History Main / SoNearYetSoFar

* In ''Videogame/ShadowOfTheColossus'', Mono is dead as the game begins, and Wander's deal with the deity Darmin is that it will resurrect her in exchange for Wander destroying each of the Colossi. You return to the central temple where she rests every time you defeat one.

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** In ''[[Videogame/TheLegendOfZeldaTheWindWaker The Wind Waker]]'', Link's sister is in the first dungeon you visit, which is easy enough to traverse--but the BigBad's [[TheDragon drag— er, giant bird]], prevents her rescue because Link isn't strong enough. You have to attain the [[SwordOfPlotAdvancement Master Sword]] before she's finally rescued.

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-->'''Nameless One:''' I regret that I wandered all over the Planes when [[spoiler:the damn portal was right here when I FIRST woke up]].

** In ''Videogame/TheLegendOfZeldaALinkToThePast'', after beating the DiscOneFinalBoss, Link is transported to the Dark World atop a large pyramid, with the landscape of the DarkWorld visible in the horizon. This trope is ''doubled'' because not only does the view of the Dark World show you Ganon's Castle, where the BigBad resides, but the pyramid Link is standing on actually contains [[CosmicKeystone the Triforce]], which is the true goal of the entire game!
*** ''VideoGame/TheLegendOfZeldaALinkBetweenWorlds'' plays out similarly, except that your first foray into Lorule actually brings you to the chamber where the FinalBoss is fought and which you cannot revisit until you rescue all the Sages.

* A recurring element in the ''Franchise/{{Metroid}}'' series. The [[VideoGame/{{Metroid 1}} first game]] (and [[VideoGame/MetroidZeroMission its remake]]), ''VideoGame/SuperMetroid'', and ''VideoGame/MetroidPrime'' all have the entrance to TheVeryDefinitelyFinalDungeon very close to where you first land in the HubLevel, but you can't pass the threshold until you beat the main bosses and/or collect every PlotCoupon (though clever use of GoodBadBugs in the first game can enable some SequenceBreaking to let you jump to the entrance of Tourian). ''VideoGame/MetroidIIReturnOfSamus'' and [[VideoGame/MetroidSamusReturns its remake]] have an unusual variant, in that progression through the game map goes in a clockwise direction that brings you back to your gunship right after beating the Queen Metroid, but there's no clear indication that this will be the case before the end, and it's completely impossible to go the opposite direction to even glimpse the climactic area instead of going the proper way.

* A recurring element in the ''Franchise/{{Metroid}}'' series. The [[VideoGame/{{Metroid 1}} first game]] (and [[VideoGame/MetroidZeroMission its remake]]), ''VideoGame/SuperMetroid'', and ''VideoGame/MetroidPrime'' all have the entrance to TheVeryDefinitelyFinalDungeon very close to where you first land in the HubLevel, but you can't pass the threshold until you beat the main bosses and/or collect every PlotCoupon (though clever use of GoodBadBugs in the first game can enable some SequenceBreaking to let you jump to the entrance of Tourian).

* The ''VideoGame/{{Myst}}'' franchise does this in most of its games, to the point of it practically being a running gag. In the first game, [[spoiler:the White Page which forms your final objective is actually only feet from the starting point; it's just hidden in a place you won't find until MUCH later in the game]]. In ''VideoGame/RivenTheSequelToMyst'', [[spoiler:you spawn right next to the telescope necessary to open the Star Fissure; however, you have no idea that it's important and you can't find the code to open it until a later point (and getting the good ending requires even more work)]]. The third game, ''VideoGame/MystIIIExile'', has the Releeshahn book on a pedestal right in front of you in the opening scenes, but it quickly gets stolen and you don't get it back until the final level. ''VideoGame/MystIVRevelation'' is the only exception, since the ending takes place [[spoiler:on a different Age]]; however, [[spoiler:the final cutscene ''is'' set in Tomanha, where the game started]]. And finally, ''VideoGame/MystVEndOfAges'' has the object of the game, [[spoiler:The Tablet]], appear in front of you near the start of the game; however, unlocking it [[spoiler:and deciding what to do with it]] is the entire purpose of the game.

* A recurring element in the ''Franchise/{{Metroid}}'' series. The [[VideoGame/{{Metroid 1}} first game]], ''VideoGame/SuperMetroid'', and ''VideoGame/MetroidPrime'' all have the entrance to TheVeryDefinitelyFinalDungeon very close to where you first land in the HubLevel, but you can't pass the threshold until you beat the main bosses and/or collect every PlotCoupon (though clever use of GoodBadBugs in the first game can enable some SequenceBreaking to let you jump to the entrance of Tourian).

* Right at the start of ''Literature/TheElenium'', Sparhawk is taken to Queen Ehlana in her throneroom... except that she is dying from a mysterious disease, and has been placed in suspended animation in a magical crystal casing to postpone her death. Most of the rest of the trilogy is about the quest of Sparhawk and his friends to find a cure before a usurper can accede her throne.

** In ''[[Videogame/TheLegendOfZeldaTheWindWaker Wind Waker]]'', Link's sister is in the first dungeon you visit, which is easy enough to traverse--but the BigBad's [[TheDragon drag— er, giant bird]], prevents her rescue because Link isn't strong enough. You have to attain the [[SwordOfPlotAdvancement Master Sword]] before she's finally rescued.

In this trope, the hero needs something or someone else to truly save the day. If their job is to save a person, they're not so much kidnapped as they are bound, bewitched, enchanted, enfeebled, {{curse}}d or in other dire straits. If the task is to defeat a person, they can be challenged at any time--at the challenger's own risk. But other than that, same rules apply--TheHero needs to go on an adventure to finish things.

In this trope, the hero needs something or someone else to truly save the day. If their job is to save a person, they're not so much kidnapped as they are bound, bewitched, enchanted, enfeebled, or in other dire straits. If the task is to defeat a person, they can be challenged at any time--at the challenger's own risk. But other than that, same rules apply--TheHero needs to go on an adventure to finish things.

* ''Videogame/FinalFantasyX'': Defeating Sin is the entire goal of the game, and if it were possible at the beginning of the game, your party would do it with no hesitation. Instead, though, they must go on a Pilgrimage for the Final Aeon, the only thing that can defeat Sin. [[spoiler:Then it turns out that they, themselves are potentially the Final Aeon. The point of the Pilgrimage was to create powerful emotional bonds that will allow the chosen sacrifice to become an exceptionally powerful Aeon upon their death. It also turns out that defeating Sin in this method doesn't really solve anything, so our heroes reject it and search for another means.]]

Usually, when a DamselInDistress needs to be rescued, half the adventure is figuring out where she is, and then getting there. But in this case, you already know where she is--in fact, you talked to her five minutes ago. Unfortunately, she's anything but "rescued".

** In ''Videogame/TheLegendOfZeldaALinkToThePast'', after beating the DiscOneFinalBoss, Link is transported to the Dark World atop a large pyramid, with the landscape of the DarkWorld visible in the horizon. This trope is 'doubled'' because not only does the view of the Dark World show you Ganon's Castle, where the BigBad resides, but the pyramid link is standing on actually contains [[CosmicKeystone the Triforce]], which is the true goal of the entire game!
** In ''[[Videogame/TheLegendOfZeldaTheWindWaker Wind Waker]]'', Link's sister is in the first dungeon you visit, which is easy enough to traverse. ...But the BigBad's [[TheDragon drag--er, giant bird]], prevents her rescue because Link isn't strong enough. You have to attain the [[SwordOfPlotAdvancement Master Sword]] before she's finally rescued.

* ''VideoGame/DeadSpace'': There's a unique example that isn't plot sensitive, but is still a game-spanning objective. The game is littered with enigmatic advertisements for something called Peng and an award in the AchievementSystem exists for finding it. It happens to be a tiny golden statue of a woman sitting in a trench in the very first area of the game but Isaac won't be able to get ahold of it until returning there near the end of the game, using the Kinesis Module he didn't have earlier. It has no purpose but is sellable for a large sum.

Often, when this occurs, the distressed person may double as MissionControl or otherwise assist the hero that's trying to save them. The antagonist, if they're feeling cheeky can pull this role also under the justification of INeedYouStronger or CantKillYouStillNeedYou. This has the benefit of giving the protagonist the ability to interact and speak with the these characters and let the audience grow on them. In games, it sometimes provides a cozy hub to return to while acting as a constant reminder to the player what's at stake. At the other extreme, if the villainous MissionControl is ''not actually helping'' the player, you've got MissionControlIsOffItsMeds.

Contrast YourPrincessIsInAnotherCastle for the damsel version and OrcusOnHisThrone for the villain version. Sometimes the result of a BrokenBridge.

Often, when this occurs, the distressed person may double as MissionControl or otherwise assist the hero that's trying to save them. The antagonist, if they're feeling cheeky can pull this role also under the justification of INeedYouStronger or CantKillYouStillNeedYou. This has the benefit of giving the protagonist the ability to interact and speak with the these characters and let the audience grow on them. In games, it sometimes provides a cozy hub to return to while acting as a constant reminder to the player what's at stake.

Contrast YourPrincessIsInAnotherCastle for the damsel version and OrcusOnHisThrone for the villain version. Sometimes the result of a BrokenBridge. If the villainous MissionControl is ''not actually helping'' the player, you've got MissionControlIsOffItsMeds.

Contrast YourPrincessIsInAnotherCastle for the damsel version and OrcusOnHisThrone for the villain version. Sometimes the result of a BrokenBridge.

Often, when this occurs, the distressed person may double as MissionControl or otherwise assist the hero that's trying to save them. This has the benefit of giving the protagonist the ability to interact and speak with the distressed person and let the audience grow on them. In games, it sometimes provides a cozy hub to return to while acting as a constant reminder to the player what's at stake.

Contrast YourPrincessIsInAnotherCastle. Sometimes the result of a BrokenBridge.

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