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Top 15 Biggest Plot Holes in Video Game History

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Gaming - March 10th 2026, 18:30 GMT+1
Final fantasy remake intergrade biggs

15. Final Fantasy VII Remake (2020): Biggs’ survival makes no sense given the events of the original game

Death is supposed to matter when Sector 7 falls, especially for Avalanche members whose fate was one of the most painful fixed points in the original story. That is why Biggs turning up alive at the end of Final Fantasy VII Remake feels so odd. The game spends hours showing the Whispers as enforcers of destiny, constantly shoving events back toward the version longtime fans already know, and then suddenly one of the people who should have been lost is quietly sitting there breathing. If fate is strict enough to police tiny deviations, Biggs surviving needed more than a dramatic reveal. It plays less like deliberate mystery and more like the story wanting the tragedy without fully paying for it. | © Square Enix

Fallout 4 2015 Vault 95

14. Fallout 4 (2015): Vault 95’s experiment relies on Jet – a drug that canonically wasn’t invented until after the Great War

Vault 95 is built around one of Fallout 4’s nastier social experiments: give recovering addicts a false sense of safety, then hide a stash of chems inside the vault and wait for the collapse. It is a strong concept until Jet enters the picture and turns the whole thing into a lore headache. Older Fallout canon heavily ties Jet to Myron and the post-war wasteland, so seeing it wrapped into a pre-war Vault-Tec setup feels like the timeline has been bent for convenience. Fans have tried to smooth it over with retcon theories, but the in-game impression is still messy. Instead of feeling like clever worldbuilding, the vault reads like the writers reached for the most recognizable chem and hoped nobody would stop to date it. | © Bethesda Game Studios

Cropped Life Is Strange 2015 max bathroom

13. Life Is Strange (2015): Max’s first rewind in the bathroom should not teleport her to the classroom

Max’s first rewind is one of the best scenes in the game, but it also creates a rule the rest of the story immediately seems to abandon. In that bathroom moment, Life Is Strange effectively sends her all the way back to Jefferson’s classroom, almost like the world reset and dragged her physical position back with it. Later rewinds usually work differently, with Max staying where she is while time rolls backward around her. That inconsistency matters because the entire mystery depends on understanding what her power can and cannot do. The emotional punch still lands, but the logic of that first reset never really matches the version of time travel the game uses afterward. | © Dontnod Entertainment

Batman Arkham Origins 2013 gadgets

12. Batman: Arkham Origins (2013): Batman’s gadgets are called prototypes in later-set games, but are mysteriously fully functional in the past

Prequels are supposed to make a hero feel less finished, not accidentally better equipped than his future self. That is the strange continuity wobble running through Batman: Arkham Origins. The game is set earlier in Batman’s career, yet several tools and detective functions already feel polished enough to belong to a much more seasoned Dark Knight. Later Arkham games sometimes frame comparable tech as fresh upgrades, prototypes, or newly introduced gear, which makes this younger version look oddly ahead of the curve. None of that hurts the combat or predator sections, but it does muddy the timeline in a series that usually pays close attention to Batman’s toolbox. The result is a prequel that sometimes wants the roughness of an origin story and the convenience of a fully developed arsenal at the same time. | © WB Games Montréal

Cropped Wolfenstein The New Order 2014 B J Blazkowicz

11. Wolfenstein: The New Order (2014): B.J. Blazkowicz stays fit and muscular after spending 14 years in a catatonic state

Suspending disbelief is easy when giant robots, lunar missions, and dieselpunk super-weapons are part of the package. What is harder to swallow is Wolfenstein: The New Order waking B.J. Blazkowicz from a 14-year catatonic state and having him look ready for a fitness magazine cover about ten minutes later. The game wants the tragedy of lost time and the fantasy of an unstoppable war machine, but those two ideas do not sit comfortably together. A body left bedridden that long should be wrecked by atrophy before it ever reaches a shotgun. Instead, B.J. rises from institutional care as if he secretly spent the entire coma doing resistance-approved strength training. It is a great power fantasy, just not one that makes much physical sense. | © MachineGames

Cropped call of duty modern warfare 2 no russian

10. Call of Duty: Modern Warfare 2 (2009): Somehow, no one recognizes Makarov during the infamous airport massacre

A false-flag operation only works if the cover story survives first contact with common sense. In Call of Duty: Modern Warfare 2, the “No Russian” massacre is supposed to frame the United States through the body of an exposed American operative, but the scene asks the audience to ignore the much louder problem standing right in front of it. Makarov is not some random ghost with no profile; he is the man leading the slaughter in one of the most public places imaginable. The entire geopolitical collapse depends on officials focusing on Allen and somehow not the notorious Russian terrorist who was visibly there orchestrating the attack. The mission is unforgettable, which is exactly why the logic gap stands out so sharply. The story needs the world to miss the most obvious suspect in the room so the war can begin on schedule. | © Infinity Ward

Cropped Heavy Rain 2010 Scott Shelby

9. Heavy Rain (2010): You control Scott Shelby as a detective even while the killer is committing murders elsewhere

The clever hook is that you control multiple viewpoints while chasing the Origami Killer, which should make the mystery feel intimate instead of distant. The problem is that Heavy Rain eventually reveals Scott Shelby as the killer, and that twist turns several earlier scenes into outright cheating. Scott does not just fool the other characters; the narrative itself bends over backward to keep the player from noticing what his perspective should naturally expose. On a first run, that can feel slick. On a replay, it feels like the camera is lying for him. A good murder mystery is allowed to misdirect, but it still has to play fair with the information it pretends to show. Here, the detective angle works only because the story keeps hiding the truth in ways that his own point of view should not allow. | © Quantic Dream

Cropped Heavy Rain 2010 Ethan blackouts

8. Heavy Rain (again) (2010): Ethan’s unexplained blackouts conveniently hide his connection to the murders

Mystery stories love a red herring, but Ethan Mars’ blackouts push that idea so far that the explanation never catches up. He loses chunks of time, wakes up in the rain, ends up with origami in his hand, and looks suspicious enough that Heavy Rain practically frames him with neon lights. Then the reveal arrives, and those episodes are left hanging with no satisfying payoff that actually fits the details. Trauma can explain memory gaps, but it does not neatly account for the killer-adjacent imagery and timing the game keeps attaching to Ethan. That is why the blackouts feel less like meaningful setup and more like a discarded version of the plot. They are useful while the story wants you guessing, and strangely hollow once it has to explain itself. | © Quantic Dream

Cropped Borderlands New U Stations

7. Borderlands (2009): New-U Stations resurrect players, but major character deaths are still treated as permanent

Death in a looter-shooter is usually just a small financial inconvenience, which would be fine if the story kept that same energy. Instead, Borderlands fills Pandora with New-U Stations that rebuild the player after disaster, then turns around and asks everyone to treat certain deaths as final and tragic with no questions asked. That is where the logic starts wobbling. The series clearly enjoys using the respawn system as a joke, and later entries even wink at the audience about how canon it really is, but the world still keeps referencing it enough to make the contradiction impossible to ignore. If these machines are real, major deaths should not be so permanent. If they are not, the games spend a lot of time pretending they are. | © Gearbox Software

Ac desmond lucy

6. Assassin’s Creed II (2009): Desmond kills Lucy under mind control, and we never really get a solid reason why

Mind control can explain the motion, but it does not fully explain the storytelling problem. When Desmond kills Lucy at the end of the Ezio arc, Assassin’s Creed II and its sequels want that moment to land like a devastating reveal, yet the actual reason behind it stays frustratingly foggy for too long. Juno hijacks his body, the blade comes out, and the player is left staring at a scene that clearly matters without being given enough information to understand why it had to happen. Later lore tries to patch the hole by reframing Lucy as compromised, but that explanation arrives after the emotional damage is already done. In the moment itself, it feels less like a shocking truth and more like the series withholding the one piece of context that would make the twist hold together. | © Ubisoft Montreal

God of war 2 2007 msn

5. God of War II (2007): Kratos’ time-travel creates paradoxes that the series never fully explains

Once Kratos starts dragging time travel into an already chaotic revenge story, the series opens a door it never really shuts again. God of War II has him go back before his own defeat, alter the chain of events, and even bring the Titans forward to assault Olympus, which should create consequences far messier than the game or its sequels ever bother unpacking. That is the problem with using time travel as a blunt weapon instead of a system with rules. Entire timelines should be buckling under what Kratos changes. Instead, the story mostly treats causality like a decorative background element and charges ahead toward the next boss fight. It is spectacular in the moment, but the more you think about what should have been rewritten, the less stable the plot looks. | © Santa Monica Studio

Fallout 3 2008 ending

4. Fallout 3 (2008): The player sacrifices themselves for Project Purity – even when immune companions could do it instead

Heroic sacrifice only works when there is no smarter option standing three feet away. By the end of Fallout 3, the game pushes the player toward a noble death inside Project Purity even though radiation-immune allies like Fawkes make that choice look completely ridiculous. The scene wants grandeur, sadness, and destiny, but the setup keeps tripping over basic common sense. Asking the Lone Wanderer to walk into lethal radiation while a super mutant companion who can shrug it off watches from the sidelines does not feel tragic, it feels forced. The later fix only made the original problem more obvious, because once the game admitted the obvious solution existed, the entire sacrifice angle started looking like drama manufactured at gunpoint. | © Bethesda Game Studios

Sonic Adventure 2 moon

3. Sonic Adventure 2 (2001): The Moon stays half-destroyed across games, yet later titles show it perfectly fine

Blowing a giant chunk out of the Moon is the kind of event a series should either commit to forever or fix in a way everyone can actually follow. Sonic Adventure 2 does the first part brilliantly and then spends later games acting like the second part happened somewhere off-screen, maybe, somehow. The Moon is left visibly wrecked in one game, then turns up looking perfectly normal often enough that fans have been arguing about it for years. Even the later explanation that we are just seeing its “good side” sounds less like continuity and more like emergency cleanup after the fact. That would be easier to accept if the franchise were not so visually casual about showing the sky whenever it feels like it. What was supposed to be one of Eggman’s biggest flexes became one of Sonic’s funniest long-running continuity headaches. | © Sonic Team

Cropped Devil May Cry 2 2003 Dantes disappearance

2. Devil May Cry 2 (2003): Dante’s disappearance and the confusing timeline order leave fans wondering what really happened

For a long time, this was the entry that felt stranded in its own franchise. Dante moves through Devil May Cry 2 like a completely different person, the ending leans into his disappearance, and the series spends years acting oddly cagey about where the game actually fits in his larger story. That confusion matters because the timeline around it has never felt naturally locked in. The official order shifted, the tone of Dante changed again in later games, and the events of this installment were never integrated with the kind of clarity fans expected. So the lingering question was never just whether Dante survived that final ride into the underworld. It was why this chapter seemed to drift in and out of continuity depending on what the series needed at the time. | © Capcom

Resident Evil

1. Resident Evil Series (1996–present): Heroes constantly get bitten, spat, or touched – and never get infected

Not every gameplay hit is meant to be read as literal story canon, and that is the only reason this franchise gets away with as much as it does. Even so, Resident Evil has spent decades building worlds where infection can start from terrifyingly little exposure, then letting its heroes survive an awful lot of bites, sprays, slashes, and monster-fluid contact that would doom less important people almost instantly. Sometimes there is an explanation waiting in the wings. Most of the time, there is not. The infection rules become brutally strict when a side character needs to die and strangely flexible when a protagonist still has three chapters left to clear. It is one of those long-running series habits that players accept in the moment, right up until they stop and realize just how selectively biology works in this universe. | © Capcom

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Video games ask players to believe a lot. We accept magic bloodlines, ancient prophecies, secret labs under parking lots, and villains who somehow rebuilt an empire between cutscenes. The problem starts when a story stops feeling wild and starts feeling like nobody checked whether any of it actually adds up.

Some of the biggest plot holes in video game history are not tiny lore nitpicks buried in a wiki. They are the kind that punch straight through the middle of the story, turning dramatic reveals into unintentional comedy and leaving players more focused on the contradiction than the ending itself.

Video games ask players to believe a lot. We accept magic bloodlines, ancient prophecies, secret labs under parking lots, and villains who somehow rebuilt an empire between cutscenes. The problem starts when a story stops feeling wild and starts feeling like nobody checked whether any of it actually adds up.

Some of the biggest plot holes in video game history are not tiny lore nitpicks buried in a wiki. They are the kind that punch straight through the middle of the story, turning dramatic reveals into unintentional comedy and leaving players more focused on the contradiction than the ending itself.

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