History DorkAge / VideoGames

17th Mar '17 6:36:36 PM MarioAndSpongeBobFan
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* After Nintendo sold off Rare in 2002, the ''Franchise/DonkeyKong'' franchise struggled in finding a new identity for itself. Donkey Kong stopped getting ''VideoGame/DonkeyKongCountry'' games and went into quirky spinoff titles that while they have their share of fans, [[SoOkayItsAverage were unimpressive]] and lacked memorability. These included the ''VideoGame/DonkeyKonga'' series of rhythm games with very few songs actually from previous games, and ''VideoGame/DonkeyKongJungleBeat'' which, while a fun platformer with a unique control scheme that works better than it sounds, had nothing to do with ''Donkey Kong Country'' and got a lot of hate for it. It came to an end in 2010, when Creator/RetroStudios took over and developed ''VideoGame/DonkeyKongCountryReturns'', which was released to wide acclaim and brought in a new legion of DK fans.

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* After Nintendo sold off Rare in 2002, the ''Franchise/DonkeyKong'' franchise struggled in finding a new identity for itself. Donkey Kong stopped getting ''VideoGame/DonkeyKongCountry'' games and went into quirky spinoff titles that while they have their share of fans, [[SoOkayItsAverage were unimpressive]] and lacked memorability. These included the ''VideoGame/DonkeyKonga'' series of rhythm games with very few songs actually from previous games, and ''VideoGame/DonkeyKongJungleBeat'' games,''VideoGame/DonkeyKongJungleBeat'' which, while a fun platformer with a unique control scheme that works better than it sounds, had nothing to do with ''Donkey Kong Country'' and got a lot of hate for it. it, and ''VideoGame/DonkeyKongBarrelBlast'', a racing game that was criticized for its poor controls and slow-paced feel compared to other games in the series. It came to an end in 2010, when Creator/RetroStudios took over and developed ''VideoGame/DonkeyKongCountryReturns'', which was released to wide acclaim and brought in a new legion of DK fans.fans, resulting in an equally successful sequel, ''VideoGame/DonkeyKongCountryTropicalFreeze'', being released in 2014.



''Island Tour'' on the 3DS was an attempt to tide over those who felt alienated by ''9'' with more traditional gameplay, and ended up being regarded as terminally mediocre. ''Star Rush'' for the 3DS tries to mix up the formula once more, it is considered a decent attempt and [[SurprisinglyImprovedSequel a marked improvement]] over the other ND Cube Mario Party titles, but whether or not it pulls the series out of its slump is yet to be seen.

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''Island Tour'' on the 3DS was an attempt to tide over those who felt alienated by ''9'' with more traditional gameplay, and ended up being regarded as [[SoOkayItsAverage terminally mediocre.mediocre]]. ''Star Rush'' for the 3DS tries to mix up the formula once more, it is considered a decent attempt and [[SurprisinglyImprovedSequel a marked improvement]] over the other ND Cube Mario Party titles, but whether or not it pulls the series out of its slump is yet to be seen.


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* Fans of the ''VideoGame/CrashBandicoot'' series generally consider the departure of series creator Creator/NaughtyDog in 2000 to be the start of the series' descent into mediocrity, with ''VideoGame/CrashBandicootTheWrathOfCortex'' and ''VideoGame/CrashNitroKart'' being seen as uninspired copies of ''VideoGame/CrashBandicoot3Warped'' and ''VideoGame/CrashTeamRacing'' respectively. An attempt was made to freshen up the series with ''VideoGame/CrashTwinsanity'', but the ObviousBeta status of the game led to the game selling poorly. Creator/RadicalEntertainment would proceed to release ''VideoGame/CrashOfTheTitans'' and ''VideoGame/CrashMindOverMutant'', which received a [[LoveItOrHateIt mixed reception]] and led to the series going into hibernation for 8 years.
16th Mar '17 6:23:19 PM BlueGuy
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** However, the ''Sonic Boom'' [[WesternAnimation/SonicBoom TV show]] and comics have received a mixed-to-positive reception, and the aforementioned ''Fire & Ice''--which, in response to the poor reception of the first two ''Boom'' games, was notably [[AuthorsSavingThrow delayed by Sega for over a year for quality control reasons]]--was generally agreed to be a marked improvement over its predecessors. The series' [[MilestoneCelebration 25th anniversary birthday party]] led to the reveal of ''two'' Sonic games--''VideoGame/SonicMania'' developed by community members, and a teaser trailer for ''VideoGame/ProjectSonic2017'', being handled by Sonic Team themselves, both multiplatform releases dated for a 2017 release. With ''Mania'' in particular getting wide acclaim by Genesis fans and the press for its faithfulness and [[DoingItForTheArt attention to detail]] to the ''Genesis Sonic'' titles (something the aforementioned ''Sonic 4'' was chiefly criticized for), and ''Sonic 2017'' garnering interest for seemingly going back to a more serious tone and the ''Unleashed''-styled gameplay; many fans are hoping that the upcoming games will ''permanently'' break Sonic out of his slump.

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** However, the ''Sonic Boom'' [[WesternAnimation/SonicBoom TV show]] and comics have received a mixed-to-positive reception, and the aforementioned ''Fire & Ice''--which, in response to the poor reception of the first two ''Boom'' games, was notably [[AuthorsSavingThrow delayed by Sega for over a year for quality control reasons]]--was generally agreed to be a marked improvement over its predecessors. The series' [[MilestoneCelebration 25th anniversary birthday party]] led to the reveal of ''two'' Sonic games--''VideoGame/SonicMania'' developed by community members, and a teaser trailer for ''VideoGame/ProjectSonic2017'', ''VideoGame/SonicForces'', being handled by Sonic Team themselves, both multiplatform releases dated for a 2017 release. With ''Mania'' in particular getting wide acclaim by Genesis fans and the press for its faithfulness and [[DoingItForTheArt attention to detail]] to the ''Genesis Sonic'' Genesis ''Sonic'' titles (something the aforementioned ''Sonic 4'' was chiefly criticized for), and ''Sonic 2017'' ''Forces'' garnering interest for seemingly going back to a more serious tone and the ''Unleashed''-styled gameplay; many fans are hoping that the upcoming games will ''permanently'' break Sonic out of his slump.
1st Mar '17 12:53:22 PM Pr1A
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* Many ''VideoGame/Dota2'' players criticize versions 6.81 and 6.83 for having strategically one-dimensional [[Main/MetaGame metagame]]. 6.81 is known as "The Deathball Patch" because winning few early-game teamfights gave such a huge advantage that the team could just move as five and completely [[Main/CurbStompBattle steamroll the enemy]]. This led to [[Main/ComplacentGamingSyndrome very predictable picks]] (you were lucky to have a single match without Death Prophet, Faceless Void, Razor or Brewmaster) and matches were considered rather boring in general because the end result was usually determined before the 15 minute mark. 6.82 aimed to rectify these issues by granting bonus gold and XP for killing players with an advantage, thus giving the losing team a chance to make a comeback, but 6.83 (often called "The Rubber Band/Comeback Patch") went right into the opposite extreme by further increasing those bonuses. Gaining early-game dominance was effectively meaningless because certain carry heroes such as Sniper, Juggernaut and Troll Warlord (needless to say, you saw these heroes in almost every match) could easily turn the entire match around after scoring couple of inevitable kills and assists during high-ground defense and gaining enough gold to buy their core items. [[/folder]]

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* Many ''VideoGame/Dota2'' players criticize versions 6.81 and 6.83 for having strategically one-dimensional [[Main/MetaGame metagame]]. 6.81 is known as "The Deathball Patch" because winning a few early-game teamfights fights gave such a huge advantage that the team could just simply proceed to move as five and completely [[Main/CurbStompBattle steamroll the enemy]]. This led to [[Main/ComplacentGamingSyndrome very predictable picks]] (you were lucky to have a single match without Death Prophet, Faceless Void, Razor or Brewmaster) and matches were considered rather boring in general because the end result was usually pretty much determined before the 15 minute mark. 6.82 aimed to rectify these issues by granting bonus gold and XP for killing players with an advantage, thus giving the losing team a chance to make a comeback, but 6.83 (often called "The Rubber Band/Comeback Patch") went right into the opposite extreme by further increasing those bonuses. Gaining early-game dominance was effectively meaningless because certain carry heroes such as Sniper, Juggernaut and Troll Warlord (needless to say, you saw these heroes in almost every match) could easily turn the entire match around after scoring couple of inevitable kills and assists during high-ground defense and gaining enough gold to buy their core items. [[/folder]]
1st Mar '17 12:51:35 PM Pr1A
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[[/folder]]

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* Many ''VideoGame/Dota2'' players criticize versions 6.81 and 6.83 for having strategically one-dimensional [[Main/MetaGame metagame]]. 6.81 is known as "The Deathball Patch" because winning few early-game teamfights gave such a huge advantage that the team could just move as five and completely [[Main/CurbStompBattle steamroll the enemy]]. This led to [[Main/ComplacentGamingSyndrome very predictable picks]] (you were lucky to have a single match without Death Prophet, Faceless Void, Razor or Brewmaster) and matches were considered rather boring in general because the end result was usually determined before the 15 minute mark. 6.82 aimed to rectify these issues by granting bonus gold and XP for killing players with an advantage, thus giving the losing team a chance to make a comeback, but 6.83 (often called "The Rubber Band/Comeback Patch") went right into the opposite extreme by further increasing those bonuses. Gaining early-game dominance was effectively meaningless because certain carry heroes such as Sniper, Juggernaut and Troll Warlord (needless to say, you saw these heroes in almost every match) could easily turn the entire match around after scoring couple of inevitable kills and assists during high-ground defense and gaining enough gold to buy their core items. [[/folder]]
27th Feb '17 1:35:45 PM mlsmithca
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* ''VideoGame/MarioParty'' had started out with three well-received games on the UsefulNotes/{{Nintendo 64}}, but has since went on to be mostly considered a FranchiseZombie since, particularly for it's LuckBasedMission nature.\\\

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* ''VideoGame/MarioParty'' had started out with three well-received games on the UsefulNotes/{{Nintendo 64}}, but has since went on to be mostly considered a FranchiseZombie since, particularly for it's its LuckBasedMission nature.\\\
27th Feb '17 12:37:06 PM PrincessGwen
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''Island Tour'' on the 3DS was an attempt to tide over those who felt alienated by ''9'' with more traditional gameplay, and ended up being regarded as terminally mediocre. ''Star Rush'' for the 3DS tries to mix up the formula once more, it is considered a decent attempt and [[SurprisinglyImprovedSequel a marked improvement]] over the other ND Cube Mario Party titles, but whether or not it pulls the series out of it's slump is yet to be seen.

to:

''Island Tour'' on the 3DS was an attempt to tide over those who felt alienated by ''9'' with more traditional gameplay, and ended up being regarded as terminally mediocre. ''Star Rush'' for the 3DS tries to mix up the formula once more, it is considered a decent attempt and [[SurprisinglyImprovedSequel a marked improvement]] over the other ND Cube Mario Party titles, but whether or not it pulls the series out of it's its slump is yet to be seen.
27th Feb '17 12:23:51 PM system
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26th Feb '17 6:37:51 PM uptightcookoo
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* Nintendo has begun to hear accusations of this in TheNewTens; while most of their games continue to be well-received by fans and critics alike, their gameplay has gradually become more and more streamlined to cater to Japanese audiences, whom Ken Sugimori described as increasingly impatient as a result of the growing prevalence of smartphones and the internet in Japan. This has led to game design choices that have ranged from questionable to outright [[BrokenBase controversial]] (most notably in the case of ''Paper Mario''). Meanwhile, Nintendo of America has come under criticism for its localization practices, with a noticeable rise in [[WereStillRelevantDammit references to internet memes]] and [[{{Bowdlerise}} acts of censorship]] that many have deemed unnecessary (despite much of said censorship being implemented to conform to [[ValuesDissonance differences in content standards]] between Japan and the United States, with age of consent being the most prominent one) as well as their DMCA takedowns of fangames such as ''[[VideoGame/AnotherMetroid2Remake AM2R]]''.

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* Nintendo has begun to hear accusations of this in TheNewTens; while most of their games continue to be well-received by fans and critics alike, their gameplay has gradually become more and more streamlined to cater to Japanese audiences, whom Ken Sugimori described as increasingly impatient as a result of the growing prevalence of smartphones and the internet in Japan. This has led to game design choices that have ranged from questionable to outright [[BrokenBase controversial]] (most notably in the case of ''Paper Mario''). Meanwhile, Nintendo of America has come under criticism for its localization practices, with a noticeable rise in [[WereStillRelevantDammit references to internet memes]] and [[{{Bowdlerise}} acts of censorship]] that many have deemed unnecessary (despite much of said censorship being implemented to conform to [[ValuesDissonance differences in content standards]] between Japan and the United States, with age of consent being the most prominent one) as well as their DMCA takedowns of fangames such as ''[[VideoGame/AnotherMetroid2Remake AM2R]]''.
26th Feb '17 6:34:46 PM AguFungus
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[[folder:Capcom]]
* Perhaps the most abrupt example of this is the sad story of Creator/{{Capcom}}'s mismanagement. Beloved for its many diverse and [[LongRunners long-running]] franchises including ''Franchise/ResidentEvil'', ''Franchise/MegaMan'', ''Franchise/StreetFighter'', ''Franchise/DevilMayCry'' and many more was going strong during the latter half of the 2000's, with a {{Retraux}} ''Mega Man'' and a successful relaunch of ''Street Fighter'' under their belt, new [=IPs=] such as ''VisualNovel/AceAttorney'' and ''VideoGame/{{Okami}}'' and the long awaited [[VideoGame/MarvelVsCapcom3 third installment of]] ''VideoGame/MarvelVsCapcom'' on the horizon.
** Then ''VideoGame/MegaManLegends 3'' was unceremoniously canceled, despite frequent promotion via art contests, and various other Mega Man titles (i.e. ''Mega Man Universe'') would follow suit. Creator/KeijiInafune, who [[{{Determinator}} tirelessly]] masterminded ''Mega Man'''s blockbuster sequel on his own time and did the same for their current generation hit ''VideoGame/DeadRising'', soon after left Capcom, clearly fed up with the upper management while declaring that the Japanese development community had become "stagnant". As a result the 25th anniversary of ''Mega Man'' was a disappointment as Capcom failed to produce anything but a cheap iPhone game for the Blue Bomber's silver anniversary.
** [[Creator/PlatinumGames Clover Studios]], creator of ''Viewtiful Joe'' and ''Okami'', was dissolved with little warning and former members of Clover Studios would go on to found Platinum Games.
** In addition, the then-newest installment of ''VisualNovel/AceAttorneyInvestigations'' was rendered NoExportForYou, cited by Capcom as "a lack of interest in the franchise" to much rage from its fans.
** ''VideoGame/SengokuBasara 4'' was another game that Capcom refused to bring over, citing it as "Too Japanese" when asked why.
** In fact, Capcom would make increasingly inept attempts to "Westernize" their franchises seemingly hating anything not ''VideoGame/CallOfDuty'' or ''Franchise/GodOfWar''-inspired, resulting in ''VideoGame/ResidentEvil6'' abandoning all survival horror elements to become an action movie with zombies, while a ''Franchise/DevilMayCry'' [[VideoGame/DmCDevilMayCry reboot]] was released by Ninja Theory that removed everything originally appealing about ''Devil May Cry'' and made Dante into some generic angry kid - both of which were disappointments both critically and financially, and served to hurt the confidence in Capcom's product among its fans.
** Capcom would begin to attract much flack over its DLC for its fighting games (''Street Fighter IV'', ''Marvel vs. Capcom 3'', and ''Street Fighter X Tekken'') all of which had on-disc DLC that was already programed into the game but required a separate purchase to unlock and could become LostForever when the server for that game shut down (as has already happened for ''Marvel vs. Capcom 3'' which included two characters that had to be unlocked this way)
** The [[CapcomSequelStagnation constant remakes]] of ''VideoGame/StreetFighterIV'' since its release in 2009, reaching its fifth remake with 2014's ''Ultra Street Fighter IV'', at the expense of any other [=IPs=], new ''or'' old, and even arguably at the expense of an actual ''Street Fighter V'', became another point of contention among fighting game fans.
** [[OffModel "Bad Boxart Mega Man"]] was [[TheScrappy not well received]] in ''Street Fighter X Tekken''. Originally a harmless joke approved of by Creator/KeijiInafune himself before he left, ''Mega Man'' fans were still reeling over ''Mega Man Legends 3's'' cancellation and lack of 25th anniversary game and viewed the [[{{Gonk}} fat, ugly]] version of Mega Man as emblematic of that disappointment.
** All of this resulted in 2012-2013 being considered to be a rather poor fiscal year for Capcom.
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[[folder:SEGA]]
* The SegaSaturn period was the dork age for Sega in the West, along with the late [[SegaGenesis Genesis era]]. In Japan it is a well-known and loved console but in the West it is considered a failure due to poor marketing, a lack of [[NoExportForYou exports]], no ''Sonic the Hedgehog'' main games other than ''VideoGame/Sonic3DBlast'' and the relatively obscure ''VideoGame/SonicR'', and fierce competition. The SegaDreamcast outshined the Saturn, but in the end it faded too.
* As a whole, SEGA's dork age began with the [[OtherSegaSystems Sega 32X]]. While the Sega CD could be considered just as bad, it's more of an EnsembleDarkhorse nowadays due to a few gems (''VideoGame/SonicTheHedgehogCD'', ''VisualNovel/{{Snatcher}}'', ''VideoGame/{{Lunar}}'') among massive amounts of shovelware, but the 32X really kicked off Sega's mismanagement in the west. Then the Saturn's surprise launch came along with ''[[{{Vaporware}} Sonic X-treme]]'' stuck in DevelopmentHell, and then Sega hired Bernie Stolar... Yeah, things didn't really go well for them at all until they went third-party.
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[[folder:Square Enix]]
** Creator/SquareEnix had a rocky start, as well: after ''Anime/FinalFantasyTheSpiritsWithin'' bombed, Square nearly went bankrupt and merged with longtime rival Enix. While this saved the company, fans began getting fed up with a downward trend in the quality of Square's flagship title, ''Franchise/FinalFantasy''. Despite positive reviews, many complaints are remaining persistent across the games regarding the quality of the stories (''Franchise/KingdomHearts''' KudzuPlot and ''Franchise/FinalFantasy'''s nonsensical trolling due to excessive use of the ShockingSwerve trope). By the end of the decade, ''Final Fantasy'' had gone from one of the most adored franchises in existence to the target of ridicule by many and to add salt in the wound, Toriyama penned the story for ''Front Mission Evolved'' (which was heavily panned as ''VideoGame/FrontMission'' normally had ''very'' good storytelling); meanwhile, ''VideoGame/DragonQuest'' became a sleeper hit outside of Japan's borders, and ''Franchise/KingdomHearts'' received reviews that stood with the golden age of ''Final Fantasy'' in praise. Gameplay be damned; Square has become a code word for games that focus more on pretty cutscenes than actual play.
*** Another problem with Square Enix is simply that their design methodology is behind the times. Many AAA companies use rapid action development in their games, while Square Enix sticks to what is a waterfall methodology (basically, one guy at the top orders commands to the guys at the bottom). By using rapid action development, the company can make many prototypes, find what works and what doesn't, and then move on to the next phase when ready as opposed to the waterfall method, which finishes one phase before moving onto the next without the prototyping. The problem with this is these are compounded with unnaturally long production dates. Basically, SE was working so hard on one game (ex. ''VideoGame/FinalFantasyXIII'') that they didn't realize that consumer tastes had really shifted in its development timeframe. Which means that whatever they were planning that was cool years ago, but ultimately faded out with a new trend wasn't caught on by SE. Also, SE has badly mismanaged their own company as well as the newer talent (or to be more precise, the old talent hasn't properly trained up its newer talent). ''VideoGame/FinalFantasyXIV: A Realm Reborn'', was done however by newcomer Naoki Yoshida, a creator who actually met with the fanbase and used rapid prototyping in conjunction with fan feedback to work his game into a solid masterpiece. Square Enix can revive themselves well; but they would need to take some cues from Mr. Yoshida to guide their franchise into the future.
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* If E3 2012 has shown us anything so far, it's that the industry is still in the growing pains of the Dork Age. All the usual buzzwords are being bandied about: grim, gritty, edgy, and--worst of all--"realistic." To elaborate, both sides of the Pacific are in very different Dork Ages. Japan used to dominate the gaming industry; however, somewhere around the middle of the sixth console generation, they started to lose ground as Western developers began to [[GrowingTheBeard grow the beard]] while Japan had just shaved it after the PSX and [=PS2=] era was pretty much defined by the buzzwords. Many once-successful series fell to the wayside, and Creator/{{Nintendo}}, already hurting from a loss in the fifth generation thanks to Sony's [=PlayStation=], was now seeing their console, the GameCube, pummeled sales-wise by the [=PlayStation=] 2. There was also the SegaDreamcast's failure. Many say it was because of the perception that Nintendo only made "kiddy" games, and gamers increasingly preferred DarkerAndEdgier fare. While Nintendo massively recovered starting in the seventh generation (and this was despite them having [[PlayStationPortable some real competition]] in the handheld market they once dominated), Japan's developers experienced a massive drop in quality[[note]]This is disputed however, [[http://www.1up.com/do/blogEntry?bId=9113167 with some arguing instead that]] they haven't fallen in line with American tastes[[/note]] although they've seen a comeback in later years. Giants like Nintendo still exert a lot of influence today, but others were not so lucky.


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** Creator/NipponIchi's PlayStation3-era releases, aside from their usually-reliable ''Franchise/{{Disgaea}}'' and ''Franchise/{{Atelier}}'' series games[[note]]not so much with ''Atelier'' anymore, with Gust's acquisition by Creator/{{Tecmo}} Creator/{{Koei}} Corp. in 2012[[/note]] haven't met with the same critical success as a majority of their [=PS2=] output (which included games like ''VideoGame/MakaiKingdom'', ''VideoGame/GrimGrimoire'' and ''VideoGame/SoulNomadAndTheWorldEaters''). With a string of duds in ''VideoGame/CrossEdge'', ''Last Rebellion'', ''VideoGame/HyperdimensionNeptunia'', ''VideoGame/MugenSouls'', and ''VideoGame/TimeAndEternity'', NIS' reputation among non-Japanese EasternRPG enthusiasts is eroding.
* In an odd - and sad as the trope demands - instance of NoExportForYou, the economical crisis is bringing the state of localization of video games back as it was in TheNineties: starting with the ShockingSwerve provided in 2012 by ''VideoGame/{{Kingdom Hearts 3D|DreamDropDistance}}'' in this regard, fewer and fewer games get translated due to fewer and fewer people being able to purchase hi-fi stuff (and events like the nastier crisis in Greece or the so-boasted-about "tears-and-blood" economical plan in Italy, just to name two). To put it more laconically, the state of translations "as it was in TheNineties" means that the language select screens are now far more likely to show three options ("English, Deutsch[[note]]German[[/note]], Francais[[note]]French[[/note]]") ''at best''. And when a game such as ''VideoGame/PokemonConquest'' (sure, just a SpinOff, but still [[CashCowFranchise a Pokémon game]]) is "available in English only", [[OhCrap you sort of know there are dark times ahead.]]
* During the first to middle stages of the [=PlayStation=]'s life, video game voice acting in English was considered to be in a Dork Age, where the voicework was often full of bad acting {{Narm}} (look no further than the likes of ''VideoGame/MegaManX4'', ''VideoGame/StarOceanTheSecondStory'', or '' VideoGame/CastlevaniaSymphonyOfTheNight''). Some still garnered some NarmCharm like ''[=SotN=]'''s [[FountainOfMemes many lines]], but there wasn't too much good English voice acting in that age. It was only during the late-[=PlayStation=] era and eventually the [=PS2=] era that English voice acting exited the Dork Age, with many NamesToKnowInAnime becoming involved in the video game voice acting scene.
* Creator/BioWare's Dork Age began with ''VideoGame/DragonAgeII'', a sequel with ''very'' mixed perceptions that for the first time cause fans to fracture. While not a bad game in its own right, it was a poor game by [=BioWare=]'s standards. Then came ''VideoGame/StarWarsTheOldRepublic'', which despite a long development time and one of the highest development budgets for a video game ever was considered a fairly average MMORPG with little post-game content. But what really convinced people that [=BioWare=] standards had dropped was ''VideoGame/MassEffect3'', which had one of the most controversial video game endings of all time. [=BioWare=]'s abysmal PR response only made the situation worse and was taken as a personal slight by many fans. Even beyond the endings, numerous plot resolutions and the way certain characters were portrayed were considered extremely unsatisfactory, which some fans attribute to several key writers leaving [=BioWare=] to work elsewhere. Time will tell if ''VideoGame/DragonAgeInquisition'' will help them recover or not.
* The mobile phone/tablet game industry have been seen as a constant Dork Age for gaming in general. While people understand these games are designed to ease the pain of commuting, it slowly shifted being time sinks to complete money sinks with insane microtransactions, long waiting times to do something and worse yet, taking popular game licenses and remaking them as social games. Most of the announcements involving this on [=YouTube=] often are met with extreme dislikes.
* {{Steam}} and the Early Access and Greenlight era is seen as a massive dork age for ''{{Creator/Valve}}'' so far. While SturgeonsLaw applies to most of the Greenlight games, many felt Steam has gone out of touch as being one of the most respected DigitalDistribution retailers compared to other competitors like Origin and Uplay, which both are known for intrusive DRM and horror stories involving users being banned from their single player games collection to [[Literature/NineteenEightyFour Big Brother]]-style spyware. The ongoing rush of RPGMaker, unfinished and misleading games and android/smartphone ports have severely hurt the quality of the games offered on Steam.
* Many a gamer feels that Creator/{{Ubisoft}} has entered one of these. They started off well, but then they started putting intrusive but badly-implemented DRM on a lot of their games to counter what they claimed was a 93% piracy rate ([[PCVsConsole PC gamers in particular]] were not happy about this, since the DRM issue seemed to target them exclusively). Then their flagship franchise, the ''Franchise/AssassinsCreed'' series, was announced to be a yearly franchise like ''Battlefield'' and ''Call of Duty''. Then there's the double blow of not only the aforementioned Rabbids dork age for ''Rayman'', but also the announcement that ''VideoGame/RaymanLegends'' was delayed for months to be made into a multiplatform release just because the WiiU didn't sell well enough. The final straw, however, is the now-infamous ''VideoGame/WatchDogs'' downgrade controversy, and the excuses made by Ubisoft, and the infamous "female characters are too hard to program" quote. These many experiences have convinced gamers that Ubisoft is pretty much the second coming of Electronic Arts.
7th Feb '17 1:01:06 PM MyFinalEdits
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* While ''TabletopGame/{{Warhammer 40000}}''-based games made by Relic Entertainment (''VideoGame/DawnOfWar 1'' and ''2'', ''Space Marine'', etc.) have been generally well-received, the ''Dawn of War'' expansion that was farmed out to Iron Lore, ''Soulstorm'', has received nothing but rancor. Canonically, the storyline of the previous expansion was a rousing success for the "Spess Mehreens", while the campaign of the ObviousBeta that was ''Soulstorm'' is considered an [[OldShame embarrassing defeat that is spoken of only with great reluctance]].
** This is elaborated upon by fans that have noticed a few things. In ''Soulstorm'', two factions in particular were noticeably [[GameBreaker overpowered]] by Iron Lore: Tau and, to a far FAR worse extent, Eldar. A lot of the other factions were barely complete, having only threadbare unit lineups or just plain weak units that weren't worth the resources they were made of. One of these factions hit the hardest were the InUniverse ButtMonkey Imperial Guard. Later material that mentions the events in ''Soulstorm'' written by Games Workshop shows that the Imperial Guard won a ''[[CurbStompBattle massive]]'' victory over all other factions, the Tau were forced out of the sector entirely, and that the Eldar had lost an entire Craftworld due to the conflict. Even ''Dawn of War II'' takes multiple jabs at ''Soulstorm'', with the disastrous Kaurava campaign referred to as "a mistake" that should not be spoken of again, which seriously depleted the chapter's manpower, and [[spoiler:ends up being part of Cyrus' reason for betrayal if he ends up as the traitor in ''Chaos Rising'']].

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* While ''TabletopGame/{{Warhammer 40000}}''-based games made by Relic Entertainment (''VideoGame/DawnOfWar 1'' and ''2'', ''Space Marine'', etc.) have been generally well-received, the ''Dawn of War'' expansion that was farmed out to Iron Lore, ''Soulstorm'', has received nothing but rancor. Canonically, the storyline of the previous expansion was a rousing success for the "Spess Mehreens", while the campaign of the ObviousBeta that was ''Soulstorm'' is considered an [[OldShame embarrassing defeat that is spoken of only with great reluctance]].
** This is elaborated upon by fans that have noticed a few things.
reluctance]]. In ''Soulstorm'', two factions in particular were noticeably [[GameBreaker overpowered]] by Iron Lore: Tau and, to a far FAR worse extent, Eldar. A lot of the other factions were barely complete, having only threadbare unit lineups or just plain weak units that weren't worth the resources they were made of. One of these factions hit the hardest were the InUniverse ButtMonkey Imperial Guard. Later material that mentions the events in ''Soulstorm'' written by Games Workshop shows that the Imperial Guard won a ''[[CurbStompBattle massive]]'' victory over all other factions, the Tau were forced out of the sector entirely, and that the Eldar had lost an entire Craftworld due to the conflict. Even ''Dawn of War II'' takes multiple jabs at ''Soulstorm'', with the disastrous Kaurava campaign referred to as "a mistake" that should not be spoken of again, which seriously depleted the chapter's manpower, and [[spoiler:ends up being part of Cyrus' reason for betrayal if he ends up as the traitor in ''Chaos Rising'']].



* ''VideoGame/LeagueOfLegends'' had very tight and involved lore development for a MOBA, to the point where it even had its own subsection in the main client (the "Journal of Justice"). However, around 2012, the lore team switched hands, and much of their narrative philosophy changed, causing them to throw out a lot of old lore and start again. Newer heroes were considered uninspiring and bland, with little to no motivation to join the League, while some old characters had their entire backstories changed to very mixed reception. Eventually Riot decided to retcon the whole Institute of War in an attempt to appeal to the e-sports scene, angering lore fans even more.
** However, the dork age for the lore finally ended when the Bilgewater event was released. While some decisions were mixed at best (such as Gangplank's disable from all queues to coincide with his "death"), the following events and champion updates started to make the champions interact with each other ''even more''; although infrequent, the new lores are actually being more well-received each passing rework/addition.

to:

* ''VideoGame/LeagueOfLegends'' had very tight and involved lore development for a MOBA, to the point where it even had its own subsection in the main client (the "Journal of Justice"). However, around 2012, the lore team switched hands, and much of their narrative philosophy changed, causing them to throw out a lot of old lore and start again. Newer heroes were considered uninspiring and bland, with little to no motivation to join the League, while some old characters had their entire backstories changed to very mixed reception. Eventually Riot decided to retcon the whole Institute of War in an attempt to appeal to the e-sports scene, angering lore fans even more.
** However, the dork age for the lore
more. It finally ended when the Bilgewater event was released. While some decisions were mixed at best (such as Gangplank's disable from all queues to coincide with his "death"), the following events and champion updates started to make the champions interact with each other ''even more''; although infrequent, the new lores are actually being more well-received each passing rework/addition.



* ''VideoGame/StarTrekOnline'', if what has been said on the official forums is true, has been in this position since Season 8.5. 8.5 saw the removal of the Hourly Events in favor of weekend events, which cheesed off players due to the fact that players used the Bonus Marks 3-hour event to grind marks for their Fleets. The start of this season also gave out a special event ship for the 4th anniversary, only to have it put behind a time gate due to the extra bells and whistles that went with it, a major deviation from year 2 and 3's ships. It got worse come Season 9, when it was revealed that the Reputation Powers players could get no longer stacked and that they were limited to 8 passives -- four space and four ground -- in an attempt to curb PowerCreep before it got way out of hand. It also infuriated certain players because of the usage of Undine ships for Lockbox prizes and Lobi offerings, as many players felt that doing so broke canon and that Cryptic had promised them that they would never use the Undine as Lockbox prizes.

to:

* ''VideoGame/StarTrekOnline'', if what has been said on the official forums is true, has been in this position since Season 8.5. 8.5 saw the removal of the Hourly Events in favor of weekend events, which cheesed off players due to the fact that players because they used the Bonus Marks 3-hour event to grind marks for their Fleets. The start of this season also gave out a special event ship for the 4th anniversary, only to have it put behind a time gate due to the extra bells and whistles that went with it, a major deviation from year 2 and 3's ships. It got worse come Season 9, when it was revealed that the Reputation Powers players could get no longer stacked and that they were limited to 8 passives -- four space and four ground -- in an attempt to curb PowerCreep before it got way out of hand. It also infuriated certain players because of the usage of Undine ships for Lockbox prizes and Lobi offerings, as many players felt that doing so broke canon and that Cryptic had promised them that they would never use the Undine as Lockbox prizes.
This list shows the last 10 events of 393. Show all.
http://tvtropes.org/pmwiki/article_history.php?article=DorkAge.VideoGames