History AmericansHateTingle / VideoGames

* The exA-Arcadia game platform, by the company of the same name. Its mission statement is that unlike other modern Japanese UsefulNotes/ArcadeGame distribution models (such as Sega's All-Net and Taito's [=NESiCAxLive=]), which see the arcade renting the games rather than actually owning them and paying a cut of the revenue earned from these games to the platform and have always-online UsefulNotes/{{DRM}} to enforce this, exA's games do not require an internet connection and do not operate on a revenue-share model; the operator does not have to pay any cut of the revenue earned to exA. This works well in Japan, and while exA sells theirs to the global market, they are far less successful in Western markets. The problem with exA games is that they are priced higher than games on its competitors' platforms, which might be seen as a fair tradeoff by Japanese operators because in time they'll make back the money and then some, but in non-Japanese countries, because there ''is'' no competing service for the sort of games offered on exA, most arcades are content to instead get games that are cheaper. In the West in particular, arcade operators (mainly those of bar-arcade hybrids and multi-entertainment centers) can't be bothered to spend thousands of dollars on the hardware and each individual game when they can get Western-made games with a better ROI as well as refurbished cabinets of classic arcade games, since most games offered on exA are niche Japanese-made games (most notably ShootEmUp games) that aren't exactly high demand in the West, so for many Western arcade, exA is largely AwesomeButImpractical. As a result, the only places you'll see an exA cabinet in public Western are a small handful of Round 1 locations in the United States and an even smaller handful of independent arcades that specifically cater to fans of Japanese games. And if you ''do'' see an exA in a Round 1, it'll most likely be carrying exclusively {{Fighting Game}}s and not other genres of games.

* [[VideoGame/FatalFury Terry Bogard]] was well recieved in Japan, as well as in [[GermansLoveDavidHasselhoff regions where his games are popular]], but in North America, and especially the US, he had a mixed reception. This was due to ''Fatal Fury'', ''VideoGame/TheKingOfFighters'', and by extension, Creator/{{SNK}} not being well known names in the American videogame culture, being MainstreamObscurity at best. And unless they were someone with knowledge about older traditional fighting games, he would come out as an extremely obscure choice for ''Smash''. It didn't help that on the same Direct that he was revealed, a Mii costume based on the much more popular and much more demanded Sans from ''VideoGame/{{Undertale}}'' was revealed, which massively overshadowed Terry's reveal, turning Terry into a MemeticLoser in the ''Smash'' community for a brief period of time.

** ''VideoGame/RaidouKuzunohaVsTheSoullessArmy'' is less well recieved in the rest of Asia compared to Japan and the West as despite the game being set in a timeline where Taisho democracy was extended, and villains are themed after fascist Japan, Raidou's clothes and settings are still from the Imperial Japanese era which bring bad memories to Japan's World War II victims. Raidou was even removed in certain releases of ''Nocturne HD'' for this reason, and the DLC costumes were omitted from the ports of ''VideoGame/Persona5 Royal'', which have all the rest of the DLC.

* [[VideoGame/FatalFury Terry Bogard]] was well recieved in Japan, as well as in [[GermansLoveDavidHasselhoff regions where his games are popular]], but in North America, and especially the US, he had a mixed reception. This was due to ''Fatal Fury'', ''VideoGame/TheKingOfFighters'', and by extension, Creator/{{SNK}} not being well known names in the American videogame culture, being MainstreamObscurity at best. And unless you were someone with knowledge about older traditional fighting games, he would come out as an extremely obscure choice for ''Smash''. It didn't help that on the same Direct that he was revealed, a Mii costume based on the much more popular and much more demanded Sans from ''VideoGame/{{Undertale}}'' was revealed, which massively overshadowed Terry's reveal, turning Terry into a MemeticLoser in the ''Smash'' community for a brief period of time.

* [[VideoGame/FatalFury Terry Bogard]] was well recieved in Japan, as well as in [[GermansLoveDavidHasselhoff regions where his games are well known]], but in North America, and especially the US, he had a mixed reception. This was due to ''Fatal Fury'', and by extension, Creator/{{SNK}} not being a well known name in the American videogame culture, being MainstreamObscurity at best. And unless you were someone with knowledge about older consoles or someone with a traditional fighting game background, he would come out as an extremely obscure choice for ''Smash''. It didn't help that on the same Direct that he was revealed, a Mii costume based on the more popular and much more demanded Sans from ''VideoGame/{{Undertale}}'' was revealed, which massively overshadowed Terry's reveal, turning Terry into a MemeticLoser in the ''Smash'' community for a brief period of time.

Several mobile rhythm games have gotten ports on Platform/NintendoSwitch, a dedicated console that, among other things, features a capacitive multi-touch screen, which allows these sort of games to be played on what Americans deem to be a "real" video game platform. Despite this, however, those games aren't exactly hot sellers in America, and in fact, the backlash against the Switch port of ''VideoGame/{{VOEZ}}'', which initially was only playable in undocked modes, caused enough backlash for Nintendo to mandate that all Switch games must be playable in both docked and undocked modes, which in turn means that games designed around touchscreen must also have alternate, traditional-controller controls for them to be certified for publishing on the platform.

Several mobile rhythm games have gotten ports on Platform/NintendoSwitch, a dedicated console that, among other things, features a capacitive multi-touch screen, which allows these sort of games to be played on what Americans deem to be a "real" video game platform. Despite this, however, those games aren't exactly hot sellers in America, and in fact, the backlash against the Switch port of ''VideoGame/{{VOEZ}}'', which initially was only playable in undocked modes, caused enough backlash for Nintendo to mandate that all Switch games must be playable in both docked and undocked modes.

* {{Rhythm Game}}s on [[MobilePhoneGame mobile devices]] (both smartphones and smart-tablets) are disliked in American rhythm game communities because, in addition to all the grievances that Americans have with mobile games as a whole (see [[Analysis/AmericansHateTingle the Analysis page on this trope]] for details), American rhythm game players don't like touchscreen rhythm games due to lacking tactile controls (such as the recessed panels on a ''VideoGame/DanceDanceRevolution'' arcade stage) and tactile feedback (such as pressing physical buttons), which they consider essential to a good gameplay experience. Many of these mobile rhythm games are best played on a tablet as opposed to a mobile phone, another turn-off for many Americans who would rather play games on PC or consoles than invest a few hundred dollars in a smart-tablet just for these games ''and'' find a good surface to put them down on ''and'' use grippy mats to prevent their device from slipping around. As a result, Asian rhythm game players may be surprised to learn that games like ''VideoGame/{{Arcaea}}'', ''VideoGame/{{Phigros}}'', and ''VideoGame/{{Cytus}}'', despite being veritable hits in rhythm game circles on their side of the Pacific, are glossed over amongst fellow rhythm game players in the U.S. In addition, many mobile rhythm games are made by indie Asia-based developers, and as such mainly feature music by small-name Asian musicians (mostly ones who produce music for BMS contests) that may not be as familiar to Americans and therefore don't give the game as much appeal as compared to American musicians, making these games impermeable to those who aren't already familiar with the rhythm game music scene; American gamers generally expect rhythm games to carry familiar songs (due to the success of games like ''VideoGame/GuitarHero'' and ''VideoGame/JustDance'', both of which use soundtracks with big-name licenses), and if a particular game doesn't, they will just ignore it.

* ''VideoGame/YoKaiWatch'' fell victim to this in North America. After becoming a CashCowFranchise in Japan, Level-5 brought the original game to the United States two years later. While it has gained a small fanbase, mainstream audiences weren't interested. This is in stark contrast to how ''Franchise/{{Pokemon}}'' invaded western territories in the 1990s. And to think it was once being touted as a "Pokémon killer" by the media prior to its Western release... reception in Europe is better, but still lags behind Nintendo and Game Freak's cash machine. Many point toward a case of ValuesDissonance for this, as while Yokai are obviously well-known in Japan they're a much more obscure concept in America. A possible explanation for this could also be that, due to being superficially similar to Pokémon, most North American consumers may have felt the game was a cheap copy.

* {{Rhythm Game}}s on [[MobilePhoneGame mobile devices]] (both smartphones and smart-tablets) are disliked in American rhythm game communities because, in addition to all the grievances that Americans have with mobile games as a whole (see [[Analysis/AmericansHateTingle the Analysis page on this trope]] for details), American rhythm game players don't like touchscreen rhythm games due to lacking tactile controls (such as the recessed panels on a ''VideoGame/DanceDanceRevolution'' arcade stage) and tactile feedback (such as pressing physical buttons), which they consider essential to a good gameplay experience. As a result, Asian rhythm game players may be surprised to learn that games like ''VideoGame/{{Arcaea}}'', ''VideoGame/{{Phigros}}'', and ''VideoGame/{{Cytus}}'', despite being veritable hits in rhythm game circles on their side of the Pacific, are glossed over amongst fellow rhythm game players in the U.S. In addition, many mobile rhythm games are made by indie Asia-based developers, and as such mainly feature music by small-name Asian musicians (mostly ones who produce music for BMS contests) that may not be as familiar to Americans and therefore don't give the game as much appeal as compared to American musicians, making these games impermeable to those who aren't already familiar with the rhythm game music scene; American gamers generally expect rhythm games to carry familiar songs (due to the success of games like ''VideoGame/GuitarHero'' and ''VideoGame/JustDance'', both of which use soundtracks with big-name licenses), and if a particular game doesn't, they will just ignore it.

* {{Rhythm Game}}s on [[MobilePhoneGame mobile devices]] (both smartphones and smart-tablets) are disliked in American rhythm game communities because, in addition to all the grievances that Americans have with mobile games as a whole (see [[Analysis/AmericansHateTingle the Analysis page on this trope]] for details), American rhythm game players don't like touchscreen rhythm games due to lacking tactile controls (such as the recessed panels on a ''VideoGame/DanceDanceRevolution'' arcade stage) and tactile feedback (such as pressing physical buttons), which they consider essential to a good gameplay experience. As a result, Asian rhythm game players may be surprised to learn that games like ''VideoGame/{{Arcaea}}'', ''VideoGame/{{Phigros}}'', and ''VideoGame/{{Cytus}}'', despite being veritable hits in rhythm game circles on their side of the Pacific, are glossed over amongst fellow rhythm game players in the U.S. In addition, many mobile rhythm games are made by indie Asia-based developers, and as such mainly feature music by small-name Asian musicians (mostly ones who produce music for BMS contests) that may not be as familiar to Americans and therefore don't give the game as much appeal as compared to American musicians, making these games impermeable to those who aren't already familiar with the rhythm game music scene.

* {{Rhythm Game}}s on [[MobilePhoneGame mobile devices]] (both smartphones and smart-tablets) are disliked in American rhythm game communities because, in addition to all the grievances that Americans have with mobile games as a whole (see [[Analysis/AmericansHateTingle the Analysis page on this trope]] for details), American rhythm game players don't like touchscreen rhythm games due to lacking tactile controls (such as the recessed panels on a ''VideoGame/DanceDanceRevolution'' arcade stage) and tactile feedback (such as pressing physical buttons), which they consider essential to a good gameplay experience. As a result, Asian rhythm game players may be surprised to learn that games like ''VideoGame/{{Arcaea}}'', ''VideoGame/{{Phigros}}'', and ''VideoGame/{{Cytus}}'', despite being veritable hits in rhythm game circles on their side of the Pacific, are glossed over amongst fellow rhythm game players in the U.S. In addition, many mobile rhythm games are made by indie Asia-based developers, and as such mainly feature music by small-name Asian musicians that may not be as familiar to Americans and therefore don't give the game as much appeal as compared to American musicians.

* {{Rhythm Game}}s on [[MobilePhoneGame mobile devices]] (both smartphones and smart-tablets) are disliked in American rhythm game communities because, in addition to all the grievances that Americans have with mobile games as a whole (see [[Analysis/AmericansHateTingle the Analysis page on this trope]] for details), American rhythm game players don't like touchscreen rhythm games due to lacking tactile controls (such as the recessed panels on a ''VideoGame/DanceDanceRevolution'' arcade stage) and tactile feedback (such as pressing physical buttons), which they consider essential to a good gameplay experience. As a result, Asian rhythm game players may be surprised to learn that games like ''VideoGame/{{Arcaea}}'', ''VideoGame/{{Phigros}}'', and ''VideoGame/{{Cytus}}'', despite being veritable hits in rhythm game circles on their side of the Pacific, are glossed over amongst fellow rhythm game players in the U.S. In addition, many mobile rhythm games are made by Asian developers, and as such mainly feature music by small-name Asian musicians that may not be as familiar to Americans and therefore don't have as much appeal.

* {{Rhythm Game}}s on [[MobilePhoneGame mobile devices]] (both smartphones and smart-tablets) are disliked in American rhythm game communities because, in addition to all the grievances that Americans have with mobile games as a whole (see [[Analysis/AmericansHateTingle the Analysis page on this trope]] for details), American rhythm game players don't like touchscreen rhythm games due to lacking tactile controls (such as the recessed panels on a ''VideoGame/DanceDanceRevolution'' arcade stage) and tactile feedback (such as pressing physical buttons), which they consider essential to a good gameplay experience. As a result, Asian rhythm game players may be surprised to learn that games like ''VideoGame/{{Arcaea}}'', ''VideoGame/{{Phigros}}'', and ''VideoGame/{{Cytus}}'', despite being veritable hits in rhythm game circles on their side of the Pacific, are glossed over amongst fellow rhythm game players in the U.S.

* In the Japanese arcade game community, rapid-fire features that are not part of the original game are widely accepted by players; many ShootEmUp cabs in Japan have rapid-fire functions modded into them (often with multiple options for rapid-fire frequencies), and high score record magazines and online leaderboards for modern ports of arcade games accept scores with them enabled. However, it is a BrokenBase topic in the Western arcade game community, with a common argument against it being "it makes the game easier, therefore it's cheating, being able to rapidly tap the fire button is an integral part of player skill," to the point where Western high score organizations like Twin Galaxies mandate that rapid-fire features not present in the game itself be not used.

* 2D games are appreciated in Japan about as much as high-quality 3D games, and hand-drawn sprites are common. However, outside of Japan and some other countries, around the late 90s, they began being seen as [[AnimationAgeGhetto kiddy]] and "primitive", with "SNES Sprites" throw around as mocking. With the rise of digital distribution and the {{Retraux}} wave in the 2010s, this sentiment has diminished, but 2D games (and even TwoAndAHalfD games) are still seen as solely the realm of smaller scale games and indie projects, with {{Fighting Game}}s being the only ones that can get away presenting themselves as big, AAA releases. This conflict began in the early part of UsefulNotes/TheFifthGenerationOfConsoleVideoGames when 3D games started hitting the scene. Western audiences, critics and consumers alike, saw these more 3D, realistic-looking games as an evolution of the medium that completely invalidated sprite-based games, which were now seen as being objectively low-tech and primitive. If it wasn't a handheld game, magazines would instantly take off points just for a game being in 2D. This phenomenon can be best be seen with the Platform/SegaSaturn era, during which Sega of America outright refused to even localize any 2D games -- which had the side effect of leaving the console with a very sparse library in the West.