If Link is seen by Gerudo Guards in Ocarina of Time or Majora's Mask, he gets either captured or thrown out of the fortress.He recovers in time to avoid death, but it's awfully hard to imagine this happening to a warrior of Simon's abilities (it's not even necessary - the hunchbacks take him to where he was already headed). In Castlevania Mirror of Fate, Simon gets clocked by a couple of hunchbacks in a brief moment of distraction.However, at the end of their mode, well, you see how they were turned into vampires in the first place. They can both fly, have a small window of vulnerability, one of them can attack by means of the player drawing over an enemy with the touch screen, and the other can rapid-fire ice crystals, which can kill even ice-resistant enemies in seconds. Castlevania: Portrait of Ruin has Sisters Mode, in which you play as the Vampire twins.The Battle Didn't Count deals with a similar dissonance, where the player does get a chance to fight the battle, but the cutscene has them lose anyway. See Stupidity Is the Only Option for the "interactive" version. Subtrope of Gameplay and Story Segregation. Alternatively, this can result when the protagonist's in-game counterpart was made significantly stronger so as to use more traditional game mechanics-for instance, turning an untrained Action Survivor into a gun-wielding platform-jumping One-Man Army-but then jarringly shifts back to their original level of competence in cutscenes.Ĭutscene Power to the Max is the opposite of this. This is especially common in games based on an existing story: at some point, the original protagonist screwed up, and their game counterpart invariably has to do the same thing, and the player isn't likely to do that themselves (if only because they know about it). It should also be noted that in many cases, especially in more realistic games, what's happening isn't so much cutscene incompetence as gameplay power to the max in gameplay you can often do things like heal from bullet wounds in seconds, and reload and try again if you die, neither of which your character can canonically do. Cutscenes are therefore employed so the player's character can suffer plot-enriching setbacks without requiring player failure. However, effective storytelling often calls for setbacks and precarious situations the savvy player would simply avoid or subvert. Games generally demand the player to overcome obstacles and enemies to triumph or they will lose.
The rough justification for this comes from a conflict in the nature of gameplay and storytelling. The best way to gauge how bad the effect of this trope is in a given game is to ponder the question: What would have happened if the player had control throughout the entire game? Because of this, many a player has likely fantasized about how they'd have handily won that Final Boss Preview if they'd been in charge during the encounter.
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