Dork Age / Video Games

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    Final Fantasy 
  • 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 overpowered 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 Promethia 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.
  • Final Fantasy XIV managed to go through a dork age twice. When the game launched in 2010, there were lots of bugs, terrible optimization that made the game run sluggishly for most PC users, and many game mechanics that were not looked upon favorably, such as having experience points being reduced in gains if you try to level up too much. Once the development team got replaced with new faces, the game was reworked from the ground up and relaunched 3 years later with favorable results; players could complete quests at their own leisure, items were mostly easy to obtain, and the game was very stable and optimized. However, a second dork age came along shortly after the rerelease; certain materials were hard to find or buy due to people and bots alike farming the materials and then selling the materials back on the market for absurdly high prices. End game gear that wasn't part of a loot drop were regulated to many weeks (or even months) of grinding for special tomes that were needed to obtain said gear. A few patches did address the issues, but the next major patch introduced more problems with the Atma system where players had to get 12 specific items from 12 specific events that pop up at random times in order to power up their Infinity+1 Sword. The problem is that the events can take hours to appear and the items from the event have ridiculously low drop rates. The fan base had exploded in anger over the Atma system and some have compared it to the same systems that were used in Final Fantasy XI.

  • Nintendo fans remember Hotel Mario and the Zelda CD-i games with shame, due to this and general unplayablity. They haven't been forgotten by YouTube, by way of So Bad, It's Good-ness and by extension, YouTube Poop.
  • Nintendo has begun to hear accusations of this in The New '10s; 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 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 references to internet memes and acts of censorship that many have deemed unnecessary (despite much of said censorship being implemented to conform to 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 AM2R.
  • The Paper Mario subseries of the Super Mario Bros. franchise is generally agreed to be in one as of 2016. It started with Paper Mario: Sticker Star, which was a heavily controversial game for removing the story, exploration and RPG elements that made previous installments so beloved (ordered by Miyamoto no less). With Mario & Luigi: Paper Jam mostly being held aloft by the gameplay and characterization approach of its other constituent series while suffering from a few of the same problems as later Paper Mario games, and Paper Mario: Color Splash being highly reminiscent of Sticker Star, many fans agree that the dork age isn't ending any time soon. There are a few fans who believe that the dork age began with Super Paper Mario, but in hindsight, it's seen as a far better game that mostly only suffers due to its different gameplay.
  • After Nintendo sold off Rare in 2002, the Donkey Kong franchise struggled in finding a new identity for itself. Donkey Kong stopped getting Donkey Kong Country games and went into quirky spinoff titles that while they have their share of fans, were unimpressive and lacked memorability. These included the Donkey Konga series of rhythm games with very few songs actually from previous games,Donkey Kong Jungle Beat 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, and Donkey Kong Barrel Blast, 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 Retro Studios took over and developed Donkey Kong Country Returns, which was released to wide acclaim and brought in a new legion of DK fans, resulting in an equally successful sequel, Donkey Kong Country: Tropical Freeze, being released in 2014.
  • Mario Party had started out with three well-received games on the Nintendo 64, but has since went on to be mostly considered a Franchise Zombie since, particularly for its Luck-Based Mission nature.

    The Nintendo GameCube sequels were (generally) considered to be stale and mediocre, and Mario Party Advance released during the same period was considered flat-out bad for its poor multiplayer experience. Mario Party 8, an early Wii title, got poor reviews and divisive fan reception, and a Nintendo DS game that was released the same year was considered So Okay, It's Average for largely similar reasons, and in 8's case for feeling technologically dated. However, In an ironic twist, when the Mario Party series returned from hibernation, the mixed reception to the newer games invoked a sense of Vindicated by History for the Nintendo Gamecube titles from fans who still wish for a return to the old formula.

    The series then went into hibernation for several years until Nd Cube made Mario Party 9 came out and tried to Win Back the Crowd by changing the game mechanics considerably, most notably having all players travel around the board in the same car, and again divided its audience, this time over whether it changed too much rather than changed too little. Mario Party 10 on the Wii U was based on this formula, and got a similar response.

    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 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.

    Sonic the Hedgehog 
  • The first one was between 1995 to 1997. The cancellation of Sonic X-treme meant that there would not be a main series Sonic on the Sega Saturn, which only provided fans with a Compilation Re-release, a port of a slow isometric game and a racing spin-off. Other than that, Sonic was relegated mostly to various spin-offs on the Game Gear. While the early '90s had Sonic more recognisable than Mickey Mouse, Sonic Team reportedly received letters asking who Sonic was shortly after the release of 1996's NIGHTS Into Dreams. This Dork Age finally ended with the release of Sonic Adventure in 1998.
  • The second (and perhaps the most well-known) is the one from 2005 to 2007 with the releases of Shadow the Hedgehog, Sonic the Hedgehog (2006) and Sonic the Hedgehog Genesis, a GBA port of the original Sonic game. Shadow's game was a spin-off meant to please Shadow's fans and conclude his amnesia arc, but Sega didn't stop there; they also tried to aim for the Grand Theft Auto crowd using Shadow's Byronic Hero characterization to justify some pretty bizarre choices (namely guns and mild swearing) with So Bad, It's Good results, not to mention the game's slippery controls and repetitive beat-em-up/collectathon gameplay. Sonic '06 was hyped to be the Blue Blur's big comeback and a "re-imagining" of the series for the seventh-generation consoles; instead it turned out to be a rushed mess with Sonic receiving a much-maligned romance subplot involving a human princess, which had less overall importance compared to the plots given to his co-stars. Sonic Genesis was another rushed mess that was just salt in the wound after '06. Lastly, Sonic Riders, Sonic Rivals, and Sonic and the Secret Rings were released around this time, and though not as reviled as '06, they were all widely criticized for their controls.
  • After this, the fanbase became even more fractured than before, with differing opinions on when the Dork Age even started and when (if at all) it ended.
    • One possible ending is Sonic Unleashed which was hyped as "Sonic's big comeback" and praised for the daytime Sonic stages that mixed 3D and 2D segments together, but received mixed reviews regarding the Werehog stages.
    • Sonic the Hedgehog 4: Episode I was hyped as the much-awaited sequel to the acclaimed Genesis games and "Sonic's big comeback" but criticized for changing and keeping too much from the Genesis games.
    • Another possible ending to Sonic's second Dork Age is Sonic Colors, which improved upon the Daytime stages of Sonic Unleashed and managed to get good reviews with many praising it as "Sonic's big comeback", and Sonic Generations, which served as a celebration of 20 years of Sonic with copious nods to previous games. While both of these games were widely praised for their gameplay, they have attracted some bile over the increased silliness of the cutscenes, corny dialogue, and general disregard for characters outside of the Sonic/Tails/Eggman trio.
  • There's been a third Dork Age for the franchise, which began in some time after the release of Sonic Generations and may or may not have ended by now.
    • First, Sonic the Hedgehog 4: Episode II despite being better received by the fans to an extent than its predecessor, had mixed reactions towards reviewers, especially those who praised Generations as the franchise's big return. This combined with having lower sales than the first episode is presumably the reason why the series never got a third episode.
    • Sonic Lost World did away with the boost gameplay that had been invented in Unleashed and refined in Generations, replacing it with a finicky "parkour system" that allowed Sonic to run on walls, but was highly unintuitive, thanks in part to the game's unclear instructions. The game's other major features, level design featuring planetoids with independent gravity and the return of Wisp power-ups, were widely criticized as watered-down versions of the main features of Super Mario Galaxy and Sonic Colors, respectively; with the story also proving to very divisive for its characterization and attempts to tell a more serious story. While some fans looked past the problems with the Wii U version of Lost World and had a fun experience, the 3DS version was more widely panned for having chaotic level design and poor implementation of gyroscope controls. Regardless, Lost World's lukewarm reception was disquieting to the Sonic fanbase, having been released immediately after the games that had returned Sonic to top form following a previous and particularly nasty Dork Age.
    • Those Sonic fans hoping that Sonic Lost World was a mild aberration were sorely disappointed when the Sonic Boom games were released. Marketed as a fresh new take on Sonic, the Boom titles generated tons of hype prior to their debut, even if playable demos indicated that the games themselves needed a lot of polish. Alas, this need was not met. Rise of Lyric was plagued with an advanced graphical engine that was too much for the Wii U to handle properly, resulting in subpar graphics, a choppy frame rate, and a highly degraded multiplayer experience. Other daunting problems included slow gameplay, overly simple fighting mechanics, sparse and sprawling hub areas, a dull and formulaic story, subpar musical score, and a host of bugs and glitches. Similarly, Shattered Crystal on the 3DS had its share of issues, like flawed level structure, overly complicated controls, and a conflicting continuity with the Wii U game. Both games were near unanimously panned by critics and fans (many likening Rise of Lyric to the infamous Sonic '06), nor did they sell relatively well, possibly contributing to the restructuring of Sega of America and the layoffs of dozens of its employees in early 2015. Despite the poor reception and sales, this wasn't enough to stop another Sonic Boom game —Fire and Ice for the 3DS— from being released in 2016. At the very least, reception to Fire and Ice has been overall more favorable, but only because the bar was set so low to begin with.
    • During the aftermath of the Boom fiasco, Sonic Team had also tried their hand at mobile games note  with Sonic Runners, an attempt at adapting the series to a online-only 2D endless runner format. While the game in its soft launch (in Japan and Canada) got complaints for its poor optimization for several phones (some of which were highly evident of the game's technical status) and its roulette system note , the game was generally liked for its solid gameplay and giving a spotlight on the series' many characters in its episodic storylines. This goodwill sadly went away with the "official" worldwide launch of the game, which took all of the game's existing problems and took them Up to Eleven—the game was retooled to make any substantial progress in the game impossible without resorting to using the roulette system, introduction of "video revives" (adverts the player was required to watch if they wanted to use a continue after they died during a playthrough), even more glitches that in some cases led to game-breaking bugs, and a notorious 2.0 update that nerfed the usefulness of several of the game's buddies and introduced layouts of spike walls that ramped up the game's difficulty to the point of making levels impossible to play. This overall succeeded in virtually tanking the game's reputation, with active players leaving en masse, the game underperforming in revenue/sales (with Sega later deeming it a commercial failure in their IR reports), and Sega ultimately taking the game offline in June 2016—barely a year since its launch. Fans of the game mourned its demise, wondering how successful the game could had been had it been more competently managed.
    • Another factor some people considering this era to be a third Dork Age is due to Sega making a three-game contract for the series to appear on Nintendo-exclusive consoles; which consisted of the aforementioned Lost World and Sonic Boom games, as well as a fourth Mario and Sonic installment. This came at the chagrin of Sonic fans who had been waiting for a new multiplatform Sonic game, especially as no Sonic games had been announced for the PS4 and Xbox One. Not helping matters was that all three games of the contract received average-to-poor reviews and sold below expectations; yet a fifth Mario and Sonic game (for Wii U and 3DS) and the aforementioned third Sonic Boom game for the 3DS were announced in spite the contract ending with the first two Sonic Boom games.
    • However, the Sonic Boom 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 delayed by Sega for over a year for quality control reasons—was generally agreed to be a marked improvement over its predecessors. The series' 25th anniversary birthday party led to the reveal of two Sonic games—Sonic Mania developed by community members, and a teaser trailer for Sonic Forces, 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 attention to detail to the Genesis Sonic titles (something the aforementioned Sonic 4 was chiefly criticized for), and 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.

  • Warcraft: There's a lot of debate as to which expansion of World of Warcraft constitutes as this. The common arguments are as follows:
  • The Burning Crusade is generally considered to have great gameplay, but a terrible plot and setting that changed a lot of beloved Warcraft III characters, accidentally and shoddily retconned a major enemy race, and had too many elements verging on sci-fi for players to feel it belonged comfortably in Warcraft's fantasy setting. It also contained what is still considered to be the single hardest raid dungeon in the game's history, which influenced a lot of the development team's future philosophies with raid and class design.
  • Wrath of the Lich King is the inverse, with players praising its great narrative and characterization, but hating the gameplay changes, feeling as if both dungeon and raid content was dumbed down to appeal to a more casual playerbase, and homogenizing classes to the point where they lacked unique identity. It also added the game's first new class, the Death Knight, which saw a ridiculous amount of oversaturation during the expansion's life cycle.
  • Cataclysm has been met with cries of both story and gameplay rot, with the former two expansions and the vanilla game ironically being looked back upon as Golden Ages. Gameplay wise, it met a good mix of people feeling the new content was too hard, followed by nerfs that made it too easy. Story-wise the expansion had a largely ineffectual main antagonist following up the very well-loved Arthas, characters such as Thrall and Garrosh playing very important but unpopular roles, and it began the trend of Alliance players feeling as if the writers were biased against them, giving the Horde a lot of Kick the Dog moments and having their own quest lines never result in a fair comeuppance against the Horde.
  • Mists of Pandaria was controversial; certain aspects of the gameplay (notably daily quests) have been heavily criticized, and prior to release many people felt the inclusion of the pandaren was a jump the shark moment for the series. The story and the handling of the faction war are also objects of criticism. Debates also abound as to whether the game having its lowest subscription numbers in years is a result of poor development or simply people tiring of an almost decade-old game.
  • Warlords of Draenor has proven to be a very, very controversial expansion with players. Although the sub numbers increased from 6 million to 10 million and hype was high the launch was marred by full servers with some people unable to get on for *hours* waiting in a queue. Players felt themselves at a loss for what to do after hitting the level cap besides raiding and the population shrank to 5.5 million in September 2015, which turned out to be the last ever sub announcement as Blizzard announced in the following November they would no long announce sub numbers.
  • One that most will agree upon is the handling of the orc storyline in Cataclysm, and Mists of Pandaria due to their seeming extreme demonization, Aesop Amnesia, and Flanderization. The positive representation of the orcs in Mists of Pandaria could even be counted on one hand!
  • Let's not forget the RTS crowd who've been waiting years since Warcraft III for a new RTS title. Some believe ever since WoW (and MMORPGs in general) proved to be a bigger money maker than RTS games, this change in genre for the franchise marked the end of future RTS titles. Since then, StarCraft II has been released to scratch the RTS itch, but the wait for a Warcraft IV continues.
  • From a story standpoint, WoW has slowly become a dork age for the franchise in general. During the era of the RTS games, each game would expand on the world and even though some things were changed, for the most part fans were fine with the way the story developed. As WoW went on, retcons and continuity errors became much more common as well as more blatant. Many important NPCs became flanderized and new characters who were built up as important were often very controversial. The nature of being an MMORPG strangled the story, and prevented a lot of story threads from being resolved properly. Many characters who were portrayed as morally ambiguous (or even benevolent) were turned into raid bosses with little justification. The Alliance and The Horde will always be at each other's throats, no matter how many Conflict Balls have to be passed around for it to happen. The defeat of The Lich King was partially negated by the reveal that without a Lich King, the Scourge would devastate Azeroth, so another character was forced to take up the role, ensuring that the Scourge will likely never be wiped out. Attempts at rescuing characters from the scrappy heap either don't stick, or come at the expense of other characters. The developers are forced to try (and often fail) to balance the NPCs from taking part in important events without stealing the glory from the players, and having the NPCs doing absolutely nothing at all. Regardless of the mechanical benefits, each expansion tends to bring on another heap of base-breaking plot developments and characterization.

    Other games 
  • 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. Some gaming experts also believe that the E3 had a dork age in 1996, if only because the best-selling video game of that year was not featured on the E3 floor at all.
  • Silent Hill is notorious for its horribly Broken Base, but most fans will agree that the series peaked with the first three games, 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, though the consensus is that Silent Hill 4: The Room, the last of the Team Silent entries (and a Dolled-Up Installment), is where the slide began. Silent Hill: Shattered Memories broke 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 was far more positive, and the announcement of Silent Hills got even the most jaded fans interested in the series again... until it got canceled in a dreadful case of Screwed by the Publisher, which (along with the announcement of a Silent Hill slot machine) has many fans wishing the Ten Plagues on Konami and fearing that the series may never escape its Dork Age.
  • 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.
  • 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 done 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 a holocron and master whatever class tree it said to master, then the player may luck out and become a Jedi, or would receive another holocron and continue the cycle until they eventually became a Jedi. 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 running around in the open 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 to justify letting everyone be a Jedi, has since came along.
  • 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 relied on a 3D glasses gimmick for sales (we're talking '50s B-Movie red/blue cardboard glasses here) and massively derailed 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.
  • Backyard Sports, with the games from 2006 onward. There had been numerous character changes and removed characters, and the announcers were incredibly boring.
  • Fans of The King of Fighters generally look at the period of time Eolith produced the games, especially KOF 2001 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 for 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, and Eolith introduced a few of their own character designs (although a scant few, like May Lee, were more favorably received). When SNK reclaimed the wheel as SNK Playmore, among the first things they did was to wipe several elements from 2001 right out of the canon, including the whole character of K9999 (also a blatant Captain Ersatz of Tetsuo) and Foxy's death. 2002, however, is 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? Nope.
    • The time the franchise switched to the tag team format with KOF 2003 and KOF XI can be seen as one as well (though it was generally well-received, especially with the improvements made in XI, one of the more favorable SNKP entries along with XIII), which is why later games have dumped the tag team system in favor of the traditional 3-man elimination format.
  • Fans of the Crash Bandicoot series generally consider the departure of series creator Naughty Dog in 2000 to be the start of the series' descent into mediocrity, with Crash Bandicoot: The Wrath of Cortex and Crash Nitro Kart being seen as uninspired copies of Crash Bandicoot 3: Warped and Crash Team Racing respectively. An attempt was made to freshen up the series with Crash Twinsanity, but the Obvious Beta status of the game led to the game selling poorly. Radical Entertainment would proceed to release Crash of the Titans and Crash: Mind Over Mutant, which received a mixed reception and led to the series going into hibernation for 8 years.
  • 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.
    • The trilogy of Deadly Alliance, Deception, and Armageddon are not exactly remembered fondly. Deadly Alliance derailed several characters and dropped bridges on nearly all of the iconic characters of the series, Deception introduced many less than stellar characters, including a character whose entirely characterization is literally yet another Stripperific ninja, a character is who is a walking, one-note Toilet Humor joke, a main hero who is straight out of a teenage MK fanfiction, and a main villain who is one of the biggest Villain Sues in fighting game history (though Onaga is more fondly regarded nowadays among the fandom, a rarity for Big Bads not named Shao Kahn). Finally, Armageddon replaced the unique Fatalities with bog standard ones to accommodate for all the characters present and a Story Mode even more fanfictiony than Deception's.
    • 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). It ultimately took Midway filing for bankruptcy and seeing its assets acquired by WB Games for the series to get back on track-the bankruptcy/acquisition period allowed for Midway Studios (now reincarnated as Netherrealm Studios) to sort out what worked and what didn't work and then return to series to form with the well-received 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. There's a (mostly-joking) conspiracy theory that WB deliberately gimped MK vs. DC in order to facilitate their buyout of Midway.
  • Street Fighter actually inverted this. When the Street Fighter III series came out, many people were turned off by all the changes and many dropped the series altogether. As time has passed however, many looked back and were able to view the SFIII series, specifically the third iteration, 3rd Strike, much more favorably.
  • 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 what John Romero has up to since Daikatana?) but still hasn't regained his former stature. Because of lingering rancor, Thief: Deadly Shadows received less fair critical reviews than it deserved, and Spector hasn't been invited to return for a sequel. 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.
  • While Warhammer 40,000-based games made by Relic Entertainment (Dawn of War 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 Obvious Beta that was Soulstorm is considered an 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 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 In-Universe Butt Monkey Imperial Guard. Later material that mentions the events in Soulstorm written by Games Workshop shows that the Imperial Guard won a 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 ends up being part of Cyrus' reason for betrayal if he ends up as the traitor in Chaos Rising.
  • 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 put it on life support with the downloadable "back-to-basics" Tony Hawk's Pro Skater HD and the mobile Temple Run clone Tony Hawk's Shred Session. Unfortunately, Pro Skater 5 received poor reception, putting the franchise's future in doubt.
  • 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-Only Fallout: Brotherhood of Steel. Tactics was a competent game, albeit one 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 have full drums of fuel just lying around more than a hundred years later, et cetera). The same cannot be said of Brotherhood, a second-rate Baldur's Gate clone with a paper-thin Fallout veneer. Bethesda has proclaimed Tactics to be Broad Strokes canon, while Brotherhood is full-on Canon Discontinuity.
  • The Need for Speed franchise had one. While several older fans claim the entire Underground era to be Fanon Discontinuity, most fans generally point to Carbon in 2006 as the beginning of the series' downward slide (especially coming on the heels of Most Wanted in 2005, 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.

    Since then, however, a Broken Base has emerged between "exotic" fans, who prefer the games when they're focused on supercars and exotic locales, and "tuner" fans, who prefer car customization and city racing. This produced a case of Critical Dissonance on the 2013 Most Wanted and 2014's Rivals as fans of exotics (which included the majority of critics) loved these games but fans of tuners hated them. When the 2015 entry (titled simply Need for Speed) tried to go back to the tuner well in response to these complaints, it was seen as having put the series into a second Dork Age, which wasn't helped by a number of genuinely controversial design decisions that both exotic fans and tuner fans hated, such as the driving physics, the Rubber Band AI (a long-standing problem with the series, but one that was especially glaring here), and the game requiring online connectivity for seemingly no reason.
  • 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 add-ons 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.
  • 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 '10s which they stereotypically consider "crappy." (Nothing really exciting for them was released minus an Iron Maiden 6-pack and a Slayer pack.) Plus, they are often considered "too easy."
  • League of Legends 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.
  • Resident Evil fell into one in the wake of the poor reception of Operation Raccoon City and the mixed reception of Resident Evil 6 in 2012, the main complaint being that the series veered too far from its Survival Horror roots in an attempt to me-too shooters like Gears of War and Modern Warfare. While the 3DS title Resident Evil: Revelations was much better received and is canonically a main series title, it was a portable game on a Nintendo handheld and received a much smaller marketing push than ORC and RE6 did. Some would argue that the Dork Age began with Resident Evil 5 in 2009, though that game, while divisive among fans, received fairly positive reviews at the time.

    Revelations was eventually ported to PS3, Xbox 360, Wii U, and PCs, giving the game more mainstream exposure, followed by the release of a sequel that also took a crack at Revisiting the Roots, leading many to tentatively declare that the Dork Age was over. Then came the announcement of Umbrella Corps, another co-op/competitive multiplayer shooter, making fans wonder if Capcom learned anything from ORC. On the other hand, Resident Evil 7, which had been announced long before either Revelations 2 or Umbrella Corps but suffered from a drought of information following said announcement, was fully unveiled at E3 2016, showing that the series is pushing further towards the style of the pre-RE4 games. Reactions to Capcom's efforts have been generally positive, though not unanimously so (a significant number of fans feel that it's going too far in the opposite direction and now trying to me-too first-person horror games like P.T., Outlast, Condemned and Amnesia), so the end of this troubling period may finally be in sight.
  • 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 is often considered to have gone through this after the game's creators, the Gower brothers, handed off its reigns to Mark Gerhard, one of the senior mods. This is mostly related to two controversial gameplay changes Gerhard introduced: first, the implementation of microtransactions, something the Gowers promised they would never do, and second, a complete overhaul of the combat system which was seen by numerous fans as a cynical attempt to ape World of Warcraft. Jagex heard the criticisms of the combat system and as a result introduced both "Old School" worlds that allow players to experience the game as it was in 2007, and a poll wherein players voted to introduce the option to toggle between the old and new combat systems on the main worlds, as well. On the plus side, Gerhard's tenure also coincided with some very well-received advances to the game's Myth Arc, including tying up plot points that had been dangling for nearly a decade.
  • 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. It's considered an okay Tetris game, but a bad TGM game.
  • The first two games in the Double Dragon series were pretty successful at the arcade and on consoles. The first NES game even sold out on the day of its release. But then came Double Dragon 3, which was farmed out to an external developer, featured a poorly-thought out plot involving Mineral MacGuffins, flat level designs, fewer moves than its predecessors, and an ill-conceived shopping gimmick obviously added as a transparent means of inserting more tokens into the machine. There were a couple more Double Dragon sequels after the third game, but the series never quite recovered from there: the NES version of the third game (while considered to be an improvement from the arcade version) is ridiculously hard, the SNES-exclusive fourth game was an Obvious Beta, and the last two games made before Technos went out of business were standard competitive fighting games that did nothing to stand out from an already overcrowded market. The movie "adaptation" of the series wasn't helping matters either... Thankfully, WayForward's 2012 reimagining is commonly seen as having done justice to the Double Dragon name (while not being afraid to make some jokes at its expense either). Unfortunately, the remake of Double Dragon II that followed (not developed by WayForward) proceeded to extinguish that goodwill.
  • 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 Softer. 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.
  • The Rayman series has the infamous Rabbid era from 2006 to 2008. The fourth game in the series introduced Rabbids, one-joke characters who don't do anything but scream "DAAAAAAAAAAAH" at the top of their lungs. Due to Executive Meddling, the game, originally planned as a platformer like its predecessors, shifted into a party game (though the Game Boy Advance version was still made a platformer). In the next two games, the Rabbids ended up stealing the entire show and the eponymous hero was demoted to Butt Monkey. Fortunately, Rabbids Go Home, the final game involving the Rabbids, removed Rayman entirely, while Rayman himself came back in force in his own adventure in Rayman Origins, though interestingly the Rabbids themselves now have an animated series on Nickelodeon, though the entire show is pretty much the Minions from Despicable Me on crack.
  • Star Trek Online, 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 Power Creep 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.
  • After several years of no activity in the franchise, the Dungeon Keeper mobile "game" (in quotes because it neatly encapsules every stereotypical flaw of mobile games) managed to not only anger fans but also created a media fallout that ended in Mythic Games' death.
  • Originally a popular mobile game, Supercell's Clash of Clans began suffering from a severe drop in both playerbase and ratings as a result of releasing a very poorly received Town Hall 11 update by December 2015. Common complaints include the severely increasing difficulty of finding loot due to shield changes, the complete and total nerf to Town Hall sniping due to them giving no shield at all that upsets a lot of players along with the Personal Break Timer that punishes players just for having a successful defense.
  • For many Spongebob Squarepants fans, they consider SpongeBob SquarePants: Creature from the Krusty Krab to be the last good SpongeBob Licensed Game. After that, the dork age began when THQ focused on creating more tie-in titles to cash in on the special episodes that were airing at the time such as Atlantis Squarepantis and Truth or Square, which were either mediocre at best or just poor at worst. However, many agree that the dork age reached its ugly peak when THQ went bankrupt in 2013 and the license was handed over to Activision, which resulted in poorly-made abysmal SpongeBob games such as Plankton's Robotic Revenge and SpongeBob Heropants.
  • Many Dota 2 players criticize versions 6.81 and 6.83 for having strategically one-dimensional metagame. 6.81 is known as "The Deathball Patch" because winning a few early-game fights gave such a huge advantage that the team could simply proceed to move as five and completely steamroll the enemy. This led to 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.