— to another system is seldom an easy task. If you had the good fortune to be able to consistently use cross-platform libraries while writing the original program, you might be able to get away without having to do any code rewriting.
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Otherwise, you're looking at significant rewrites ahead. Development can help avoid this, but if the developers are rushed, the version for the system with which they're least-familiar will likely suffer.
To qualify the program as a Porting Disaster, one or more of the following major points has to be present: • only present in the port in question. • Poor performance compared to games of similar or greater complexity on the host platform. This point can be subdivided into two areas which may or may not both be present: • Inconsistent or perpetually slow frame-rates. •, given the complexity of the program. • Poor quality visuals, audio, or controls which can't be excused by the host system's technical limitations. • Clumsy controls, even if you.
For example, imitating pad control badly on a keyboard or touch screen, not supporting mice or customised control setups in a console-to-PC port, trying to cram too many hotkey functions onto controller buttons in a PC-to-console port, or forgetting entirely that a console-to-PC port even has a keyboard at its disposal. • A common problem with the graphics in console-to-PC ports is the field of view: A narrow FOV that makes sense for playing on a TV on the other side of the room can and often does cause motion sickness when played on a desktop monitor. (The same reason, in fact, that console gamers are advised to sit a reasonable distance from the TV in the first place.) It's particularly an issue with first-person games.
• Substantial amounts of missing content, such as whole levels, playable characters/vehicles, weapons, and the like. This was frequent with ports to early Nintendo systems, certain things used to get changed around with no overall impact on quality (such as removing crosses or direct mentions of God and Death), but when the change was notable to the casual observer (e.g., 'wait, wasn't there a cool hovercraft minigame between these two areas in the original version of this game?' ), then it became significant. Also, keep in mind that 'ports' for earlier systems may not be technically considered as ports but rather as conversions. Video game hardware of the late seventies to the mid-nineties tend to differ dramatically from one platform to another, and while that may still hold true with today's consoles, the lack of cross-platform libraries, platform-specific behaviour (the Atari 2600's video hardware was vastly different compared to the ones on the NES and arcade systems) and the generally low-level nature of programming them would account for at least some disasters.
Contrast, where a game is greatly improved during the development of a ported version and, where a ported arcade game appears identical from source arcade to destination console/computer. Also related is 'consolitis'; a game is designed for both PC and consoles, and suffers in the eyes of PC gamers who are used to the greater capabilities of high-end PCs. This is especially evident in franchises that began as PC games, but later installments expanded their markets; as a result, the sequel will be noticeably less refined gameplay than its predecessor. For the movie and animation equivalent of this, see.
Please only add examples of games that contain or are broken to the point of unplayability, not minor glitches or annoyances. • was released in 1994, two years after an Amiga version was announced. It cuts out half of the stages and butchers the control scheme to fit on a single-button joystick, and has barely altered graphics which, in some ways, actually look worse than the vibrant original. The CD32 version is a straight copy of the Amiga version and shares all of its faults (including playing either the music only or sound effects without music, a common quirk of desktop Amiga games), not even using two buttons on the CD32's six-button controller.
• is a sluggish, under-animated bastardization of what was an enjoyably fast-paced. It features loads of faulty collision detection and, but lacks music as well as the feature the arcade version had. •, partially because of using a joypad to control it. Note It's possible to plug a mouse into the console, though. The main problem, however, is the fact that the CD32 only has 1 KB of memory available for save data. Not only is the player limited to building a single base, the save data takes up the entire space, preventing the player from saving data from another game without deleting it. • had horrible flicker, blocky cityscape graphics, and a game-breaking invisibility glitch when you fire.
The player has to go off-screen to use hyperspace or the Smart Bomb. The later superior port of Stargate ( Defender II), which used both joysticks for the controls, showed that this was inexcusable. Not that using two joysticks at once, especially the 2600's joysticks,.
• was released at a time when Atari relaunched the 2600 as a cheaper alternative to the NES and Master System. It never stood a chance with its stick figure graphics and simplistic mechanics as a result of the system having only a single-button joystick. Unlike the NES though, the 2600 does manage to retain 2P co-op play, but does so by employing a lane-based system where each player fights an individual opponent and are restricted to their own lane, so it's not much of a 'co-op' experience.
• was back-ported by Tigervision from to the Atari 2600, so the downgraded graphics and reduced number of stages (two releases with three each) were to be expected. That walking was slow and jumps could barely clear enemies had no such excuse. •, quite possibly the reigning king of infamously bad porting jobs and one of the major players in.
Being the most popular arcade game of its day, Atari knew that having the home version on their system could be a license to print money for them, so they wanted the game on their hands as fast as possible, released the unfinished version as soon as it was done, bugs and all (the game couldn't even draw all the ghosts on-screen at once, instead having them flicker in and out of existence), and manufactured 12 million copies of it (2 million more than the userbase at the time, believing that ). The end result was a complete disaster for Atari.
And yet the buggy mess of a game was still the best-selling game on the 2600, ever (7 million copies). A pile of these, along with the equally disastrous, were buried in the New Mexico desert, creating a famous urban legend until. • The later ports of Ms.
Pac-Man and Junior Pac-Man were handled far better: Junior Pac-Man in particular had vertically scrolling mazes and (still-primitive graphics aside) matched nearly every feature of the arcade original, minus the between-stage intermissions. Pac-Man was so much better that it got a that turned it into Pac-Man Arcade, showing that it was indeed possible to make a good version of Pac-Man for the 2600. And there's also a homebrew called by Dennis Debro that's even closer to the arcade original, using only four kilobytes of memory. • The original Pac-Man port was also a victim of. The infamous color palette was a result of Atari forcing all games that weren't set in space to not use black backgrounds, as they wanted to showcase the color capabilities of the Atari. Of course, this backfired when Pac-Man on the 2600 ended up as ugly as it did.
• All of Coleco's games for the Intellivision qualify. All suffered graphics that look like the 2600 and nothing like the Arcade ( Turbo's buildings look very blocky even by system standards) and missing stages (50m and 75m in Donkey Kong for example). Zaxxon suffered the worst of them all, replacing the isometric perspective with a top down, removing what made the original fun. When they were released, Mattel claimed that these ports were deliberate sabotage on the part of Coleco. Carl Mueller Jr. Later proved that a better version of Donkey Kong could be programmed for the Intellivision by developing the homebrew Donkey Kong Arcade.
• The majority of the NES arcade ports developed by Micronics, a contractual developer that used to develop games for other companies during the 80's and early 90's: • suffers from slowdown issues and other flaws. That's not all—the March of Midway, originally a track comprised of marching and whistling, the whistling with. • turned what was a passable arcade game into what is widely regarded as one of the worst NES games. The original arcade version's graphics were translated into a parade of flicker and slowdown, and the controls were made worse. • suffers from pretty much the same issues as 1942. • used a rotary joystick system in arcades, allowing players to control their character's movement and aim separately.
This control system wouldn't have worked out on the NES controller, which only had a cross-shaped d-pad, so naturally Micronics took it out so that the player aims in the same direction their character is moving. Unfortunately, they did this the worst way possible. Instead of instantly turning around, the player does a full rotation while moving at the same time, causing them to walk in a circle just to turn around. It doesn't help matters that the rest of the game isn't hot either, with bland graphics and lots of flickering. • Ikari Warriors II: Victory Road, in addition to having the same issues that plagued the first Ikari game on the NES, has loading times when the player switches to the status screen after pausing the game. Additionally, there's an unskippable cutscene when the game is left on the title screen for too long, which is made worse by how slowly typed-out the text is.
• 720 Degrees had horrible graphics, ear-bleeding music, and broken controls (spinning and other moves are frustrating to pull off, and the ramp event is nearly unplayable). To add insult to injury, they took out the expert mode. Inexcusable — the NES can do considerably better than this. This is about as bad as the Taiwanese pirate ports. And it was licensed, made when Tengen still had a contract with Nintendo. • fares rather badly. While the bootleg port by Super Game still had graphical and control problems, the official port by NMS Software suffered from these flaws to a greater extent.
But it got worse when another pirate original version,, was released. • Conan: The Mysteries of Time, a port of a classic C64 game by System 3 titled suffered from poor play mechanics, graphics and music compared to the original C64 release. Conan has been derided by many NES players, not all of whom are familiar with.
•, a port of Activision's computer game, is infamous for the screwed-up driving sequences and the nearly impossible stairway sequence. • Indiana Jones and the Last Crusade (the Ubisoft release, not the earlier version released by Taito) was a port of a PC action game, which NMS Software saddled with horrendously grainy graphics seemingly produced by taking the graphics from the version and compressing the palette. • Indiana Jones and the Temple of Doom was based on the Atari arcade game, but like some other arcade-to-NES conversions, it became a rather than a straight port. Indy could now jump and use alternate weapons, but the controls for these were clumsy. Whereas the arcade game told players right on the screen what needs to be done, stage goals in the NES version were bewilderingly unintuitive. Essential Visuals Plugin For Virtual Dj Crack Keygen more. The graphics are also very poor for the NES, with the backgrounds consisting of hideous washes of blue or green. •: Novotrade tried their hardest to cram 256-color visuals into an 8-bit cart and quick mouse actions onto a controller, but it just couldn't be done well.
•, an port of the C64 game by System 3 titled was handled by the same team that worked on Conan and suffered from the same issues. To make matters worse: Matt Gray, the guy who composed the music in the original C64 version, also did music for a number of ' NES games, including Fantastic and. But they couldn't bother to hire him for this one; instead, they wrote new music in-house at Beam Software. (This company also made the execrable game with its horribly repetitive BGM.) • Twin Eagle: Revenge Joe's Brother has choppy framerates, horrible graphics and music, and watered-down play mechanics. It plays like one of those unlicensed pirate games. Another rather than a direct port, and a bad one at that. • Winter Games forced the player to watch a subpar animation sequence that couldn't be skipped, and had a selection of games that was far inferior to the Atari 2600 version.
(Yeah, that's right — the NES version of the game is worse than the Atari 2600 version. Let that sink in.) The badly animated, detail-lacking graphics and unresponsive control scheme are quite bad for the NES. • on the Game Gear (and by extension the Master System backport for, which is essentially the same thing) cut several levels and changed a few boss fights around in ways that can only be described as 'never considered that someone might actually play this game' — Spinderella, in particular, is impossible to hit without taking a hit in return. The final boss too is artificially made more difficult — in the original Mega Drive/Genesis version, you get a hint as to which attack he will use, and then you get to pick a head to help deal with it. Here, for no reason at all, you are expected to pick a head before you know what attack you need it for. • on the Master System, unlike the original Shinobi (which was a with similar stages but different play mechanics), attempted to be a straight port of the original arcade game, despite the fact that the arcade version ran on the more advanced System 18 hardware.
The SMS version kept the system from the arcade version, which wouldn't be bad by itself if the game was balanced around this design. Instead, the SMS version kept the arcade's large character sprites while shrinking the actual playing field, allowing enemy projectiles to appear from out of nowhere and take the player by surprise, while at the same time making boss battles hard to maneuver around, leading to many cheap deaths. Moreover, only eight of the arcade version's 15 stages (counting the boss battles) were kept, and the ones that were kept were made much shorter.
To top it off, the first-person shuriken-throwing bonus rounds are literally unbeatable due to a glitch that makes the final enemy ninja invulnerable. • had Master System and Game Gear ports made by Arc Developments, the same developer who had previously produced Sega ports for that were superior to the NES original in every way.
This time around, however, the ports they created were worse than the NES version. While the graphics were somewhat better, the controls were even worse than the already skittish NES controls, the soundtrack was reduced to just two short and uninspired tunes, and all the storyline sequences were chopped out, along with the extra level you got for. It's almost like Arc didn't feel the Sega ports were worth the effort and instead focused on the Amiga version, which actually is a. • changes the blood to generic explosions, most of the characters have red skin, and the graphics are messy and unprofessional even for an 8-bit Sega console.
The Game Gear version has choppy framerate and clunky controls, while the enemies move way too quickly in the Master System version. The enemies spawn a few spaces in front of a door instead of coming out of it, and in the Game Gear version, the first boss is almost impossible to beat due to the choppy way he moves around. • features levels which are remarkably similar compared to other ports (not necessarily on its own merits), but whatever physics existed in the Genesis version were thrown completely out the window.
Worse is the platforming engine, in which Sonic has an innate tendency to get himself stuck. • Another concern of the Master System to Game Gear ports was aspect ratio. When the screens were lined up, the width was focused on, rather than the height, resolved by making the player unable to see what would normally be the very top of the screen. This isn't normally a problem until the screen locks; an example is the Antlion boss of the Underground Zone in Sonic 2 where it gets very difficult to judge where the balls will bounce when you can't see when they peak. • has small sprites, off-key music, enemies that can combo you to death without giving you a chance to fight back, and an excessively high difficulty in comparison to the original.
Just to highlight how sloppy this port is, the MS port of the first game features much bigger sprites (and more appealing graphics in general), is at a reasonable difficulty and is generally more competently programmed. As well as this, the music and the were fixed in the port of the second game. • is yet another example of attempting to port a game to a platform that wasn't meant to handle it. The conversion was handled by Tiertex, the same team that developed the equally horrible PC ports of Strider and the Strider Returns.
• inexplicably changed the jump command from simply pushing the joystick up to pressing both attack buttons at the same time. The game also suffers from ridiculously precise hit detection; if the player punches or kick an enemy too closely, the attack won't register, giving the enemy a free hit. To make matters worse, the inputs for jump kicks (down+1+2 while jumping) and jumping punches (up while jumping) were made needlessly counter-intuitive as opposed to the simpler commands used from the arcade version. • has better sound than the Sega Genesis version of the game, but it suffers very frequent slowdown, especially when there's a lot of laser fire on-screen.
Despite this, there's still, sometimes as long as twenty seconds between screens, a rarity on an SNES cartridge. •, Koei's SNES port of a Japanese PC-98 game, is legendary for having one of the worst control schemes in the history of gaming, one that renders the game almost unplayable for many players. The original used a mouse and keyboard control system similar to or that didn't translate that well to an SNES controller. Flickering graphics, unresponsive controls, given to the enemies instead of the heroes as the arcade original did and making the game much harder were only some of its problems.
The most glaring flaw? Despite being a cartridge edition, it still took over a minute to!
Also, some of the voiceovers are missing. •: The Timeless Adventures of was missing a stage present in all other versions of the game on the SNES, but more importantly, despite being a cartridge-based game, it somehow had loading times longer than the CD-based versions of the game for the Sega CD and PS (the Mega Drive original had no loading times at all). The sound quality was better as a result of the developers having access to sample-based sound hardware instead of the Mega Drive's synth, but the controls suffered.
Also, the missing stage from the SNES version is a rotating tower area in the second level. It's anyone's guess as to why. It obviously wasn't that the hardware couldn't handle it, since there's a nearly identical stage that appears toward the end of the game. But that wasn't removed. • The SNES port of the original was most infamous for the heavily sanitized fatalities and gray blood, but its ugliness is more than skin-deep. Its controls were very unresponsive, and it was plagued with poor hit detection that made most combos impossible to perform and a bug where if both players threw projectiles, the first hit would make both projectiles disappear instead of having the players trade hits as in the arcade.
Series creator Ed Boon actually apologized for the poor quality of the SNES port. The Genesis version, which was much more responsive and playable and much less censored, outsold the SNES version on a four-to-one basis.