That is an unfortunate shorthand. There are fantastic things about a business mindset, including everything you mention in your post. Most of the art and entertainment we love is made by people who earn at least part of their living by making and distributing it. No one should be ridiculed for considering the likely return on the hours they put into their work.
On the other hand, as the person who first referred to commercial efficiency with (at best) faint praise on this thread, I’d not want to dismiss the bad things that can come with a business mindset. As the focus on marketability and profitability gets stronger, it can kill off creative ambition.
Partly that can be the direct effect that extrinsic motivators seem to have on many if not most people. There’s a good, pretty balanced article on that here. It includes the Anne Sexton quote: “First I want to write good poems. After that I am anxious as hell to make money and fame and bring the stars all down.” A corporate mindset can shift people away from putting their intrinsic motivation first; it doesn’t always, but it happens easily and often enough to be a legitimate worry (for creators) and gripe (for consumers).
And especially when a business loses its entrepreneurial edge and gets more risk-averse, it can stop investing in new, exciting, or complex things and aim only (or almost entirely) at safe and simple bets that offer a guaranteed profit. So contemporary Hollywood makes more and more blockbusters that are same-y and sequelly, with creative directors squeezed into the house style, while more weird and distinctive ideas or styles can’t get funding like they used to. Same for a lot of pulp publishing. That’s one major downside that can come with a corporate mindset.
I just came across a Skyrim retrospective that mentioned a game of its sheer scale wouldn’t be considered economical today. If true, that’s a shame! Its bigness was its most winning feature, and while it was a commercial risk to make a game so huge and unwieldy, it surely paid off for Bethesda, which is still raking in the cash a decade later.
As I noted earlier on this thread, Choice of Rebels is long, messy, and inefficient. A risk-averse business mindset would probably not favor it, despite its commercially appealing genre. Don’t bet on the guy who takes forever to finish a game because he’s writing so much emergent complexity and rabbit holes into it!
But I think it turned out to be a worthwhile bet. It’s no Skyrim, of course, but so far it’s sold around 39,000 copies, and my income from the game is in the neighborhood of $44,000. I don’t know how that compares to what people hope or expect to earn from their writing, but it’s a lot more than I’d expected to make! (Especially as someone whose earlier narrative nonfiction book had earned only $17,000.) As I shift from having a full-time day job to being a house-spouse with game-writing as my side contribution to the family purse, and can thus hopefully start getting the sequels out every couple of years rather than every 6-7, it’ll also look better in terms of an annual income. 
That said, if my household was actually depending on that income (which we’re fortunate not to be) I would totally switch to writing simpler, more straightforward games and aim to get one out every year. There are virtues other than complexity in a piece of IF, and I’d aim to hit more of those (to satisfy my intrinsic need to write fiction I enjoy) while finishing games more quickly and reliably. There are other equilibria on the sliding scale of “business/efficiency” and “creative/complexity” that could satisfy me, not just the particular one I’m at now.