head, and your CO orders you to shoot him in the head. You ''can'' do that, or you can shoot his legs. Either way, you're treated to a cutscene where it turns out "Menendez" is actually Alex Mason, and you've basically been tricked into shooting one of your {{best friend}}s. Whether you shot him in the head or the legs determines whether or not he turns up alive in the ending.
