Follow TV Tropes

Following

Americans Hate Tingle / Video Games

Go To

    open/close all folders 

Franchises with their own pages:

    Trope Namer 
  • Tingle is a short, chubby Manchild from The Legend of Zelda series. He's obsessed with hunting for fairies and rupees, dances a lot, flies around using balloons tied to his butt, is incredibly eccentric, and his face is... odd, to say the least (it is believed to be based on Koji Kondo). In Japan, people think of him as a hilarious character and a nice Fandom Nod to Otakus. In the States, his design and his mannerisms make people think he's an annoying Memetic Molester due to Values Dissonance.
    • He's popular enough in Japan and parts of Europe to get his own games, but loathed enough in the Americas for those games to never reach their shores and to have only four other roles in main games following his first appearance in Majora's Mask: Oracle of Ages, The Wind Waker, Four Swords Adventures, and The Minish Cap. Note that that still gives him way more appearances than nearly anyone not named Link, Zelda, Ganon, or Impa.
    • Tingle's role in the main series has been largely reduced; he doesn't appear in Twilight Princess (Purlo's appearance was based on him, but they have vastly different personalities, and there are portraits of him in Snowpeak Ruins; they're blurry, but just try and say they're not him) and gets only non-speaking cameos in Phantom Hourglass, Spirit Tracks, and Skyward Sword (on a "Wanted!" Poster, a statue/portrait, and a doll respectively).
    • He is at his weirdest in The Wind Waker, wherein he refers to Link, a nine/twelve-year-old child, as "Mr. Fairy", and forces his brothers—and one random guy who's in debt slavery to him—to dress exactly like him and perform slave labor. He also forces the player to pay him ridiculous sums of money in exchange for information on where to find eight MacGuffins. With all of his annoying traits, it's no wonder that fans joke about him being a sex offender when they're breaking him out of prison as part of the plot of the game (his canon crime was just petty theft). In addition, people have taken the skulls in the room where he hid the Pictograph (through the small tunnel at the back of his prison cell) to mean that he's not only a sex offender, but also a kidnapper and serial killer.
    • To give another idea of just how reviled he is by the US Zelda fanbase, NOA actually considered localizing Freshly-Picked Tingle's Rosy Rupeeland, one of Tingle's Spin-Off games, and held an online poll asking fans if they wanted it imported or not. The votes to cancel its release won by a landslide, and the import was cancelled. Yes, Americans hate him that much.
    • The Too Much Tingle Pack is such an appropriately named piece of software one wonders if it was intentional: effectively being just a novelty with features like a calculator, fortune teller, and timer, it's not available in the west because any amount of Tingle is simply too much for an American audience.
    • In Four Swords Adventures, where whenever there are force gems around, if you fail to collect them in time, he'll swoop in and steal them all.
    • Joking aside, the main reason why Tingle is hated so much is that he is basically a Manchild, a character archetype that Western audiences have little sympathy for. In Japan, he's seen as a symbol of whimsy. To most Western audiences, however, his behavior and appearance just comes off as annoying and creepy (especially the speedo). He was tolerable in Majora's Mask because his maps were reasonably priced, it was completely optional to talk to him, and he managed to fit in the general tone of that game. In The Wind Waker, though, he gains a lot more spotlight, is considered far more obnoxious (he was never this rupee-grubbing before now) and you literally cannot complete the game without him. Even Word of God is aware of this as shown in this article. He hopes to make Tingle popular one day. One of the bigger changes for the HD edition of the game was that they got rid of five Triforce charts, meaning that you only need to visit Tingle three times in the game to get them translated, as opposed to eight times. To a lesser extent, the Tingle Tuner was replaced with the Tingle Bottle, which also makes him less prominent than in the GameCube version.
    • Amusingly, Ricky the kangaroo from the Oracle games is shown to not be too fond of him upon encountering him in Oracle of Ages.
    • A set of Tingle equipment was added as DLC to Breath of the Wild. It has horrible defense, and wearing the entire set increases walking speed at night (which isn't a set bonus exclusive to this equipment) and also causes NPCs to react in horror if Link gets too close to them.
    • And then he was made a playable fighter via DLC in Hyrule Warriors, beating out Skull Kid and any number of other potential Majora's Mask characters. American fans were not amused. True to form, this was entirely because he was the top-voted character that the Japanese audience wanted to see added in. Ironically, this version of Tingle actually did get a little respect, as he's a Fighting Clown whose schtick includes a lot of Amusing Injuries as side-effects of his attacks. His features have been redesigned to be far less hideously gonky, and his generally negative reception in the West is given playful lampshading, making him the least annoying or creepy Tingle yet. It helps that Legends finally added Skull Kid to the playable roster.
Advertisement:

    Final Fantasy 
  • Final Fantasy V: Krile is quite liked in Japan, where cute princesses with pure hearts and amazing potential are an archetype enjoyed by everyone (including young men), but in the West, where her archetype is considered grating and exclusively for preteen girls, she's resented for upstaging Lenna and Faris and being a Replacement Scrappy for the (at least in the West) much more likeable Galuf.
  • Final Fantasy VII:
  • Final Fantasy VIII:
    • Rinoa is a very popular character and a pop culture icon in Japan. In the West, she's something of a Base-Breaking Character. This is at least partly due to the translation, as most of her dialog (that was intended to be cute and childlike, highlighting her innocence compared to the military-trained SeeDs), got replaced with lines that just made her sound like an immature Spoiled Brat. The fact that she has to be rescued quite often only adds fuel to the hate.
    • Squall, while less hated than Rinoa, also suffers from this. The English version gave him "Whatever" as a Catchphrase, with all its connotations of an insufferable '90s teen, and phrased his dialogue to emphasise his most adolescent and Jerkass qualities. In the Japanese version his speaking pattern comes across as more socially awkward than mean, and his catchphrase is "...warukatta" ("...my bad").
  • Tidus from Final Fantasy X is very popular in Japan. However, in the West, he's a divisive figure, mostly because he looks exactly like actress Meg Ryan and because he spends most of the game whining, which is only made worse by James Arnold Taylor's over-the-top delivery. The framing of the plot doesn't help matters; for much of the early game, he's essentially the fantasy equivalent of soccer star from a first world nation treating the pilgrimage as a grand adventure... in a third-world setting torn by years of nightmarish war-like devastation.
  • Final Fantasy XII's Vaan is widely hated in the West, and Square Enix's Executive Meddling to make him the protagonist is criticized since Vaan gets sidelined in main story and is the typical pretty boy character avatar for the player. In Japan, he has enough of a fanbase to get him big roles in two spin-offs and added into Dissidia 012: Final Fantasy. He was Rescued from the Scrappy Heap in Final Fantasy Tactics A2, with him much more mature and edgier.
  • Final Fantasy XIII itself, as well as Lightning, are this in the West. A Japanese publication wanted to give the game a 120 out of 100, while Western reviewers tended to blast the game for its linearity, among other issues. The company even came out and said that the game was reviewed poorly in the West because of different cultural expectations of RPGs. Lightning herself is a symbol of the game, and also some of its flaws, such as her unintentional Supporting Protagonist status. What makes this worse is how sequels, references to Lightning, and cameos keep popping up, making it impossible for those who disliked the game to avoid it.
  • Minfilia in Final Fantasy XIV is widely hated by Western players due to her being a Neutral Female and needing to be rescued twice without even trying to defend herself. She is also hated for not taking action or at least taking the initiative while her fellow Scion companions do take action. She also prattles on about utterly everything at absolutely insufferable lengths. Her supposed sacrifice for Hydaelyn in 3.2 had her haters celebrating with much rejoice no matter how much the story tried to play up her sacrifice as a sad moment that affected all of the Scions. In Japan, she is popular enough that she was considered for the representative of Dissidia Final Fantasy (2015), and the decision to go with Y'shtola instead was primarily based on her consistent popularity between Japan and the West (and between the 1.0 and Realm Reborn playerbases).
  • Final Fantasy XV:
    • Ignis in Japanese was gentle and familiar with Noct, although he did use more sophisticated language than the others. The English localisation went a British Stuffiness route, resulting in him having a much colder and more closed-off feel to his character that made many players wonder if he even liked the Prince. Shipping Ignis with Noctis is a lot more popular in Japan than in the West as a result. In addition, his English accent is exaggerated to What the Hell Is That Accent? levels, which many English players found difficult to listen to. It should be noted that both Ignis himself, and shipping Ignis with Noctis, became a lot more popular when Episode Ignis was released, followed not long after by additional Ignis material in Royal Edition, in which Ignis's love of the Prince is made completely explicit and in which his voice actor's performance tones down the accent to a realistic RP, as well as playing him in a more developed way.
    • Similarly, there's no shortage of players who find the Japanese-voiced Prompto very cute and appealing, and the American-voiced Prompto irritating. His American voice performance emphasises Prompto's Stepford Smiler enthusiasm in a way that some find charming and others find reminiscent of a hollering bro; his Japanese voice performance is more mellow and brooding.
    • Inverted with Ardyn Izunia. Ardyn's Japanese VA plays him with a softer, skeevier, more aloof tone that gives the impression of a Faux Affably Evil Dirty Old Man who is using his funniness more to express his utter numbness and nihilism. His English dub voice actor plays him as Affably Evil and with a legitimate sense of humour, making him far more sympathetic. Add to that the flamboyant, deep, English-accented voice he uses, and you've got a character the Japanese fanbase finds offputting and creepy, and the English fanbase considers cooler and sexier than the Blue Bishounen Ghetto protagonists.
  • Many characters/character portrayals in the first Dissidia Final Fantasy are criticised in the West, but were well-received in Japan. This is because the entire cast suffered from poor English dubs due to the severe directing and editing issues the dub had; even many reliable veteran voice actors were stuck. Cloud, in particular, suffers, communicating entirely in flat-affected Paused Interrupts that made him come across as anhedonic and without will as a result of what he was going through; his Japanese voice actor, faced with better conditions in the recording studio, produced a more ironic, emotive performance that gave more of an impression that Cloud was trying to fight off his depression with snark, but was powerless to do so, a portrayal that was more appealing.

    Street Fighter 
  • Street Fighter:
    • Mexicans really hate T. Hawk, perhaps because he's supposed to be Mexican but obviously isn't. El Fuerte has gathered better reception from them. Even then, he's received some pushback from being a Lethal Chef Joke Character when so many other characters got (at least by Street Fighter standards) dramatic storylines.
    • The Jamaican kickboxer Dee Jay, who was added to the Street Fighter II roster under the suggestion of American playtester James Goddard, is beloved by the North American fanbase and in his home country. In Japan, he rarely appears, and when he does, he doesn't do much of anything.
    • Ingrid, whose only appearance so far was in Street Fighter Alpha 3 MAX, a non-canon, portable Updated Re-release of the PlayStation classic. She's a popularity chart-topper in Japan, but everywhere else, she's one of the most universally reviled characters in the series. She's a Physical Goddess who looks like a schoolgirl, would canonically be the most powerful character (if she were canon), fixed Ryu's Superpowered Evil Side just by beating him in battle, and claims that M. Bison copied her Psycho Power. Oh, and she throws sparkles everywhere.

    Tales Of Series 
  • Tales of Destiny:
    • Bruiser Khang is very popular among Japanese fans, especially after his personality got expanded in the game's remake, where he becomes something of a Jerk with a Heart of Gold. But since many of these Tales remakes and spin-offs never leave Japan, North American audiences, meanwhile, get stuck with the Jerkass Khang seen in the PlayStation version, and don't understand why he's appeared in so many spin-offs.
    • Reala, from the sequel, does not have many western fans. As well as her ridiculously girly appearance (which is so unrealistically thin that it reaches Uncanny Valley levels), there's the fact that her story is unpopular with many Western players: She's a one-woman Spotlight-Stealing Squad who also happens to be the daughter of a goddess, on a mission to find a "hero", who is doomed to be erased from time if she kills her mother, but comes Back from the Dead anyway just so she can be with Kyle. Japan is far more tolerant of her or simply liked her for those traits in the first place.
  • Tales of Legendia: Shirley Fennes is a Base-Breaking Character in Japan, but in the West she's seen as an annoying Yandere Damsel Scrappy, and her Love Martyr tendencies are viewed as an extreme overreaction to Senel rejecting her Anguished Declaration of Love. The game also puts a lot of the blame for Shirley's Face–Heel Turn squarely on Senel's shoulders. While Senel isn't entirely blameless - it was shown that had Senel just opened his mouth about his Dark Secret, things might have gone a lot smoother - Western fans viewed it as the game trying to absolve Shirley of any wrongdoing. Gameplay-wise, she only has one spell that is unique just to her, and it isn't acquired until very late in the game, meaning she doesn't stand out much in combat, either. A few fan portrayals of Shirley play up her bad qualities in order to ship Senel with Chloe instead.
  • Tales of the Abyss: While Anise showed up in Japanese character popularity polls, she's often disliked in the Western fandom for being a huge hypocrite for hating Luke for stupid actions while she is actively doing much of the same behaviour, betraying the party and not trusting them enough to tell them her parents are being held hostage by the villains. She is also seen as being to blame for Arietta's death because she refuses to give Arietta a proper explanation as to why she was replaced as Ion's guard, which among other things makes Arietta attack the party. Unlike Luke, who goes through a Trauma Conga Line, Anise is never so much as reprimanded for her actions, which doesn't help.
  • Tales of Symphonia: Dawn of the New World: In the fifth Tales of Character Popularity Poll in Japan, Emil Castagnier came in 12th out of every character in every Tales game. The majority of overseas fans hate him for being whiny, cowardly, and annoying. It certainly doesn't help that up until a certain point, in every fight he has to rely on his Superpowered Evil Side to fight for him, or that he takes over for Lloyd, who was, by contrast, brave and optimistic and immensely popular. That said, there are some American fans who want to give Emil a hug.
  • Tales of Graces: Cheria is very popular in Japan, but a lot of American fans dislike her for her Damsel in Distress behaviour (even though she only gets officially kidnapped once) and the perception that her only important characteristic is her awkwardly executed crush on Asbel, who she constantly mistreats to the point where even Asbel calls her out in it. Still, as with Emil, she has a few passionate defenders.
  • Tales of Xillia: Many Western fans see Milla as having had way too much undeserved shilling, or simply dislike her because of poor quality voice acting. Jude often gets placed in the same position in the West vs the East because he is one of the worst shills for Milla, as well as being a medical genius in university at the age of 15, widely believed to be highly unrealistic.
  • Tales of Zestiria: Alisha Diphda is a very loved character in Japan but she is more of a Base-Breaking Character in the west as the number of Western fans that feel either indifferent or outright hate her for causing a Hype Backlash in Japan or having a bad DLC story is about equal to the people that love her. Any hate for her among western fans increased as the anime made her a more prominent character but at the same time contributed nothing to the story and took away vital development for everyone else, especially the main character Sorey along with throwing off the pacing of the anime.

    Game Platforms 
  • The Xbox brand has performed dismally in Japan. While the Xbox 360 prevailed for some time even with numerous exclusive titles (because for a while the PlayStation 3 architecture was hard to program and the Wii targeted different demographics), the Xbox One had the worst launch sales figures of any console, with almost empty queue lines and only beating the Neo Geo Pocket, and its average monthly sales were around three figures if they're lucky. Microsoft had frequently fought to turn this around by obtaining exclusive titles that appeal to Japanese audiences; outside of a few brief sales spikes connected to the release of certain games (like The Idolmaster), it eventually faltered. Keiji Inafune has suggested that consumer nationalism played a role in Japan's rejection of the Xbox brandnote , while Bob Chipman pointed out that the systems are considered (on both sides of the Pacific) to be delivery platforms for FPS games (see below for more on that). Meanwhile, this Eurogamer article suggests that Microsoft basically didn't do enough market research and, as a result, completely started off with the wrong foot with the original Xbox's marketing, ruining any future chances of success. While many foreign brands do find success in Japan, they often do so by making extra sure their products and marketing appeal to Japanese tastes. Microsoft decidedly did not do this with the Xbox, which they promoted with a marketing campaign that leaned heavily into the fact that it was an American console. In particular, one of the console's first advertisements - Bill Gates holding the redesigned Japanese controller in one hand, and a burger in the other - didn't do any favors for its reputation in the country.
  • After the brief boost enjoyed by Xbox 360 (for the same reason as above, the Playstation 3 architecture was hard to program and the Wii, on top of targeting different demographics, was less preferred with those who have smaller and denser homes and populace), the XBOX brand sells far less outside of USA as well since XBOX One due to higher price and less games, to the point that as of 2018 Microsoft pretty much gave up exclusivity and making their games also available on Steam, subject with regional pricing.
  • Outside of Japan, traditional gaming consoles were initially Banned in China (outside of Hong Kong and Macau) until 2013 and are generally unaffordable in Korea, and in both countries Nintendo and Sony run into nationalism issues and anti-Japanese sentiment and were also banned due to a law against Japanese cultural imports that was in place until 2004. In the 1980s-1990s in Korea, Sega's and Nintendo's consoles were distributed by local companies, Samsung and Hynix respectvely, due to said law. Nintendo consoles (with the exception of the Switch) sold poorly in South Korea compared to their competitors.
  • PC gaming in general, when compared to western countries or even to other Asian countries like China and Korea.
    • In Japan, it used to be a dying breed since the demise of the MSX, and when it really comes to down to PC games in Japan, it is often Visual Novels. According to a Kotaku article, this is mainly because PC games are often associated with FPS games like Xbox 360 is, and the fact that many Japanese find gaming PCs to be "too expensive" or "hard to set up" and would rather keep their gaming console and computer functions as separate. Japan's surprisingly lower-than-average computer literacy rate for a developed country certainly doesn't help either. This is why most Japanese game developers/publishers avoided releasing PC ports of their games in Japan, even on Steam. That said, while PC gaming isn't as popular in Japan, visual novels are staples of otaku culture and are frequent sources for anime adaptations, though even then the most popular VNs are ported to consoles. There's also a tradition of Doujin Soft games from small indie developers, in which the core Touhou Project titles remains exclusive to PC to this day.
    • Then there's the issue of size. Desktop gaming PCs tend to be very large compared to consoles, and living space in Japan is infamously expensive, so Japanese consumers tend to prefer more compact devices like consoles, handhelds, and mobile phones. This trend also affected the reception of the Xbox consoles, which tend to be larger than their competition, to the point of being memes.
    • PCs also never really caught on in Japan for individual or home use, and therefore gaming. This was because the earliest PCs had text-based interfaces based around Latin characters, and were unable to handle the complex Japanese Writing System. Adding such support to primitive PCs was prohibitively expensive, which limited the adoption of PCs in Japan to the business sector, with the exception of models specifically geared towards the Japanese market like the MSX, which in turn failed to catch on in America or Europe due to existing low-price 8-bit computers like the Commodore 64. The busy Japanese lifestyle meant that many people weren't home that often to begin with. When the internet became popular in Japan, it was mainly over mobile devices, as the country had internet-enabled cellphones years before smartphones became popular in the West, which is why smartphones themselves initially fell into this trope in Japan.
    • However, in a subversion, since the advent of Virtual YouTubers, streamers with anime-style personas such as hololive and Nijisanji, as well as the advent of e-Sports gaming, PC gaming saw a resurgence in Japan, as setting up a streaming interface with the accompanying avatars are easier than linking consoles to do it, though console linking still used for console-exclusive titles.
  • Over in western countries, the Sega Saturn used to be considered one of the worst video game consoles ever released due to its poor line of gamesnote , its lack of a mainline Sonic the Hedgehog gamenote , horrible advertising, its botched North American launch, and its infamously convoluted hardware, which made it harder to develop for than the Nintendo 64 and especially the PlayStation. By contrast, in Japan, it's often listed as one of the more remembered consoles and generally was a lot better received, even outselling the Nintendo 64 in its home market. Not only was its 1994 holiday release much smoother and list of games more diverse, it also had a really effective advertising campaign in the form of Segata Sanshiro.
  • While the Nintendo Entertainment System was the icon of The Third Generation of Gaming in North America, it was rejected in the UK where the technically inferior but much cheaper home computers already dominated the market by the time the console was distributed in 1987. (Rare, despite being based in the UK, had to produce its early NES games mainly for the North American market) This video further elaborates on why the NES wasn't successful in this region.
  • Nintendo consoles in general are not exactly popular in Russia. The NES was represented by the Dendy, an unlicensed hardware clone. Attempts to introduce SNES were made by Steepler (who owned the Dendy brand), but it was too expensive for the economical hellhole that was Russia in the '90s. The PlayStation Portable also topped Nintendo's handhelds in numbers of units sold (the Game Boy Advance being the sole exception), mostly due to horrible marketing. As for the Nintendo 64 or Nintendo GameCube — if you find a Russian who owned one or even knew that it existed before the Internet became widespread, you'd be ridiculously lucky.
  • The Nintendo 3DS initially struggled outside Japan, but in time, it turned out to be a subversion and became a smash hit worldwide. The StreetPass feature of the 3DS, however, perpetually struggled to get any use outside of Japan. The feature was designed with a highly urban, densely populated nation like Japan in mind, which makes things harder in a mostly suburban region like many parts of North America. Nintendo later made changes to their hotspots to have them serve as a relay, by holding each tag to be shared with the next 3DS to encounter it, but depending on where you live they weren't easy to come by. It eventually came to be that the highest densities of StreetPasses in North America were at fan conventions and not in daily life.
  • In any place where Nintendo online and official sales support is not supported (basically outside USA, Japan, Australia, and parts of Europe), Nintendo consoles are niche or have a cult following at best, especially during the eighth generation of video games when online support became almost mandatory. In general, Nintendo is less successful in Europe than the other two regions followed by most (The United States and Japan), which is considered part of the reason Sony is able to often outsell Nintendo products (as Sony does particularly well in the same region). However, since the release of the Switch, Nintendo has been taking strides in opening more markets of its store and generally making it easier for people from different regions to play, including the complete removal of region locking; time will tell if this results in higher sales than previous systems in other markets, but general analysis seem to suggest so.
  • The Sony PSP is an odd example. The PSP itself sold amazingly in Japan, but it was niche elsewhere compared to the Nintendo DS and iOS devices. American-made games for the PSP sold well in the United States, but with the exception of certain games like Kingdom Hearts: Birth by Sleep, Dissidia Final Fantasy, and Persona 3 Portable, the JRPGs did not sell nearly as well. Perhaps as a result, it was considered a dying market in North America at a time when new games of all kinds were still being produced in Japan. The PSP was incredibly popular in Russia, but that is more due to Periphery Demographic (the PSP was considered somewhat of a status indicator) and the main competitor, Nintendo's handhelds, were not marketed very well (though the Game Boy Advance had a cult following).
    • The successor of the PSP, the PlayStation Vita, is a more straight example. The system was successful in Japan and pretty much nowhere else. Handheld consoles like the Vita fit into the Japanese lifestyle (typically only one TV in a house, far more reliance on mass transit) far better than they do the American one, meaning that Japanese Vita games can top the charts in Japan (for all consoles) and go entirely ignored in the US. Furthermore, Sony of America dropped the ball when it came to marketing the Vita in the US, focusing on how it could connect to a PlayStation 4 and be used to play PS4 games remotely (a function that's only really useful around the house, where somebody would have a PS4 and the TV it's connected to right there, defeating the purpose) and how it could provide a 'console-quality' gaming experience on the go (even though the PS3 far exceeded its capabilities, to say nothing of the PS4). The fact that the system only officially supported an expensive proprietary memory card format (its predecessor supported memory sticks which, while still a Sony-created format, was also manufactured by other companies and could easily be read by computers), while the 3DS, its recently price-dropped competitor, supported cheaper SD cards didn't help. Retailers also seemed to have somewhat of a disdain for it - apart from Best Buy, Toys'R'Us, or the occasional Walmart that might splurge for an interactive display unit. The Vita was normally shoved to the back of its gaming section, not helped by its amount of download-only games. (During the early 2010s, many people in North America lacked decent internet and digital distribution was still in its relative infancy, so it was not expected for anything such as a handheld to have such a wide download-only market.) Sony quickly abandoned any attempts to salvage the system outside of Japan, instead porting its most popular games to the PS4 and leaving the Vita lineup with quirky Japanese games and Western indie games, such that its main Western niche is among Occidental Otaku.
  • The Wii U system is often considered a colossal failure in Nintendo's gaming history, second only to the Virtual Boy in terms of poor sales. However, despite under-performing in the Americas and most of Europe due to terrible marketing and weak third-party support, the traditionally Nintendo-loving countries of Japan and France saw the system have a decent amount of success. France in particular saw the Wii U stay ahead of the Xbox One for most of its lifespan.
  • This seems to have been averted and played straight several times in Denmark in recent years. The Sony PlayStation was a bigger console hit than the Nintendo 64. The PlayStation 2 was more frequent in Danish homes than the Xbox or GameCubeAlthough... . Even during the 7th generation of consoles, the PS3 was a highly sold console in Denmark, even after the Xbox 360 have had a longer and cheaper run. Still, Denmark seems to be favoring the American consoles over the Japanese longrunner after the Xbox 360's larger library of 7th generation titles. As for the 8th generation, it's rather unclear since the Xbox One is delayed in Denmark and multiple European countries until October, but Sony has recognized their European fans, releasing their PS4 internationally in most, if not all, European countries.
  • Playing video games on the Apple Macintosh is admittedly already a niche in the West but in Japan it's taken Up to Eleven, as there are like only 20 Macintosh games released in Japan. This even worries the rival company Microsoft, to the point that Microsoft released a collection of their games (appropriately called Microsoft Mac Games Collection) on the Japanese version of the Mac. Much like the Western market however this is not a huge deal in Japan as most people who buy a Mac (if at all, since the entire Macintosh platform as a whole is unpopular and expensive in Japan, as detailed in the Technology folder on main page) do not buy it because of its games.
  • This is one reason why Nintendo made the Nintendo Switch; the Japanese prefer playing on portable consoles due to limited space for regular ones, whereas Westerners prefer playing on home consoles or PC. This lead Nintendo to Take a Third Option to try and appease both sides of the Pacific in regards to game development. It worked phenomenally well.
  • The educational Sega Pico console was so popular in Japan that games were produced from its release in 1993 up until 2005, when it was replaced by its successor, the Advanced Pico Beena. Several clones were made, including one by Yamaha. Outside of Japan, however, between Sega's horrible mismarketing, the preferences of Western gamers, conservative parents' groups at the time seeing no educational value in video game consoles in general, and the fact that there already existed a competitive market of edutainment games in the West, the console died in 1998, only four years after its Western release. Majesco attempted to rerelease the console in the US the following year at a lower price, but saw no more success than Sega did.
  • Atari released a modified version of the Atari 2600 in Japan dubbed the Atari 2800. It was no match for the Famicom juggernaut. It was also released in the U.S. as the Sears Tele-games Video Arcade II. The case design was then reused for the Atari 7800, where it was no match against the NES juggernaut.
  • While the Wii was very successful in the main gaming markets (Japan, Europe, and North America), it was a total disaster in Brazil, being crushed by the Xbox 360 and defeated by the PS3. This is more evident knowing the last three top-selling consoles in the country (PS1, PS2, and 360) had a "useful jailbreak" to run pirated games. Despite the Wii being another console with easy access to piracy, the lack of popular titles like Grand Theft Auto, and the motion controls unsuitable for smaller and denser areas, made most of the gamers in the country give up on Nintendo. And at the time, Brazil was promoting its domestically made console tailored for casual and low-budget gamers, called the Zeebo, which has its own version of famous games such as Resident Evil 4 and the port of the PSP version of Need for Speed Carbon. It only lasted for three years though before the company went belly up.
  • As a whole, console gaming became increasingly niche in Southeast Asia onwards since 2014, due to mandatory online content (granted, the third to sixth generation of videogaming had a lot of console gaming fanbase due to piracy making games available in a low-to-almost-none cost, particularly the Playstation, however since PS 4, online access is increasingly mandatory as well as online is refused for modded consoles) as well as the relatively high price tags of consoles and console games relative to the average person's income as well as the mandatory online subscription requirements. Generally speaking, Southeast Asians are more interested in PC and Mobile gaming due to:
    • The proliferation of "free-to-play" games,
    • Low-cost Digital Distribution games, helped by stores such as Steam allowing local non-credit card payment,
    • And PC cafes allowing one to rent a gaming-class PC without having to buy one.
      • Console gaming since then were not exactly hated, but overall they became a 'luxury item' for lower-income gamers (which formed the majority) unlike before and generally looked down by mainstream gamers as elitists (with the parts of the Vocal Minority console gamers looking down on mainstream in response, causing a largely one-sided Fandom Rivalry). Not helping matters is that Nintendo, the most beloved Japanese console game making company in the eyes of the West, didn't even have actual serviceability at Southeast Asia (Their Nintendo Online account required Western/Japanese address and cards, not accepting anything locally from SE Asia), putting even more hassle for consoles in addition of that high price tag (At the very least Playstation still offer local currencies to use to buy their games, so the only hassle was the high price tag.)
  • Arcade gaming also follow suit come 2020. While they initially have updated lineup with online and account features, as well as crowded arcade gatherings despite the increased cost, during the latter half of 2010s arcade places are steadily decreasing, with the arcade centers on 21, the largest Indonesian cinema theatre chain, being removed, as well as fewer arcade center besides Timezone and Fun World features updated arcade lineup. By the time of the COVID-19 pandemic, it's all but dead, if not dormant.

    Konami 
  • During 2015-2016 period, the company came under sustained fire worldwide thanks to many, many controversies that involved the conglomerate's video game division, which greatly damaged their reputation in the West, but somehow they're more accepted in their homeland in Japan despite the Japanese themselves initially being equally pissed off at them. Most of them seems to showcase the great Values Dissonance between the two regions, but to wit: What pissed the fandom in a worldwide scale was no doubt the investigative journalism that alleged Konami was treating its employees horribly, a very public and messy falling out with one of the most revered video game figures of all time that was under their employment, Hideo Kojima, the move towards gacha/pachinko as stated above, their games' qualities taking a nosedive afterwards and several scummy attitude taken to certain beloved franchises, coincidentally most of them had something to do with Kojima (Metal Gear and Silent Hill).
  • The Western side kept their hatred practically undying for these factors:
    • The series affected with their decisions happen to be those that became runaway hits or better received in the West (such as Castlevania, Metal Gear, Contra and of course, Silent Hill), their two latest big games with Western appeal were Metal Gear Survive and Contra Rogue Corps, both of them being heavily panned by fandom.
    • In the West, there is a renowned video game pundit Jimquisition who has continuously called out Konami for every scummy move or whatever actions they made that do not sit well with the Western spirit, and seeing that this resonates with many of the fandom there, they felt more justified in hating Konami. And certainly, Konami once had Youtube block some of Jim's videos that badmouthed them, making it feel like they were using 'big corporate presence' to shut down a protestor, but overall it gave Jim even more credibility that he was the victim.
    • Further helping Jim's case was how the Western community, not just in video game section, has taken an increasingly anti-corporate stance around the time of the controversy. If a company did something considered immoral or scummy or heavily profit-driven, this will continue into the discovery of many other controversies with people behind-the-scenes within said companies, leading to even more calling out. As Konami itself is a big corporate, it does not escape the sight of these anti-corporate people, and even if they didn't do any other controversy, they become more known as one of the 'first offenders' amongst video game company circle, with many other video game companies being also under fire afterwards.
    • Western consumers are practically livid towards Pachinko, considering them as nothing more than harmful slot gambling machines and a waste of time, as well as the slot system generally being reviled in video game mechanics. So, for Konami to announce that they would focus on Pachinko in that time was read by the Western community that they were burning the bridges to the video game community in the worst way possible. There are many gamers who would absolutely never forgive Konami for that act even after years have passed, and in the West, "Konami is just a Pachinko company that no longer make games." is practically a guilt-free punchline that gamers like to state in their frustration against Konaminote . While gacha games in general have had a better reception in the West, it wasn't as much accepted as normal games (being considered predatory by nature) and a lot of Konami's gacha games turned out to be on the losing side towards the more famous ones.
  • The Japanese side, however, manages to let time heal their wounds for several factors:
    • Gacha and Pachinko systems are more accepted and popular in this region, so when Konami was giving more pachinko machines based on their popular franchises, there were less controversies than in the West.
    • The Japanese side of environment were less rife with 'video game company ethic' manners and therefore attracted less controversies, as Konami's big controversy would be the last. Additionally, there's no Japanese counterpart of Jimquisition so their past mistakes got far less exposure and were reprimanded less often, and as time passed on, they were also able to move on. It also helps that while there are some anti-corporate mindset within Japan, they just didn't become the big trend within Japanese gamers as they are already occupied with other things.
    • Konami was still a big producer of arcade games, which is still a functioning industry in Japan, and their arcade games were largely unaffected. While there was another controversy with the "BEMANI Sound Team", it didn't last as long with the Kojima debacle, and they also accept that the COVID-19 Pandemic also affected their arcade scene.
    • Konami never gave a reply to that damning investigative journalism, not even once. While the Westerners would read it that both the article and the tangible lack of reply is in itself decisive proof that Konami was practically running their own employees to the ground, the Japanese read it as Konami did not see the need to even grace that interview with a reply, so it draws possibility that the interview was heavily one-sided in the first place and thus making them doubt whether they really did such draconian actions.
    • After Kojima established his own company, apparently their relations became much more amicable, with Kojima still crediting Konami for shaping himself to be the man he is right now, and Konami lets Kojima do whatever he wants with no more harassment (or even trying to sabotage him again, as Kojima would go on to win international awards, whereas any positive awards Konami could attain afterwards was just on the Japanese side). The same could be said for their ex-superstars and their (planned) successor series based on their products in Konami (Koji Igarashi and Yoshitaka Murayama).
    • The result is that Konami was still able to make games in Japan, but limits themselves with their franchises that weren't well known in the west, chief two of them including Live Powerful Pro Baseball and Momotaro Densetsu (the latter one was actually from the acquisition of Hudson Soft), both of them topping the Japanese video game sales chart for their time, and the latest Momotaro Densetsu game winning an award in a Japanese-exclusive Game Awards so in a sense, the Japanese were willing to give them a second chance that they did not neglect. As far as they know, they realized the damage has been done in the West so they have to compensate by limiting their appearances there and expecting vitriol when they do.
  • In general, aside of being another victim of the Western countries' rising hatred against mobile gaming, arcade rhythm games, as well as the 'heavy profit-oriented business model', Konami has one ongoing sports simulation franchise that found not only success in their home country, but also in neighboring Asian countries (usually Southeastern ones) that favor said sports: Pro Evolution Soccer. Western countries would occasionally revile that game for 'not being a real game', but it saw more success in soccer-loving nations like Indonesia or sometimes Singapore, while even the small minority of Western people that played the game, admitted it being an improvement over its rival: FIFA Soccer by Electronic Arts. To which, while widely considered as 'The Most Evil Video Game Company' rivaling Konami, EA's soccer simulation series still finds a loyal fandom within these Asian and soccer-loving countries, even the mobile ones, once again showing extreme Values Dissonance between the two sides.
  • That being said, after the Kojima debacle, both sides agree that Konami's reach become drastically reduced, with far less output as of the Kojima controversy. Even despite their commitment of "mobile is the future" they have even less mobile games than domestic competitors such as Square Enix, Cygames, and SEGA.
Advertisement:

    Miscellaneous 
  • First person shooters are, until around the middle of 2010s, a niche genre in Japan. One reason is that the genre is most closely associated with systems like PC and Xbox that are themselves unpopular in Japan (see above). Another is that FPS games tend to focus on members of the American military (or in the case of science fiction games like Halo, militaries heavily inspired by the American military), which Japanese gamers find less relatable than American gamers. While they have a steadily increasing fanbase there, nobody is under any impression that Japanese AAA game developers will get around to making their own high-budget FPS games. While a number of small Japanese developers have managed to create FPS, they rarely manage to gain more than a cult status among Japanese gamers. However, when first-person shooter evolves and starts getting more identity then the (perceived) stereotype of "shoot anything that moves and it's not on your side", especially when RPG Elements such as stats progression, perks, and unlockables were merged in as well as large emphasis on arcade style action, exploration, and nicely crafted levels, as well as personality, Japan starts to warm up with the genre, subverting this trope, most notably with:
  • Sprite-based games are appreciated in Japan about as much as high-quality 3D-graphic games, and hand-drawn sprites are common. However, outside of Japan and some other countries, around the era where PS2 took off, they were seen as kiddy and criticized for being "primitive" and being called "SNES Sprites", without regard for how much work actually goes into the creation of sprites, and they were seen as limited to indie games and handhelds until around 2011. Now, with the rise of digital distribution and the Retraux wave, pixel and sprite art are back in business. Since then, plenty of indie games that were unabashedly Retraux and Genre Throwback have become gigantic Sleeper Hits.
  • Mobile Phone Games
    • Japanese mobile games such as Puzzle & Dragons and Brave Frontier are beloved in their home country, but reviled by Westerners as not "proper" games due to not being on a PC or some sort of dedicated gaming device. It gets worse if the game in question uses a "free-to-play"/gacha model, a system that is reviled by Western gamers as a cheap cash-grab with Pay To Win implications. A lot of Japanese developers such as CAVE, Taito, and especially Konami, all of whom announced that they prefer to focus on mobages since they generated more money, are usually on the way to becoming a 'reviled' company for that. This may be alleviated a bit as a few mobages like Fire Emblem Heroes and Fate/Grand Order have gained popularity even in the west, but it's rare and there are as many people in the West who prefer that the companies stick to traditional gaming on consoles and PC, even when gacha games are played there, they were often given the deregatory term of 'not a real game'.
    • In a similar vein, mobile Rhythm Games like Arcaea, Cytus, and Dynamix aren't really acknowledged in the Western rhythm game community despite often having international releases; again because of the "it's not a console or PC game therefore it's not a real game" mentality. Furthermore, by the time these games came about, the Western RGC had already developed an underground scene of arcade-spec controllers, rips of arcade games with the Copy Protection defeated and modified to run on a conventional home PC (most modern arcade game hardware is basically "Windows PC in a cabinet"), and even arcade cabinets purchased for personal use, so even mobile games played on reasonable-sized tablets still get glossed over. Finally, BEMANI is a firmly-established name in the Western RGC that's been around for over 20 years unlike the aforementioned games, so people are more likely to pay attention to the next Dance Dance Revolution, beatmania IIDX, or even pop'n music game (ironically and as a result, this makes the rhythm game community the one subculture in the West where Konami isn't routinely roasted to death). If you go to an English-language Discord server or other community for mobile rhythm games, most players there will be from Asia instead (most mobile rhythm games are made by developers from Japan, Taiwan, or China).
  • Relating to Pokémon, but also other games with this mechanic: One Game for the Price of Two is widely considered a Scrappy Mechanic in the West, while Japan loves it and considers it a Socialization Bonus. This comes down mostly to handheld gaming in general being much more popular in Japan, combining with higher population density and higher use of public transport equating to easier access to others with the game. Since the games with this trait tend to be developed in Japan, a lot of them feature mechanics like this, and even before StreetPass was introduced, Expies of it showed up in games like The World Ends with You and Dragon Quest IX. Furthermore, Japanese games often have achievements that involve trading with people X amount of times, or passing people X times, which nearly always become That One Achievement in the West. The hate is even evident in the trope title itself, which shows that, while Japan considers it an encouragement to socialize, westerners see it as an encouragement to buy both games and two consoles. It also doesn't help that, unlike Japan, most Western cities are spread out and are rarely condensed, which makes it harder for people to find other people in public that have the same game they do so that they can exchange characters or items.note  And, unlike in Japannote , the notion of people using common sense by keeping their handheld consoles out of view in public is the norm, as unsuspecting criminals and thieves take it as the opportunity to steal, or at worse, mug, the owner before cashing in online or at the local pawn shop.
  • Downloadable Content and download-only games are very common in the West. In Japan, however, it's very marginal, as most would stick to buying a game in retail as Japanese pride involves showing off physical material.
  • Also while First-Person Shooter and Multiplayer Online Battle Arena genres are popular around South East Asia and East Asia itself, including Japan's near neighbors like South Korea, China, and Taiwan, those two genres are obscure in Japan where RPG's and console games are generally preferred.
  • Head-to-head play in the Puzzle Game genre is incredibly rare in the Western world, a core part of both the SEGA interpretation of Tetris and the Puyo Puyo series. Western players would much rather play by themselves, either to beat the clock or go for high scores, a cultural trait cemented by the aforementioned Game Boy version of Tetris and seen in other popular puzzle titles. Multiplayer is instead viewed as either a novelty or a bonus mode, rather than one of the central aspects of a puzzle game. Hence, even people who could look past the Girl-Show Ghetto look of the Puyo Puyo games are still likely to be turned off in how even its single-player modes will provide AI opponents most of the time. Other multiplayer-oriented puzzle games like SEGA Tetris, Panel de Pon, and Magical Drop are also niche at best.
  • Many Rated M for Money games, like the God of War series, sell horribly in Japan. While God of War III was a massive hit in America, where it sold over two-and-a-half million copies, it barely made it past 100,000 copies in Japan. This is all despite the existence of Japanese "guro" genre, though it isn't mainstream and fans and artists of it are often caught in a backlash. Likewise, Kratos is popular for Rated M for Manly and excessive Gorn, the things that wouldn't click very much on the Japanese although it'd be wildly popular for Americans.
    • Japanese gamers consider gore acceptable when applied to monsters, which is why the often-grotesque Resident Evil has the lower rating of CERO D than Grand Theft Auto where it is rated CERO Z (yes, Japan has two M-tier ratingsnote ).
  • The Mon genre has historically had a lot of difficulty establishing itself in the west and is still often seen as kind of a niche genre, mainly for the same reason Magical Girl anime and Toku series are subjected to this trope; America was first exposed to it through one of its biggest success stories, Pokémon, causing mainstream audiences to mistakenly presume that other Mon franchises imported later, like Digimon, Medabots, or Yo-Kai Watch, were cheap knockoffs made to cash in on the craze, rather than merely different series in a thriving genre. Many Mon series have established cult followings in the USA, but none have managed to rival Pokémon in terms of popularity and recognition, nor have they ever fully escaped its shadow.

Other Video Games:

  • When Huang Di was first revealed to be one of the minor gods in Age of Mythology: Tale of the Dragon, some Chinese players disliked the unflattering depiction of the mythological progenitor of the Chinese civilization and people.
  • Shoot Em Ups with turn-and-thrust controls, such as Asteroids, never caught on in Japan.
  • BEMANI:
    • Although Reflec Beat has somewhat of a fanbase in its native territory of Japan, Western BEMANI fans have a very low opinion of it, citing the randomized and chaotic-looking way the notes fall. Amongst a certain section of the fanbase that likes to crack BEMANI arcade software, Reflec Beat gets the least development of any active BEMANI series (although this could have more to do with there being an iOS port that's very close to the original sans screen size). However, this has changed in 2014, as the crack of Reflec Beat colette was released to very popular reception, encouraging many fans to buy multi-touch screens to play the game.
    • Advertisement:
    • Although Dance Evolution was big enough of a hit in its native country of Japan to have an arcade version that continously gets updates, the same cannot be said in North America (where the game is known as DanceMasters), where the arcade version does not exist and the Xbox 360 version flopped due to having to compete with fellow Kinect Rhythm Games Dance Central and Just Dance, which easily smoked Dance Masters in sales and popularity.
    • The beatmania franchise has achieved only marginal success in the United States, compared to its legendary status in Japan (particularly for its IIDX incarnation). While arcade machines were relatively visible in the wake of Dance Dance Revolution's stateside popularity, the series flopped miserably when it was finally ported to the American PS2 in 2006, nearly a decade since its debut. Most Americans, by this point, were turned off by the difficult learning curve and unusual structure of the game, and it suffered from "Seinfeld" Is Unfunny as a result of newer, more mainstream-friendly rhythm games having already made their mark (the Guitar Hero series had already arrived by then). Ultimately, gamers in the United States latched onto its eventual counterpart DJ Hero, while beatmania and IIDX remain mostly obscure outside of hardcore DDR fanbases.
    • DJ YOSHITAKA, while popular in Japan, is reviled by many Western players who see his songs as tiresome and too similar to each other. It's not helped by his position as the director of several BEMANI series (Sound Voltex, Popn Music, beatmania IIDX, Reflec Beat), which has been met with negative reception by the same demographic.
    • The various announcers of DanceDanceRevolution are seen as iconic staples by Japanese players, but Western players see them as annoying nuisances more than anything else and long for the option to turn them off in arcade versions.
    • This hit GITADORA in the West after Guitar Hero was released. Detractors dislike the reduced number of fret buttons (alhtough XG addresses this), the differences in guitar chart design, the lack of Western songs (then again, when the series is primarily Asia-only, this is inevitable), and songs being cut down to 2 1/4 minutes or less (due to the game offering 3-5 stages per credit).
    • For that matter, Asian-developed arcade music games in general took a dive in what little popularity they had when Guitar Hero and Rock Band came along, due to the aforementioned song lengths and lack of recognizable songs. The lack of exports and various rhythm game developers' decisions to move to subscription-based arcade cabinet leasing models exclusive to Asia certainly don't help. Today, BEMANI games are Cult Classics at best outside of Asia; it's not hard to find longtime Konami fans in the West who have never heard of games like jubeat or Sound Voltex.
  • BlazBlue:
  • Call of Duty: Modern Warfare (2019) was acclaimed by Western gamers and critics alike as a return to form for a series once thought to have lost its way, with the single-player campaign in particular acclaimed as quite possibly the best in the series. Where there was controversy, it concerned questions about whether or not it went too far in its depiction of the horrors of war, which was hardly a new complaint about the Call of Duty series even in its better installments. Russian gamers, on the other hand, absolutely despised the single-player campaign for its portrayal of the Russian military as thuggish and brutal villains with shades of various real-life conflicts from recent Russian history (including the Soviet Invasion of Afghanistan, The Chechnya Wars, and the Syrian Civil War), to the point where they called it "American propaganda" and drove its Metacritic user score into the gutter in response. Sony's Russian division even refused to sell the game on the Russian PlayStation Store as a result. One particular sticking point involved a reference to a "highway of death" caused in the game by the Russians, even though the real incident it was based on was the work of the American-led coalition during the Gulf War.
  • While Company of Heroes 2 was well-received in the West, gamers in Russia and other Eastern European countries hated it so much that it was pulled from sale. Most of this (as with the Modern Warfare remake above) has to do with perceived Unfortunate Implications regarding the portrayal of the Red Army and the Eastern Front of World War II, especially compared to the first game's lionization of the Western Allies. Even the Nazis got a more sympathetic portrayal in their campaigns in the first game than the Red Army got in the second. Elaborated here.
  • The original Darius was a big success in Japan and is still very much beloved (a 2019 poll had it voted as the favorite installment, with nearly half of the votes) but among western fans, it's usually dismissed as a lackluster shooter only notable for its odd theme and gimmicky cabinet. Because of the large and expensive cabinet, the game didn't get as much circulation in western arcades and none of its home console ports were released outside Japan, meaning most western's players exposure to it would be years after the fact through emulation, without the benefits of the flashy cabinet and with the stuff that made the game so impressive and groundbreaking in 1987 taken for granted. Even for the demographic that wouldn't necessarily reject Darius old-school take on checkpointing and punishment for death, a lack of western awareness of the game's "New" and "Extra" revisions (which do many subtle tweaks to improve the difficult curve) meant many players gave up trying to learn the game as the original release is seriously unbalanced difficulty-wise. Its reputation is improving with the release of the Darius Cozmic Collection (which includes said balancing patches), although you'll still be hard-pressed to find any western fans call the original Darius their favorite.
  • Dead or Alive: In this fighting game series where the Action Girls are the stars of the show, Marie Rose stands heads above the rest among Japanese audiences. However the fact she not only looks fourteen (she's 18) but also acts like a small girl and is quite sexualised regardless means she is quite hated nearly everywhere else.
  • While Death Smiles is seen as yet another CAVE game in Japan and amongst the more hardcore parts of the shmup fanbase, when it was introduced in America it was NOT well-received due to the "loli" art and the tagline on the back of the box ("Death smiles at us all – Lolis smile back!").
  • Downplayed in the Disgaea fandom on various occasions. Plenair, Raspberyl, and Champloo while not hated are significantly less popular in America than in Japannote .
  • Donkey Konga, made by the team most known for Taiko no Tatsujin, was popular enough in Japan to make it up to a third installment, but in the West, only two of the games were released, and the games were widely considered a part of Donkey Kong's Dork Age. The main problem was the track selection. While the Japanese tracks were a mix of Nintendo tunes, anime openings, tunes from The Anime of the Game for Nintendo's respective franchises, and other popular Japanese songs (typical of a Taiko no Tatsujin game), the Western releases had track lists that were mostly pop hits in their countries, with only the occasional Nintendo songs (the NA release of Donkey Konga 2 was particularly bad about this, because it had no Nintendo or game music other than the game's own opening theme). The result was that the series came off as In Name Only, and it didn't help that Taiko no Tatsujin was not widely known outside of Japan.
  • Dragon Quest:
    • The series is by far the #1 Cash Cow Franchise in Japan, where it's revered as a trailblazer for the Eastern RPG genre. It took far longer to catch on in North America, and even then, sales are nowhere near as mighty as in Japan. Some critics pin this on the colorful, cartoony graphics and generally lighthearted fantasy tone leading to the franchise being perceived as "kiddy", but more critical to its relative failure is timing. Despite being groundbreaking upon its 1986 Japanese release, it didn't make it across the Pacific Ocean until 1989, by which point there were pretty mature CRPGs such as Wasteland already on the market, not to mention the aesthetically similar The Legend of Zelda had been on American shelves for two years and set a completely different standard for the RPG genre in the west.note  By 1989, when the series debuted in America, it came across as a tedious, indistinguishable fantasy game in a sea of more fleshed-out alternatives. Even after turn-based RPGs such as Final Fantasy and Pokémon became hits in North America, Dragon Quest has still struggled to find a footing in the US, largely due to incredibly uninspired marketing. Case in point, a commercial for Dragon Quest IX. While they did get Seth Green to promote it, the commercial makes the game look like an incredibly generic sword and sorcery RPG, saying nothing unique or interesting at all about it. Europe does, however, seem to go for a middle ground, perhaps because of the game's medieval European setting and their general love for Akira Toriyama.
    • This is also why the inclusion of the series' main characters (who are all collectively referred to as 'The Hero') in Super Smash Bros. Ultimate were met with polarizing reactions by Western fans, whereas Banjo-Kazooie, which is more of a Western property, garnered a larger cheer. Thankfully, the Japanese didn't share a similar trope application, they're just as hyped as the Westerners for Banjo & Kazooie, along with hyping for The Hero.
    • Within the Dragon Quest series, Maribel from Dragon Quest VII is fairly popular. Out of all the characters from the game, she's appeared in the most spinoffs. In the western fanbase, she was fairly unpopular for being kinda rude and spoiled, pre Character Development, and because she leaves the party at one point. This changes in the 3DS version, wherein the localisation team make her more amusing and gameplay buffs make her a pretty good party member.
  • The Dynasty Warriors series of games are huge sellers in Japan. The UK is more forgiving, but in America it's considered a cult series at best, with common complaints referring to its repetitiveness. It's more or less the Asian equivalent of Call of Duty — down to the fact that many people hate it on-sight, criticizing it without even bothering to play it.
    • The games tend to assume the player is already familiar with the original story. It's a reasonable assumption in Eastern nations — not so much in the West.
    • Character-wise, the Two Qiaos. The complaints are majorly because they're not contributing to anything in the story, only existing as "Sun Ce and Zhou Yu's wife." The Japanese have no problem with that. Their young looks fit well to their fandom of Joshikousei and Token Mini-Moe sorts. In the western areas? They, especially Xiao Qiao, are accused of being bratty-annoying little girls that have no place in the battlefield and due to Values Dissonance, western fans are creeped out with their presence because it's making Sun Ce and Zhou Yu look like pedophiles, for them anyway.
    • Also character-wise, you have Naotora Ii (spelt ii) from the spin-off/sister series Samurai Warriors. She is a Shy with Moe tendencies that keeps apologizing during her attacks, All while having a skimpy wardrobe in the middle of a battlefield. These traits make her endearing to the Japanese audience, which resulted in her appearing on 9th place on Samurai Warriors 4's character poll, a "deified" form on Warriors Orochi 4, being the sole female representative of her series in Warriors All-Stars and even a playable appearance in the PC version of Dead or Alive 5. In the US, her traits, like many other characters that share her personality are received with annoyance than endearment.
    • The company behind these games, Koei Tecmo, put up a survey/poll for their Japanese audience in October of 2015, asking which franchises that they would like to see crossed over with their popular Warriors series. Seeing as how Koei Tecmo is no foreigner to crossover video games, and that they have quite a positive track record of them, fans were eager to have their voices be heard in hopes of seeing their favorite anime or video game franchise be given the Warriors treatment. Unsurprisingly, western fans of both anime and Koei Tecmo alike caught whiff of the existence of such a survey, and effectively hijacked it from the Japanese netizens, hoping to drown out their voices with their own choices of which series they would like to see. Since tastes in media on both sides of the ocean differ greatly, this lead to a flame war on the survey page, with the Japanese fans responding with both confusion and anger, and western fans responding in earnest. When the results of the poll were finally compiled and tallied, western fans were not happy with the results, especially in regards to the unexpected franchise that took the #1 spot, making this a classic example.
  • Fire Emblem:
    • While the games where Marth is the protagonist (Shadow Dragon and the Blade of Light and Mystery of the Emblem) are loved in Japan, with Mystery of the Emblem being heralded as the very best, the rest of the world sees them as some of the weakest parts in the series. One of the reasons for this is that the series was mostly unknown outside of Japan for over ten years, until Marth Debuted in "Smash Bros.", and the games set in Marth's world are often given Nostalgia Filter treatment or "I liked this world the best." The non-Japanese fanbase started out with the adventures of Eliwood, Lyn, and Hector, with a later Newbie Boom bringing in a lot of fans who journeyed with Chrom. Even among fans who go out of their way to seek out the franchise's untranslated past, you're more likely to find fans of the more complex and experimental Jugdral games, or the one with Roy. As a result, Marth's games are seen as merely outdated. A major reason for this is that the series tends to recycle and toy with story elements a lot, which means pretty much every character and plot point from Marth's games feels, at best, rather familiar, and usually lack the clever twists that later incarnations would put on their template: Camus's whole Noble Top Enforcer persona is harder to get into when nearly every game has featured a similar character, many of whom had more buildup or character development.
    • One in Awakening (but also Fates) is Tharja, Gaius, and Cordelia. These three characters appear in Fates as expies (implied to be reincarnations) in the second generation thanks to their popularity in Japan (which is also why Owain, Inigo, and Severa appear as well). While Gaius is well liked in the west, Cordelia is seen as more annoying and often Unintentionally Unsympathetic, while Tharja is base-breaking and seen as creepy thanks to her obsession for Robin (which itself is pretty rare for female characters). The fact that the poll was only in Japan was also a bit of an annoyance.
  • Hydlide and its sequels are well-loved in Japan, but in America it's seen as a piece of crap. The fact that the NES port screwed up the menu system, not to mention being released in North America after better games of the genre (like The Legend of Zelda) had been released there, didn't help. Two perspectives on this were offered by The Angry Video Game Nerd (here) and LordKaT (here) in their reviews of the game.
  • In the Groove, a clone of Dance Dance Revolution meant to provide a fresh experience for players tired of DanceDanceRevolution EXTREME (following EXTREME, there were no more new arcade DDR games until SuperNOVA four years later). Part of ITG's infamy in its home territory is the absurd difficulty of charts; ITG charts rated 12 and 13 were extremely hard for their time, putting DDR boss songs to shame.note  While it proved very popular amongst arcade Rhythm Game enthusiasts in its native territory of North America, it failed to find an audience in Japan, where DDR originated from; Japanese players cite the differing songlist and philosophy in step chart design as turn-offs to ITG. This may have backfired when Konami started pumping out arcade DDR games again, as top American ITG players were able to easily clean out the new boss songs while Japanese players had to play catchup. When DDR A got an official North American release, with network support and all, American players officially become some of the best players in the world, with several of them becoming regulars at the Konami Arcade Championship in Japan and one of them becoming champion twice.
  • KanColle is hugely popular in Japan, but not so much in places like Hawaii (and especially WWII veterans or families of WWII veterans who fought in the Pacific front), since nearly all the protagonists are personified Japanese warships from World War II; while the antagonists are demonic in nature, and though not outright said to be American military, are strongly implied to be. Also, this game isn't well liked in Korea since it's been accused of "glorifying Japanese imperialism" and shifting the political spectrum of young people to the far right. This stance started changing with reveal of Iowa, the first American ship to be implemented with the Play Station Vita version of the game, which also debunks the implication of the Abyssals being the Allies. Unsurprisingly, she's a huge hit with the American Kancolle community. Despite this, the high concentration of very young-looking cute girls keeps it a niche-within-a-niche in America, where most people consider interest in that sort of thing creepy. (Iowa is popular overseas partly because she's mature-looking and well-endowed).
  • The King of Fighters characters Ash Crimson and Benimaru Nikaido are off-putting to some Western audiences, both due to their mannerisms (Benimaru evokes imagery of stereotypical gay men and Ash has some very effeminate quirks). Likely this is caused by the opinion that a fighting game character should look like they could actually hold their own in a fight, of which both characters do not exude. However, Benimaru Nikaido has garnered much less hatred than Ash Crimson due to his more masculine appearance, increasing muscularity in recent games, and being a confirmed heterosexual. Ash himself would eventually be Rescued from the Scrappy Heap in XIII due to revelations regarding his true character and his ultimate fate.
  • Kingdom Hearts: The games themselves do poorly in Europe. It just is so noticeable due to the huge gap in sales between Europe, compared to Japan and North America. It's bizarre, as Disney-licensed games are usually very big in Europe, to the point that Sega used the Mickey Mouse license to create Mickey's Castle of Illusion to make sure that the Mega Drive had a good European launch, and JRPGs tend to be enormous hits, as with Dragon Quest, Secret of Mana and Terranigma. Considering Disney's image as a "family friendly" and near monopoly on animation with Europe, it's likely Kingdom Hearts suffers from what issues plauged Euro Disneyland, and especially for gamers who probably don't like the idea of Disney encroaching on video games of other creators.
  • Live Powerful Pro Baseball is a Konami sports franchise with no Western presence outside of two out of four spinoffs based on the MLB. A 1997 Gamespot review of Pawapuro 4 considers it "inconsequential", slow-paced and is put off by the cartoony aesthetic. In Japan, it was advertised as "THE BASEBALL GAME" and enjoyed such success that the sequel spawned a side-series that lasted until 2012. This is no different with said series, Power Pro-kun Pocket. A 2006 preview also from Gamespot spends over a paragraph complaining about getting lost on what's the actual main draw of the series — the Dating Sim scenario that awards ballplayers for successful runs (which happens to be something butchered out on the only time a DS Power Pros game was released overseas). Namco's Famista, the older major Japanese baseball franchise, is so seen in the same light that the RBI Baseball localization of the NES installment developed into its own thing with a more realistic design direction.
  • maimai is stupendously popular in Japan and has a decent following in other countries in Eastern and Southeastern Asia. However, interest for the US location test is low if not outright nonexistent and most people in Western rhythm game communities don't really care much for it, instead favoring more Nintendo Hard games using falling or upward-scrolling notes (rather than maimai's radial-scrolling notes) such as DanceDanceRevolution, Sound Voltex, and especially beatmania IIDX, and would much prefer to get CHUNITHM, SEGA's other major arcade rhythm game property that suffers even more of No Export for You than maimai. (Though the circumstances of the loctest — no All.net, expensive pricing that was requested by SEGA, and a lot of missing songs — are also to blame for the location test being poorly-received.)
  • Marvel vs. Capcom: Although the MvC series is popular on the other side of the pond (as noted by this trope's polar opposite), Japanese reaction to the series as a whole is, at best, a resounding "meh" (even when taking Tatsunoko vs. Capcom into account), at worst, a series of legendary kusoge ("shitty game"). Fighting game website shoryuken.com goes into detail on just how bad MvC2 and UMvC3's reputations are in Japan in this article.
  • The Mass Effect games, while extremely popular in the West, did poorly in Japan. This may be because there are many long-running video game franchises in Japan with similar mechanics. This combined with the fact that it's mainly made with a Western audience in mind and thus doesn't place much advertising in Japan for it might be the reason why it has low sales in Japan. The series does, however, rank up high scores at Famitsu.
  • MechWarrior Living Legends' variety of Space Planes and Future Copters are popular with the game's native Western audience, but unpopular with Eastern European players, many Eastern clans prefer sniping and kiting, which the aircraft directly counter, while Western units often prefer close-in brutal combat. The majority of Russian-made custom maps do not feature aircraft factories, or limit it to the weak (but more annoying) VTOL aircraft.
  • Metal Gear:
    • Raiden wasn't as hated in Japan as much as he was in America and Europe when Metal Gear Solid 2 first came out. Most of the complaints players had in Japan wasn't with Raiden himself per se, but from not being able to play as Solid Snake. This is probably because being Bishōnen, as Raiden is, isn't a big deal to Japanese gamers, whereas in the West, such characters are seen as overly effeminate, especially in an action game. It helps that Kenyuu Horiuchi, Raiden's Japanese voice actor, actually made him sound like a real adult, giving him a voice almost as deep as Akio Ōtsuka's performance as Solid Snake, as opposed to the higher-pitched approach that Quinton Flynn went with. The hatred around him eventually died down, partly because Raiden's portrayal in Metal Gear Solid 4 and Metal Gear Rising: Revengeance was much more well-received, partly because most people in the West really think that he is meant to be a critique for players who look at Solid Snake for power fantasy. People would rather look at the game's writing, which has been subjected to Values Resonance.
    • Japanese fans were extremely critical of the fact that the opening cutscene of Metal Gear Solid 2 shows Solid Snake casually tossing a cigarette butt off a bridge. In a culture where schools are cleaned by their own students, the consideration of others' needs is paramount, and with a semi-religious faith in the idea of items having a proper resting place, littering is considered revolting, pointless Jerkass behaviour that is genuinely upsetting to see done by a cool and likeable hero. Later games made a point of showing Snake (and his father) dispose properly of everything they smoke, with the opening cutscene of Metal Gear Solid 3 giving the fate of the thrown-away cigar special attention. In the West, littering isn't particularly liked, but it's a petty enough crime that it's extremely unlikely that any Western fans even noticed that Snake was littering in that scene.
  • Metroid games are generally average sellers in Japan, while being much more popular in America, to the point where the second game was advertised to Japanese audiences as being the "hit video game in America." There's a variety of debate as to why that is, with Nintendo themselves placing the dissonance on the fact that the two genres most of the series titles are in aren't the most popular in the region. Metroid: Other M radically changed the gameplay and storytelling style in an attempt to appeal more to Japanese audiences, but sales remained the same and what Japan fans there were ended up being mildly disappointed. Conversely, in America, Other M was a failure that quickly became the most loathed game of the franchise due to its poor story and linear gameplay.
  • Monster Hunter:
    • The series in general, despite being one of the most popular gaming franchises of all time in Japan, has only established a small, dedicated following in North America, particularly Mexico and the U.S. Some Western gamers dislike the games because of the heavy grinding needed to craft items and armor, lack of enemy targeting, and lack of visible Life Meters for boss monsters. This sadly means if you live outside of Japan, portable games up until Monster Hunter 4 become exercises in patience and loneliness due to the lack of an online mode. This seems to be changing with 4 Ultimate, which sold a good 290,000 copies in North America in its first month, but it's still far from the household name that it is in Japan. Then there are Western fans who would enjoy MonHun more if the last three games (4, 4G/4 Ultimate, and X/Generations) had console releases, despite the series being a Cash Cow Franchise in Japan because it's primarily on handheld platforms. Monster Hunter: World in particular is an effort to address Western criticisms, by being on consoles rather than handhelds and having a lot of quality-of-life improvements to address mechanics that are seen as staples by hardcore fans but turn-offs by prospective players.
    • In World, the Handler is a popular and cute sidekick character in Japan, but Americans tend to see her as an Annoying Video-Game Helper who contributes nothing to hunts yet takes joint credit for your accomplishments. She's also seen as an idiot in the story, getting into danger from an Odogaron and a Deviljho and needing to be rescued by the player. For the PC release of World, one of the single most popular mods is one that prevents her from ever speaking outside of story dialogue.
  • Mortal Kombat: The franchise is infamously unpopular in Japan, to the point that none of the games have seen a release there since Mortal Kombat 3 and other Western fighting games were tarred with its brush until Skullgirls came out (the animesque and kawaisa tropes may have had a major hand in Skullgirls' popularity with Japanese gamers). Reasons vary, from the lack of real work on creating authentic mythology, to the series' infamous downward spiral after 3, to generally not being quite as deep or well-designed in terms of visuals, or gameplay as many Japanese fighters. The heavy focus on gory violence is also often criticized. It's not without a small following, but it doesn't even have a cult classic status over there.
  • In Russia, Mortal Kombat is synonymous with the fighting game genre. But Russian gamers don't seem to like Japanese fighters, like Street Fighter and Tekken, mainly due to the cartoony graphics of the first one and complex battle systems of both. However, it's not without a small following.
  • The Polish World War II/Time Travel FPS Mortyr 2093-1944 spoiled the Polish press in its day, while it was regarded as a laughingstock abroad, especially in comparison to contemporary FPS games like Half-Life. Penny Arcade notably took a jab at the game in this strip. In somewhat of a contrast, however, its sequel got some flak from the Polish press that time around (didn't help that, by that time, the Polish game industry was wowing the world with Painkiller), while some foreign reviewers regarded it as passable at best.
  • While selling well in Japan, Natsuiro High School is almost universally hated in the United States and other western countries mostly due to its Audience-Alienating Premise of the protagonist being made to take Panty Shots of the female characters.
  • NieR: while the Replicant version of Nier ("Brother" Nier) is not hated, his popularity is far eclipsed by his older and more grizzled Gestalt counterpart ("Father" Nier) outside of Japan. This comes as little surprise, since the developers made "Father" Nier to pander specifically to western gamers, and succeeded on that front, such that many fans were disappointed that NieR Gestalt didn't receive a next-gen port like NieR Replicant did.
  • Overwatch: Tracer is pretty popular, except in her native UK, where her extremely exaggerated Cockney accent makes her a lot less sexy/endearing and a lot more annoying.
  • Policenauts is beloved by Hideo Kojima's fanbase in Japan, but in the West it's viewed Kojima's weakest game and generally disliked. Part of this is due to the Fanservice Extra mechanic in the game that allows the player to grope every single female character and provides them with an endless supply of receptionists to try it out on, something that is considered weird and creepy in the West but was so beloved in Japan that a load more of these sequences got added in each time the game got ported. Another part of this is that the Anglosphere only got the game fan translated in the early 2010s, after the release of the divisive Metal Gear Solid 4, which led to many gamers being less tolerant of it than they would have been if they'd been exposed to it before Kojima had dinged his, until then, unsullied reputation. It also didn't help that gaming fandom - at least, the parts of it that would drop everything to play a Hideo Kojima visual novel from the 90s - had become more critical and discerning in the years since Policenauts's original release, so a game remembered in the Japan of the early 90s for its groundbreaking script and animation sequences (which were genuinely impressive at the time) was criticised in the West of the early 10s for being overwritten and with a bigoted, reactionary tone. Fans also objected to the game's blatant Expy characters (poached from Lethal Weapon) and settings (poached from 2001: A Space Odyssey), viewing it as tacky plagiarism, which in gaming culture at the time of the game's original release, was a plus point ("Lethal Weapon but a video game and in space!!"). The tone-deaf recreation of the racial politics of Lethal Weapon also did not endear the game to Americans who had to endure that racial setting in real life, and the Creator Provincialism and racism was not recognised as the satire of racist 80s/90s Japan Takes Over the World films that the game's Japanese audience read it as, instead coming off as weird Boomerang Bigot recreation of an outdated form of racism.
  • Milon's Secret Castle was a really popular game in Japan, but when it came to the USA, Americans found the game frustratingly difficult due to lack of mercy invincibility and quickly respawning enemies, lack of direction and secretive gameplay that practically necessitated a walkthrough, Checkpoint Starvation (unless you knew a cheat code), and an underwhelming protagonist who appeared to wear pajamas and shot bubbles at foes.
  • The Professor Layton series of video games, whilst not that successful in America, is at least successful inside Japan and Europe, with perhaps the exception of one country, Belgium. This has mainly to do with the fact that Dutch people in general like the series so much that Level 5 decided to give the series Dutch dubs to boost the sales in the Netherlands. Something Belgian people absolutely hated. In fact, the Belgian people that get interested in the series still don't want to buy it because that's how much they hate the work put into the Dutch dubbing.
  • Puyo Puyo is such a popular video game franchise in Japan that is the Trope Codifier for competitive Falling Blocks games, spawned a lot of imitators during the 90s, and is a rare example of a long running SEGA franchise at 25 years and counting. Outside of Japan though, the series is very obscure for various reasons: Adaptation Displacement caused by the the games being presented as spin-offs of other franchises, such as Sonic the Hedgehog or Kirby, the few games that didn't suffer from being reskinned not getting any advertisement and being released on obscure consoles like the Neo Geo Pocket and the N-Gage, cameos and crossovers with Puyo Puyo being rare, and the franchise in general being a notable case of No Export for You. The reason may be because of Girl-Show Ghetto, due the heavy emphasis on cute colorful characters with light-hearted comical stories that rarely take themselves seriously, invoking Values Dissonance outside of Japan. With the western releases of Puyo Puyo Tetris and Champions however, this might be changing.
  • Resident Evil: Leon S. Kennedy has generally been the more popular of the series' two male protagonists on both sides of the pond, but Chris Redfield's hulking up by Resident Evil 5 and his relationship and working with his partner Piers Nivans in Resident Evil 6, along with the story during his scenario and some Character Development, has boosted Chris' popularity in Japan (in regards to Piers, the seemingly Bara overtones may have something to do with it). Like Rebecca, he's divisive still in the West.
  • The SaGa series has been praised in Japan and just about every installment has sold over the million mark over there. Other than the first three games (which were all given a Final Fantasy Legend moniker to boost sales), SaGa has been hated in the west. While Sa Ga Frontier sold well in the states, critic and fan reviews are very split (and both a weird translation and its confusing stories don't help), and reactions to Unlimited Saga in particular were polar opposites to one another (good reviews in Japan, reviled in the West).
  • Sam & Max: Freelance Police is one of the most popular franchises in the PC gaming industry in America. European critics, on the other hand, tend to have a strong dislike for the series. For example, while Season 1 of the Telltale reboot was critically acclaimed in America, it was widely panned in Europe. Just to make the critical reception even more confused, all three seasons of the reboot were generally well reviewed in the UK, with critics responding well to the additional sarcasm and cynicism Telltale had given the characters since their previous incarnations. The casual and needless violence, usually an instant game-breaker for UK adventure titles, was considered so comically excessive (and bloodless) that it was viewed mostly as a parody of violent American media.
  • In the Sengoku Basara universe, the Japanese fans certainly love Oichi and she is the Ensemble Dark Horse of a series seemingly tailored for Yaoi Fangirls. In America? She's considered a useless whiny emo girl, made even worse by the fact that the only "English" SB franchise that features her and can be reached by western audiences is the anime, which downplays her powers severely.
    Oichi: "This is Ichi's fault..."
    Fans: "Yes, we know Ichi... and we're sorr— Wait, what the hell!? It's not your fault, so stop crying and do something, damn it!"
  • Shadowgate, its NES port especially, is viewed as a classic in much of the Western world, praised for its eerie atmosphere among other things. In Japan, about the exact opposite is true, with the NES game frequently showing up on "worst of all time" lists. This is primarily due to a poor localization that kills the game's atmosphere in favor of Narm, as this Legends of Localization article argues. invoked
  • Shin Megami Tensei games outside the Persona sub-series generally do not tend to catch on well on the other side of the Pacific; at best they just slide under the radar and at worst they're disliked by those who know the series better through Persona. This led to a particularly infamous case with Shin Megami Tensei IV, which was released on the heels of Persona 3 and 4 hitting Cash Cow Franchise status; Western fans compared it unfavorably to Persona, citing the lack of Social Links and the steep difficulty, not helped by most of the difficulty being at the beginning of the game. This is despite IV being the easiest game in the mainline series, but few know this as Shin Megami Tensei I and III are cult classics at best and II has never been released outside of Japan.
  • Persona:
    • Probably the biggest cultural split is over Persona 3's Yukari Takeba, courtesy of being the game's closest instance of a Satellite Love Interest (and if you do opt to be her lover, she can be a clingy and jealous one) and due to cultural dissonance that's shown in her Social Link (Hugging her after a traumatic experience at one point will get her very mad at you, because hugging is seen as extremely intimate in Japan rather than a sign of casual friendship). Not helping is that the cultural dissonance makes not Breaking/Reversing her Social Link a huge pain. The biggest citation for the split in the West is her behavior during The Answer portion of the game, whereas in a Japanese popularity poll, she ranked 20th overall for the series as a whole. The hate has been receding however, as many players changed their opinion of her after pursuing her social link as the female protagonist in Persona 3 Portable, where she's no longer a Satellite Love Interest and a Clingy Jealous Girl, which fixed many of the problems people had. Her inclusion in Persona 4: Arena Ultimax was met with much fanfare on both sides of the world.
    • Ken Amada, which is mostly compounded by his hatred of Shinjiro Aragaki, who killed his mother by accident. His not-charismatic English voice, lack of utility in battle, and his desire to kill Shinjiro (a big time Ensemble Dark Horse in the west) has pinned him as being as unpopular as Yukari. In the PlayStation Portable version of the game, the fact that he's a romance option for the female protagonist only compounds players' hatred of him. Japanese players don't mind him, and the fact that he's now Promoted to Playable in Persona 4: Arena Ultimax has been greeted with a lot of fanfare there. Additionally, the localization of the game actually makes his character seem worse, as his dialogue after Shinjiro being killed was changed from him feeling awful for it to him being mad that he didn't kill Shinjiro himself, which made him look even less sympathetic.
    • You'd think the proclaimed mascot of [[Persona 4, Teddie, would be loved. He is critically acclaimed... in Japan. In America? The fanbase there sees him as nothing more than a childish, annoying nuisance that can't seem to keep his hands off of any girl. Many people wonder if he has any purpose in the game other than being the token mascot, not helped by him doing absolutely nothing to contribute to the team once Rise Kujikawa, the new navigational support, joins the Investigation Team.
    • Yosuke Hanamura ranks very high in Japanese popularity polls, possibly for being a relatable Everyman, but he's a major Base-Breaking Character in the west, mostly due to being the center of the game's very divisive comedy scenes. These scenes come in two flavours: either he's treating the girls and Kanji in a way that comes off as sexist or homophobic, or he's being an excessively abused Cosmic Plaything that many fans find goes too far to by funny. It doesn't help that his counterpart in Persona 3 was Junpei, a case of the exact opposite trope.
    • In Japan, Yukiko is fairly liked due to being a Yamato Nadeshiko done right (inner steel and all that) with her only major flaws being her tendency to laugh heavily about pretty much anything and like with nearly all girls in the series being a Lethal Chef. Hence while not exactly hated in the West, like most Yamato Nadeshikos she is still considered a bit of a Flat Character. Her best friend Chie, a Kick Chick Action Girl, is much more popular in comparison.
    • Persona 5 has Goro Akechi. He's extremely popular in Japan, to the point of being the highest-ranked member of the Phantom Thieves in an official popularity poll covering every game in the Persona series from Persona 3 onwards, and regularly topping other official popularity polls. However, due to Values Dissonance between Japan and the West concerning how society views illegitimate children and how children who are wards of the state are treated and cared for, in the West he's extremely divisive and his problems frequently end up coming off as Wangst to Western fans. He has been Rescued from the Scrappy Heap to many players with Royal due to reworking his Confidant to be one you have to actively pursue rather than one that automatically goes up as you progress through the story, and the new scenes create more of a genuine bond between Joker and him. And then during the new semester, he gained a lot of fans for being a largely unrepentant psychopathic Token Evil Teammate. And his brief period as the navigator is hilarious.
  • Sonic the Hedgehog:
    • The Sonic the Hedgehog series is a minor example of Germans Love David Hasselhoff, being more popular in the West than at home. However, Big the Cat, the large fishing focused character from Sonic Adventure, is much more liked in Japan than in the West, where he's seen as The Ditz and his minigames are seen as pointless. Likewise, Cream the Rabbit is a popular enough character in Japan that she's become a mainstay in the series, whereas in the West she is hated almost as much as Big. A likely reason is because Cream is ultra-polite, submissive, and somewhat withdrawn, putting her firmly in the Moe category. Also, she has a really high-pitched voice. These same traits make her irritating to many Western gamers. Case in point is the fact that Cream has been on the opening roster in every Japanese-made Sonic racing game since her debut but none of the western-made Sonic racing games, not even Team Sonic Racing.
  • Splatoon: Subverted with the Squid Sisters. When originally revealed, their reception was rocky with Westerners interested with the game, with their existence as idol singers (which is something Japan loves, but many other countries find weird), many fans worried that they'd be little more than moe fanservice. When the game actually came out, Callie and Marie quickly became popular due to their personalities and cute designs, becoming seen as Series Mascots alongside the playable Inklings and even having holographic concerts in Japan that fans elsewhere also love watching online.
  • Slippy Toad of Star Fox is actually pretty popular in Japan. It's the North American fans that despise him, mostly for being a cross between a Annoying Video-Game Helper and The Load. His whiny, irritating voice doesn't exactly help, especially thanks to his frequent tendency to shout "Fox, get this guy off me! Thanks, Fox!... Fox, get this guy off me!" This stems almost entirely from Star Fox 64; in the original SNES game Slippy was no more or less liked than the other wingmen. Even when later games tried to give Slippy a more likeable and masculine-sounding voice actor, and even removed him from the role of active pilot altogether, the fans largely rejected him. However, some games like Star Fox 64 3D, Super Smash Bros. for Nintendo 3DS and Wii U, and Star Fox Zero deliberately got the original Star Fox 64 voice actress back because, in some kind of bizarre Love to Hate scenario, fans seem to actively prefer this version of Slippy despite their complaints. By contrast, Peppy is extremely popular thanks to his catchphrase "Do a Barrel Roll!" and the information he gives to Fox generally being more helpful, and Falco is on par in popularity with Fox and Wolf worldwide.
  • Super Mario Bros.:
    • Most Americans see Metal Mario's addition in Mario Kart 7 as a worthless and unoriginal Mario clone, while Japanese players and Smash Bros. fans love giving him Alternative Character Interpretation, playing as him and treating him as The Rival to Mario. This was amplified in Mario Kart 8 with Pink Gold Peach (a completely new addition that left a lot of American and European players dumbfounded, but Japanese players tolerated).
  • Super Smash Bros.:
    • Dark Pit from Kid Icarus: Uprising who is absolutely despised by the American fandom for being a Moveset Clone of Pit, and is generally seen as an "edgy OC". He is also hated for presumably being an example of "Sakurai bias", and made him less popular in Uprising as a whole. However, in Japan, Dark Pit was a very requested character, and is loved there. Note that Dark Pit was very well-regarded in Uprising and the hate mostly comes from Smash Bros players, making this a case of Smash Fans Hate Dark Pit as well. By contrast, Lucina and Dr. Mario, despite being very similar in nature to Marth and Mario respectively, are quite popular in the Western fandom.
    • An older example today seems to be Roy, who not only made his physical debut in Melee, but also became a popular target for loathing and made fun of within the Western Smash-fanbase during his absence between Brawl and Super Smash Bros. for Nintendo 3DS and Wii U as DLC due being an overrated, competitively poor Marth clone while also perceived as the worst-performing lord in the series among Western FE players. In Japan however, he was among the top requests for DLC, and is regarded with great deal of respect and open love in both fanbases, being also portrayed more down-to-earth character as opposed to the unlucky yet spastic Awkward Zombie-persona among Westerners.
    • Part of the reason why Corrin was picked as the only First-Party DLC newcomer. At the time Sakurai and his team wanted a promotional character for a future game. The reason why someone like the Inklings weren't picked were because they were too popular and didn't need the promotion whereas Fire Emblem was in that sweet spot in America where it had a considerable fanbase but weren't as successful as other franchises.
    • When The Hero was revealed for Super Smash Bros. Ultimate DLC, the Japanese fanbase, predictably, exploded with joy. The Western fanbase's reaction? Mostly "meh." Dragon Quest as a whole has suffered from this trope in the West for a long time, despite efforts to make it more popular in the region. Combined with the note on Fire Emblem above, there was quite a lot of bile towards seeing what they believed was "yet another generic anime swordsman" out of The Hero. This picked up even more after the Western-made Banjo & Kazooie were revealed later on, which received much more critical acclaim from Western fans compared to their reactions to the Japanese-developed and Japanese-favored Hero. In fact, according to Smash-focused YouTuber Aaronitmar, Hero's announcement was met with considerable disdain on (presumably the English-speaking side of) Twitter, to the point that when he tweeted that people are taking Smash characters too seriously, he was called a "Japan-defending weeb [weeaboo]". Because of this stigma, many Western fans believed that this trope was also in effect in Japan for the other way around because Banjo-Kazooie was a Western-developed and Western-favored game and Dragon Quest is a Japanese gaming treasure. But reactions like this one have proven that this is not the case, which only further exposes and emphasizes that most of the bile out of these reveals has come from the Western fanbase (including a seemingly Vocal Minority that didn't want Banjo & Kazooie, either).
    • Sakurai himself has openly acknowledged the American fanbase's hatred for Tingle as a reason why he won't be a playable character.
    • While Japan considers Assist Trophies more of an acceptable compromise, to say Westerners would prefer playable characters is an Understatement.
  • Tekken 7's newcomer, Lucky Chloe, is designed to be heavily based on Moe Japanese idols. While the Japanese fanbase had no problem with her concept and largely accepted her, many Western fans, on the other hand, despise Lucky Chloe and demanded that she shouldn't be in the game at all, to the point that Katsuhiro Harada tweeted about replacing her with "muscular bald man" in the Western version. However, it turned out to be a case of Trolling Creator, and many Western fans shared a collective groan over having to suffer her all the same. It's such a big and persistent case of dislike that when her official profile was released, it showed that Harada ascended this hatred by saying in the Tekken-verse, Lucky Chloe is a international music star who's popular in many countries... except in the U.S., where Americans rejected her. Although the same Americans still prefer her over the reporter that narrates the Story Mode, because at least she has a personality and backstory, unlike the reporter who's a Flat Character and doesn't even have a name.
  • Sega's iterations of Tetris, while prevalent in Japanese arcades, never caught on in the West, where people were already hooked to other versions, such as Nintendo's iconic 1989 Game Boy version. Not helping either is that there were Atari iterations released for it in the US that had much more modes than those that were offered on the Sega iterations that were never released anywhere else due to a lawsuit that concluded that Atari had to take the games from store shelves before export could actually take place. The hardcore US fans of Tetris prefer to spend their valuable time and resources to seek out the NES Tengen version instead.
  • Touhou Project has central protagonist Reimu Hakurei, who frequently tops "favorite Touhou character" polls in Japan, but in the West, her being a good but hostile character makes her a Base-Breaking Character at best and there are many memes about how much of a bitch she is.
  • The Tower of Druaga is very popular in Japan, spawning numerous sequels, spin-offs, an anime, and even its own amusement park attraction. Westerners who have played this game view it as a sluggish, obtuse exercise in frustration. In Japan, gamers would gather in arcades to share their knowledge of the game with each other until they could figure out the game's obscure secrets, but Westerners didn't want to do that and got frustrated when they couldn't figure things out by themselves. None of the console versions reached Western countries until the Compilation Re-release Namco Museum Vol. 3, where it received consistently poor reviews.
  • Twisted Metal is extremely popular in America but poorly received everywhere else, where it is considered to be brainless and requiring no strategy. A good example of this is when the PlayStation 3 sequel closed Sony's E3 2010 conference, where it was considered a crowd pleaser by American gamers and bad everywhere else, especially France, possibly because TM2 let you blow up the Eiffel Tower. Which doesn't make sense since the first game focused only on destruction in America.
  • Valkyria Chronicles has Edy and Susie, who are popular enough in Japan to get their own DLC alongside other Ensemble Darkhorses as the Edy Detachment and make numerous cameos in sequels. Overseas, Susie is one of the most hated units in the game due to having one of the worst personal potentials in the game: Humanitarian, which can cause her to refuse to attack an enemy. Her hatred is enough that she's a frequent pick to be sacrificed for the Splintered Horn medal alongside Herbert and Cezary. Edy, while not as loathed, is more of a Base-Breaking Character due to her having two personal potentials that decrease attack power (one of the most important qualities of a Shocktrooper,) one of which requires her to be kept away from Rosie (who's guaranteed to be in every mission due to her very presence providing an extra Command Point.)
  • Virtua Fighter has been hit with this starting around the time Sega left the console market. Despite being considered as the most balanced and deepest fighting game series, in America it lags behind other popular fighters like Tekken, Dead or Alive, and Soulcalibur. While it isn't hated in America per se, American gamers are widely apathetic towards the franchise compared to others, and it's joked that no one plays it. The series has had trouble attracting casual players, due to a number of factors:
    • Since the series was created by Sega in the early '90s, it received a number of questionable ports to underperforming consoles.note  This, along with other 3D fighting games entering the scene, caused the series to fade away from the players' minds. It was not until VF4 that the series was ported to non-Sega consoles. This gave the VF series a bit of a resurgence after years of no new entries, and 4 did very well in terms of sales and reception, but now it had to contend with Tekken, which was the big fighting game for the PlayStation consoles.
    • Virtua Fighter games have always focused on the arcade version first, with the console ports being just that, ports. This works fine in Japan and Europe where arcades are still alive and easy to find, but not in America where arcades are almost extinct. In a couple of cases, new editions of 4 and 5 never made it to consoles.
    • Lastly, and probably the most important reasons, Virtua Fighter lacks both the flashiness and the (relatively) strong emphasis on story and lore found in every other fighting game. While many fighting games have Super Natural Martial Arts where the cast can shoot fireballs and throw flaming punches, and each character has a story told through cutscenes in arcade mode, not only is VF far more grounded, but due to its arcade nature, it even lacks cutscenes in nearly all of its entries, aside from a few general intro movies. Only one character in VF, the boss Dural, is fantastic in nature, while every other character is a relative Badass Normal who fights with a mostly accurate representation of his or her assigned fighting style. This is in direct contrast to fighting games whose playable characters include any number of ninja, robots, demons, and animals whose moves constantly defy physics. VF's characters are accused of being bland in comparison, and without cutscenes to flesh them out, they can be seen as one-dimensional, even taking into consideration their bios found in the game manuals. While the gameplay is good, this winds up making the games look boring, and the lack of on-screen Character Development and world-building keeps players from becoming invested in the universe.
    • Much of the material that did flesh out the characters and universe came from other media released only in Japan, such as image albums and manga. An anime series was dubbed into English, but its second season was not due to poor sales of the first season.
    • All of these things wind up making the series very unfriendly to casual players, and with its reputation as being a very difficult game to learn and be good at, it tends to only attract competitive fighting gamers who play at tournaments. Even then, the VF series is rarely seen at EVO despite its pedigree, in favor of more spectacle-filled games such as Marvel vs. Capcom, Mortal Kombat, and the even more niche Guilty Gear, BlazBlue, and Skullgirls, instead having smaller separate tournaments organized specifically for Virtua Fighter. In Japan, though, the series is still popular and has several more tournaments, even for some of the older games. Sega may be trying to change this, as members of the Virtua Fighter cast have been popping up as guest fighters and in crossover games.
  • Yo Kai Watch fell victim to this in North America. After becoming a Cash Cow Franchise in Japan, Level-5 brought the original game to the United States two years later. While it has gained a small fanbase, mainstream audiences weren't interested. This is in stark contrast to how Pokémon invaded western territories in the 1990s. And to think it was once being considered a "Pokémon killer" by the media prior to its Western release... reception in Europe is better, but still lags behind Nintendo and Game Freak's cash machine. Many point toward a case of Values Dissonance for this, as while Yokai are obviously well-known in Japan they're a much more obscure concept in America. A possible explanation for this could also be that, due to being superficially similar to Pokémon, most North American consumers may have felt the game was a cheap copy.
  • Spyro the Dragon is considered a classic in America, but largely disliked and forgotten in Japan, and didn't have any other entries past the first two games released there until Skylanders: Spyro's Adventure due to how poorly they sold. The conversions for both of the games, which altered the camera to be spaced far above Spyro (but was nearly uncontrollable), significantly slowing down Spyro's movements, and signs (which allow you to read them when you attack them, but are sometimes placed near enemies) are largely blamed for the tepid reception, with the differences ironically meant to offset complaints about motion sickness during the demo period.
  • The Last of Us Part II is divisive in the West due to some contentious plot choices (namely killing off Joel from the first game and then having you play as his killer, while the game attempts to make you sympathize with her), but it managed to be critically acclaimed (though subject to extreme Critical Dissonance). Gamers elsewhere, however—especially in East Asian countries like Japan and South Korea—almost universally loathed the game, to the point that stores had to deny refunds for the game completely because so many customers were returning it. Critical reviews were slightly less harsh, but they tended to be on the lower end of 8.8 as opposed to the overwhelmingly positive critical reviews in the West. Several streamers even went as far as to destroy the game's Blu-Ray disc on-stream to express their disgust, the most famous example being a Korean streamer who destroyed his copy with a pair of scissors.
  • Yakuza: Daigo Dojima get this a lot. In Asia, Daigo is generally in the top ten most popular characters in the franchise, and is seen as a dutiful man trying to build on his father's legacy as a pillar of the Tojo Clan, in spite of nearly insurmountable challenges he faces from both inside and outside his organization. However, he is nearly universally disliked in the West, where he's seen as an incompetent leader who can't keep his subordinates in line and as an overly prideful man who clings to a leadership position he is unqualified for and gained through his father's reputation and Kiryu's favoritism, refusing to hand over the reins to any of his vastly more competent and charismatic subordinates.

Top

How well does it match the trope?

Example of:

/

Media sources:

/

Report