It has been the best of times and the worst of times.
The most successful games have turned out to be the most difficult to write.
As we get into the second decade of the 21st century, publishers are making more games than ever before, and those games have often been the most challenging to make.
Publishers have learned to turn the toughest games into the easiest ones, and in the process, some of the best games in the genre are turning out to have been made by people who have no experience with writing.
It has happened with The Witness, a new game published by Bethesda Softworks, and the popular survival horror game The Evil Within.
In The Witness (which, as the title suggests, is a game about an unseen horror, or an entity of supernatural proportions), the player is in control of a group of survivors, and must hunt down and destroy a serial killer known as The Demon.
The player must kill as many monsters as possible before the demons can kill the survivors.
The game was a critical hit in 2016, and earned nearly $1 billion in sales.
But Bethesda Softwork, which is best known for its Fallout games and the upcoming Fallout 4, has been experimenting with the genre since the 1990s.
In a new interview with The Atlantic, Bethesda’s senior game director, Pete Hines, said the company had been experimenting for decades with games that were not “hardcore,” but that the new games are more like a “softcore.”
“We started doing this in the 90s with games like Dead Space and Wolfenstein,” Hines said.
“We were experimenting with these very difficult things like the stealth system, the stealth and the weapon systems, and then the next thing you know we’re seeing some of these games that are like, okay, let’s try something a little bit more casual and easy.”
“A lot of the games that have come out this year, they’re hardcore, but they’re not really hardcore in the way that people like to think of a hardcore game.”
Bethesda Softwares most recent release is Dead Space 2, which came out last year.
The first Dead Space game was, well, a bit of a disaster.
It had one of the most baffling, frustrating, and occasionally bizarre story-driven experiences I’ve ever had in a video game.
(I played it a few months after that first game, which I did not review.)
Dead Space 1, on the other hand, is the best-selling game of all time, and, for a while, I was so obsessed with its sequel that I even bought a copy.
I also found it incredibly interesting, and I had a deep affection for the series.
I thought it was a great thing.
In fact, when I was asked to write an article for this magazine about Dead Space 3, I had already written about the first Dead of Dead Space, Dead Space: Episode 1, Dead of Death, and Dead Space II, and was already feeling a strong sense of pride for the game.
The sequel is a fantastic game.
In the sequel, you have to kill three enemies in the same time frame to complete the mission, and you can also earn a point by shooting and killing more enemies in one area of the level.
This was a huge deal, and it was such a different take on the formula.
The new Dead Space has an even bigger challenge, and Hines says it will be even harder.
The reason for the new difficulty, Hines told The Atlantic in an interview published Wednesday, is because Bethesda has been “doing a lot of experimenting with games we call ‘softcore,’ which is basically games that you could play without really knowing the game or the story or the mechanics of it.”
In the case of Dead of Evil, Hynes said, this meant changing the gameplay mechanics of the game to make it harder for players to play.
“So the challenge now is, what does that mean for the story?
How do we make the game more of a story game, and what kind of mechanics do we want to bring to the game that the player can’t see or understand?”
The biggest challenge, however, is that, because of the sheer number of players who are making games this year for the Xbox One and PlayStation 4, many of the more difficult games are not making it to the next generation consoles.
It’s not that there aren’t games being made this year; there are.
The problem is that they are not getting to the consumers.
There are some big games coming out this week, but most of them have been released on consoles before.
The next big big thing, The Evil Ex, is set for release next week.
The games we’re making this year are so tough because of what they’ve done to the industry.
The way we’re getting to them is by doing a lot more experimentation, which means that the people making them are doing a whole lot