10 BAD Games With a GREAT Story

“Marvel’s Avengers” (2020)

Our hopes couldn’t have been higher for this one. Don’t forget, this game dropped a year after Endgame, so Marvel was at its peak. Unfortunately, Marvel’s Avengers (the game) failed due to a mix of poor game design, excessive monetization, and overall weak content. This, however, did NOT include the story, which held the game together long enough for players to get through the single-player campaign—which had SO much potential. Don’t get us wrong, the game had a handful of solid combat mechanics, but they were hard to appreciate next to frequent bugs and progression that felt basically pointless. Support stopped in 2023, and the potential of this IP was wasted!

“Mafia III” (2016)

I never played the Mafia games when I was younger, but with the Mafia 1 remake, I was blown away and HAD to play the whole series... I wish I’d stopped at 2. Mafia III received mixed reviews NOT JUST from me, but from the general public. It’s undeniable that the game has a gripping narrative, a strong protagonist (Lincoln Clay), and bold themes tackling racism and revenge in the '60s—a GREAT era for mafia narratives. However, its repetitive mission structure, lackluster AI, and technical issues (such as bugs and performance problems) took it from a 10 to a 6. It also suffered from the unbelievable faux pas of having a boooooring open world. If you can’t fill your open world—go linear.

“Nier” (2010)

Nier featured fascinating world-building, blending primitive and futuristic technology to create a setting unlike any before it. While the story followed the familiar premise of a man seeking a cure for his sick daughter, it twisted this concept in unexpected ways. The game also delivered some of the most compelling endings in hack-and-slash history. You know what else it delivered? Dogsh*t combat. I’m sorry, I’m being hyperbolic—it was still a FINE game, I GUESS. However, its strengths were undermined by dull side quests and... Don’t say it... Come on, Mat, don’t say it... DOGSH*T COMBAT—AHH I did it again. My bad.

“Clive Barker’s Jericho” (2007)

Jericho was Clive Barker’s last attempt to bring his signature storytelling to video games. It’s Clive Barker, so the story is top stuff. But also—it’s Clive Barker, so the gameplay is average. He doesn’t usually do games, so chill. The plot followed a team of supernaturally gifted operatives racing against an ex-member determined to unleash an ancient nightmare known as the Firstborn. I know it sounds wild, but it’s really dope. While the game boasted a compelling narrative and impressive visuals for its time, its potential was squandered by weak gameplay. The combat felt frustrating, with unrealistic enemy AI and a reliance on constantly reviving teammates rather than engaging in satisfying gunfights. Despite its atmospheric horror elements, the game ultimately failed to deliver a truly immersive or enjoyable shooter experience.

“Shenmue” (1999)

I’m just gonna get this out of the way so y’all know exactly where I stand—and my bias is made clear. I don’t like Shenmue. I’m so sorry, but I’ve owned it, so now you can’t bully me in the comments. Right? Shenmue offers a deliberate gameplay style, but its slow pace can be frustrating for those who prefer more immediate action... or any action. While combat is included, it appears only sparingly—like in this particular entry in the series, where players may spend hours in the game before encountering their first fight. The experience is further slowed by an abundance of quick-time events during cutscenes—a mechanic that has been aggressively bullied out of gaming. Because it’s stinky. Don’t make me sit ready while I’m trying to enjoy a narrative.

“Vampire: The Masquerade - Bloodlines” (2004)

The only reason this game got a second entry is because of the story. Vampire: The Masquerade – Bloodlines (the weirdest layout for a game title that’s ever existed) thrusts players into the dark underworld of vampires, challenging them to carve out their own story. Without giving too much away, it’s an unsettling journey that raises the question of whether a vampire can ever truly find happiness... but better than Twilight. While it has a devoted cult following that praises it as a masterpiece, its combat leaves much to be desired. Enemies mindlessly charge into gunfire, get stuck on objects, or shoot from ineffective ranges. It makes it a slog that you only push through because of the story.

“Planescape: Torment” (1999)

Back in the '90s and early 2000s, Planescape was the quintessential “good story, bad game” example. The legendary RPG boasts some of the best dialogue in gaming history. However, its storytelling ambition and depth are at odds with its lackluster gameplay, where combat feels trivial to the point of unnecessary, and the only truly engaging mechanic is the previously mentioned dialogue. It’s a bad sign when your best gameplay mechanic is dialogue. Even in 1999, Planescape: Torment was widely recognized as mechanically weak, sustained almost entirely by a story regarded as one of the greatest ever told in gaming.

“Alpha Protocol” (2010)

Obsidian Entertainment has developed some of the most acclaimed modern RPGs, including The Outer Worlds. However, not all of their efforts have been flawless. Alpha Protocol, for instance, suffers from significant gameplay issues, with clunky shooting mechanics and animations worse than the original launch of Mass Effect: Andromeda. Yet, for those willing to overlook its rough edges, the game offers an engaging spy thriller with multiple branching paths. The story is so good, fans are STILL begging for a sequel.

“Rule of Rose” (2006)

Even the most devoted fans of the cult survival horror classic Rule of Rose rarely defend its gameplay. I myself remember it fondly as one of the most engaging and unexpectedly shocking horror games of all time. I recently attempted to tackle it again after almost 20 years and found it borderline unplayable. Narratively, Rule of Rose is gripping—its exploration of trauma and abuse was far ahead of its time. However, mainstream media fixated on its mature, boundary-pushing themes, with some outlets making sensationalized and baseless claims about underage eroticism. Beyond the story, Rule of Rose is a far less compelling experience. The melee combat is awkward and unrefined, backtracking is excessive, and both issues are made worse by sluggish controls and an uncooperative camera. It felt like Silent Hill on ketamine—positively for the story, negatively for the gameplay.

“Deadly Premonition” (2010)

Released in 2010, this open-world survival horror game channels the same unpredictable, off-the-wall energy as Twin Peaks, following an FBI agent investigating the murder of a young woman. And as we know, Twin Peaks isn’t for everyone. As a narrative experience, Deadly Premonition is a delightfully bizarre, delightfully off-the-wall, and delightfully twisted experience. In all its eccentricity, it’s far more memorable than 80% of games released today. However, even with the praise I’ve just given it, the gameplay moves between nightmare and hellscape. Depending on who you ask, Deadly Premonition is either a masterpiece or a complete disaster.