The Electronic Entertainment Expo (E3) is widely believed to have gone through a dork age between 2007 and 2008. Once a Mecca for gamers the event was made invitation-only and attendance dropped from 60,000 down to a low of 5,000 (the event was also inexplicably renamed the "E3 Media & Business Summit" during that time with little justification other than "the video game industry is not about 'entertainment', it's about business"). As a result E3 went from being the ultimate expo in the video games to a low key event. It didn't help that the E for All trade show meant to replace it turned out to be a dud. Also to make things worse the announcements and game demos E3 is known for were rather lacking in comparison to previous years.
Nintendo fans try not to remember the Virtual Boy, an allegedly portable clunker of a gaming platform that was promised the cutting edge of 3-D virtual reality gameplay but instead delivered eye strain, neck strain, and hideous graphics in only two colors: red and black. To add insult to injury, damn few of the games put out for it (there were fewer than 20 in all) made any use of 3-D and could just as easily have been produced for a better gaming platform. Gunpei Yokoi, the victim of executive meddling, ended up Kicked Upstairs before quitting Nintendo (the only game for the system that gets a pass is Virtual Boy Wario Land, which managed to be genuinely fun despite the headache-inducing graphics).
The early Nintendo 64 era was something of a Dork Age for Nintendo. The overly long development of the N64 caused some Super NES gamers to jump ship to PlayStation, and the decision to use expensive proprietary cartridges instead of discs caused developers to jump ship, too (most infamously Squaresoft, whose Final Fantasy series was a Nintendo mainstay until Final Fantasy VII). While Nintendo's first-party games on the N64 were as awesome as ever, there simply weren't enough of them to go around. The system launched with two games total, and it only had about one new release a month. So if you were tired of playing Super Mario 64 for the umpteenth time, your choices in early 1997 were Pilotwings and Cruis'n USA. That was pretty much it. The Nintendo 64 gained something of a reputation for releasing three unique and groundbreaking games a year, and absolutely nothing else. This wasn't helped by Nintendo's historic lack of support for third parties only getting worse. One big selling point of the N64 hardware was custom microcode, but Nintendo never released information on how to use it, fearing it would be copied by their rivals. Among other groin-punches, they also patented using the N64 pad's C-buttons to control an in-game camera, meaning every non-Nintendo game had a shitty camera system, and continued in their usual habit of forcing studios to Bowdlerise in-game content to be more 'family friendly' (although bowdlerization was not as frequent on the N64 as it was on the NES, SNES, or Game Boy); for example, forcing Perfect Dark's "Adrenaline Pills" to become "Combat Boosts", and Duke Nukem's steroids powerup to become "Vitamin X."
Silent Hill is notorious for its horribly Broken Base, but most fans will agree that the series peaked with Silent Hill 2, and the existence of a franchise Dork Age is nearly-unanimous. The general summation of this is a reverence for "Team Silent" and a mistrust of the games in which this development team was not involved. The general consensus is that Silent Hill 4: The Room is where the slide began, however, even though it was the last of the "Team Silent" entries. Silent Hill: Shattered Memoriesbroke the fanbase further, between those convinced that the series remained mired in suck, and those who believe this entry was fresh and compelling enough to possibly signal a revival of the franchise. Reception to Silent Hill Downpour has been far more universally positive.
Twisted Metal 3 and 4 were developed by 989 Studios rather than series' original developers, Singletrac. When the former staff members of Singletrac formed Incognito to develop the newer games in the franchise, it elected to wipe the events of those two titles from continuity.
Warcraft: While it is true that their fans are quick to hate almost any new development, the Burning Crusade's plot deserves a mention for the sheer amount of frustrating and blatant retconning and character changes. Wrath of the Lich King is seen as one as well, but due to gameplay-based reasons rather than story-based reasons. With Cataclysm both of these are now being stated as Golden Ages and the current expansion is the Dork Age. There are already people claiming the next expansion is a Dork Age for having Pandas, and proclaimed to be great expansion because of the Pandas. Many fans that at first appreciated the Horde vs. Alliance dynamic began to feel World of Warcraft slipped into this in Cataclysm with the faction warfare coming to the forefront despite the fact that the world is trying to end. Pandaria's continuing focus of that dynamic has put out a few fans.
A variant: Monkey Island 2 ended in such an impenetrably baffling fashion (The last part of the game takes place in the maintenance tunnels of an amusement park, and the undead antagonist turns out to be Guybrush's brother in a mask, and the whole escapade was All Just a Dream (or was it?) that its sequel, The Curse of Monkey Island, retconned the previous game's final confrontation into something a bit easier to follow. However, status quo wasn't necessarily restored because Monkey Island 2's ending was bad - it's more that after Ron Gilbert left the series, no one knew where he was planning to go with this revelation, and he has no intention of telling anybody. However, it's far more likely that it was just the final absurd twist in a game full of them than any sort of deep statement about the characters.
The makers of the MMO Star Wars: Galaxies decided it wasn't successful enough, so they came up with the New Game Experience, which involved massive changes to the game mechanics, combat system, character classes, and pretty much everything else, in the hope of attracting a whole new demographic. The result was an existing player base that was thoroughly (and vocally) pissed off, a new player base that never materialised, and a huge drop in subscriptions (not officially admitted, but confirmed by user-written in-game surveying tools before the company caught on and disabled the tools). Other MMOs have dome similar things on a less spectacular scale, but SWG's NGE is the infamous example everyone points to. One of the major reasons for this is that the developers changed the way one becomes a Jedi. Originally, players had to find holocrons and master whatever class tree it said to master, then the player may luck out and become a Jedi, or would receive another holocron. This, naturally, would be a grind. The New Game Experience let players start as a Jedi. Not only did this mean that everyone picked to be a Jedi while avoiding every other class, and pissing off those people unlucky enough to have had to master every class to become a Jedi before then, but it also royally futzed with the franchise's canon. You had many thousands of Jedi when at that time in the official storyline, the only true, trained Jedi still living was Yoda. Just how bad is it? A new Star Wars MMO handled by Knights of the Old Republic developer BioWare and set in the KoToR timeline has since been announced.
In Final Fantasy XI, the Chains of Promathia expansion is considered to be a Dork Age by many, many, many players. Reasons included; grueling boss fights that required very specific party combinations and a fair amount of luck to win, storylines that were left hanging between updates, Notorious Monsters that were amazingly gimmicky with incredibly low drop rates for gear AND pop items for further Notorious Monsters. The era was also known for the infamous "Ranger Nerf" that, while somewhat justified in the fact that the Ranger job was severely overpowered compared to other jobs, went way too far and made it into one of the weakest jobs in the game. (This nerf was partially countered years later after Samurai became the new over-powered pet-job of the Dev Team.) Combined with the first unbeatable boss of the game, the Jailer of Love which was then nerfed to make way for the new unbeatable boss Absolute Virtue, quite a lot of mid to end-game players left FFXI to play World of Warcraft. Not that Chains of Promethia was completely terrible; the mission storyline is among the longest and most interesting in the game (and better than some of the storylines of the main games), created systems and fights that are still popular years later like Limbus, ENMs, Bahamut, and Ouryu, and included many in-depth optional side quests such as Adventuring Fellows (your own personal NPC). Changes to the mission fights were made to help players, such as making the fights easier, removing the experience penalty if they fall during battles, rewarding players with experience if they help people with the battles, and easing the restrictions of special items that help to make the battles easier- but these were made after the next expansion, Treasures of Aht Urhgan, when most players will agree that the Dork Age ended with a vengeance with a completely new philosophy in game design. (That it shouldn't be terrible to do things in the game.) Many people look fondly at the Chains of Promathia expansion, mainly because time has passed and people don't quite remember the original controller throwing difficulty of the unnerfed missions, or they had only played the missions after they had been nerfed. Also, not losing thousands upon thousands of XP to the then unnerfed Jailer of Love and the still-to-this-day unnerfed Absolute Virtue may well help to keep those glasses rose-colored.
The Leisure Suit Larry series entered a Dork Age with the games starring Larry Lovage (Magna Cum Laude and Box Office Bust). It is worth noting that Al Lowe, the series' creator, isn't involved with either of them. Judging by his site, he'd be more than happy to give them advice, and is also more than happy he wasn't involved when the games bombed.
In the late 1990s, Konami farmed out the development of the Contra series to Hungarian developer Appaloosa, resulting in the creation of the series' two PlayStation installments Contra: Legacy of War (which also saw release on the Sega Saturn) in 1996, and C: The Contra Adventure in 1998. Both games were critically panned when they came out and Konami even canceled plans to localize the first of the two titles in Japan after the negative reception it received, which makes one wonder why they would give Appaloosa a second chance. It's made all the worse by the fact that Legacy of War was relying on a 3D glasses gimmick for sales. We're talking '50s B-Movie red/blue cardboard glasses here. Oh, and massively derailing existing characters and canon, considering these followed on from Contra: Hard Corps, one of the more story-heavy Contra games, it did not go well. It should be noted that both games are explicitly exiled from the Contra canon.
Fans of The King of Fighters generally look at the period of time Eolith was handling the games (KOF 2001 and 2002) as a Dork Age. The way 2001 plays is in general more glitchy and gimmicky (letting you choose how many teammates and strikers you want, for starters - meaning you can even fight 1-vs-4 battles, something that should only be reserved to bosses) than any other incarnation of the series, and is in general a mess. The music for these games has been compared to the sounds of robots farting among other things and Eolith introduced a few of their own character designs (although a scant few, like May Lee, were more favorably received). When SNKreclaimed the wheel as SNK Playmore, among the first things they did was to wipe several elements from2001right out of the canon, including the whole character of K9999 (also a blatant Captain Ersatz of Tetsuo) and Foxy's death. To give 2002 some credit, it's still one of the most played versions in the series competitively, and even after the release of 2002: Unlimited Match you'll still see some original '02 tournies being played. Now, 2001 on the other hand? Uh...
Mortal Kombat was another fighting series that went through this.
After Mortal Kombat 4 hit the Polygon Ceiling, the series seemed to have reached a stalemate with a largely undistinguishable (except for an expanded character roster) Updated Re-release for Dreamcast, Mortal Kombat Gold, and the PlayStation-exclusive Mortal Kombat: Special Forces, an utterly horrible action spin-off. In the wake of this, John Tobias jumped ship from the creative team, and the series laid low as the gaming industry entered its new generation - between Special Forces and the next entry in the series, there was a three-year gap.
And then there was Mortal Kombat vs. DC Universe, which can be seen as Midway trying to figure out what to do with the series. It's not necessarily a bad game, but it's a firm indicator of Mortal Kombat's Dork Age, because the simple fact of it being rated T by ESRB (due to the DC superheroes) made this game a standout, and not in a positive way: it meant a lot of what players knew of MK would be inevitably Bowdlerised (mainly the explicit Gorn, which was reduced to the odd blood spill here and there, and censored Fatalities - even more so than the home versions of the original game). On the other hand, this game served for Midway to sort out what worked and what didn't when they reinvented themselves as Netherrealm Studios and brought the series back on track with Mortal Kombat 9, as well as using their experience on the DC end of things to turn out Injustice: Gods Among Us, a cool all-DC fighting game.
Deus Ex: Invisible War was Warren Spector's entry into a Dork Age, and immediately lost his accumulated industry and fan respect. He's managed to bounce back some, which is better than other developer/producers have been able to do (anyone remember John Romero?) but still hasn't regained his former stature. Because of lingering rancor, Thief 3 received less fair critical reviews than it deserved, and Spector hasn't been invited to return for Thief 4, currently in pre-production. He may have found a rehabilitation of his image in the unlikely vessel of a Mickey Mouse game, though its mixed reception (and Spector's claims that negative reviewers "misunderstood" the game) didn't make for the reputation resurrection that was hoped for.
Metal Gear Solid 2: Sons of Liberty is widely considered the weakest of the franchise, centering mostly around a Replacement Scrappy and featuring an ending that had a Cthulhu-like effect on most gamers' sanity. Whether or not it came perilously close to killing off the entire franchise, however, is debatable given that the game was still a critical and commercial success, and was one of the top 10 best-selling PS2 games of all time (with over 7 million copies sold). The widespread belief that Hideo Kojima made it bad on purpose because he wanted to quit making games is also perpetuated by MGS2's Broken Base - Hideo has repeatedly insisted on stepping down as director, only to return time and again of his own volition to and turn out a spectacular effort like Metal Gear Solid: Peace Walker.
A non-canonical example is Snake's Revenge, an American follow-up to the NES version of the original Metal Gear. It not only completely changed Snake's character and his relationship to the franchise but also took the game that introduced the concept of stealth gameplay and turned it into a generic shoot-em-up. On the plus side, Hideo Kojima was inspired to make the actualMetal Gear 2 when he saw this game.
1995-1998 as well. The cancellation of Sonic X-treme meant that all that was released during these years were generallylacklustrespin-offs. While at one point Sonic was more recognisable than Mickey Mouse, Sonic Team reportedly received letters asking who Sonic was shortly after the release of NiGHTS Into Dreams. This eventually led to the production and release Sonic Adventure which concluded Sonic's first dark age.
The Sega Saturn period was the dark ages for Sega in the West, along with the late 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 exports, no Sonic The Hedgehog main games, and fierce competition. The Sega Dreamcast out-shined the Saturn, but in the end it faded too.
As a whole, SEGA's dark age began with the Sega 32X. While the Sega CD could be considered just as bad, it's more of an Ensemble Darkhorse nowadays due to a few gems (Sonic the Hedgehog CD, Snatcher, 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 Sonic X-treme stuck in Development Hell, and then Sega hired Bernie Stolar...yeah, things didn't really go well for them at all until they went third-party.
Sony had a little dork age in the mid-late 2000s, though they've appeared to have grown out of it. It started with the PSP, which, while being a success and having many great games, never lived up to its expectations and was massively trounced by the family-friendly Nintendo DS. Then came the PlayStation 3's launch at five hundred and ninety nine U.S. dollars, its strange Dada Ads, a controller that lacked rumble functionality, and limited exclusive games (most which turned out to be mediocre, anyway). It got so bad that Sony actually lost all its profits from the PlayStation and PS2's success. The PS3 eventually tossed away its growing pains around 2008 and is now finally catching up to the Wii and Xbox360's sales — and with the PS2 still selling after eleven years on the market, Sony could finally regain trust. Or not, since the PlayStation Vita barely had a Killer App when it premiered even the initially strong sales weren't enough to top the Nintendo 3DS, a significant contrast to the original PlayStation that had a bucket full of killer apps contributing to its fifth generation console leader position including Final Fantasy VII, Gran Turismo and Metal Gear Solid. Production of all PlayStation 2 units in Japan has halted, thus making Sony's dork age seemingly unavoidable. Blame the very high price of the PlayStation 3 at launch for itself coming at third place in the seventh generation video game Console Wars. The lack of a killer app launch title is a common problem for the PlayStation line (although you may argue Battle Arena Toshinden was such for the PlayStation). Compare the PlayStation 2 to all post-PS2 consoles and you'll see a downward spiral of total units sold for each console since then, despite the strong critical acclaim the PlayStation line have garnered.
The Tony Hawk's Pro Skater franchise fell into one hard with RIDE and SHRED, which attempted to revive the franchise by using a skateboard-shaped motion controller to simulate boarding movement. This failed to address any of the problems the series had been going through, and introduced several new ones. Both games failed as a result, and the Hawk franchise crashed and burned, forcing Activision to go "back to basics" with Tony Hawk's Pro Skater HD.
There are ten years between Black Isle's Fallout 2 and Bethesda Softworks' Fallout 3. There are two Fallout games between them—Microforte's Fallout Tactics and Interplay's In Name OnlyFallout: Brotherhood of Steel. Tactics was a competent game that had severe issues with staying within the established continuity (in a world where World War III was brought on by a crippling energy crisis, many bases of have full drums of fuel just lying around more than a hundred years later, etc.); the same cannot be said of Brotherhood. Bethesda has proclaimed Tactics to Broad Strokes canon, while Brotherhood is full-on Canon Discontinuity.
The Need for Speed franchise had one. While some fans claim the entire Underground era to be Fanon Discontinuity, most generally point to Carbon in 2006 as the beginning of the series' downward slide (especially coming on the heels of Most Wanted, generally regarded as one of the series' high points), and ProStreet and Undercover in the ensuing years as the nadir of NFS' dork age. In any event, it ended with the release of the very well-received Shift in 2009 and Hot Pursuit in 2010, which brought the series back to its focus on exotic cars and away from the burned-out "tuner" culture.
There was a time where, to save on bandwidth costs, the site for hosting custom content for Garry's Mod forced its users to download addons via torrents rather than getting them directly off the site. It lasted for about two months.
The Valis series had lain dormant since the early 1990s, until its reputation was stained in 2006 by a series of H-Games titled Valis X, which Telenet Japan published in a desperate and failed attempt to avoid bankruptcy.
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 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 Nintendo, already hurting from a loss in the fifth generation thanks to Sony's PlayStation, was now seeing their console, the Nintendo GameCube, pummeled sales-wise by the PlayStation 2. There was also the Sega Dreamcast's failure. Many say it was because of the perception that Nintendo only made "kiddy" games, and gamers increasingly preferred Darker and Edgier fare. While Nintendo massively recovered starting in the Seventh generation (and this was despite them having some real competition in the handheld market they once dominated), Japan's developers experienced a massive drop in qualitynote This is disputed however, with some arguing instead that they haven't fallen in line with American tastes 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.
Sega was the first to fall. After the Dreamcast proved to be too good to last, they went third party. However, after the 2004 buyout by Sammy, the quality of their games began to decrease; a lot of their old IPs were discontinued, and they began producing more and more licensed games. What made them infamous was the continuing downward spiral of Sonic the Hedgehog; after twowell-received but still flawed installments on the Dreamcast, the Blue Blur began to appear in games that focused more on gimmicks and NarmfullyDarker and Edgier storylines, reaching its nadir in Sonic the Hedgehog (2006). It took Sonic four years to recover from its tattered reputation. They also have become more reclusive, closing off their foreign branches and the buyout of Atlus' parent company Index Corporation threatens to pull Atlus into the same dork age.
Square Enix had a rocky start, as well: after Final Fantasy: The Spirits Within 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, Final Fantasy. Despite positive reviews, many complaints are remaining persistent across the games regarding the quality of the stories (Kingdom Hearts' Kudzu Plot and Final Fantasy's nonsensical trolling due to excessive use of the Shocking Swerve 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 Front Mission normally had very good storytelling); meanwhile, Dragon Quest became a sleeper hit outside of Japan's borders, and Kingdom Hearts 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 Triple A companies use rapid action development in their games, while Square Enix sticks to basically 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, S-E was working so hard on one game (fFinalFantasyXIII) 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 Square Enix. Also, S-E 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). Final Fantasy XIV: 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.
Perhaps the most abrupt example of this is the sad story of Capcom. Once beloved for its long-running franchises Resident Evil, Mega Man and Street Fighter, and home of some appraised new IPs such as Ace Attorney and Ōkami, they were going strong during the latter half of the decade, with RetrauxMega Man titles and a successful relaunch of Street Fighter under their belt, and the long awaited third installment ofMarvel vs. Capcom on the horizon. Then Keiji Inafune, who tirelessly masterminded Mega Man's blockbuster sequel on his own time and did the same for their current generation hit Dead Rising, left Capcom, clearly fed up with upper management and having declared the Japanese development community stagnant. Despite frequent promotion via art contests, Mega Man Legends 3 was unceremoniously canceled, and various other titles in the series (i.e. Mega Man Universe) would follow suit and the 25th anniversary was a disappointment as Capcom failed to produce anything interesting for Megaman's silver anniversary. In addition, the sequel to Ace Attorney Investigations was stopped cold by being rendered No Export for You, Clover Studios was dissolved. 2012-2013 was also considered to be a poor fiscal year for Capcom Resident Evil 6, Operation Raccoon City, Devil May Cry and Lost Planet 3 were disappointments both critically and financially, and served to hurt the confidence of Capcom's product among its fans. The Capcom that was founded by the likes of Inafune and Mikami are long gone as Capcom is now a shell of it's former self.
Rock Band's "hardcore" fan base often think 2012 is a dork age for their Downloadable Content. Most of the new releases now come in threes and with only one Pro Guitar/Bass upgrade, and a not insignificant amount of them are from the (often late) Turn of the Millennium and The New Tens which they stereotypically consider "crappy". (Nothing really exiting for them was released minus an Iron Maiden 6-pack and a Slayer pack.) Plus, they are often considered "too easy".
In an odd - and sad as the trope demands - instance of No Export for You, the economical crisis is bringing the state of localization of video games back as it was in The Nineties: starting with the Shocking Swerve provided in 2012 by Kingdom Hearts 3D 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 The Nineties" means that the language select screens are now far more likely to show three options ("English, Deutschnote German, Francaisnote French") at best. And when a game such as Pokémon Conquest (sure, just a Spin-Off, but still a Pokémon game) is "available in English only", you sort of know there are dark times ahead.
League of Legends was perhaps the best in the Lore department for MOBA games, but shortly after the release of the Dominion map and the departure of Shurelia and Randuin with Kitae (and the arrival of the DOTA 2 beta, which had brought the whole internet against the fandom of LoL). The Lore part of League has entered a Dork Age, from uninspiring champions such as Zed and Syndra whom have absolutely no reason to join the League at all to changing the lore of previous champions to a point the reason specified for joining the League was gone to ending the Journal of Justice and the COMPLETE destruction of Freljord's lore, Trundle and Lokfar who are forced to Freljord's lore line. Many of the Lore forum members view the decisions of Kitae being a Dork Age for Riot. To make matters worse, DOTA 2 has managed to have more viewers than League of Legends now.
The Lunar series started to slide in early 2000s, with the installments developed for Nintendo portable systems. First Lunar: The Silver Star was remade for the Game Boy Advance as Lunar Legend, with shallower characterizations, a point-and-click map replacing the once large overworld, and different and simpler combat. Then came the prequel Lunar: Dragon Song, the first non-remake Lunar game in a decade, which in a bid to attract new players to the franchise dumbed down the gameplay and story even more, but also added annoying new mechanics like having to choose between fighting for experience and fighting for items (which in this game are mostly Vendor Trash), taking damage while running, and repetitive Fetch Quests. The localizations of these two games published by Ubisoft also compared poorly with the painstaking effort Working Designs put into localizing previous installments.
RuneScape had hit a 4 year dork age ever since Mod Mark took the reigns from the Gowers at Jagex, many features like Squeal Of Fortune and the microtransaction store have been met with VERY negative receptions and dwindled from over a million players to a paltry 50,000 at peak time. Evolution of Combat driven away more diehard fans who now see the game as another World of Warcraft clone, Jagex's response is creating 2007 servers aimed to gain back the old crowd and so far is reversing the Dork Age.
The Tetris: The Grand Master series got better with each new release for its first three installments. Then came the very un-TGM-like Xbox 360 title Tetris: The Grand Master ACE, the tragic byproduct of The Tetris Company's and Microsoft's Executive Meddling. Most of the trademark TGM gameplay mechanics have been stripped (including Master mode, and by extension the unique TGM-style leveling up and grade system), you get a variation of infinite spin (limit of 128 rotations and 128 movements) as opposed to TGM's "step reset" lock delay, and you need an Xbox Live Gold membership to unlock proper TGM rotation. Good Tetris, but bad TGM.
BioWare's Dork Age began with Dragon Age II, 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. Mass Effect 3 did not reverse the Dork Age as planned "thanks" to its base-breaking endings, and managed to drive away even more fans. Time will tell if Dragon Age: Inquisition will help them recover or not.
While Gen III did introduce abilities, berry farming, running, and a great soundtrack, it was hit hard by removing more than half of the first two games' total Pokedex (with no means of ever obtaining them in game, a problem which Emerald fixed), retained a level curve that was nearly as bad as Gen II's, and a topography that while beautiful only served to be a pain in the ass to navigate. Many of the new Pokemon were either dual-themed Pokemon like Plusle/Minun, Volbeat/Illumise to hype up the new double battle mechanic, or Junk Rare, rather than strong on their own means. Not helping matters was that this was the point when players really needed to start buying all versions to get at least a half-way completed pokedex (a bad habit continued in gen IV). The final nail in Hoenn's grave was the series was finally reaching its limit with the current battling system before giving it a new overhaul (done in Gen IV).
Gen IV's first two games, Diamond and Pearl further alienated the fanbase: many fans thought its high number of Legendaries cheapened the concept of legendary pokemon and many of the Baby Pokemon and evolutions to previous ones were un-necessary. It was also the first time Game Freak developed a game using the DS, and the results show! The first two were unnecessarily slow (although what they did was good sense in programming, it made for a sluggish game)! However, the aesthetics and many new mechanics were well-received, and many of the odd design choices (such as VERY few fire type pokemon available in the first two games and sluggish gameplay) were fixed come time for Pokemon Platinum.
The Harvest Moon fandom is torn on what time period their Dork Age spans but it's generally thought to have began around Magical Melody and DS. The characters are seen as shallower, several disliked mechanics have been tried out, and the series as a whole got Lighter and Fluffier. It got worse when Marvelous said they were focusing on handhelds instead of consoles; and it shows as they released six DS games but only two, near identical Wii games . Even Yasuhiro Wada has shown dislike to the way the games have gotten; he especially dislikes how much focus romance is given within the series. That said, the Wii games were acclaimed (though they still weren't perfect) and the 3DS game, A New Beginning, is seen as an improvement over the past handheld installments.