Are modern video games setting themselves up to fail? The hype machine that helps to sell games is also a large part of the reason why some are met with disappointment from gamers who expected something better, or just different, from the finished product. There are countless examples of misleading reveal trailers, mechanics and gameplay modes going missing, and games simply promising too much with hyperbole that they couldn’t deliver on.
Although it’s understandable that some publishers have to try their utmost to advertise their games in what is an evermore saturated market, sometimes they go at it too hard. Take, for instance, the recent Prey reboot. There were countless gameplay videos, trailers, and features on it long before release, which spoiled the surprise for many and may have contributed to the wildly differing reviews it has received so far.
There’s also the case that increased competition and publishers’ obsession with profits are putting too much pressure on developers to hit it out of the park each time. Video games, especially AAA titles, take a long time to make and nobody outside of the business should say they could do a better job, but whether it’s down to ridiculous deadlines or simply being overworked, more and more games are shipping incomplete.
It’s arguable that this generation has already seen more than enough disappointing games, so let’s explore twenty of them. Presented in no order, bear in mind that these games are not necessarily bad, just that they didn’t meet expectations.
1. Mighty No. 9
The perfect example of how not to be endearing to fans, Mighty No. 9 built up the hopes of Kickstarter backers with some gorgeous concept art which looked like it would scratch a Mega Man itch. Over time, the game became uglier and uglier to the point where it seemed as if someone had skimped out on the budget somewhere and spent money on terrible marketing campaigns instead.
An ill-judged trailer for Mighty No. 9 released by publisher Deep Silver managed to offend and bewilder plenty of gamers, destroying any goodwill left after it became clear that this wasn’t to be the Mega Man spiritual successor backers had hoped it would be. A bad joke about “anime fans crying on prom night” didn’t resonate and showed just how out of touch everything about the project was.
While not an outright slog to wade through, Mighty No. 9 is flat and lacking life. You may get something out of it if you haven’t yet, so hunt around for a copy – it’s being sold for crazily low prices already.
Evolve’s legacy won’t be the one that developers Turtle Rock would have hoped for. Instead of acting as the new dawn for a different kind of multiplayer game, Evolve’s a cautionary tale about trying to push the patience of gamers with an endless parade of DLC. If you didn’t play vanilla Evolve, you avoided some of the most blatant and aggressive pushing of microtransactions ever seen in gaming.
This might have been excusable if the rot didn’t set in with Evolve’s gameplay so soon, but thanks to how limited the content was, the early enjoyment of monster hunting became tiresome within hours. It doesn’t help that long stretches of matches involve walking, walking, and some more walking – the pacing wasn’t balanced properly at all.
Players left Evolve in their droves shortly after launch, eventually leading to its free-to-play version popping up on Steam, though it didn’t exactly save it. 2K parted ways with Turtle Rock months later, who must have been hoping they had teamed with another publisher.
3. The Order: 1886
Favouring style over substance, The Order: 1886 was the most-anticipated PS4 exclusive for the console before its release. It promised to deliver the true coming of next-gen visuals married with a gripping story. It only managed the former.
Releasing to mixed reviews, The Order was heavily criticised for the short length of its campaign, which could be bested in an afternoon’s sitting. A lack of multiplayer or any worthwhile collectibles meant that The Order was quickly forgotten about once players had stumbled through its lukewarm narrative after repetitive cover shooting galore. The skeleton of a great game was obvious, but for one reason or another, it never reached its full potential.
Also, it committed the cardinal sin of making fighting werewolves boring. How?
4. Watch Dogs
When Watch Dogs was announced, people went mad for it: an open-world with hacking on the next-generation of consoles? Beautiful rain physics? What’s not to like? As it turned out, there was a lot to turn your nose up at with Watch Dogs, which all started with its slightly insidious marketing campaign.
Heavily downgraded visually from its stunning reveal trailers, Watch Dogs had its fans (including some of the Vultures), but it’s gone down as an unforgivable disappointment for most. While it isn’t a poor game by any means, over-simplified hacking and diabolical driving were just two of the problems it faced, not to mention the fact that its protagonist is about as charming as a cigarette butt left out in the rain.
Its sequel, Watch Dogs 2, was a much-improved effort but still suffered from relatively underwhelming sales. Gamers don’t forget.
5. For Honor
When For Honor works, it’s a delight and easily one of the most original games currently on consoles and PC. It has a combat system which is tricky to pick up but incredibly satisfying to master, a wide selection of different characters to choose from, and a single-player campaign that probably wasn’t necessary but feels like a welcome addition nonetheless.
But when For Honor doesn’t work, it’s one of the most frustrating gaming experiences you’re ever likely to have. Connectivity is the main issue, kicking players out constantly and unbalancing everything for those who are left, which is all down to Ubisoft’s misguided use of peer-to-peer networking in a game where the tiniest of mistakes are penalised.
The future is looking better for For Honor, but after releasing with such poor matchmaking and unruly prices for cosmetic add-ons, too much damage may have already been done.
6. The Division
The biggest disappointment that lies with The Division is how its faithful rendering of New York City is ultimately wasted. Instead of acting as a world to explore and get lost in, it’s just a series of empty streets, repetitive firefights, and aimless wandering in vain as you try to find the fun.
The fun in The Division does come, but you need some friends with you – as a solo experience, The Division is often like pulling teeth. Going up against the bullet sponge enemies on your own is a quick way for the tedium to set in, going from cover to cover without much variation. With some friends, though, things improve, but the feeling of wasted potential is hard to shake.
For squandering its premise and having some truly terrible PVP, The Division earns a spot here. It’s so divisive that a sequel might have been quietly canned.
The Division clearly didn’t learn its lessons from Destiny: Bungie’s huge action RPG that arrived on a wave of unmatched hype to the sounds of “meh” once players had settled into what the game was all about. Shooting the same enemies over and over again with the pretense of storylines to contextualise it all is what Destiny had to offer back in 2014.
While it’s worth mentioning that Bungie have worked hard over the years to improve upon the vanilla Destiny experience, which is looked back on as a dark period by its own fans, the genre-smashing game we were promised has still not been delivered. As satisfying as its shooting feels, there has to be more to draw the player in other than the promise of getting more gear to make the shooting slightly better.
Destiny 2 is already looking like a significant departure, so here’s hoping it can deliver a far more varied and enthralling bit of space combat. All it needs is an actual story and it will already be a better game.
2016 was not a banner year for Keiji Inafune. Not only did Mighty No. 9 fail to deliver on its promise, but Inafune’s other venture, ReCore, which he served as an executive producer on, also struggled after mixed reviews and a lack of interest.
An action-adventurer with heavy dystopian leanings, ReCore suffered from technical problems at launch, greeting players with seemingly endless loading screens and a unhealthy barrage of bugs. It also didn’t help itself with the pace it set: collectibles were required to progress further, so backtracking took away most of its momentum. ReCore never really gets going, which was reflected in its so-so sales on Xbox One and PC.
With a couple of earlier patches and another marketing push, ReCore could have still reached cult status. Sadly, it seems it might be too late.
9. The Last Guardian
The Last Guardian is not a bad game – it’s probably the most contentious entry on this list. While it has its merits, which include beautiful art design and a heartwarming dynamic between its two leads, much of it feels antiquated, as if it was meant to be released during the previous generation. Because it was.
Originally scheduled for release on the PS3 in 2000 BC, The Last Guardian was the most notoriously AWOL video game of all-time. Developed by Team ICO, the game showed huge promise before quietly disappearing for years. When it resurfaced, the reaction was overwhelming and led to a huge amount of hype. Releasing in late 2016 to a broad range of opinions, many felt that its time in development hell did it no favours.
The companion AI is sloppy to the point of rage and the mechanics offer too much trial and error for the simplest of tasks, but there’s no denying The Last Guardian still has something. It’s nowhere near Ico or Shadow of the Colossus, which a lot of gamers were expecting it to be, but The Last Guardian is absolutely still worth investigating.
10. Dead Rising 4
Where do you even begin with why Dead Rising 4 was so divisive with fans? Was it the drastic changes made to Frank West? The simplified gameplay? Much of what made the series so great being gutted out? Or perhaps it was because the game launched in a terribly buggy state?
The signs weren’t good for Dead Rising 4 from the off. Fan reception to the new Frank wasn’t kind, leading to plenty of boycotts and disenfranchisement. It wasn’t much better on release, either – the game released to a mild reception from critics and was already forgotten about before 2016 was up. It released on December 6.
Sales suffered as it shifted under a million physical copies, down from Dead Rising 3 with 1.5 million retail copies sold. When you consider that its predecessor would have had a smaller install-base as an Xbox One launch title, the future for the series just looks bleaker.
Let’s not even talk about Capcom locking the true ending behind a paywall.
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