Due to limitations in both hardware and conventional control schemes when it was released, the shooting in the original Doom is handled exclusively along a horizontal axis, with the player lining up their shots by directly turning and facing an enemy or object before firing. This means that, if a target is at a different altitude than the player, the game regards that target as being hit as long as its within their sight line, making the game's core gunplay an exercise in positioning and rapid movement in order to both outpace enemy attacks while keeping them within view in order to land shots fired.

While many additional gameplay conceits are unveiled during play, the core focus of We. The Revolution places the player in the role of a judge hearing cases and doling out sentences based on the evidence and testimonies provided. While at first this gains increasing complexity through the inclusion of a great density of information scattered across various bodies of text, eventually the player has to incorporate their understanding of how the jury, and eventually, the larger populace, feels about the defendants in each instance, with the consequences for going against them too often leading to their own incarceration or death. This, over time, slowly changes the onus of the trials from exercises in finding the truth, to determining how to best walk the tightrope of following the law and following the crowd, with neither option being truly blameless.

Throughout the various locales of Untitled Goose Game, the player is given a short set of potential objectives that they must complete before continuing on to the next area. While they do not need to complete every one of these objectives, a plurality is required along with, often, a specific multi-part objective that sows notable chaos in the player's wake. What makes these objectives so endearing is that the player will often come to terms with them organically, realizing the ways they can interact with the environment and direct behavior by its residents in extremely amusing ways.

From it's inception, The Legend of Zelda: Tears of the Kingdom assumes the player has a significant level of understanding of several of its already existing core systems. Running, climbing, swordplay, bows, and even aspects like cooking are all given time to be re-introduced, but from the moment the player starts playing the game in earnest, other, more potentially intricate systems are introduced that change how the player can interact with the larger world on a massive scale. From the object moving and attaching Ultrahand, to the utilitarian vertical capabilities of Ascend, and even Fusing certain items together to improve their potential combat uses, the game asks the player to incorporate their prior understanding of how the game works, and then build off of it to greater heights.

The level of detail and minute arrangement the player can perform during Unpacking allows for an incredible degree of player expression, all while still maintaining limits on what they can and can't do. While some objects will fit more easily into certain places, the freedom provided to the player in terms of how they want to arrange their living space, down to the specific rotation of many of the trinkets and objects therein, makes this feel like a legitimate homemaking endeavor.

In addition to the Challenge Mode that requires players to complete stages in a set order based on difficulty, Super Monkey Ball 2 includes a Story Mode that lumps stages together in groups of 10 each as Worlds. When playing through a given World, players are allowed an infinite number of lives, and can complete the 10 stages in any order as desired. This provides a much more manageable challenge for new players, especially as it pertains to gradually learning the ins and outs of the many unique mechanics that make up the higher difficulty stages in general.

Rather than return to pixel art, or incorporate the highly detailed and resplendent visuals of its immediate predecessors, Return to Monkey Island instead uses a pop-up book visual style to bring its world and characters to life. In addition to allowing the game to visually evolve without being dependent on a prior visual language, this style also ensures the game retains a whimsical charm to its adventure despite the weight of the series' reputation and prior story moments, allowing players old and new to experience the game through a fresh perspective.

Combat is an option of last resort in Cloudbuilt, with the player's arsenal typically very limited in the wake of the many turrets, missiles, and other enemy obstacles that are scattered throughout the game's levels. Because of this, the game is able to push the player to focus more on quick reflexes with regards to platforming and maintaining momentum, with their weapons serving as a desperation weapon or a way to make a smoother path forward at a critical juncture.

The scale of the aviary protagonists in Skatebird serves the game's level design by allowing the obstacle courses and miniature parks to cover relatively enormous areas with unique ramps, scaffolding, and tracks available throughout. By making the scale of the world this small, the levels are allowed to be free form in terms of arrangement and material construction, while still keeping things grounded in terms of physical movement in a close approximation of reality.

Players are able to battle Pokemon and capture them out in the wild after weakening them as expected, but a unique twist is included in Pokemon Legends: Arceus in the form of both how Pokeballs are created and their usability. While some Pokeballs can be acquired via shops, many of them must be crafted by the player using specific ingredients, with the player then able quietly move within range to throw Pokeballs at Pokemon in an attempt to capture them before they are noticed. Combine this with the more unique Pokeball types that alter what properties determine the player's range and capture rate, and the experience takes on a very different feel.

The player character of Marcus has access to a significant number of tools when it comes to completing various missions in Watch Dogs 2, but perhaps the best of them come in the form of the RC Jumper and the Quadcopter, each of which must be created via the DedSec in-house 3D Printer. These can each be used to remotely infiltrate buildings, hack nearby objects with limited scrutiny, and with a range of movement and maneuverability that Marcus himself is not always able to perform. That in mind, upgrading each of these gadgets with the aforementioned 3D Printer takes money, and their capabilities during combat are extremely limited, leading to an interesting back and forth between Marcus infiltrating directly and using his tools to provide reconnaissance.

Mixed in with more typical gameplay conceits like simple combat and turn-based battles, the advancement of games as a medium itself is the principal focus of Evoland. As players continue through the story, they encounter innovations of technical achievement, such as the ability to move more freely, view the world with more colors, and even eventually change the entire genre the game is conventionally built upon. This makes for a unique experience where the player gains an appreciation for how these changes provide new opportunities for game design, facilitated through their own unlocking of those changes in turn.

Scattered across Hyrule in The Legend of Zelda: The Minish Cap, there are broken halves of ancient amulets called Kinstones, each of which has a matching pair, often in the possession of a character within the world itself. Matching these Kinstones will combine them into a completed piece, and they come in the form of both general collectible (Green, Blue, and Red Kinstones) and story advancing items (Gold Kinstones), making them feel like a natural part of the world as a whole while still retaining plot critical importance.

In addition to the gorgeous sweeping symphonic tracks that flesh out the world of Transistor, five additional songs are included with lyrics sung by Ashley Barrett, the in-universe voice of the player character Red herself. This amplifies the connection the player has to not only the game, but the character of Red, a professional singer whose voice has been sealed inside the sword-like Transistor as well, making her personality hugely informed by these songs.

As an additional source of challenge and treasures in Pikmin 2, subterranean Caves are scattered throughout each level that players can enter at any time. Unlike the world above ground, time does not pass while in Caves, rendering the potential concerns with the normal daily time limit immaterial. However, players can only move through a Cave with the Pikmin they bring with them, leading to another source of difficulty as they have to plan ahead what resources they will take down with them, and how to make sure they last all the way through.

The narrative structure of Union Drive centers itself around empathy, placing the focus of the player character on understanding the needs and concerns of their coworkers in order to create a stronger collective relationship with them. This is especially reinforced during the prelude to each section where the player character's mentor makes it a point to check in on their mental state, thus creating a positive forward force to help them achieve their goals.

While the player always starts playing the larger story of Sonic Adventure from the titular character's perspective, a host of five other characters are available to be unlocked during the larger game. However, these characters are unlocked in an interesting fashion, as the player unlocks them by meeting them during a story event from the perspective of another character, and requires the completion of all of their stories to to tie the narrative together and face the final boss.