Games Where You Make Everything Worse

Not every game is a straightforward heroic adventure, and in a lot of cases, the player actually proves to be more of a detriment to the world than an actual benefit. They don’t always have to be a straight-up villain, but they can cause just as many problems by making poor choices, unintentionally harming characters, and affecting the world through collateral damage, even when they are actually on the side of good.

The best examples of these disaster scenarios are where players are either given a choice about how kind or evil they want to be, or when the decisions themselves lead to negative consequences, regardless of how well-intentioned they may be. These games treat goodness as a scarcity, forcing players into situations that require sacrifices and tradeoffs, or outright say that the path forward can never be one of greatness.

Pathologic 2

Every Choice Creates A New Disaster

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Sacrifices are a necessity

The entire town can die if decisions are poor

Pathologic 2 is built around the idea that saving one thing means sacrificing another. The story never allows clean victories, as every choice prioritizes one group, district, or ideology at the expense of others, often leading to permanent consequences that almost always come in the form of death.

NPCs remember neglect, and the narrative adapts to reflect the player’s failures rather than hiding them, which is made worse by the lack of information given on how to fix them. Even well-meaning decisions can quickly accelerate collapses elsewhere, making a lot of the playthrough feel like a hopeless struggle to manage and keep track of an endless list of things, which proves to be virtually impossible.

Disco Elysium

Failure Is Inevitable

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Words dictate the fate of many

Large canonical impacts from single dialogue options

Disco Elysium is a great example of a game that falls apart at the hands of the player through the decisions they make and the relationships they burn. Individual conversations can shape political movements as well as personal relationships, and poor judgment can permanently damage both at the same time, leading to entire paths being derailed along with the destruction of long-term alliances.

The game treats the player’s pitfalls as canonical outcomes rather than errors to correct, as everything from emotional breakdowns to addiction can reshape how the story unfolds and how others see them. Rather than stopping the narrative in its tracks, failure becomes its defining feature, forcing players to stumble forward and attempt to fix things, but basically always being unable to do so.

Shadow of the Colossus

Heroism Disguising A Darker Truth

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Victories make the world quieter and bleaker

Irreversible damage

At first glance, Shadow of the Colossus presents a simple quest to the player of slaying giants in order to save someone they love. Yet with each victory, the world grows quieter, darker, and more unsettling, as the landscape appears emptier and the Wander’s body begins to deteriorate, showing the consequences of violence in real time.

The game never explicitly tells players they are making things worse, but its atmosphere communicates it relentlessly. As they delve deeper, the enemies feel less like monsters and more like guardians, protecting something unknown, and in the end, the narrative power lies in how it allows players to realize too late that their success has irreversibly damaged the world.

Tyranny

Committing Atrocities On A Large Scale

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Trade-offs for every decision

Pursuing selfish ambitions

Tyranny places players in a position of authority within an already broken world, but every attempt to stabilize it only deepens the damage. Choosing sides empowers factions that commit atrocities, while acts of mercy often weaken the player’s control and lead to even greater suffering later, creating an interesting dynamic where virtually every choice comes with pain.

The narrative is built around compromise and complicity, as there is no path where the world becomes truly better, only versions where it becomes worse in different ways. The story reacts sharply to the player’s decisions, with regions reshaping and entire ideologies coming undone at the seams, purely due to how evil they decide to be.

Spec Ops: The Line

Obdedience Is The Real Crime

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Constant escalating violence

No victors in war

Spec Ops: The Line frames progression itself as the problem, as, unlike other shooters,s where the main goal is just to eliminate every enemy in sight, the missions here feel far more ominous as the player progresses. Despite the objective being to restore order, the violence in each section only seems to escalate more and more, and every success seems to worsen the humanitarian disaster unfolding before the player.

The game strips away the idea of a fearless hero, instead forcing players to confront the consequences of following orders without question. In order to achieve this, the narrative directly implicates the player in every one of their actions, blurring the lines between good and bad from start to finish. Attempts to do the right thing only deepen the catastrophe, and by the end of the game, the story makes it clear that the greatest harm came not from villainy, but from blind compliance.

InFAMOUS

Saving Lives At What Cost

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Destruction is a certainty

Death comes even in good playthroughs

In InFAMOUS, player choices visibly reshape the world in negative ways, regardless of whether they decide to be a bloodthirsty villain or an aspiring anti-hero. The evil route makes civilians fear the player and turns otherwise calm neighborhoods hostile, with even heroic actions often causing collateral damage that almost always leads to an innocent person dying.

The morality system isn’t a background mechanic and is instead the primary force for how the player is perceived in the world. Players can attempt to walk the path of good, saving as many people as possible, whilst also cleaning up the city, but it is never a clean path and is often filled with carnage and mayhem that affects more than just the bad guys. NPCs react differently, and the city’s tone changes based on behavior, emphasizing the idea that every action carries consequences and that even if they try to be the good guy, there will always be a cost that comes with attempting to save the day.

Prototype

Strength Comes From Carnage

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Killing becomes necessary

Always secondary harm caused

Prototype embraces the idea that the player is the bad guy. As Alex Mercer grows stronger, the city collapses further, turning what was a bustling metropolis into a barren wasteland. The military responses become more intense, civilians vanish, and the environment becomes a battlefield shaped by the player’s presence, showing how unafraid the game is to lean into the dark side.

The story reinforces this descent by framing power as an isolating force that almost always leads to evil. Negativity is inevitable, as the progression is directly tied to players consuming enemies and destroying structures, never once letting them escape from the fate they have been bestowed, no matter how hard they try.

The Last of Us Part 2

The Cost Of Relentless Vengeance

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Bloodshed with seemingly no end

Closure is never guaranteed

The Last of Us Part 2 is structured around cycles of retaliation, showing how each act of violence fuels the next, with seemingly no end in sight. The choices made in pursuit of justice lead to relationships being dismantled and a loss of personal identity that never seems to be mended. Unlike the first game, where Ellie was a strong yet smart survivor, here, she becomes a ruthless killer, overcome with bloodlust and thinking more about satiating her eternal hunger for vengeance than the people that matter the most to her.

The story refuses to validate the player’s actions, instead forcing them to witness the cost from multiple perspectives. By the end, nearly every character is emotionally or physically broken, and the world feels emptier for it, despite how much the player may want to walk a different path. There really are no happy endings for anyone, as even when things start to die down, there is always another wrench thrown in the works that completely derails any sense of comfort, which almost always comes in the form of death.