The protagonist getting repaid for what he did to others seems to happen much more often in novels, and sometimes shows:
- In Gen Er's famous Xianxia novel Renegade Immortal, the protagonist goes on an adventure, and then in what seems like an ending, he has a family and settles down. Then someone he had wronged comes in and massacres his family, kicking off the second half of the story. This became a very influential plot point for Chinese fiction and a lot of popular stories written after have it.
- Gundam SEED Destiny, the sequel to Gundam SEED, is about Shinn, the lone surviving son of a family that Kira killed halfway through the first season. He remembers Kira's distinctive mech, and became enraged when he saw how Kira became a celebrated hero at the end of the first show. Shinn joins the empire that is the adversary to Kira and trains to become a mech pilot intending to kill Kira and avenge his family. Oddly, this story was unpopular in Japan (because Kira Yamato is one of THE most popular characters in Japan, to the point that he got banned from popularity polls because he kept topping them), but was very well liked by Americans for how realistic it was (this came out when people were souring on the forever war in the Middle-East and the revenge narrative was running out of steam. A lot of Westerner criticism of the first show has to do with Kira's "Jesus complex" where only he is allowed to decide who lives and dies).
- In World End Economica, the protagonist gets death threats from the former employees of a fraudulent megacorporation he exposed, which led to its collapse. "If only you had stayed quiet, I could have kept my job! How am I going to pay my bills?".
- In Vinland Saga, the protagonist settles down and claims to reject violence, but is then eventually confronted by victims of his raids.
- Yakuza 6: the final entry in the story. Kiryu's career comes crumbling down as the incidental victims of his heroing in the prior games come after him and target his adopted children. To keep his daughter safe, he has to fake his death and leave behind everything he built.
- The Last of Us 2: the protagonist of this entry, Abby, sets out to avenge her father, who was murdered by the protagonist of the first game. (This entry is popularly hated, though for a lot of reasons other than that plot point such as the unlikability of Abby in personality and in appearance, gay sex scenes, etc).
- Gundam Iron-Blooded Orphans season 2: in the final two episodes, partly because the protagonists were kinda murderhobos who broke the rules of engagement in season 1 and massacred Carta's unit rather than having a knightly duel with them, Rustal Ellion and Gaelio (who was Carta's fiance) refuses the protagonist's offer of surrender and opts to have them wiped out in kind. Both of the protagonists die, with Orga being killed in a hit and run, and Mika dying in a doomed last stand trying to buy time for the surviving members of Tekkaden to escape through underground tunnels.
But I cannot think of any prominent examples in games besides Yakuza 6 and TLOU2.
Do videogames tend to avoid this because they want to flatter the player character? Reassure the player that he can do no wrong and is perfect and beloved, even though it makes zero sense? At least for the Japanese, it is more understandable since they are secular and don't want to believe in a God and thus an absolute right and wrong and judgement, so they don't want to talk about WW2 and their fiction often abdicates accountability and lets people off the hook. But what about the absence of this in Westerner works?
