9 games with stories that will have you in tears

Failure is usually something games ask you to avoid. Disco Elysium can turn a bad dice roll into a better scene, exposing a detective's vanity or sending a conversation somewhere ridiculous. The Last of Us works at the other end of the scale, often letting a pause between Joel and Ellie carry more than another page of dialogue.

That range makes "story game" hard to pin down. A strong script is not enough if play stops whenever the plot begins. Some of these games remember choices made forty hours earlier, while others finish in one evening. What connects them is the way interaction reveals something that a cutscene alone could not. A house filled with sealed bedrooms is the right place to begin.

Edith Finch returns to her abandoned family home to learn why she is its last surviving member. Each sealed bedroom belongs to a dead relative, and opening one leads into a short playable account of that person's life. The stories shift in style because they come from letters and family memories rather than an objective record.

The most effective chapter follows Lewis during a shift at a fish cannery. One hand moves fish beneath a blade while the other guides him through an imaginary kingdom. The fantasy takes up more of the screen as his factory work becomes automatic. Instead of explaining his withdrawal, the game makes it difficult to keep both sides of his life under control.

The individual chapters vary in quality, and there is little room to affect their outcomes. The house gives them a common weight. Its locked doors and improvised passages show how the Finch family preserved every tragedy while refusing to discuss any of them.

Telltale's The Walking Dead follows Lee Everett, a convicted killer who becomes responsible for eight-year-old Clementine during a zombie outbreak. Most choices do not create a completely different plot. They establish what Clementine sees Lee do when food is short or another survivor becomes dangerous. At the motor inn, Lee has four pieces of food for a much larger group. Deciding who eats does not open a new ending, but it reveals his priorities to everyone standing nearby.

 Clementine notices those smaller decisions, which gives later conversations more force than the familiar on-screen warning that somebody will remember what happened. The branches often reconnect too quickly, and characters sometimes die soon after being saved. 

The final episode still works because the season has spent hours making protection feel like a daily responsibility rather than a dramatic promise.

NieR: Automata is an action RPG about android soldiers 2B and 9S fighting machines on a ruined Earth. The first ending is not the end of the story. A second route revisits familiar events through 9S, whose hacking ability opens records and machine memories that 2B could not access.

Repeating those missions can drag, but the changed perspective gradually undermines the simple war described at the start. Machines imitate family and religion without fully understanding either. The androids dismiss that behavior even though their own mission depends on claims they have never verified. 

The story eventually changes protagonists and pushes beyond the repeated material. System menus and save data become parts of the android experience rather than conveniences outside the story. Its shifts between melee combat and hacking can feel uneven, yet few action games are this willing to rebuild their premise halfway through.

Outer Wilds places a new astronaut in a small solar system that resets every 22 minutes. There are no permanent upgrades. Progress comes from understanding where to go and when a route becomes possible. The ship's log keeps discovered connections after each reset, but it never supplies the conclusion. 

Every planet preserves part of the Nomai story in a different physical problem. Ember Twin's caves fill with rising sand, so a passage mentioned in an old record may only be reachable early in the loop. Brittle Hollow breaks apart as time passes. The history also becomes a set of practical directions.

The first hours can be frustrating because flight is loose and useful discoveries arrive out of order. That confusion is not permanent. Once separate records begin to connect, the story takes shape without a quest giver explaining it. Reaching the end requires understanding the same history the astronaut has been uncovering all along.

The detective at the center of Disco Elysium wakes after a destructive drinking binge with no memory of his name. A man is hanging behind the hostel, and solving the murder means rebuilding enough of the detective to conduct an interview without falling apart.

His 24 skills speak as competing parts of his mind. Authority wants to dominate a witness. Empathy may notice why that would be a mistake. Volition sometimes has to warn that the other voices are being manipulated. Building a character therefore changes the narration as much as the available dialogue.

Failed checks can produce useful scenes instead of a reload. Missing one attempt to look calm might expose a better piece of writing than success would have. The investigation loses momentum during long walks across Martinaise, and its political arguments demand a great deal of reading. The detective can still be brilliant and pathetic in the same conversation without either side feeling like the wrong way to play him.

Red Dead Redemption 2 follows Arthur Morgan as the Van der Linde gang runs out of places to escape. Its main plot is deliberately slow because camp life has to feel stable before it begins to collapse. Early evenings are filled with songs and arguments around the fire. Later returns can reveal an empty chair where a familiar voice used to be. Arthur's journal gives those changes room to register. 

He sketches animals and records doubts that he rarely admits to Dutch. This quieter Arthur often feels different from the outlaw that missions require him to be.

Rockstar's mission design is far less flexible than its open world. Moving away from the intended route can fail a mission, even when Arthur could handle the situation.

The Guarma chapter also rushes through a major change in the gang. Once the story returns home, Arthur's growing unease gives even an ordinary ride back to camp a different mood.

Baldur's Gate 3 is a party-based RPG about a group infected with mind flayer parasites. Finding a cure provides direction, but the story grows from how the group responds to that threat. Companions can leave when a decision crosses their limits. The druid grove provides an early example of how far consequences travel. Saving its refugees brings several minor characters into later acts, where their circumstances have changed. 

Attacking the grove removes those meetings and can alter the available companions. The missing people leave visible gaps in the journey rather than waiting to be counted during a closing montage.

The Dark Urge origin gives the custom protagonist a personal conflict without deciding how it ends. Resisting its violent impulses creates a different story from embracing them, and companions respond to the struggle. 

Act Three is crowded enough that some threads lose urgency, but the game remembers an extraordinary amount of what happened before the party reached the city.

Mass Effect Legendary Edition collects Commander Shepard's fight against the Reapers across three RPGs. The trilogy has hundreds of hours to let its relationships change. Squadmates who begin as specialists on a military ship become friends with histories that continue while Shepard is away. Importing a save means old decisions return without asking whether they are still convenient.

The suicide mission in Mass Effect 2 is the clearest use of that history. Shepard must assign people to jobs based on their abilities, while unfinished loyalty missions leave them vulnerable. Survival depends on whether the crew was understood and prepared, not simply on winning the final firefight.

The first game's empty planets and awkward shooting have aged badly. The trilogy's final decision is also too blunt for a series that spent so long tracking smaller consequences. Between them, the games follow relationships with unusual care. A name chosen for a memorial wall can depend on something Shepard did two games earlier.

The Last of Us Part I is the current version of Naughty Dog's 2013 story about Joel escorting Ellie across a ruined United States. Their relationship develops during the playable journey, not only in cutscenes. Ellie starts as someone Joel expects to follow orders. Her questions and jokes gradually become part of how he moves through quiet spaces.

The giraffe scene does not switch to a cutscene. Joel can approach Ellie immediately, or the moment can be allowed to breathe. Nothing is awarded for waiting. The pause matters because the trip has trained both characters to search every abandoned building for danger.

Combat is violent enough to support the desperation in the story, though repeated smuggling routes and ladder puzzles sometimes slow the middle chapters. The performances keep the focus on what Joel and Ellie avoid saying. By the final exchange, there is no dialogue wheel and no alternate ending. The story has spent enough time with them that a short answer is all it needs.