Dead Space 3’s compromises were a bit more subtle , but they still resulted in a not-so-minor departure for the series. Where the first two games were horror games first and shooters second, Dead Space 3 was the opposite. It traded careful resource management and situational weapons for resource crafting and all-purpose creations. Rather than a tense experience that required its players to think on the fly, players got an occasionally startling but overall leisurely romp through an undead ice planet. Once players acquired enough resources to craft a gun with both long and short range firing modes, any semblance of genuine scares and vulnerability went right out the airlock. Supposedly, Isaac isn’t even alone for most of the game thanks to his partner, Carver, appearing out of the ether during every other cutscene. Just like with Fallout 4 and Destiny 2, Dead Space 3 represented a shift in genre for the sake of more mainstream appeal. The semblance of the game its fans loved was still there, but that’s all it was: a semblance. The traits that made it unique, that attracted a fanbase in the first place, those were either severely watered down or cut out entirely in the name of attracting more casual players.

There’s no real choices and trade-offs to be made anymore. The same goes for the rest of the game. The in-depth and often rewarding dialogue trees are gone, replaced with options that boil down to whether or not the player character is going to be either nice or sarcastic nice. There are no karma checks, no skill checks, no special checks, nor even long and interesting conversations to be had. Dialogue might as well just be there because previous Fallout games had it. The list could go on, but is perhaps better saved for another time. As it stands,Fallout 4 has gained massive mainstream success. It just had to become a different game in order to get it; a game that’s much more a shooter with RPG elements than it is an RPG with shooter elements. It became a game one that fans of the old Fallout games have grown to hate and possibly a series that RPG fans in may no longer care about in the future. Taken on it’s own It’s a decent game, but one that has nonetheless been compromised for the sake of short-term sales. The same is true of Dead Space 3.

Love it or hate it, Destiny is addicting. It has some of the best first person shooting mechanics available, and while the campaign structure is limited, its drive for loot is exciting. Unfortunately, if players ignore the Raids all together they will be left with an unfortunate experience that’s marred by a virtually non-existent plot. Regardless, Destiny is a fun game to play with friends, having you dig through hours of dungeons and lengthy strikes. There’s a lot for Bungie to do (an actual story would be nice, more varied locations for missions and less repetitive mission tasks), but they have established something to build off of that will hopefully be expanded upon in future iterations.

Over the course of its lifespan, most players agreed that Destiny’s most persistent problem was a general lack of content. There just wasn’t enough to do between DLC expansions. The thing is, those expansions never actually helped all that much. It would only take a week or two for the hardcore crowd to start complaining about a lack of content again. Some would blame those players for spending too much time with the game and burning through that content too quickly, but it’s only natural that players would quickly burn through expansions when they often didn’t include many new features. I was cautiously optimistic that Destiny 2 would address the real issue at the heart of its forebear’s content woes, but this sadly hasn’t been the case. It’s added a few minor features in the form of the new director, a map, small activities in its explorable spaces, milestones and flashpoints, but that that’s it. Oh wait, scratch that. Milestones and flashpoints are just re-branded bounties, so they’re actually not new at all. So not only does it offer less content than Destiny 2 Beginner Guide’s final form, but it still hasn’t addressed the first game’s core problem.

Casual players are the single largest audience in gaming; there’s no getting around it. This is the audience that every major publisher wants to appeal to; the one group that every development studio hopes will latch onto their game. After all, capturing the attention of the casual or mainstream audience usually means massive success and wondrous profit. So it’s understandable that they, publishers especially, would have a vested interest in making their games more accessible and appealing to that audience. Making that appeal often means simplification. The simpler the game is, the more accessible it is, the more mainstream appeal it can have. While there’s nothing innately wrong with making one’s game more accessible to the wider gaming audience, doing so always comes at a cost. Just as a game cannot be both simple and complex, neither can it simultaneously serve its niche and successfully appeal to the mainstream audience. Therefore compromises must be made, usually ones that rob the game of what made it special in the first place.