"I see the movie has finally thrown up its hands and said, "I just don't know!" — Tom Servo, on "Red Zone Cuba."
The lighting is so bad you can see the shadow of the boom-mike on the wall. The zippers and seams are visible on the People in Rubber Suits. The editing looks like someone playing with the wipe feature on Windows Movie Maker. There are times when you really start to wonder what is going wrong with a movie; in theory, they should be trying to make the best product they can.
But that's not what happens. A strange combination of the lack of money, time, expertise, enthusiasm, and simple talent sabotages the production. This is when the production values of a work are just so far below what should be expected that you can't help but figure that "They Just Didn't Care."
The trope name can be used as a stock phrase, something that can be applied to a wide variety of issues. Examples for this trope are all about the production values. It is possible to "Just Not Care" in regards to other aspects of making a story, but we have another set of tropes for that.
The Funimation English dub of the first Dragon Ball movie used an almost completely different voice cast from the TV series, with only two actors returning to reprise their roles. This had nothing to do with budget or actor availability. It had to do with whoever was on-hand at the exact time of production. The original actors from the TV series weren't even contacted for the project, and most of the actors used in the movie didn't even do a good job sounding like the TV series actors. This can also be an example of The Other Darrin, but it's an easy example of this trope. It should be noted, though, that by the time Funimation finally dubbed the first movie (they'd previously been unable to because of rights issues, since the previous studio that released the edited dub retained them for the longest time), most of the voice cast for the TV series dub had long since left, and the replacement voice actors had already been doing the roles in other dubs as well as the recent video games. And that doesn't even count the original characters created for the first movie since they weren't even in the TV series anyway.
This does very much count for their English dub of the Rebuild of Evangelion films. Several ADV voice actors who worked on the dubs of both the TV series and the original movies and work with Funi's studio now even offered to reprise their roles, and most were flat-out refused. Granted, a few of the actors had been from a homebrew dubbing team and did not have the cleanest background histories...
The Pokémon anime is infamous for instances where the writers and/or dubbers clearly did not pay attention to the video games on which the show is based, such as a scene where a trainer orders his Pokémon to "Finish it off with False Swipe!" (a move that can never defeat, only reduce to 1 HP.) However, the biggest one has to be from Pokemon Mewtwo Returns, where a father Rhyhorn and mother Nidoqueen are seen with their children of both species, Rhyhorn and Nidoqueen. Baby Nidoqueen. Not baby Nidoran, Nidoqueen. As in a third-stage Pokémon. A third-stage final form baby.
Even better, due to a glitch in the game programming, Nidoqueen are the only third-stage Pokémon that can't breed, not even with a Ditto. The "no eggs from Nidorina and Nidoqueen" glitch may also be a result of They Just Didn't Care for the games, or it could be The Artifact if the programmers don't want to change the code for nostalgic reasons.
Michael Haigney of 4Kids Entertainmentadmitted to half-assing some of his Pokémon voices on the basis that, with hundreds to get through, it was likely that some Pokémon would never be seen again. This rapidly backfired when he applied it to Charmander which is 1. a starter mon, i.e. one of the first Pokemon kids receive, 2. featured and spotlighted in a fairly early episode, and 3. captured by the protagonist, all of which should have been clear signs that it would become a recurring character, which it did.
Taken to incredible extremes in their dub of the side series Chronicles, with the special The Legend of Thunder!bearing the brunt of it. It notably gives three characters differentDub Name Changes than what they previously had with no explanation, one of whom was seen with his previous name in Pokémon: Master Quest only a year and a half before.
Well, I guess the first movie's dub wasn't so bad after all. The much talked-about Pokémon Chronicles series begins with this episode, and what an episode it is. 4Kids manages to make everyone forget everything good they've done with the Pokémon franchise in the past seven years by completely botching this special up in every way imaginable. There are so many screw-ups, mistranslations, and needless edits that you'd think 4Kids was intentionally trying to piss us all off.
The movie Pokémon: Genesect and the Legend Awakened introduces a second Mewtwo, a Legendary Pokémon species known for the longest time to be a one-of-a-kind result of a cloning experiment. Neither the movie nor its creators have ever bothered to explain why this Mewtwo looks exactly the same as the series' first Mewtwo and why it was created in the first place. In fact, they lazily copied and pasted many elements of the old Mewtwo's backstory as the new one's.
A recurring problem is Pikachu using its electric attacks on ground-type Pokémon. For those who don't know, ground-type Pokémon are immune to electric-type attacks. No matter how special Ash's Pikachu is supposed to be, it shouldn't be able to deal damage at all.
The editor for Viz's release of Pokémon Special can occasionally be rather lazy, as there are quite a few spelling errors, grammatical mistakes, typos, and such littered throughout the entire series translated thus far. What's really bad is the inconsistencies when it comes to Pokémon nicknames: a Pokémon can be called two different names in the same chapter, not to mention Viz really should have started to use nicknames for the first seven volumes in their rerelease, seeing how they were over thirty volumes behind at that point and should've known the importance of them.
While not the creators of the show, When Sonic X was acquired and dubbed by 4Kids Entertainment, many of the key elements that are present in the Sonic franchise were often either misinterpreted or mislabeled in the 1st season (prime example was "Chaos Control" being mistaken for the name of Eggman's base, when in actuality it is when Sonic or Shadow use the Chaos Emeralds to teleport through time and space). This is mainly due to the dubbing cast and/or crew members not bothering to do their research.
Take a bunch of obvious-ripoff Korean animated films you've bought up. Chop them into bits and reassemble in an only barely coherent order. Add terrible dubbing over the top. You now have Space Thunder Kids.
Everything about All-Star Batman & Robin The Boy Wonder shows that Frank Miller just stopped caring about anything that made Batman good. All of the heroes are turned into complete sociopaths and nothing about the plot or writing makes sense. It doesn't help that new issues were published so erratically that only one came out in the comic's second year. As an added "bonus", it also shows Frank Miller stopped caring about his own continuity. According to him, all of his Batman stories coexist in the same universe/continuity. And while the events of the comic would definitely explain why Robin hates Batman so much he turns into a villain in The Dark Knight Strikes Again, there's no way, as Linkara pointed out, that Gordon would allow such a despicable person as this Batman to roam around carefree.
While the writing may be subject to debate, some of the artwork in Archie Comics' Sonic the Hedgehog shows that whoever was in charge couldn't really give a dang, with issue 113 and the main story of Sonic Super Special issue 15 being so poorly done artwise that one has to wonder how they even got published in the first place. (Both issues were illustrated by "Many Hands", presumably a pseudonym.) SSS 15 in particular was so notorious for the "quality" of its art, most of which consisted of a snowy texture or black panels, that a completely redrawn and rewritten version was released for Free Comic Book Day 2012 in a move that could only be an apology. And then there was a issue in the Sonic Quest miniseries in which they forgot to remove one of the notes left by the artist to the colorist, so there's a hand-written line outside of a panel that reads "REMOVE RED LINE'S" in one of the pages. It has to be seen to be believed.
Reginald Hudlin's tenure as head writer of Black Panther is full of this. Hudlin's Panther is so different from everything that came before, and ignores so much of his previous adventures and characterization, it would have fit better in Ultimate Marvel as opposed to the main 616-verse.
Panther's supporting cast, one of the best in recent comic book history - gone, or changed beyond recognition. Goodbye Queen Divine Justice, Monica Lynne, Hunter, goodbye Everett Ross' personality, goodbye Kasper Cole. Black Panther's backstory? Butchered. So he wasn't the real Black Panther all those years? All he has to do to become Black Panther is win a wrestling match? No spiritual communion with the Panther god through the heart-shaped herb... just a knock down fight? Where the hell did his younger sister come from?
The 1960s-era Doctor WhoExpanded Universe media fell into this, due to being squarely aimed at children and churned out by people who basically did not care about the series. For instance, the Doctor's name is usually given as Dr. Who, the stories are usually poorly-written, out-of-character and Lighter and Softer to an extent that they cease to have anything to do with the show, and Captain Ersatz is used a lot. On the bright side, this is occasionally magnificent in its oddness (the first Dalek annual gives Susan a Dalek love interest, for starters) and there's enough nostalgia for it that the 2006 new-series annual contained a pastiche of the dreadful short stories, and there was an Eighth Doctor Deconstructive Parody comic dealing with the boring comics grandchildren and the hilarious knockoff Daleks used in the stories.
One upsettingly lazy habit that carried on until the mid-to-late 70s was the practice of reprinting old Doctor Who comics, with the belief they would be new to the children viewing them, with the image of the Doctor redrawn to look like whichever was the Doctor at the time. Since the first four Doctors had very diverse personalities, this led to things like characters commenting on an unusually severeFourthDoctor's dandyish fashion sense, or a peculiarly carefreeThirdDoctor tootling distractedly on his recorder. And they often only edited the faces, leaving the Doctor dressed inappropriately. And the edits were bad - sometimes little more than just recolouring the Third Doctor's hair black. You can see a comparison here◊ of how a Second Doctor comic was butchered into a Fourth Doctor one.
The characterisation in the comics is questionable at best, because the writers lacked the subtlety to distinguish between the Doctor's trademark irascible sarcasm and outright unlikeable Jerkass behaviour. One Fourth Doctor strip starts with the TARDIS being suddenly transported away. Sarah Jane - one would think reasonably - asks where they are. The Doctor responds "Any more of your infernal journalistic questions and I will personally brain you myself." Not only is this a bit strong even for a joke, the nastiest thing the Fourth Doctor ever jokingly threatened Sarah with on television was affectionately biting her on the nose.
At least one annual strip clearly used reference photos of Tom Baker out of costume and makeup for its depiction of the Doctor - no scarf, a neat modern suit, long hair brushed and combed back instead of worn in a huge round curly frizz...
Later Fourth Doctor annuals would print stories about Sarah Jane and Harry years and years after the characters left the show. Sometimes they would even run stories with a good representation of Leela's actress, but dressed in Sarah's style and the Doctor would call her Sarah. Leela was also forced to dress in modern-day jeans and jumper in the TV Comics strips because her usual leather micro-mini was considered a bit too racy.
Blatantly obvious with the cover of the first issue of The Ravagers from the New 52 reboot. Why? Because two of the characters' names are switched on the cover. That should tell you how little the editors care about this series.
The first year's worth of the original Gold Key Star Trek comic books, done by people in Europe who never saw the show yet were hired to draw and write the book. One horrific example has some guy named Captain "Kurt".
There were also the Power Records comic book/record sets, one of which featured a white Uhura and a black Sulu, complete with a fabulous 'fro. They were recognizably drawn based on the actors, but then altered in the coloring phase. This wasn't so much lack of research as lack of clearance for the actors' likenesses, something which famously got them into trouble with Leonard Nimoy.
When Jeph Loeb started writing for Ultimate Marvel, fans noticed some odd continuity errors cropping up. The Wasp, an Asian in the Ultimate Universe, suddenly turned white like her mainstream counterpart. Meanwhile, Ultimate Pyro, who was a hero instead of a villain like the 616 universe's Pyro, and the duo of Forge and Longshot, heroes in the standard universe but villains in Ultimate Marvel, suddenly switched sides with nary a Hand Wave as to why. Pyro even wanted to rape a knocked-out superheroine, and lost the horrible scars that had been his most striking feature in Ultimate X-Men. Nobody knows exactly what went through Loeb's head, of course, but the most popular explanation is also the simplest - he didn't bother reading their appearances in other books before he wrote his own. The Ultimate Universe in general is plagued by this trope, apparently being seen as the branch of Marvel where continuity doesn't matter. One of the first Ultimate books was Ultimate Marvel Team-Up, which ostensibly existed to create Ultimate versions of characters who didn't have their own books. Unfortunately, those versions were roundly ignored as soon as someone felt like using those characters in a different book. They included Ultimate versions of the Hulk, the Black Widow, and the Fantastic Four that bore far more resemblance to their 616 counterparts than to what would later become the canon Ultimate versions.
Still, Loeb pales in comparison with prominent Ultimate writer Brian Michael Bendis, who has a tendency to blatantly contradict previous stories, even those written by himself.
In Jason Aaron's run on Wolverine, he had the demonically-possessed title character stab Colossus, drawing blood. Apparently he missed the memo that Colossus can turn his entire body into organic steel, not just his skin.
Charlton Comics' humor line was rife with horrible continuity and questionable art. In an issue of Scooby-Doo (which they acquired after the rights to Gold Key lapsed), Freddy is identified as Mark (a character from Speed Buggy).
For a positive example: early in his career, Steve Ditko spent a lot of time writing and drawing comics for Charlton and other low-budget DC imitators. While this meant the comics rarely had much of an audience and were only intermittently readable, it also meant his editors and publishers didn't much care whether he was doing comics the "right" way, so he was pretty much free from Executive Meddling and could be as inventive as he liked. This would later make him the artist and writer who made Spider-Man and Doctor Strange the entertainingly offbeat characters that they were.
One of these smaller firms was Atlas, later known as Marvel, for which Ditko started to work in 1955 (two years after his first work for Charlton), soon in partnership with writer and editor Stan Lee.
When Count Logan's origins are revealed in The End of Ends, it turns out to be Beast Boy's sobstory told in the beginning of the story reused with some words added. And when we mean reused, we mean there's a Freeze-Frame Bonus where one can notice the additional words.
In an in-universe example, the Lemony Narrator of Equestria: A History Revealed, who is supposedly writing the whole thing, has a very lax approach to essay writing, getting drunk towards the beginning of Chapter 3, not wanting to write any more praise for Princess Celestia, and instead, inserting her self-authored haikus in their place, and literally admitting to lying to her professor and cursing him in-text (while simultaneously submitting it in to him later for marking).
An admitted case with My Little Unicorn. The author pretty much states that he doesn't care about the originality of the fic and doesn't bother with characterization.
Films — Animated
The Spanish animated film Daddy, I'm a Zombie. First of all, the cover shows a pirate zombie and a zombie wearing a pumpkin as a mask both standing in the same place, the problem with that being they're the same character! Second, the heroine's father has a saying that goes "You attract what you put out, like a magnet" which anyone who took 3rd grade science will tell you is wrong! Lastly, the goth girl heroine is mocked for wearing nothing but black, even though she wears mostly purple and hardly any black.
The DVD release of Doug's 1st Movie. It was released in 2012, thirteen years after the video was released (Despite Disney being in the DVD market in 1999) as a Disney Movie Club exclusive, with a bad, VHS-quality transfer and no special features (Despite the video having a behind-the-scenes feature at the end). To make it worse, Disney used the Toon Disney edit of the movie, which featured fade in/fade outs in the middle of the movie for commercials, some sped-up animation of certain scenes, and the entire credit sequence was sped up and only half of the first song was heard.
Felix the Cat: The Movie: It would explain why the plot is such a mess, the numerous animation goofs that they didn't correct, and why they didn't even bother to release it into theaters until a year after it was "finished".
Food Fight: With a budget of 45 million dollars, they put no effort in the animation. Somewhat justified because the hard drives containing the movie were stolen in 2002, and a lot of the money had been spent at that point.
The Magic Voyage: By the time the fairy plot comes in, you wonder if the makers even knew who Columbus was.
After The Thief and the Cobbler, Richard Williams' labor of love, was taken from his hands due to lack of funding, it was passed on to Majestic Films International, who hopefully would finish it cheaply enough to turn a profit. The results included Lull Destruction, uninspired animated film clichés, narration that describes exactly what we are seeing, bland Award Bait Songs and very Off Model animation. Then it was released with minimal marketing and a low number of prints in an attempt to avoid spending any more money on it. Animation fans consider this a tragedy. Poor Richard Williams was so unhappy with the tragic fate of his magnum opus that he refuses to speak of the movie or acknowledge its existence. Another version of the film was later released featuring much of the unfinished and unpolished content Williams originally intended for the film, which despite not being completed still makes the film vastly superior to what we got on the original rushed release.
Crow: Get ready to give chase to an injured eye creature; as you can see, he's wearing his Jack Purcell athletic shoes! Folks, they just did not care!
In another MST3K experiment, Red Zone Cuba, Servo groans, "I see the movie has finally thrown up its hands and said, 'I just don't know'."
The 2007 film adaptation of Beowulf. But it's not the production values that get it: It's the fact that Robert Zemeckis openly expressed his hatred for the poem on which it was based, so all the nuance and meaning of the poem is completely ignored.
The infamous "Glock 7" scene from Die Hard 2, involving a mythical handgun that isn't detected by airport scanners. The writers were informed by their firearms consultant that the entire concept was nonsense, but they didn't care and insisted on keeping the scene.
In addition, air traffic and airports do not work the way they're depicted in the film. Anyone with even the most cursory knowledge would know that every plane could have just gone to another airport.
Maybe some of the cast and crew who made The Fantastic Four (1994) cared about their product. Roger Corman, as usual, got the film done on time and under budget, and though it's rife with corner-cutting leading to multiple Special Effects Failures, the Thing costume was actually rather convincing and the film did have a story. In this case, it was their bosses, the executives of The Constantin Film Company, who just didn't care: they weren't planning on releasing the film anyway since it was just an Ash Can Copy to help them keep the movie rights until they could sell them to Fox for a hefty sum, so what did it matter what went into it?
Justifying their apathy further, since they never did officially release it, they can't be blamed for "inflicting" it on anyone. The viewers have no one but themselves to blame if they don't like the film.
Monster-a-Go-Go originally started as a monster movie called Terror at Half-Day, directed by Bill Rebane. However, Rebane was forced to stop production when the film's budget ran out. Terror at Half-Day then remained unfinished for a few years until infamous splatter film director Herschell Gordon Lewis came along and bought the footage from Rebane.
H.G. Lewis needed a film that could be sold as part of a double feature with one of his own films, which was the more profitable move at the time. And so, he decided to "complete" Rebane's movie by directing several scenes that would later make up the second half of Monster-a-Go-Go, adding the pretentious narration, and then hastily piecing it all together.
The resulting film, despite being a terrible mess, was still released to the public. It has since then gained a legacy as being one of the worst movies ever made.
The work of Craig Moss, a director who trades in spoof films similar to Seltzer and Friedberg. His film titles consist mainly of complete Word Salad Humor (e.g. The 41-Year Old Virgin Who Knocked Up Sarah Marshall and Felt Superbad About It and 30 Nights of Paranormal Activity with the Devil Inside the Girl with the Dragon Tattoo). As far as his films go, he seems to rely mainly on juvenile and/or offensive attempts at humor, shallow pop culture references, and little to no actual parody of the subject matter beyond "it exists" or "here are these charcters doing stupid things". For instance, the entirety of his Twilight spoof, Breaking Wind, revolves around the werewolves gaining farting powers. In other words, he may be even worse than Seltzer and Friedberg at the spoof genre.
Percy Jackson and the Olympians, The Film of the Book of Percy Jackson and the Olympians. Similar deal (unfortunately for fans of the book) from the above example, considering how the director admitted to not even reading the first book. So much expectations were put into the movie....only for the fandom to be gravely disappointed. The only similarity between the film and the book is the main plot line (just barely).
The Resident Evil movies are this, considering that they completely disregard everything about the games they're based on except for a few names, introduce a God-Mode Sue main character out of nowhere, take a scene directly from Resident Evil 5 and it actually has worse special effects, and turn the Nemesis into a complete pussy. The fact that the original script (which would have been by George frigging Romero) was much more faithful and well done only adds salt to the wound.
The Seeker, The Film of the Book of The Dark Is Rising. When the screenwriter freely admits he didn't even read the book, you know right off nobody cared. The director also admitted he hated fantasy, and the movie reflects their attitudes. Possibly the only person who did care was the kid cast as Will, who unfortunately Took the Bad Film Seriously. The result was a film that still holds the record for the fastest theater drop (that being the number of theaters that dropped it from their lineup after the obligatory three weeks), and also holds the distinction of having the second-weakest debut of any movie ever.
Soulja Boy: The Movie is a documentary about the titular rapper with little effort put into it. How little effort? During his interviews, Soulja Boy is surfing the Internet on his laptop at the same time! He also delivers such gems like "I don't like to do interviews" in the middle of an interview, or "I'm not into computers" while using his laptop. The whole thing also appears to have been filmed with an iPhone. Its laziness makes a whole lot more sense, unfortunately, when its subject outright boasts, on numerous occasions, that his main objective as a rapper is to make lots of money.
Paramount apparently went over Rick Berman's head and installed a director for Star Trek: Nemesis, Stuart Baird, who had never worked on Star Trek before and also was completely unfamiliar with it. Baird would reportedly refer to the human character Geordi La Forge as an "alien", as well as ignore pointers from the cast and crew regarding series and character history, openly telling them "I don't care. I'm doing this as if it's the first Star Trek movie." The end result is often credited with halting all plans for future Trek films. The next film in the series? A reboot.
Tank Girl: The bizarre animation? That's because they forgot to film those scenes! Seriously, that's a whole new level of not caring. They had to rope in the comic's creators Alan Martin and Jamie Hewlett to rush-animate those scenes, much to their displeasure.
This is parodied in UHF with the fake trailer for Gandhi II, where Gandhi's character suddenly resembles Shaft.
Inheritance Cycle. No, the author himself put his all into his series. In this case it was the editor who was lazy. Aside from making sure that nothing was misspelled there are tons of minor and major continuity mistakes, Purple Prose abound, and somehow didn't notice that a sentence containing the words "descended upwards" doesn't make any sense.
The publishing company that picked up the series. Basically the CEO gave his kid a copy of the book, the kid said it was "the best book he’d ever read, that was written by a young adult" and instantly published the book as-is (and made sure it was released before the latest Harry Potterbook).
Mass Effect: Deception is the fourth Mass Effect novel, written by William C. Dietz. Despite not being part of the Bioware team, Dietz was contracted to write Deception. What resulted was a book filled to the brim with poor characterization, numerous plot holes, terribly childish writing, and dozens upon dozens of contradictions to a well-established and consistent lore, all of which the previous novels avoided entirely. Mass Effect fans compiled a list of the vast amount of mistakes (99 at last count), and BioWare has since essentially declared Deceptionnon-canon.
The Doctor Who Target Novelisations occasionally fall into this, because they were written by a variety of different writers on extremely tight deadlines trying to achieve different things. Sometimes, you can get a brilliant Adaptation Expansion of a feeble storyline with an entertaining prose style, or a gripping page-turner of one of your favourites, or a writer executing what he wished he'd been able to execute on television, or at least something so weird and dark that you can wonder how on Earth this got published. Or, if you're unlucky, you get borderline unreadable prose bashed out by someone who's figured out that taking a script and adding 'the Doctor said' nets them a ton of easy money.
Near the end of the third season of Alias, the official recaps posted by ABC.com began including scenes that were cut prior to airing, such as the reveal that Vaughn had been brainwashed by Lauren and shots of some CIA papers that the truth about Syd's life. The show had a ridiculous amounts of dropped plots and other weird stuff at various points, but the sloppiness over the course of these few episodes really made it look like they just didn't care.
Oh, and then about half a season later, there was a two part episode where Sark went from knowing that Vaughn killed Lauren in the first half to "learning" it in the second half and being shocked by the information.
The production values of the Horatio Hornblower telefilms took a nosedive in the third series. The first series was filmed on actual ships, which looked awesome, but of course it was rather expensive. So the second series did away with that, but it still looked pretty good. Not so in the third—to denote snow at sea, they just painted the ship sets white (and left paint drips clearly visible in open gunports) and used some highly Conspicuous CGI for weather and the huge explosions.
One example that straddles the line between They Just Didn't Care and Screwed by the Network is Power Rangers Wild Force. The series was being produced when the franchise was bought by Disney, so the former people in charge were gone, the new people in charge had no clue what they were doing, and the left hand didn't know what the right was doing. This caused Wild Force to be considered by the majority of fans the worst season ever. What parts that weren't directly lifted from the Sentaisource material were flimsy, there was no direction, the acting was bad even by PR standards, and the writers gave the Zords more characterization than the Rangers.
On the other hand, Wild Force started to look a lot better once Ranger fans saw what Disney was doing to the series. They didn't outright hate the series, but Power Rangers RPM's producer said they did seem ashamed of it. (It should be noted that Disney never wanted the series, they wanted to buy the Fox Family Channel, and Power Rangers just kind of came with the deal somehow.) The violence of the show didn't work well with Disney's ultra-wholesome image, so they weren't really sure what to do with it, gave it very little promotion, and essentially left it to wither away.
When it was expected that Power Rangers RPM was to be the final series, the creators put out all the stops to make sure the franchise would end with a bang. It probably would've had the same effect In Space had in saving the franchise... had the TV networks not put it on five o'clock on Saturday mornings. Who is up at that time? Oh well, at least now Saban bought back the franchise...
Of course, RPM is a positive case of They Just Didn't Care. Disney point-blank told the producer, "The show is ending, do what you want," which led to the creators to just swing for the fences. It didn't work to save the show (at least in Disney's eyes), but it did become one of the best Rangers seasons so far.
Super Megaforce has taken "not caring" to a whole new level, by including Super Sentai suits not adapted into Power Rangers, and giving next-to-no explanation of who and what they are. Particularly odd in that there ARE several unadapted Sentai suits that they DO go through the trouble of editing out (One episode leaves Yellow Mask and Pink Flash in, but edits out several other suits), making you wonder why they even left the other ones in.
In the second season finale of Robin Hood, Maid Marian was brutally murdered by Guy of Gisborne in a move that writer/creator Dominic Mingella described as an attempt to "rock the show" and "open up new storytelling possibilities." Translation: shock value. Interestingly enough, Mingella didn't stick around for the third season, being credited as a "creator" but contributing nothing to the script-writing or directing. The BBC obviously realised that the show had self-destructed, which led to a general attitude of "We Don't Care Anymore" for the broadcasting of the third season. There was very little publicity regarding the show (far less than previous seasons), the official website wasn't updated until a few days before the premiere, a "closed-mouth" policy seemed to be in place on the reasons behind Marian's death, it was given a terrible time-slot, detailed plot synopses were released to the press which contained massive spoilers, and the premature release of the DVD box set ensured that the final episode was leaked on YouTube a good three days before it aired on television (not that many people saw it on television anyway: The BBCpulled it in favour of tennis and plonked it on a different channel only a few hours before it was scheduled to air). The icing on the cake is the poor build quality of the DVD boxset, which along with the minimal amount of extras further emphasises that series 3 was only shown at all just to get it over and done with; it's quite possible yours has fallen apart on the shelf.
Furthermore, the new batch of writers brought in for the third season clearly didn't bother to watch the previous seasons. Fan speculation is that they were simply handed a note that said "Marian got killed", since this is the only major plot-line that is carried over from the past two seasons (and even that is more of an afterthought than any kind of sustained story-line).
ABC's short-lived game show Set For Life omitted the qualifying rounds that determined how much each contestant would be playing for in the rest of the game — resulting in a lame Deal or No Deal knockoff with arbitrary cash values.
The network that currently shows Top Gear in Australia has an editing policy that is best described as 'schizophrenic'. For the past few seasons, after the airing of the Australian version of the show (which may just be a coincidence), the British version has received numerous cuts to their airings. The thing is, there doesn't seem to be any definite logic or pattern to their cuts. They cut out the news most consistently, but have left it in on occasion, and have also at various times cut the Stig's power laps, the Star in a Reasonably-Priced Car, and the Cool Wall (the last is particularly noticeable in the season 13 finale - when suddenly Hammond was stuck on top of a scissor lift at the end of the show for no apparent reason). Strangely, it doesn't seem they even have time constraints or advertisements to blame - entire episodes have been cut.
Ditto the American broadcast, cut for time and commercials. Many of the cuts described above have happened, sometimes they only have half of the SIARPC (a particularly baffling example was cutting an anti-drunk driving PSA shown during one), and BBC America refuses to acknowledge that the first Stig ever existed. Most cuts, however, are to to cultural/political jokes or references that would be lost on American viewers.
Documentary series Wild West Tech includes some lackluster reenactments. The worst are the scenes where the actors are exchanging money. They are clearly using modern notes despite the fact that the scenes are set in the Old West. What puts this example over the top is that the same episode included a CG rendering of money appropriate to the era. They obviously had an example of period money, but just didn't care enough to click "Print."
An infamous case: when The Wire was picked up for syndicated airings by BET, many episodes were cut or streamlined to fit into an hour-long-with-commercials block. However, that wasn't the only issue - due to the perceived notion that the only thing that was interesting about the show were the scenes with the African-American characters, major chunks of episodes (mostly focusing on McNulty and Caucasian characters) were cut completely, thereby destroying most of the plot and overarching storyline. Nearly the entire "Docks" storyline was cut out of the second season, leaving some episodes with just the B-plots.
When Fox doesn't care, they really don't care — not only did they cancel the much-loved Wonderfalls and Firefly ahead of their time(s), but they aired their respective episodes out of order, leading to confusion and a lack of continuity.
Networks will usually air a series out of order if they plan to cancel it. Confusing the viewers into frustration is a near fool-proof plan to bring down ratings. For the record, the exact same thing was done with the original run of Invader ZIM
The BBC throwing out large quantities of tapes of the black-and-white Doctor Who episodes, causing most of Patrick Troughton's and a big chunk of William Hartnell's era, as well as several of Jon Pertwee's episodes, to be lost forever.
The Daleks were intended as one-shot villains but were intensely popular with children and brought back as a result. While almost no-one complains about the Retcon, it takes a special lack of respect for continuity when you're blatantly contradicting your own backstory for the monsters in the second appearance of them - how could a spacefaring species still be at a deadlock in a war against low-tech arable farming pacifists, and be unable to leave their city due to requiring power from the floor and yet happily trundle around London? These differences are Hand Waved with Anachronic Order. Their motivation for invading the Earth is similarly flimsy (they want to hollow it out and fit it with a motor so they can drive it around space, as you do). On the bright side, Terry Nation was well aware that everyone was Just Here For Daleks and totally ignoring all continuity gave the Daleks the flexibility they needed to become recurring villains.
During the Graham Williams era, while everyone at the top of the show's food chain really cared and were doing their best, that did not extend to lower-down production assistants (this was during a period in the UK when strikes were constantly disrupting labour forces, and television was no exception). A great example of when it shows is "The Power of Kroll": the producer had got the show's best writer to do a story about the biggest yet monster in a planned Spectacle story, and some brilliant Miniature Effects of the monster were recorded... but in post production, they decided that instead of the probably planned method of inserting the monster into the footage (using CSO to remove the sky) they would just cut the footage out with a straight line at the horizon, meaning that the scenery and the tops of peoples' heads would disappear whenever the monster appeared. It would have looked great, but due to half-arsed execution became probably the worst Special Effect Failure in the show's history.
The Fourth Doctor in Season 18, due to Creator Breakdown, is mostly a sickly, barely in-character Tom Baker reading his lines with a flat expression, looking at his co-stars with naked contempt and obviously wishing he could go home. Except for "Meglos", oddly.
"Release the Myrka!" Words to chill the blood of any Whovian. Reportedly, this was the story which convinced the BBC's Michael Grade to slash the show's budget (once he saw where it was being spent). The lighting is turned way, way up in every scene to conform to archaic BBC practices; the Myrka costume is an unfinished pantomime horse, still glistening with still-wet paint; the star is tossed into a freezing cold water tank after being assured that the pool was warm; the plot sort of meanders, until the clock runs out and Eric Saward kills everybody to spare himself the trouble of writing them out of it (as was his habit); the actors plainly lack faith in this production, waddling to their marks and 'dying' with all the flair of a dead halibut. It really is like watching a fourth grade play.
By the end of the Seventh Doctor's tenure, the mood that management had about the series was "Just die already!". This had both positive and negative effects:
Positive: Due to a decision to make the show Lighter and Softer to an extreme degree and as part of the attempts to kill it, veteran character actors who auditioned got turned down for being 'too dark' and a poorly-known children's entertainer was cast as the Doctor with the assumption he'd be awful at it. Fortunately, while his lack of a conventional acting background is apparent, his portrayal was much better than anyone expected once the writers were giving him the real material he wanted - the executives may have not cared but McCoy definitely did.
Negative: Due to the show being aggressively starved of money to some of the worst No Budget extremes the show has ever had to contend with, the production values on "The Happiness Patrol" are particularly atrocious, with a forced-happiness police state Crapsaccharine World that really needed some creative sets represented by a sound stage with some balloons attached. The actor inside the gumdrop robot costume was clearly visible through its face mask. It was so bad McCoy even asked for it to be made into a Noir Episode and shot in black and white, but the executives said no.
Positive: John Nathan-Turner no longer cared what anyone did with the show because he knew it was a lost cause and simply wanted to get out by that point. After the dreadful first season with McCoy, he stopped trying to enforce the tone as 'frothy' and gave the maverick script editor carte blanche to do whatever he wanted. While it wasn't enough to save the show, fans praise the sudden injection of political satire, Character Development, and darkly witty and adult writing into what Executive Meddling had previously been trying to turn into a shallow show aimed at very young children.
The horrible Region Coding mix-up on the TV Movie that led to everyone, British and American, getting it with a 4% speedup, messing up the timing and causing Vocal Dissonance as it makes Paul McGann's voice noticeably higher-pitched than the lovely deep voice he uses for the Eighth Doctor in the audio dramas.
We're starting to border on Arson, Murder, and Jaywalking here, but The Merch in the early days was rather weird and inaccurate - "Dr. Who's Anti Dalek guns", the "TARDIS Tuner" (a little FM radio), Off Model Dalek action figures (used as Miniature Effects and Off-the-Shelf FX in the show itself), Fourth Doctor and Leela action figures that bear no resemblance to the actors whatsoever, and so on. However, in some cases, this is So Cool It's Awesome via Narm Charm - a sticker set showing Hartnell-era monsters which never met on screen battling each other (like Menoptera fighting Daleks or Zarbi versus Mechanoids) comes to mind, as does the 1978 jigsaw sets of the Fourth Doctor's monsters which depicted several instances of the one-of-a-kind and Earthbound K-1 Humongous Mecha (from "Robot") firing laser guns on an alien world, which inspired the Big Finish audio "The Relics of Jegg-Sau" ("jigsaw").
Cassette tapes. While better quality can be near as good as CDs with proper noise reduction technologies, publishers usually sold the cheapest possible tapes, the later publications even had mechanical problems (either rams the tape or triggers the player's auto-stop mechanism) and lacked any noise reduction methods. Other factor was the non-caring and lazy customer, who never ever pushed the Dolby NR switch on his/her player if it had any. Another one was the price of a proper player instead of a boombox or a Walkman. Many cheap tapes didn't even have proper liner notes, so buyers had no idea who wrote the songs, played on them, or produced them.
This was especially prevalent if you ordered from BMG or Columbia House (or any music warehouse that advertised in the 80s and 90s with those "12 for a penny!" scams, er, "deals"). Liner notes and lyrics would be left off, and the tapes themselves seemed to be of inferior quality. Strangely, the CDs were generally indistinguishable from the regular commercial releases.
Nearly all CDs and Digital Downloads from the late 1990s onward are mastered to be as loud as possible with relatively little regard for sound quality. The fact that so much of the signal is being limited by the digital full scale causes side effects such as distortion and reduction of detail, clarity and dynamic impact. Given how nonexistent discs that anywhere near resemble what you could find in the '80s and '90s are, it's clear that the entire music industry Just Doesn't Care.
To an extent this was the case with early CDs, which often failed to accurately reflect the warmth of the original vinyl recordings. Record players would amplify bass frequencies that CD players couldn't. Certain audiophiles like the earliest CDs possible, but even they have to admit that they didn't always get it right (copy tapes equalised for cassette were often used, for example). CDs soon reached their pinnacle by the mid 80s to early 90s, before the loudness war set in.
The vinyl format is popular with audiophiles and always has been, but there were times when the record industry Just Didn't Care about vinyl either. A lot of LPs in The Seventies and The Eighties issued by major labels were made from recycled vinyl, thin vinyl or mastered from lower quality tapes. This wasn't the case in Germany or Japan where Virgin vinyl was almost always used, hence releases from those territories usually have better sound quality than those released in the US.
Many newspaper comics pages print strips extremely small, thus rendering certain details almost completely illegible. Some don't even resize the strips properly, so they're stretched and distorted. This manhandling of strips is often joked about in others, such as this quote from FoxTrot:
Andy: This says a cartoonist in Mississippi got a group of school kids together to help him make the world's largest comic strip. It was 135×47 feet. (beat) 6×2 inches probably would've been big enough.
At Wrestlemania XX, a truly Godawful match between Goldberg and Brock Lesnar occurred. Goldberg and Lesnar were, at the time, two of the biggest names in the WWE. However, both were also leaving the company, and thought they could phone in their last match, so instead of a great battle, the fans got a slow-paced, boring match.
There's been a lot of discussion on why that match was so bad. The fans had started booing both men vociferously before the match even started, so neither likely felt inspired to perform. It's also been claimed that the WWE match planners deliberately designed the match to be as boring and shitty as possible in an attempt to sabotage their careers. Also, Steve Austin, who was more popular than either of them, was involved in the match as a referee because he wasn't in physical condition to work a match, but this irritated Austin fans who wanted to see him do stuff.
A large part of the problem (tied in with the Austin thing above) was that Goldberg hadn't been on TV for a month prior to the PPV (Real Life contract dispute, kayfabe suspension), which shot the build up to the match (which, up until this point, had been some of the best build up of any feud going that year) in the foot. This left Austin and Lesnar carrying the feud, making it more about Austin and Lesnar than Goldberg and Lesnar. Hell, it was more about Austin vs Goldberg (a long-wished dream match) than Goldberg vs Lesnar, leaving the whole thing dead in the water.
WCW itself at the twilight of the Monday Night Wars. The management of the owning company Time Warner, as described in many books, despised professional wrestling and actively wanted it to do so badly that it had to be taken off the air. Ted Turner, who had been WCW's protector, had gotten older and lost his position of power after the AOL/Time Warner merger, and thus was no longer able to exert influence over it. Internally, WCW had no effective management, no bosses who were able to actually control the egos of the wrestlers and hand out effective punishments. Instead it was run by Vince Russo, who chronically misunderstands everything about how pro wrestling works, and a bunch of smaller names who argued with each other and deliberately sabotaged the shows to keep anything besides their pet ideas from getting over.
WWE NXT season 5. It felt like they were just going trough with the motion with the show, and had pros like Hornswoggle, and never bother giving Darren Young a new pro after Chavo Guerrero was released. Once they gave up all pretense of it being a competition and morphed it into a C show. Then they revamped the entire thing and made it into the show for their developmental system.
The Atlanta Spirit Group wanted to sell the Atlanta Thrashers (now known as the second generation Winnipeg Jets) since day one of owning the NHL franchise. The group were only interested in the NBA's Hawks; they didn't even want the Thrashers as a tenant in Philips Arena. Legal in-fighting as well as the group spending the bare minimum to operate the team often yielded an abysmal on-ice product, causing the Thrashers to fall to the bottom of the league in attendance and team valuation. Atlanta Spirit even considers the Thrashers an Old Shame, erasing any and all reminders of the team.
The league also didn't seem to care about keeping the Thrashers in Atlanta, as they would have not collected a $60 million relocation fee if they found a suitor willing to keep the team in Atlanta. This is particularly egregious considering the league made significant efforts to keep other struggling clubs such as the Pittsburgh Penguins, Nashville Predators, and especially the Phoenix/Arizona Coyotesnote the original Winnipeg Jets in their respective markets.
Regardless of whoever owns the Florida/Miami Marlins, high quality players are almost guaranteed to get traded away in fire sales. Current owner Jeffrey Loria (the ex-owner of the former Montreal Expos) is particularly hated in this regard; he'll spend the bare minimum on a roster simply to save money and has fired two well-regarded managers because they couldn't win on a shoestring budget. The team were so desperate to fill seats for the 2013 home opener, they resorted to Groupon of all places.
After the 1994 season, the fire sale of several star players along with several other front office factors spelled the end of the former Montreal Expos. For the last years of their existence in Montreal, fan support dwindled after the team could not secure English language TV and radio broadcast rights and negotiations to build a new baseball-specific stadium fell through. After Jeffrey Loria's mismanagement of the team, the Expos were sold to the other clubs of Major League Baseball, with the intention of disbanding the team along with the Minnesota Twins after the 2001 season; however, legal action by the Minnesota state government forced the Twins to play out their lease at the Metrodome. Since the league couldn't dissolve the Expos and maintain a 162 game schedule with 29 teams, the Expos remained in Montreal until the end of the 2004 season, after of which the club was relocated to Washington, DC and rebranded as the Nationals.
Battle Spirits failed in its short US run because Bandai not only failed to even advertise it, they didn't even bother to stock the cards in stores that requested it.
Exalted has a number of examples. While which splats would qualify are the result of huge internet knife fights, two that virtually everyone agrees on are the Sidereal Charmset's pre-errata state and the Mountain Folk mechanics. The Sidereals had the significant issue that their writer actively hated the mechanics that made them good in first edition, resulting in powers that literally did nothing and stuff that didn't interface all that well with the Exalted system. The Mountain Folk... well... they had one keyword (Leadership) detailed but no Charms using that keyword actually written, and another that provided Overwhelming equal to the user's Essence... in a system where everyone gets Overwhelming equal to their Essence score automatically, and in which Overwhelming values do not stack.
The works of Matt Ward for Warhammer 40,000 consistently display ham-handed alterations to established lore and telling instead of showing, especially the codex supplements: he turned Iron Hands into the attack dogs of the Adeptus Mechanicus that can only think about the death of their primarch (whose memory spawns a daemon that can only be defeated by embracing emotion instead of logic), openly kill or allow to die fellow Imperial forces, and no longer have their unique chapter structure; his Imperial Fists are prideful to the point of it being a Fatal Flaw on par with the Blood Angels' Black Rage and eternally crusading (the gimmick of their child chapter the Black Templars). His idea that Ultramarines primarch Roboute Guilliman is every Space Marine's "spiritual liege" is a well-known meme in the 40K community.
The toy department, which is separate from the writers and animators of the actual show, claims that they're at the mercy of the toy stores in a classic "the client is always right" relationship, and if anyone isn't caring enough, it's the toy stores. Or they care about the wrong things. ("If it's for girls, why isn't it pink?")
This actually is the case with most toy manufacturers. If the department/toy stores don't think a toy will sell, they won't stock it. Trying to sneak it into a case assortment will usually result in them sending back the "offending" figure.
It seems to be getting better, now that the toy department actually has a "pink pony princess" to market (Princess Cadence).
Princess Luna toys are all but nonexistent, despite her having a major role in the pilot and several later episodes, being a fan favorite, being purple (which is right below pink on the list of marketable girl colors), and getting a Promotion to Opening Titles in Season 4.
A particularly bizarre (and hilarious) result of all this is the talking Nightmare Moon toy, which is actually pretty well made, but despite being a hammy villain above all else says "I would love it if you styled my hair!" and the back of the box is just about the only acknowledgement of her desire to cause The Night That Never Ends.
Come on! Say something evil!
It seems the makers of the talking toys are finally learning with the new talking Chrysalis toy. All of her lines are downright malevolent and in-character (with lines such as "Equestria will be under my control!", "Behold the power of the changeling queen!", "One day all of Equestria will bow down to me!" and several few evil-laughter soundbites), complete with the weird reverberating voice. They even managed to put a suitably evil spin on the obligatory brush-my-hair line, with her saying "Brush my hair, my dear minion."
The Blind Bag minifigures, meanwhile, started off with only five different molds (which all clearly corresponded to five of the six main characters). It was rather strange seeing the normally long-maned Fluttershy with Rainbow Dash's short haircut.
Several ponies also have different names in the toy line, such as Daisy's toy going by the name of Flower Wishes. It's usually because these names are easier to trademark, but it can get... confusing.
Action 52 for the NES. $199.99 buys you 52 games that are cheaply done, buggy, or plain don't work. It's obvious that the amount of effort that went into Action 52 was almost nil. Some of the games on the cartridge that do work are nigh-identical. One of them (Fire Breather) can only be played with two players.
Aliens: Colonial Marines was first announced in 2006. Allegedly, Gearbox used funding from Sega to finance its own IP, Borderlands, and then Duke Nukem Forever, rather than work on Colonial Marines. Four years later, they subcontracted out to Timegate studios, who allegedly threw out all of the work Gearbox had done (Timegate's side of the argument is that Gearbox's work was irreparably broken), who worked on the story and single player. After the launch of Borderlands 2, Gearbox returned to the project; Timegate's work had also been severely underwhelming. By this time, Gearbox was in danger of breaching its contract to ship the game, and quickly fixed the worst flaws and shipped it in 2013, knowing nobody would like it. Colonial Marines has been savaged by critics and gamers for poor gameplay, an overreliance on fanservice nods to the film, dozens of glitches, and poor AI.
The American release of Astal, an underrated platformer/beat-em-up for the Sega Saturn. When dubbing the cutscenes, they didn't even bother to re-record voice clips during gameplay with Astal's English VA, thus he constantly switches between two voices: A high-pitched voice during gameplay that sounds similar to Young Link, and a deeper voice during cutscenes. Also, they apparently forgot to print the game's logo on the side of the case, because all you see on the side of the case is the console's logo (this has led Sega enthusiasts to believe that the game sold poorly all because of this).
Battletoads in Battlemaniacs for the SNES initially appears to be a decent sequel to the original Battletoads, but proves to be merely a half-assed semi-port of the NES game with improved graphics and sound. To start with, the game only has six stages which are all borrowed from the original which featured twice as many, plus two “bonus” stages which are nearly as long as the levels themselves (and identical to each other save for swapping bowling pins for dominoes and changing colors). Out of the six stages, only the first and the last have a boss at the end, and the final boss is practically a recolored cut-out of a statue in the first stage with music from the first bonus stage playing in the background. As far as the plot is concerned, a major villain introduced in the opening cut scene never actually appears in the game, and is only mentioned in a tacked on mini-game at the end.
Where do we begin with Big Rigs: Over the Road Racing? First, there is no way to lose to the other truck you're racing against, as pre-patch it goes nowhere, and post-patch it stops before the finish line, there's no collision detection, so you go right through most things, like bridges and buildings, and if you hold down the reverse key for long enough, your truck will exceed the speed of light and instantly stop the second you stop pressing the key. It can't even be called an Obvious Beta, because that would imply that it had reached the point of beta testing.
The same developer behind Big Rigs also produced a game called The War Z (later renamed Infestation: Survival Stories for copyright reasons), which boasted huge open-ended levelswrong! which actually only measure out to a few square kilometers, hundreds of players being online at oncewrong!! many servers are capped at 50 simultaneous players, and other features that never actually made it into the released version. The complaints got so bad that Valve offered refunds, something they have rarely done, and the game was pulled off Steam (albeit temporarily). It also did not help that the developer behind the game banned people from the forums if they openly criticized him or his game and he openly mocked them as well.
Chaos Wars' obscenely bad English dub. The CEO of O3 Entertainment decided to cut production costs by using his own family members to do all of the voice acting, but none of them have any voice acting experience or talent, and boy, does it ever show.
The US arcade version of Dance Dance Revolution X came with a truly awful new arcade cabinet that eventually ended up being recalled. The construction of the pressure panels and sensors within the dance stage was so bad that sensors would start sticking within hours, the HDTV display had a considerable amount of lag despite being dedicated to a genre where it must be minimized at all costs, the cabinet was covered with very gaudy strips of LEDs, and the computing hardware for this entire setup was a Dell Optiplex PC. Japanese arcade operators were provided with much better quality new-style cabinets, and they also had the option of purchasing upgrade kits for existing arcade cabinets instead, neither of which, of course, ever made it Stateside.
Some have speculated that because Iron Lore Entertainment — the company responsible — was closing down after all, they literally didn't care (others hold that Iron Lore wanted to go out with a bang, but were hampered by Executive Meddling; only the ex-staff know for sure).
Vergil mode in Devil May Cry 3: Special Edition. While some may have been satisfied just to use him as a playable character, others were hoping for a complete deal - cutscenes showing Vergil's interactions with the bosses, fights against Dante, Vergil's own take on wielding the weapons Dante gains etc. Regrettably, the only cutscene on Vergil's side made sense only as part of Dante's story, with no pre- or post-bossfight cutscenes or gaining the bosses' weapons. The "Dante" fights were with a mere Palette Swap of Vergil, sometimes Fan Nicknamed "Vante". It's playable, yes, and there is a certain amount of Squee to using Vergil... but it isn't exactly an expected complete package.
Similarly, Mortal Kombat: Shaolin Monks has the unlockable characters of Scorpion and Sub-Zero, as well as the versus mode. While the two as well as the other playable characters in that mode do have their own movesets and fatalities, in cutscenes and in-game contexts they wind up playing the exact same roles as Liu Kang and Kung Lao, which means not only talking in their voices but such oddities as a cutscene where Sub-Zero conjures a hat out of nowhere to cut a clone of himself's eye. As for the versus mode, it has access to a good few of the characters in the game, but despite having full movesets programmed in for them (playable via hacking) certain characters like Kano, Goro, and Shang Tsung are not usable for no apparent reason. Also none of the characters playable in that mode besides Scorpion and Sub-Zero are usable in the story mode, again for no clear reason.
Also true for the Castlevania games from Symphony of the Night onward, some of which have an extra mode allowing you to play with another character. True, the other characters have different sprites and movesets and require different playing strategies, but in those modes there aren't even cutscenes or dialogue, some gameplay elements are removed and some parts are unreachable. You could argue it presents a more traditional, NES/SNES era gameplay, but after playing with the new style, the old one is not as welcome. Also, for a 2D game which uses its "engine" for the cutscenes, adding a few cutscenes/lines of dialogue is very little work.
Dragon Ball Z: Ultimate Tenkaichi reuses a lot of voice clips from Dragon Ball: Raging Blast, which is fine and dandy in the Japanese version considering that each DBZ game tends to tell the same story over and over anyway, but in English half the characters had been recast for Dragon Ball Kai since then, leading to characters like Freeza and Gohan having their voice actors change constantly mid-game.
Same for Mobile Suit Gundam: Gundam vs. Zeta Gundam which had a What If? story mode that was basically the events of the original Gundam playing out with characters and technology from Zeta. The Japanese version went to the effort to re-record all the necessary lines using the original voice actors, while the English version recycled whatever lines they could from the previous two games - thing is, the dubs of the two shows used entirely different groups, so characters who appeared in both would switch voices often.
Dragon's Dogma: Dark Arisen adds some new voices but they don't work in scenes even though they're just old voices in new pitches. To make matters worse, the scenes will use the default voice for your character's gender instead of the voice that was altered to make the voice you chose. The game doesn't tell you any of this and you have to go to great lengths to change your character's voice after you've started the game. Similarly, in both versions of Dragon's Dogma, if you're playing in offline mode when you fight the Seneschal in New Game+, the character you were using when you last beat the Seneschal will be the new Seneschal but they only did the Seneschal's dialogue in one voice per gender. This is all especially bad if you're playing with English voice acting on and using a child character because none of the childlike voices work in scenes and the default voices are deep.
Interplay tried to cash in on its Fallout franchise by creating Fallout: Brotherhood of Steel, a knock-off of its successful Baldur’s Gate: Dark Alliance series. The gameplay bore no resemblance to the original Fallout roleplaying games and made only passing references to the Fallout world. At the same time, Interplay canceled the highly anticipated Fallout 3 game and jettisoned its entire Black Isle Studios division, which had masterminded the real Fallout series. Fans reacted in outrage before the game even released, prompting the developers to insert a snarky Take That into the credits. The fans had the last laugh, however, when the game performed poorly and the company folded soon afterward. Interplay did recover from that... by selling the Fallout franchise to Bethesda, who went on to release an actual Fallout 3 game to enormous critical and commercial acclaim.
The amount of negativity from the fans reached such heights that Interplay locked their own discussion board for the game, possibly the only time ever that has happened with any game and developer.
The PSP releases of Final Fantasy IV and its sequel Final Fantasy IV: The After Years have tons of sloppiness and cut corners. Both games blatantly reuse sprites from the PSP releases of Final Fantasy I and Final Fantasy II, especially The After Years. Furthermore, the depictions of characters in the game has always varied Depending on the Artist and been subject to graphical quality, but this port has vivid depictions of the cast and makes no attempt to be consistent, giving them radically◊ different◊ designs◊ between the field sprites, battle sprites and menu portraits. Finally, the original game is a port of the Gameboy Advance release with no new features, while the sequel is a port of the original Japanese mobile release with a new Bonus Boss added in, so if you already own the games there's little reason to buy this version. The only new features of the port is an "Interlude" mini-chapter that connects the two games, which itself is poorly thrown together, explaining few of the Plot Holes in the sequel, having enemy formations ripped straight from the original game, and you can play through it in a few hours.
The mobile port of Final Fantasy V used the same graphics as Dimensions. Background tiling is flagrant on large screens, but more than that, they didn't adapt it very much to FFV's specifics. In the scenes where characters are sitting, they now appear to be standing on chairs. Faris, who is supposed to be Bifauxnen (indeed, the trailer features her job artwork, where she clearly has the same body type as the guys) now has the Most Common Superpower except in the few jobs where a shawl or tabard covers her chest.
The PC version of Final Fantasy VII had numerous issues due to the game not working for players whose computers didn't specifically meet the requirements (their computers could be powerful enough to run the game but the game may not work on certain hardware). Despite the PC version being sold in circulation for years (including way past the year 2010), Square made no attempt to release patches or at least an updated version of the game. The game also uses MIDI for its music, which sound terrible compared to the original Playstation tracks. While there are many fan patches to fix most of the issues, Square did not make any attempt to make official fixes themselves.
Square released a digital re-release of the game in 2012 and while the game runs a lot smoother on most computers compared to the original PC port, the music, while slightly improved, are still MIDI quality. Square could have easily put the original music into the game since practically any computer today can run a game released in 1997, but they didn't. Luckily, there are fan patches that help fix the music.
Happened again for the Steam release version in 2013, which is the exact same version as the 2012 version and forces players to create a Square-Enix account to log into before they can start playing the game. What makes it worse is uninstalling the game also deletes the local save files!
Alright, let's get this straight, Squaresoft of old.
You bring Final Fantasy X to the PAL region—a game that already had borders in the NTSC original—and you do absolutely no border-reduction optimization? Borders times borders equals massive borders. The bonus DVD showing footage from the almost-full-screen NTSC version just rubbed it in!
The sequel was no slouch either. They admitted that this trope was the reason that Lulu and Wakka kept their old models, despite the former being heavily pregnant (to the point of giving birth midway through the game) and the latter apparently being noticeably out of shape.
To be fair, this is pointed out an lampshaded. Rikku even states "she doesn't LOOK pregnant" in regards to Lulu.
Goat Simulator is this intentionally. The game's advertising proudly boasts that there are "MILLIONS OF BUGS!", and there's even an achievement for crashing the game. Indeed, the whole reason the game is so fun to play is because it's so full of left-in glitches and impossible physics. For a tame example: you can climb a ladder as a goat. Doing so causes the goat's model to merely float up the ladder as through it were walking normally, while its head flops about from contact with the ladder. And just wait till you get to smashing cars.
As mentioned on the Porting Disaster page, Jet Set Radio's Steam port only lets you configure keyboard controls, and it was a straight port of the X360 port (a port of a port), thus using the 360 buttons as reference (i.e. "Hold down LT to center the camera"). You can, in fact, use a controller, but the controls will most likely be screwed up (for example, if using a PS3 controller, the A button will be Triangle, the Start button will be R2, etc.), and there is no option to configure them anywhere. If you want to have proper gamepad support, you will have to download a fan-made patch. Emphasis on fan-made patch.
Infogrames Europe showed a ton of signs of not caring in their later years when it came to dubbing games, but special mention goes to their versions of the PS1 port of Backyard Soccer, known as Junior Sports Football. None of the character names were changed at all, which led to ridiculous instances of German and French characters failing to say their own American names. It also seems they couldn't make up their minds on what the league was supposed to be called, as the German version calls it the "Junior Soccer League" instead of the Junior FUSSBALL League. The laziest of all had to be the UK localization; they still changed the title, but didn't dub the game at all. It's the one Humongous Entertainment game that would have actually made sense to give a Same Language Dub in British for, and they didn't. This means we still have Earl Grey as being referred to as "across the pond" (he's British) and accidentally calling the sport Football, then "correcting" himself to Soccer.
An unusual medium for an example is the Madden NFL franchise. It has had a bug for years on end that stops players in simulated games from getting tired, so the backups never play. This means that about five running backs break the all-time rushing record each season, and there are all sorts of other silly consequences. The makers cannot possibly be unaware of the bug, and they just don't care.
That error is prevalent in a lot of sports games - backup goaltenders in hockey games and bench players in basketball and football don't play nearly as much in simmed games as in real life, because there's no such thing as a "day off" in the simmed version.
The Madden games include injured reserve, a real NFL device which allows teams to open a roster spot by disqualifying an injured player for the rest of the season. In the game, unfortunately, placing a player on IR does not open a roster spot. It still prevents the player from seeing the field the rest of the year, making IR a worse-than-worthless feature. This has been pointed out to EA countless times and would seem a remarkably easy fix. The bug continues, however, and the only possible explanation is laziness.
Mass Effect 3: Special Edition for the Wii U is the only Mass Effect game available for that system, and it was released around the same time as the Mass Effect Trilogy' collection of all 3 games for PS3/Xbox 360. This forces Wii U owners to use the Mass Effect: Genesis 2 included with the game instead of save imports, missing out on a lot of content. EA also refused to release any more single or multiplayer DLC including Omega, Leviathan, and the various weapon packs for it. Newcomers to the franchise are advised to play the trilogy on another system instead of the Wii U.
Many console-to-PC ports fall into this. A prime example is Metal Gear Solid 2: Sons of Liberty. You know how in most PC games over the last fifteen years when you press the Escape button, you get a menu that has things like "save game", "load game", "settings" and "quit"? None of that for this game! Pressing Escape immediately quits to desktop without even a yes/no confirmation prompt. The saving system has not been altered in any way from the PS2 original, so the only way to load a game is from the main menu or dying on purpose. Changing the game settings is done by a completely separate program from the main game executable. This is all especially strange since the first Metal Gear Solid had an excellent PC port with none of the aforementioned shortcomings, though it did miss out on the fun of the Psycho Mantis fight. It was so bad, there wouldn't be another PC port of a Metal Gear game until eleven years later.
PAYDAY 2, while a good game overall, has many small issues that the developers have yet to bother getting around to fixing since the game's release. Chains and Hoxton lack vocal lines when the player marks an enemy sniper, yet Dallas and Wolf retain their lines since they were copied and pasted from the first game. Despite the developers slowly restoring a few lines for the playable characters in several updates, Hoxton and Chains' lines for the sniper callout have yet to be fixed.
The Death Wish update caused one level that had an escape sequence become Unwinnable by Mistake on the Death Wish difficulty due to the timer set so low that it's physically impossible to reach the escape in time. The developers didn't address the problem at all and haven't made an emergency patch to fix it.
Power Gig: Rise of the SixString tried to take Rock Band and Guitar Hero head on with its "real guitar", but it failed spectacularly, in both hardware and software design. Said real guitar was awkward to use as a game controller and worked with mediocrity as a standalone instrument. Power Gig did not use its real guitar to its potential since the gameplay was largely identical to Rock Band & Guitar Hero. In contrast to its real guitar, the AirStrike "air drum" peripheral, which uses motion sensing instead of drum pads for input, simply doesn't work, since real drumming relies on actually hitting something. One can use Rock Band or Guitar Hero peripherals with Power Gig, which makes the game more playable but not enjoyable by any means. The game itself was criticized for its dated graphics, questionable UI design, lack of bass guitar gameplay, long load times, a nonsensical story mode with non-straightforward progression, nonfunctional DLC, and having two-thirds of the on-disc soundtrack locked from the start. Also, the game's marketing left a bitter taste in rhythm gamers' mouths, arrogantly attacking the more established Rock Band and Guitar Hero franchises. The game sold so poorly, developer Seven45 Studios erased all mentionof the game from its website.
In Pro Cycling Manager 2011, a lot of stage races, even Pro Tour ones, uses the Tour de France scheme for jerseys (Yellow for leader, green for points classification, white with red dots for mountains and white for youth competitions). Most of this could have been found by using an extra 10 minutes on The Other Wiki.
The Steam versions of the first two Quake games contain no music. Though originally provided in the retail versions via Redbook CD audio, id still had a variety of options for them to be digitally distributed, of which not even the laziest option—burnable ISOs of the retail CDs themselves, was provided. Which means the user is forced to pirate a copy of the original to obtain a full version of them, a situation made even worse by the fact that the vast majority of copies found on file-sharing services don't include the Redbook audio tracks either. EVEN WHEN THE COPY IS IN ISO FORMAT.
Ride To Hell Retribution notoriously has sex scenes... featuring both participants fully clothed. This, more than anything else (ignoring the terrible gameplay), is what tipped the game over into this territory. One of the Q.T.E.s involves bashing an enemy's head against a background object. This Q.T.E. can be done even if said object is destroyed, allowing you to bash an enemy's head against empty air.
Sega usually treats its mascot character, Sonic the Hedgehog, with great care. But when they screw up, they've screwed up big time:
In Sonic 3 & Knuckles, Knuckles' paths through Sonic 3 levels tend to be this trope with offscreen hazards ready to kill you all over the place. Marble Garden 1 & Ice Cap 1 stand out because, for the most part, Knuckles gets the same path as Sonic in these levels &, as a result, navigating them is like playing a romhack at times.
Sonic the Hedgehog Genesis was Sega's attempt to port over a Sega game to the Game Boy Advance to celebrate the hedgehog's15th anniversary. The port retains all the levels exactly as they were... and that's it. The sound and music are completely butchered, the physics were altered to the point where controlling Sonic off ramps or springs can be a nightmare, and the game suffers constantly from massive slowdown for no reason (in fact, it can get so bad that short music clips like the drowning theme can actually finish before the action on the screen is finished, making it out of sync) on a system that is technically more powerful than the Sega Genesis. It's as if Sega wanted to cash in on the milestone and bug testing be damned. The saddest part? A romhacker fan later ported the game accurately and released it as a ROM on the internet.
The main reason for the slowdown, pop-in, and general visual wonkiness is that instead of simply porting over the Genesis engine, Sega put the Genesis art and sprites onto the Sonic Advance engine, which was not meant to handle such things. The slowdown and pop-in is caused by the Advance engine struggling to put all of the Genesis sprites and effects onto the screen.
Sonic the Hedgehog (2006) was rushed out to stores before Sega and Sonic Team could even fix the glitches (glitches including broken physics, clipping issues, stock animations, etc), because they wanted the game to be out before the year was over (it was the series' 15th anniversary, after all). What's even stranger is the fact that the PS3 port came out in early 2007, months after the 360 version, and yet it still ended up being a glitchy, unplayable mess!
Adding insult to injury, some of the achievement descriptions are written in Engrish. One example is the achievement of having Sonic buying all skills at the item shop which says "Super Sonic, obtain the all moves." Not only that, there's a voiced NPC at one part where you can clearly hear the voice actor fudge up his line, gets told by someone in the background on what the correct line was, and then the voice actor repeats the correct line (yes, the game has a retake that wasn't edited out!). With all the issues in the game combined, Sega clearly didn't give a shit about the quality of the game or the Sonic 1 GBA port as they just wanted to cash in on Sonic's 15th birthday.
The PC port of Star Wars: The Force Unleashed. First, LucasArts claimed they would never bother doing it as "no PC is powerful enough to run it". Then they changed their minds. Did they fix the horrible bugs? No. Did they optimize the gameplay so an average PC could run it? No. Did they cut it down to optimize it for a PC release? No. They tacked on a little bit of content, and called it the Ultimate Sith Edition. How big was it? 23 gigabytes. That's Blu-ray big. Problem is, few PCs have a BD-ROM drive. A Steam release fixed part of that issue, but also made the 23 gigabyte size all the more apparent, especially for those with slower connections or limited bandwidth.
Before Teenage Mutant Ninja Turtles Smash-Up was released, TMNT fans were speculating about which characters would be in the game, which was created to mark the 25th Anniversary of the franchise. What they got was ten characters from the 2007 movie, three characters from the 2003 animated series, and three characters that had absolutely nothing to do with the TMNT franchise.note Smash-Up was developed by Ubisoft. Three characters in the game's roster are variations of a Raving Rabbid, from Ubisoft's own Rayman games. Adding insult to injury, one of the Rabbid characters is dressed like the protagonist of Splinter Cell- another Ubisoft property. That's it. Outside of the bonus content (concept art from Turtles Forever and comic book covers) all other incarnations of TMNT are ignored entirely by the game.
It gets worse than that. While 16 characters is a pitiful roster by modern standards, that's only for the Wii version of the game. The PS2 version only has 12 characters; the Rabbids and Fugitoid are missing.
To be fair, the Technodrome from the 1980's series appears in one of the game's levels... the level that is physically impossible to unlock without using a cheat code that you have to look up online.
On the topic of Valve, the German version of the TF2 short Meet the Sniper was left entirely uncensored, as opposed to the other shorts, which were censored and edited quite ridiculously over there (due to Germany not allowing blood or gore in video games). Also, you'd think that since the TF2 characters are basically robots over in Germany because of the way the game and its shorts are censored, Sniper's pee jars would be jars of oil instead, but surprisingly, no.
Syd of Valis renamed Yuko to Syd for no good reason (the translated manual still refers to Yuko), but left the Japanese credits completely unaltered. Apparently, the marketing department was not familiar with the term "Super-Deformed" and just assumed that the initials were the character's name.
The developers of Wild Arms: Alter Code F cared. Agetec, the company that localized it in America, did not. Agetec picked up the rights to localize the English version a few months after the game was released in Japan (November 2003), a move that was welcomed by fans considering their work publishing the Armored Core series, which included adding extras that weren't in the Japanese release. A year later, no one had heard a word about any work that had been done with the localization and absolutely no word of a release date. Small details trickled out through one insider, but even he expressed frustration when the game was finally released in America, in November 2005...without voices (the Japanese release had grunts and shouts in battle, and vocals in a few songs, all of which were cut out entirely without any replacement dub), without fixing the Game Breaking Bugs, without any extras (except a DVD of the first episode of the questionable-quality WA anime, Twilight Venom)...and worst of all, a "Blind Idiot" Translation that was barely any better than the original game, and certainly wasn't up to the standard of 2005 PS2 games. Agetec went mysteriously silent and didn't respond to any inquiries, even from the insider, as to how they managed to release a gutted version of the game after sitting on it for two years. Subsequent games in the series were localized by XSEED Games, who are widely agreed to have handled the process better.
The PC port of the first Wipeout featured flat lighting and a track surface that blinked invisible at a rapid rate. The port of the sequel required a 3D accelerator card (even though the demo didn't), sped up on fast PCs, multiplayer required a separate patch that could only be used if the game was installed in a specific directory and several billboards were transparent, featuring only the text on them floating in the air. They stopped porting them after that point.
WWF Warzone by Acclaim for the Nintendo 64 had better looking visuals than the Playstation version, due to its higher resolution, but the music is atrocious. The Playstation version contained pre-recorded music for the wrestlers' entrances. Due to the limited memory, the N64 naturally used MIDIs, but they only bear little resemblance to the real music. Later games by THQ had surprisingly high quality MIDI-style songs, and their previous WCW games had versions of the Nitro theme that were very faithful to the real recording.
X-Men: Destiny, was such a tremendous victim of this trope on the part of developer Silicon Knights and company head Denis Dyack that the company itself is pretty much dead. Staff was constantly taken away from the project and shuffled off to try and make a proof of concept for Eternal Darkness 2 to shop around to publishers, as Dyack had no interest in the X-Men franchise. Activision finally got tired of SK's delays and gave them a shipping date ultimatum to meet, resulting in a mediocre beat-'em-up which sold horribly, as well as several top SK employees jumping ship.
As a final nail in the coffin, Silicon Knights was ordered to delete the X-Men Destiny source code and recall and destroy all unsold copies at their own expense, due to their Frivolous Lawsuit against Epic Games backfiring spectacularly.
This trope is becoming a dominant present-day interpretation of the unforgiving nature of older Nintendo Hard games.
Pretty much every instruction manual put out by Konami USA during the NES and SNES eras reeked of this. Apparently, the copy editors vastly overestimated their collective sense of humor, and that manifested in their tossing out the actual plots and character names from Konami's games so they could fill the manuals with all sorts of idiotic "jokes" and Incredibly Lame Puns.
What happened to Bill and Lance? The two guys who fought and destroyed Red Falcon in the original Contra? Who the hell are Mad Dog and Scorpion? Also note the typo that made it into the manual: "Mad Dod and Extrodinare," hah!
The NES version of Metal Gear warns players of the evil machinations of their arch-nemesis and dictator "Vermon CaTaffy." A They Just Didn't Care double whammy, since not only is the name a wincingly bad play on Muammar Gaddafi, but your final boss in the game is an unmanned super computer, not a despot.
The manual for the Super Nintendo game Cybernator had gems like calling the enemy capital city "Suburbionsky, Uzbekistanksi".
Castlevania gave us such round, firm pellets of comedy as the Leg of Werewolf, the Murky Marsh of Morbid Morons, the claim that the Vampire Killer was soaked in garlic juice, and dancing spectres named "Paula Abghoul and Fred Askaire," among other hee-larious fluff. Amazingly, people on this very wiki have mistakenly assumed these materials to be canon, even though it should painfully obvious that they're all just part of some copywriter's sad attempt to be cute.
The vast majority of NES games released in Europe fall into this, as in most cases no effort was made to optimise them for PAL televisions. As a result, the music is lower-pitched and the game plays a lot slower than usual. This is done to a much lesser extent with 16-bit releases.
Valve Software has a tendency to leave beta textures in their retail products. Examples:
In Half-Life, the Black Mesa Research Facility has posters of various locations and staff. What's the problem? They're using beta models/textures.
Team Fortress 2's gib textures, Ubercharge effects, and HUD icons for the classes and weapons use beta textures as wellnote most notable with the Spy's icon, which has a pair of team-colored armbands that are nowhere to be found on the actual model. The worst part about this is that the beta Ubercharge textures are misaligned on the final models.
The Original, a recreation of the Quake rocket launcher, uses a centered model that switches to the side of the screen for reloading. The problem is that the model isn't compatible with a modified weapon FOV on 16:9 or 16:10 displays, in which, during reloading when the weapon is shifted to the side of the screen, a zoomed-out rocket launcher will be shown floating in mid-air, cut off in the middle. The only possible remedy for this is to play on a 4:3 monitor, which were already on their way out upon the game's release in 2007.
The reload animations in Team Fortress 2 are incredibly lazy as well. With some weapons, like the Ambassador, Scattergun, and Direct Hit, the animation clearly doesn't show actual ammo being put into the gun. With others, like the Enforcer, the bullets just magically float in, with the developers not bothering to animate the arm.
Almost all melee weapons use the same animation. This is very noticeable when said animation is awkward for what the weapon is, and when the "equip melee weapon" sound doesn't match the skin of the weapon because they just re-used a sound effect (taking out a stick with a railway spike driven through it makes the sound of a shovel unfolding, for some reason).
In the Left 4 Dead games, the pair of legs left behind from a blown-up male Boomer have the wrong pants and sock colors. Female Boomers use male Boomer arms when you control them in VS mode (Male Boomers have boils on their bodies while females don't). Females Boomers also use a voice clip from their male counterpart when they are falling.
Resident Evil 4: Ultimate HD Edition. The core game is given the full HD treatment, this includes all cutscene movies. However, once you finished the core game and unlock the DLC extras, Separate Ways and Ada's Assignment, the in-game gets the HD treatment, but not the cutscenes. Instead, there is poor low resolution video, which is very noticeable compared to the in-game graphics. Even more noticeable, since a lot of the cutscenes are slight variations of the ones in the core game. This issue could've easily been corrected before the final release of the game.
Plumbers Don't Wear Ties is advertised as self-proclaimed full motion video but the only part that has full motion video is the beginning, while the rest is a bunch of slide show that sometimes include filter effects. It also suffers from a lot of padding including the actor goofing around in L.A. Worst of all, there's a part where an actor flubs his line and the crew falls about laughing (which is in itself sad; it wasn't even funny). They don't bother editing this out at all.
Living with Insanity's artist, Paul Salvi, takes this attitude. He cuts a lot of corners on the art by rewriting dialogue, cutting down the number of panels and even ignoring whole strips. This causes a lot of plot holes or makes jokes fall flat.
Jackie Diaz in How I Became Yours. Most of her art is directly copied from either the art of the show, other anime, or even photographs. She also copies poses over panels, making her characters often look like they'd been replaced by cardboard cutouts (Toph very noticeably has some variation (mouth opening, so on) of only one expression pretty much throughout the comic). The backgrounds are mostly photographs, real live cosplayers and geishas are background extras at a party, Katara wears the Hall Sapphire necklace, a bowl of fruit is very obviously a photograph, and often her laziness results in some creepy/hilarious looks for her characters.
The email button of Homestar Runner's Main 15/Powered by the Cheat contents page gives three different random remarks from Strong Bad, and in one of them he says The Cheat's visual style "looks like you just don't care".
Making the inconsistencies even more blatant, a subplot running through some of these episodes involves SHIELD trying to pressure the Avengers into registration, in Fury's absence. Also, each of these heroes makes a prolonged disappearance in the second season, but this intro always speaks of all four as full-time members.
Though according to Word of God, it wasn't done to promote the movie, but rather to help EMH's sagging ratings by making it seem like it would be closer to the Avengers film.
Actually the show's ratings were fine - it was that they didn't have a toy line and they kept hitting older demographics rather than little kids, even though there was no toy line for the kids to buy in the first place.
Despite being the source of most of the series' charm and humor, (most of) the VHS and DVD releases of Beavis And Butthead have the music video segments cut, despite the show being owned by MTVnote although Mike Judge retains the film rights. Presumably this was either to keep costs down, or remove dated content, or fit more episodes on each disc, or because they were just too lazy to get all the clearances.
The first one. MTV made a deal, way back when, that they could, for little to no cost, use the music from videos in shows made for their network, something they gladly did, giving their nineties shows the coolest soundtrack. The deal never counted for home releases, which was barely a thing back when the deal was made, and the cost of securing the rights would simply be prohibitive.
Captain N: The Game Master, oh so very much. None of the characters come even close to resembling the game characters they were based on in appearance, behavior, or (on one case) name, the animation is Off Model and in many cases unfinished, and it falls prey to some of the absolute most cliched plots in cartoon history. The saddest part is a cartoon starring everyone's favorite Nintendo characters could have been the greatest thing ever if it had serious effort put into it.
Clerks: The Animated Series was shafted by ABC who could only be bothered to air two of the six initial episodes and made matters worse by inexplicably airing them out of order starting with the fourth episode followed by the second, the latter of which contained jokes that only made sense if you had seen the first.
The official site for Dino Time still uses the earlier models for the main characters.
This trope was used many times during the early episodes in Family Guy. A character learned nothing after going through a life changing experience. The writers admit that this was their way of ending an episode without really adding much detail to it, simply because they didn't care how it ended.
The Invader Zim episode "Door To Door" was another example of a double whammy of TJDC and Screwed by the Network: a fantasy sequence depicting an enflamed city under attack had to be cut after 9/11. The creators complied and re-submitted the episode (on schedule, no less) with a less intense scene in its place..... and the network still aired the original cut!!
The toys, which are naturally listed under "Toys" above.
The European comics also catch a lot of flack, accused of being written and drawn by people who have never seen the original show. The storylines are trite, OOC behavior abounds, and the artwork relies on a handful of duckfaced vectors almost always showing ponies in full profile with no sense of depth. When amateur fan artwork looks better than the licensed product, you know there's a problem.
The game Adventures in Ponyville has similar problems. Being a bit limited of gameplay is only expected of a browser-based game made on the side of the real product, but there's still the graphics and writing. A lot of the graphics are directly based on the show and thus adequate by definition (though even some of those manage to be out of scale to each other), but as for the rest, well, you can easily find better on Deviant ART by the truckload. As for the writing, there's OOC and no particular sign of understanding of the source material, and blatant inconsistencies in what character is supposed to be talking about whom. Also, the player character is constantly looking behind herself.
Played up intentionally for humor and parody in the Ren and Stimpy episode "Stimpy's Cartoon Show". The premise of the episode being that Stimpy wants to be an animator and make an animated film short to impress his idol, the old and nearly decrepit "godfather of all animation" Wilber Cobb. Ren is jealous and bitter towards this, so Stimpy crowns him as the "producer". It soon becomes apparent however, that Ren Just Doesn't Care about the production and his only real effort is to work Stimpy to the bone while presenting impossible challenges to him. (i.e: Taking month-long vacations, ripping up storyboards and tossing them in the trash, price gouging him on the cost of art supplies, forcing him to rely on shaving logs for animation cels, etc.) In the end, Stimpy's cartoon becomes an ineptly produced, incoherent, nonsensical, badly drawn, horribly animated, ridiculous and baffling load of gibberish called "Explodey The Pup" which demonstrates the very definition of this trope. For those curious, here is the ensuing result.
On networks where classic episodes of The Simpsons run in syndication, they are almost always cut to the bone to make room for more commercials. While this rarely compromises the storyline, many Funny Moments that give the classic episodes their charm are lost in the shuffle, exiled to the DVD box sets.
Aside from that, the Simpsons series writers are well known for making numerous past episode contradictions and continuity errors. The most famous one of these is the episode, "That '90s Show."
A minor point, but the gender of the Simpsons' cat tends to change from episode to episode. One would think that it would be a relatively simple thing to make a decision and keep a note somewhere, but apparently no one bothered.
Similarly, the names of the Flanders children will flip every now and then (for the record, Todd was originally the older and Rod was the younger). In the DVD commentaries the writers and showrunners say they can't remember which is which.
German station Super-RTL broadcasts Star Wars: The Clone Wars in groups of four episodes. The order of the episodes is adjusted so multi-part stories air on the same evening; season five should not have been affected by this since it was composed of four-part stories and nothing else. Unfortunately, it was. For the original US broadcast, episode thirteen – "Revival", the first episode of four about Darth Maul and Savage Oppress – was moved to the beginning of the season (where the creators wanted something epic), but the ending was enough of a closure that the three other parts were left at their original place later in the season. Whoever was in charge of Super-RTL's broadcast (which did not happen until the season was already available on DVD, for which the proper order had been restored, but this was ignored) then interpreted "Revival" as a standalone episode. And in accordance with their usual policy, the "three-parter" was considered more prominent and put in front of the "filler" "Revival", even though the former ended with Maul and Savage's rampage being put to an end. SRTL then claimed that Lucasfilm had dictated this order, but the fact remains that whoever was responsible caused needless irritation by ignoring something blatantly obvious.
Young Justice: The tie-in comics had one panel Bio's for many of the characters on the show. The Bios used events and teams from comics, to broaden the readers perceptions. Some are pretty inaccurate, like Bane's. It says that he's associated with the Suicide Squad, but the picture shows the line-up from The New 52, which he isn't part of. Even worse is that the other team it shows him associated with is the Secret Six, but the picture is of The Legion of Doom from Justice League: Doom.
You're in the Super Bowl, Charlie Brown, the next-to-last Peanuts animated special in which Bill Meléndez had a hand. They don't have quite enough plot for 25 minutes, so they do cutaways with Woodstock's football team curb-stomping teams of various animals. The animation is exactly the same all three times (except with new species slipped in over top the existing ones — cats, dogs, then bison), meaning that the third team consists of bison who are no bigger than cats.
This is how Cartoon Network basically treats their DC Nation block. They not only just barely advertise it, but when they do, they make flimsy promises of "new episodes"... even though the shows they've promised new episodes for (Green Lantern: The Animated Series and Young Justice, specifically) have already ended. There's also that incident where the block was removed from the air without any warning or reason whatsoever in Fall 2012, angering the fans greatly, and it wasn't reinstated until the following January. You'd be forgiven for thinking that Cartoon Network is secretly trying to ruin the block's ratings just so they can have an excuse for canceling it permanently.
This same treatment extends to the shows themselves that air on DC Nation. As already stated, Green Lantern: The Animated Series and Young Justice were treated lazily at best before getting screwed over, and eventually replaced by Beware the Batman and Teen Titans Go!. Beware the Batman itself is also getting screwed over royally, being limited to only one slot on DC Nation, barely advertised, and then being unceremoniously put on hiatus. On the other hand, Teen Titans Go!, the only DC Nation show so far to have gotten preferential treatment (possibly due to the fact that it's a comedy instead of an action show like the others), is given constant advertising and airs on two timeslots: one for new episodes on prime time Thursdays, and one on DC Nation for reruns.
Seriously, if you're either unwilling or unable to milk a frigging Batman show for all its worth you're insane or an idiot.
The Region 2 DVD release of The Cleveland Show's second season suffers horribly from this. The cases the DVDs were packaged in must have been obtained on the cheap, as the cases on display were either broken or had one or more discs loose in the case, and the DVDs themselves were very clearly ripped from the American release. The audio pitch wasn't raised to the PAL standard, and rather than having the UK's FACT warning screens, it retains the FBI warnings from the American version.
Wolverine and the X-Men was supposed to be an all new, all different, all edgy show unlike any X-Men cartoon before it, yet for the most part it seemed content to rehash stories that were already done in previous X-Men shows (Days of Future Past - the 90s show did it first) or just rip off elements of the movies (Wolverine being the Canon Sue center of the X-Men universe) when it wasn't wasting time on incredibly insipid stories (Wolverine having a G-rated fight with The Incredible Hulk, the X-Men being kidnapped by a bunch of rinky dink ninjas) to seriously derailing one of the franchise's most prominent characters (Cyclops got butchered so badly that he was practically the living embodiment of Narm).
In the DVD releases for the original series of the Transformers the episodes were transferred and remastered from their original video format. Unfortunately, a lot of the footage had degraded from the heavy rerunning of the tapes. Rhino decided the DVD remasters should thus be pulled from pre-broadcast cuts. Though these tapes were in better condition, they were rough cuts requiring Rhino to draft help so it could completely reconstruct some scenes, or add new effects. Unfortunately, this resulted in newOff Model animations being added to old episodes, and a lot of unnecessary stock sound effects. The Transformers Wiki quotes a very apathetic response from the Rhino representatives, who "rather disingenuously attempted to claim that these sound effects were there all along and that fans had simply been unable to hear them before, despite evidence to the contrary."
One episode of the radio countdown show Bob Kingsley's Country Top 40 played back an interview with Carrie Underwood about her difficulty with a very high note in "All-American Girl"... then played an abridged version of the song that left out the note in question.
These shows didn't "jump the shark." That doesn't do them justice. No, these are shows where the creators simply said "fuck it", flew out of the water, broke the bounds of the earth's atmosphere and set a course for the center of the Sun.
Google's search suggestions, even with Safe Search on, doesn't even bother to filter the word bullshit, a widely used profanity, out. It filters the word shit out, but bullshit gets past.
Wizards of the Coast stopped caring about Dungeons & Dragons third edition when fourth started coming out. The Tome of Battle errata changes mid-freaking-word into Complete Mage errata.
It may have been worse than that. In a couple of early interviews about the new game system, it sounded suspiciously like the designers actively disliked 3rd edition, the system they'd been selling us for the prior eight years, and wanted to make sure we stopped liking it too. Some of their folks practically went on record as saying "Yeah, our last product totally sucked. We can't believe anybody thought it would be fun. This new one, on the other hand..."
That's fairly common in design - after all, there's a reason it's 4th Edition and not 3.Xth Edition. They likely suspected that any attempt to "patch" old rules to fit (as they routinely do in Magic, fixing up old cards with new template wordings) was doomed to failure from the start. Which, of course, doesn't rule out them Just Not Caring about 3rd any longer.
The folks who actually wrote 3 and 3.5, meanwhile, went on to create the Pathfinder system that further refines it.
Dial Global's "Hot Country", a programming service for radio stations that don't have their own DJs, often edits songs for time. Most of the edits are innocuous enough, but their edit of Taylor Swift's "Back to December" abruptly cuts from the first chorus to near the end of the second verse ("I go back to December all the time / [cut] / And then the cold came, the dark days when fear crept into my mind…"). To be fair, the song is well over four minutes, but you'd think they'd be able to make a less egregious cut somewhere.
When Marriott bought the Howard Johnson's motel and restaurant chain in the 1980s, they were interested only in the motel properties (which they later sold off), and had no intention whatsoever in maintaining the Ho Jo restaurants. All of the company-owned restaurants were closed in 1985, leaving only the franchised restaurants, which banded together to form a new company. Unfortunately, the new owners of the restaurants had limited resources, and were left to let the restaurant empire slowly slide into oblivion. The company (FAI) went under in 2005, and as of 2013, there are only two Ho Jo restaurants left, with very little of the chain's history (not even the recipes for once-signature dishes such as ice cream, fried clams, mac & cheese, etc.) to show for it.
Marriott also used to own Roy Rogers restaurants, which they sold to Hardee's in 1990. Despite the Hardee's brand being almost totally unknown in Roy Rogers' core market, Hardee's simply rebranded all of them. Backlash was so strong that most of them reverted to Roy Rogers only two years later.
As for the motel side of Ho Jo, it eventually ended up under the ownership of Cendant, which is now part of Wyndham. Cendant pretty much wiped away the chain's identity by opening new properties that lacked the amenities of the older motels, re-branding other properties to the name, and mandating extensive renovations to the unique architecture of the existing motels (most notably, many were forced to extensively renovate or remove the chain's once-signature A-frame lobbies). To be fair, they are far from the only victims. Motel rebranding is incredibly rampant anymore, thus doing wonders to diffuse the entire point of a motel brand in the first place; namely, to provide consistent quality and amenities to the traveler. Two locations of any given chain could be vastly different in quality, dependent on entirely whether they were purpose-built or re-branded, and what they were re-branded from if at all.
The M16 assault rifle in its original incarnation. It was only when they realized the consequences of what had happened—which had as much to do with overconfidence in the design as any engineering flaw—they put a lot of effort into making it right.
The initial model of the L85 had the same issue - what happened was the Royal Small Arms Factory was given a design which was already fairly maintenance-intensive, told they were all going to be laid off once the rifles were produced, and then left to begin production.
Salem, a gothic/"witch house" group from Michigan, played at Levi's SXSW fest in 2010. Not only was their performance disappointing (and a missed opportunity to give the audience a good introduction to their unique sound), it was god awful. One member (Jake, the long-haired one), looking rather weathered with a slight resemblance to Chester A. Bum, raps/mumbles in a drunken haze during one song and lackadaisically hits electronic drums during another, clearly not giving the slightest fuck about keeping time with the other musicians. You really have to see it for yourself to understand... This came as a big shock to many fans of the group as their studio material is actually pretty fucking awesome. To the band's credit, it was an awkwardly intimate outside stage that would be more suited to a stripped-down punk band than one that relies on mystique and clandestine ambiguity as heavily as they do.
Eddie Lampert, owner of Sears, seems to have little interest in maintaining the chain's legacy, particularly after its 2006 merger with Kmart. Since well before the merger, both chains have seen nothing but closing after closing, with some clearly being closed for the real estate and not due to underperformance. Lampert's management of the company as a whole has been called into question, as seen in this article.
Construction contractors substituting concrete or rebar for some less-durable material has sadly happened before. But for a Shanghai contracting company to use bits of garbage to support an important, high-traffic bridge is either this or howling insanity.
Similarly, the 1981 Hyatt Regency disaster in Kansas City was caused because a contractor replaced six two-story-long support rods with twelve one-story-long support rods. The shorter rods saved a bit of money, but also meant the upper walkway had to support the entire weight of the lower walkway, rather than the weight of both being suspended at the ceiling as the engineers intended. 114 people were killed when the two walkways fell into a crowd below, which remains the dealiest structural failure in US history aside from 9/11.
DVD copies that come with Disney Blu-ray combo packs. Unless it's a new-to-DVD release, or a major catalog title, if a DVD comes with a Blu-ray, chances are it'll be the same disc that's been available for years on its own. It's very odd buying a supposedly new DVD in 2013 that says Treasure Planet is coming soon to theaters. The most Egregious example would have to be the release of the Who Framed Roger Rabbit Blu-ray, which uses disc 1 of the 2003 DVD release... which wouldn't be so bad if disc 1 wasn't a pan-and-scan version which means unless you have disc 2 of that set and you want to watch the widescreen movie somewhere a Blu-ray player isn't connected, you're screwed.
The Pan and Scan versions of TV movies and shows produced in the HDTV aspect ratio of 1.78:1 might have a greater chance of losing important details than the cropped versions of theatrical movies. The people in charge of cropping those TV movies and shows often focus entirely on the center portion of each scene, never panning to the sides, unlike the people who crop movies. This thread contains a handful of examples from High School Musical.
Even worse are HD channels that air versions of the shows cropped for their Standard Definition counterparts. This is especially common when shows are Edited for Syndication, such as Comedy Central's pre-prime time re-runs of South Park, which is usually the only time you can catch anything from Seasons 5-11, each originally formatted in widescreen.
Publishers of public domain films and TV shows tend to fall into this — low-quality picture and audio (even when better prints are available), cheap packaging, etc. Especially true of the packages like those that promise you "100 <type> Films" — by the end of the set, they've often counted TV episodes rather than theatrical films.