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Darker And Edgier / Video Games: I to O

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    I 

    J 
  • Jagged Alliance: The first two games (the original and Deadly Games) were a pretty straight Affectionate Parody of 80s action flicks, featuring a Rag Tag Bunch Of Misfits with colorful personalities being hired to fight a ruthless Card-Carrying Villain. The games had some elements of Deconstructive Parody, mostly involving personality clashes that could turn violent and even lethal and that Anyone Can Die, and sometimes the comedy could be fairly dark, but by and large the tone was more of a fun action-packed romp than anything else. 2 was significantly darker; the villain was still hammily, cartoonishly evil, but this time the game didn't hesitate to showcase exactly what a Crapsack World she had created, and didn't hesitate to put forced child labor, torture, conscription, and WMDs front-and-center. It also removed several of the more colorful and jokey characters from the roster. 3 went darker still, introducing multiple villain factions, the leaders of which are far less cartoonish and more competent. The villains also don't hesitate to display corpses of killed civilians and mustard gas refugee camps. On top of this, the game also introduces some pretty hard moral choices with no clear-cut "right" answer.
  • The shift in style between Jak and Daxter: The Precursor Legacy and its successor, Jak II took place during the opening cinematic. In the original, the tone was light, the hero was a Heroic Mime, his rodential sidekick joked all the time, and the combat was minimal and hand-to-hand. At the beginning of Jak II the heroes traveled forward in time, released an extra-dimensional evil onto the world in the process, then skipped over two years of Jak being tortured under lab settings. After that, Jak got an ability to speak, a sardonic attitude, a gun, and became a card-carrying Phlebotinum Rebel; Daxter got some dirtier jokes, and was dropped from the title. This Time Travel based change was a plausible way to change the world of the game drastically in one scene. Jak 3 reverses the tone a little bit. The world is notably brighter and more colorful.
  • JumpStart Adventures 4th Grade: Haunted Island, compared to all the other Jump Start games. The premise of the previous games were either a day in the life of a wacky classroom, minor adventures with an Alphabet Soup Cans twist, or preventing The End of the World as We Know It but with plenty of humour. 4th grade? Your classmates were turned into monsters by an evil substitute teacher, and you must walk around a Defanged Horrors Survival Horror island to turn them back, all while being stalked by the evil teacher and her ghostly minion out to scare you.

    K 
  • While the first Killzone wasn't sunshine and roses, it didn't have the feel or atmosphere of a dark game. Killzone 2 plunged right through that and made everything dark and gritty, with dark and oppressive vistas of muted colors, increased character death rate, blood everywhere and a general feel of hopelessness in the fight. Quite like with Jak and Daxter, going dark and edgy was a good choice here.
  • King's Quest: The entire series has a sort of history of being considered one of Sierra's darker, more serious titles (despite many attempts to advertise it as a whimsical and humorous 'cartoon' series filled with slapstick comedy). The Two Guys from Andromeda went onto make Space Quest because they considered King's Quest to be too somber and medieval for their tastes and wanted to do something light and silly. Each additional game after King's Quest 1 has been accused of being darker than the last with perhaps the exception of King's Quest 8 (although it has some dark elements as well, but is usually overshadowed by its silly cartoon-style animation). King's Quest 3 got accused of being dark and satanic, King's Quest 4 was accused of being dark because of its examination of Graham's mortality, King's Quest 5 because of family kidnapping, and some satanic imagery in the villain's castle, and its more realistic artwork. It was King's Quest 6 that saw the biggest accusation of being 'overly dark and most ominous' of the entire series at the time of its release and was acknowledged by Roberta Williams in her interview with Donald Trivette. Some see King's Quest 8: Mask of Eternity as going even darker than King's Quest 6, taking the series the series in a direction that embarrassed some of the Sierra's designersnote . Among them were Jane Jensen, who wrote:
    "Me and my poor befuddled brain, trying to fathom a Sierra where... the most recent King's Quest involves killing things? Whatever happened to saving the cute little bee queen? HAS THE WORLD GONE MAD?"[1]
  • Kingdom Hearts:
  • Kirby:
    • Kirby: Planet Robobot is noticeably darker than previous entries in the series. A lot of the music has a harsh techno feel to it, most of the standard enemies have some form of cybernetic implant (Whispy Woods' mechanized form looks downright monstrous), and the story is more complex than most other games, including such features as the main villain wanting to see his presumed dead daughter again and being rewarded with having his body, mind, and soul deleted by a computer bent on destroying all life.
    • While it may not start as tensely as Planet Robobot did, Kirby Star Allies becomes one of the darkest games in the Kirby franchise once Hyness enters the room. He turns the tone from saving brainwashed enemies with The Power of Friendship to a game about stopping a Sinister Minister who constantly abuses his minions and even throws their bodies and himself as sacrifice to the Jamba Heart so he could destroy the universe with a God of Evil.
    • There's also Kirby and the Forgotten Land. Notably, the designs of the Beast Pack are more photorealistic than anything we've ever seen before, and King Dedede's usual Demonic Possession is taken much more seriously here, witnessing him go insane and devolve into a mindless, bloodthirsty predator. And then there's Fecto Forgo, who stands out as one of the most terrifying and dangerous villains in the entire series; not only is their chimera form downright horrific, but they are said to have killed many when they entered the New World. Most of the music associated with them is usually dark and terrifying, such as "Eternal Echo of the Thrilling Tour-our-our", which is a distorted remix of the announcer's voice from "The Dream Discoveries Tour", which is heavily suggesting that Fecto Forgo was trapped in the Eternal Capsule for so long that they started hearing it in their dreams. Because of these factors, it's a miracle the game got a Fear warning.

    L 
  • The Last of Us is way darker and unflinching compared to previous games from Naughty Dog, which says something. For instance, a lot of important characters die left and right, there are a lot of gory moments from the gameplay and the story, and the atmosphere is not rainbows and unicorns as Joel and Ellie walk through a shambled America. With a sprinkle of Grey-and-Grey Morality and you've got yourself a nihilistic yet meaningful and unforgettable game.
  • The Lastof Us Part II is darker and more pessimistic than its predecessor. The game is grislier and more realistically gory, and there are fewer moments of levity. While the first game's plot followed a potential hope for humanity's resurgence and themes of coping/survival, the second game's plot is dominated by a quest for vengeance and the cycle of violence in the wake of Joel's murder.
  • The Legend of Tian-ding is a remake of a 2004 AdobeFlash game, and is far more serious, dramatic, and less comedic than the original, touching on themes like genocide and betrayal (the original game is a straightforward platformer where you simply steals gold from tyrants to help civilians). Said remake also has a Bittersweet Ending where you're killed by your protege who mistook you as a member of the Les Collaborateurs.
  • Would you believe LittleBigPlanet 2? It's still a fairly light, silly game, but... well, the previous titles were about traveling an imaginary world, helping people. This one is about stopping an Eldritch Abomination from destroying an imaginary world, complete with some genuinely creepy levels and enemies.
  • While Lobotomy Corporation is a dark enough game with gruesome deaths all over the place and a Dystopian outside world mentioned in passing, we don't really see how bad it is. Its direct sequel Library of Ruina on the other hand now has that world as the main focus, we get to see it in its full glory...and just as expected, everything is wrong, goes completely wrong. Basically, nobody seems to be in their right state of mind, corrupt, bloodthirsty, and eccentric Megacorps and organized Mafia-style thugs who will kill for strange reasons rule over every square mile of the city, aspiring young men and women forced to enroll into paramilitary units, people transforming into Distortions and wrecking full-blown chaos...the list of horrors go on and on.

    M 
  • While Mabinogi isn't exactly one of the cheeriest games around, its prequel game Vindictus, focusing on humanity's war against the Fomors to reach The Promised Land (Mabinogi's original setting Erinn) is as violent as all get-out and has a lot more serious themes. In the third major episode, a young cadet that you spent the first few episodes getting to know is viciously murdered, and as the game goes on, we learn it's only the beginning of how bad things are getting. It doesn't help that the cutscene where he's killed is right before the boss fight in a mission. And it's unskippable. Given the luck-factor in finishing quests, it's not uncommon to see him murdered over and over and over again.
  • Mad Max (2015) is even darker than the movies, and has a more depressing ending compared to each of the movies' Bittersweet Endings.
  • Mafia:
    • Mafia II is this compared to the first game, with an even more bleak and gritty outlook than before. That was the intention, though.
    • Mafia III. While Mafia II was already quite dark, Mafia III seems to have taken things up to eleven. Lincoln's adoptive family is betrayed and murdered in front of him, the place is extremely racist and hostile, executions are excessively brutal, there's a lot of mass murder and disturbing content, and the antagonists are even more despicable than before. Interestingly, Mafia III has much more muted colours in pictures. Heck, one of the game's DLC stories, titled "Sign of the Times", doubles with Bloodier and Gorier.
  • Mari and the Black Tower: The game is much darker than Knight Bewitched, due to how miasma destroyed the future of Timeline 0. Even in Timeline 1 where Abbie is supposed to prevent the Bad Future, Halonia is still destroyed and the citizens are brought back in the Black Tower, but they can't leave and many of them vaguely remember their deaths.
  • Max Payne gets progressively darker and more serious through each installment. And it already started bleak with the murders of his wife and daughter. This is apparent with the decreasing amount of humour — in the first game it might still be pretty goofy and comical at times (particularly the unintentional humour). The second one still has humour, but it is more caustic and somber. The third game is almost void of it, were it not for some in-universe funny quips.
  • Within the Medieval II Total War expansion, the Teutonic Campaign deals with the fact that the Teutonic Knights are a bunch of bloodthirsty zealots who see their enemies as less than humans and are merely Hiding Behind Religion to justify their actions. The Kingdom of Lithuania faces the brutal choice of choosing to abandon their traditional religion or be exterminated by the Teutonic Knights, and Poland is left horrified at what the Teutonic Knights have done, given that they asked them to deal with the pagans in the region in the first place, and they decide to go to war to atone for the crimes they allowed the Order to commit.
  • Mega Man:
    • Rather than an adorable Astro Boy-esque android, the Blue Bomber of Mega Man X is a morally conflicted hero. Similarly, the comical Dr. Wily was succeeded by Sigma, a ruthless (and seemingly indestructible) robot bent on the total annihilation of the human race. It was still done rather well, Capcom Sequel Stagnation aside. Still, apparently Capcom knew when enough was enough, as a later series in the franchise, Mega Man Legends, significantly dials down the angst with less hard-edged artwork, a more reasonable difficulty level, and a comical cast of characters.
    • Within the X series, Mega Man X4 is where the series got even darker, with brutal on-screen dismemberments with High Pressure Reploid Blood, Character Development for Zero and the exploration of his dark past with Zero's storyline ending in Zero being forced to kill his love interest Iris's brother and then Iris herself, and first time in the series that the Maverick label is used on non-Mavericks. It was done well to the point X4 is generally considered one of the best entries in the X series only surpassed by X1.
    • The Mega Man Zero series was hands down the darkest in the franchise, what with the hero being on the losing side of the war (at first), giving the players the "pleasure" to see countless allies die. Plus the horrible Backstory (bridging this series with X), which later gets incorporated into the main plot, and a truly evil Omnicidal Maniac as the main Big Bad. Despite that, it was done well to the point it was praised for it.
    • ZX was lighter than Zero... except for the backstories of the four protagonists, the general atrocities caused by the antagonists, and Giro falling victim to Zero's death curse. It was still done well.
    • Super Adventure Rockman was this to the Classic franchise. The story involves Mega Man trying to stop an electronic field that shut down all power around the planet, a horrifying load of Game Over cutscenes the player could get, ranging from Dr. Wily taking over the world after killing Roll, to Shadow Man destroying Mega Man with an arm cannon. Quick Man also has a death. A legitimate death, not an explosion, he even gets buried by Mega Man, and though he comes back for the climax, Shadow Man couldn't be rebuilt, so in a way Shadow Man is really the one who gets Killed Off for Real.
    • Mega Man 7 is a classic example. It turned Mega Man into a Perpetual Frowner, removed the happy expression on the One Ups, and Mega Man tried to kill Wily in all versions, including the American Kirby is Hardcoreless version.
    • Mega Man Star Force was definitely darker than its predecessor, Battle Network. Geo Stelar starts out being understandably depressed about his dad to the point where he won't go to school... But his depression quickly lifts the longer The Power of Friendship thing hangs around (Then it hits a roadblock when Pat betrays him and Geo goes into a short-lived fit of Wangst).
    • Star Force 2 contains one of the darkest plotlines in the series. The Apollo Flames "second quest" involves an alternate universe After the End scenario where every human has been killed off thanks to the Precursor To Ruin.
    • The third Star Force game has some decidedly un-cheery plot elements, such as two war orphans trying to use an Eldritch Abomination to destroy the world's technology, a corrupting, quasi-Hate Plague, and one character being killed before Geo's eyes (Luckily they turn out to be Only Mostly Dead).
  • Metal Gear:
    • The original Metal Gear is a light, fun action game that uses some cool elements borrowed from movies, and its major twist (that Big Boss was the commander of Outer Heaven) is played almost like a joke. Its sequel Metal Gear 2: Solid Snake had a significantly more morally ambiguous and interesting plot, with Big Boss's goals being sympathetic and many of his men having good reasons to follow him, and some genuinely sad death scenes. Then the sequel to that, Metal Gear Solid, is much more mature again, with Snake getting a much more nuanced personality and visibly struggling with the morality of what he is doing, and the game overall having a much moodier tone (going from a multicoloured palette with bright anime aesthetics to shades of blue-grey, and replacing the campy proto-Synthwave soundtrack with brooding 90s cinematic music and a One-Woman Wail).
    • Metal Gear Solid V: The Phantom Pain is this to a very heavy level, which is understandable, since it concerns Big Boss and his fall from hero to villain. It includes torture (present in every MGS game, but never to this level), surgery performed without anesthetics, explicit portrayal of Child Soldiers (only discussed or implied in previous games) and heavily implied gang rape, and that's just what's been shown in trailers.
    • In Metal Gear Rising: Revengeance, there's certainly a lot of instances of strong cursing in a series that usually doesn't do it too often. It's also a lot gorier.
  • Metal Slug:
    • Metal Slug 5, at least in comparison to the other games in the series. Series Big Bad Morden and his Dragon Allen O'Neal, as well as the Rebel Army, are not in the game, and instead, you fight a different group of enemies ranging from veiled terrorists to armed mecha. As a result, the game lacks some of the humor found in the other games. However, most of the enemies in the game are all edits of Rebel soldier sprites. The game also features a heavy metal soundtrack.
    • Metal Slug 6 as well. It features Marco and his team joining forces with both the Rebel Army and the Mars People fighting against a new, dangerous threat that not even the Mars People themselves can handle.
  • Although the Metroid series is already more mature than most Nintendo franchises, within it are games that take it further:
    • Super Metroid took the franchise to terrifying places with spooky music and some very disturbing enemies after Metroid and Metroid II: Return of Samus.
    • Metroid Prime 2: Echoes. In addition to including a Dark World, its backstory tells about much more tragic events, including the rise, decline and near-extinction of the Luminoth, the death of the Galactic Federation soldiers, the Space Pirates being frightened before the presence of an Evil Counterpart of Samus Aran, and enemies in the form of extradimensional demons that have slaughtered everything in their path in an attempt to destroy the planet (and they nearly succeed).
    • Metroid Prime 3: Corruption is aesthetically less dark than Echoes due to the lack of a Dark World, but the plot involves a wide-scale war, Samus witnesses the death of several fellow hunters by her own hand, several planets (not just one anymore) are affected by Phazon, most of the worlds have heavy destruction and loss in their backstories, one area takes place in the remnants of a merciless attack towards a GF ship, and Samus herself becomes gradually corrupted by Phazon, with the threat of death constantly looming over her.
    • Metroid: Other M tried for a darker take on the series. The normal music is subdued and ambient and battle music is heavy on "Psycho" Strings and intense percussion, the setting is more artificial and constricted, and the story tries for heavier themes such as betrayal, past pain, conflicting loyalty, government conspiracy, and sacrifice.
    • Metroid Fusion, compared to the previous games. Super Metroid was darker than the previous series, but this game is almost a Survival Horror game in tone. Samus is on a run of her life should she encounter the SA-X, who possesses her upgrades and Ice Beam. And the Nightmare is one of the most horrifying bosses in a Game Boy Advance game. Even the formerly benevolently portrayed Federation is shown to have shady goals that force Samus to turn on them, which she realizes will make her viewed as an enemy.
    • After being Saved from Development Hell, the long-awaited Metroid Dread, true to its name, apparently aims to be the darkest entry of the franchise yet, cranking the Survival Horror theme Fusion had up. Not only has Samus learned the X Parasites may yet still live on the planet ZDR, but the Galactic Federation had dispatched a unit of E.M.M.I.s to investigate, who by the time Samus gets there herself, have mysteriously gone rogue. Not only are these corrupted E.M.M.I.s incredibly hostile, but they are Nigh Invulnerable and the second they encounter or dectect Samus, they will hound her across the complex relentlessly and will not stop until they catch her and brutally kill her, and in one hit, no less. Thus, Samus cannot face them head on and actually has to rely on stealth and hiding for fear of one catching and pursuing her, having to upgrade significantly in order to stand a chance of facing them. Not only that, the gloomy, mechanical environment of Planet ZDR is rife in dimly-lit abandoned labs and complexes which are home to a whole new slew of alien nasties that invoke an unsettling, dirty atmosphere more characteristic of Dead Space than even the Metroid Prime Trilogy had at its darkest moments.
  • Momodora always had some rather dark themes, including heroes becoming villains due to their own failings, flaws and obsessions, but overall was a fairly idealistic series. This is not the cause for IV. In stark contrast to the lively, vibrant worlds of the first three games, the world of IV is dark, decrepit and decayed, full of bloodthirsty monsters and selfish, opportunistic people. Nearly every character, including heroine Kaso, is deeply flawed and has a tragic past. And to top it all off, Neither ending results in a victory. Either Kaso fails outright and is murdered by the Underworld Queen, or succeeds at the cost of her life, only for a new Underworld Queen to rise years later and start the whole conflict over again. And since this game is a prequel, the latter ending is canon.
  • Minoria. The basic plot is that the Saintly Church your character works for is trying to defend the world from evil witches, and the Church's Princess who holds the key to defeating them has been kidnapped. Except its all a lie. The Church isn't saintly at all, but rather an intolerant, fascist regime that defines "heretics" as "anyone who doesn't do exactly what we say". The Princess you've spent the entire game trying to save turns out to be a psychotic, genocidal fanatic who is willing to quite literally burn the world down if it means killing a single "heretic", and the witches are just trying to defend themselves from psychotic murderers, their leader turning out to be the Princess's own sister whose only crime was wanting the fighting to stop. And just like Momodora, neither ending actually has the protagonist accomplish anything. Either the fanatical Princess takes over the world and ushers in a new era of bloody theocracy, or the protagonist manages to oust her from power, but loses her closest friends in the process and the status quo isn't actually changed at all.
  • Mortal Kombat:
  • The Mother series falls under this. Mother 1 was a bit dark compared to Mother 2, which is the most cheerful and funny of the series, and despite being a pretty dark game, it obscured it with bright colors and witty dialogue. Then comes Mother 3 where the protagonist's mother dies (in the first chapter of the game, no less), his brother goes missing after trying to avenge his mother's death (although it's implied the main character thinks he's dead), his father dedicates his life to finding him, his brother is used by the Big Bad to pull the seven needles which if he gets more than half the WORLD ENDS, the Big Bad is an insane person who is thousands of years old and has the mind and body of a kid, and in the end the protagonist's brother kills himself in order to rejoin his mother in the afterlife. Amazingly, it still retains the humor of the previous games. In addition, what little Itoi has talked about the Nintendo 64 version shows that it was going to be significantly darker, and Dummied Out cutscenes and sprites (of which there are plenty) show that even GBA version was somehow going to be more depressing and dark still.
  • Muv-Luv started life as an intentionally-cliched spinoff of Kimi Ga Nozomu Eien. Then came Muv-Luv Unlimited and Muv-Luv Alternative, which drop the protagonist into a parallel universe where aliens are invading earth, killing off large swaths of humanity (violently), and kickstarting a war between the invaders and Humongous Mecha-piloting teenagers.

    N 
  • Neptunia:
    • Hyperdimension Neptunia was a fun light-hearted Console Wars game filled with a fun cast and a happy game overall. The second game starts off with the four goddesses on the receiving end of a curb stomp, piracy monsters are rampant, and in one of the endings murdering fellow goddesses to power up the sword, only to find out that Nepgear was being controlled by the Big Bad.
    • Hyperdimension Neptunia Re;Birth1 also certainly qualifies. Despite not being at the same level as mk2 in terms of edginess, this alternate retelling of the first game seems to take itself a bit more seriously than the other games, and even establishes Arfoire as a legitimate threat to Gamindustri, moreso than in any other incarnation, except for her role in mk2, where she was an Eldritch Abomination. This game is also arguably the one and only game where she becomes evil against her will.
    • Megadimension Neptunia VII is the darkest Neptunia game to date, surpassing both mk2 and Re;Birth1 in terms of dark atmosphere. Unlike its lighthearted and wackier predecessor, this installment takes itself more seriously than previous games by introducing a leadership crisis within Gamindustri, and it helps that most of promotional material gives off this vibe, although it's justified since the vast majority of it focuses on the Zerodimension. In the actual game, however, has a good balance between seriousness and comedy, but it is definitely darker than the plot of the previous titles; you can expect something bad (or worse) to happen at the beginning, middle, and the end of each Story Arc. The Big Bad of the game is more than just a generic Omnicidal Maniac like Arfoire or Psychopathic Manchild like Rei Ryghts, but an intelligent yet ruthless mysterious girl who is very manipulative.
  • Neverwinter Nights 2: Mask of the Betrayer compared to the original campaign. So much so that some people wonder how the same company could have created the lighthearted Troperiffic romp through the Sword Coast, then turned around and created an original, dark, atmospheric campaign in MotB.
  • Nicktoons:
    • Nicktoons Unite! (the first game) is this. Compared to the sequels and especially the other games featuring the Nicktoons, this one is considerably darker and more serious. It certainly doesn't help the fact that the humor is toned down here, and all the antagonists of the shows have formed an alliance to have total dominance and be unstoppable. Even the game's art style is noticeably less cartoonish and more realistic than the other Nicktoons games. Muted colors and a dramatic orchestral score predominate here, which is quite rare coming from the lighthearted nature of the Nicktoons. The sequels, however, are considerably more cartoonish and focused on comedy.
    • When compared to the lighthearted Volcano Island and Attack of the Toybots, Globs of Doom is more somber, with the toons' worlds actively being at stake to the point where the heroes and villains are forced to team up. However, it's still less dark than Unite!, as it still continues to retain the cartoonish nature of the toons'.
  • No More Heroes 2: Desperate Struggle is a darker followup of the first game. While it still retains the quirky, paradoxal, fourth wall-breaking, Tarantino-esque qualities of the first game, it continues the series’ theme of revenge that was only brought up at the end of the first game, a noticeably angrier Travis, and the brutal murder of Travis' friend Bishop, with his severed head in a paper bag being thrown through Travis' window at the beginning of the game. Interestingly, the second game also features some actual Character Development, with Travis starting to get sick of mindless killing and eventually deciding to quit the UAA because it disgusts him, as opposed to the first game, where he was just a violent, foul-mouthed Blood Knight. The darker tone of the game is echoed by the ambiance of the levels, most of them being explored during dusk time, representing an important transition for Travis and the characters supporting him.

    O 
  • Octopath Traveler:
    • The series is this when compared to Bravely Default, the producer's other major series. While Bravely Default can touch upon some dark subject matter, the series as a whole is far more lighthearted and fantastical than Octopath Traveler proves to be. Primrose's route in particular includes murder, prostitution, slavery, and sexual abuse. The game also features much more profanity than its sister series. Some of this is route-dependent; for example, Tressa's story is considerably more light-hearted than some of the others.
    • The sequel, Octopath Traveler II, takes this a step further even compared to the original game. The protagonists' stories are all much darker in tone and have higher stakes compared to their first game counterparts. The only real exception to this is Agnea, whose story is by far the lightest in tone between both games (especially when compared to Primrose, the dancer of the first game).
  • OMORI is this trope in comparison to Omocat's previous works — more specifically, her webcomics, like Pretty Boy and her old The Legend of Zelda fan comics. While her old work is far more reliant on lighthearted humor, Omori has themes of suicide, death, depression, anxiety, and self-isolation. As the game progresses, the tone gets gradually worse and worse. And that's not even mentioning the Hikkikomori Route.

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