• Bad Export for You: Has happened to various degrees. Usually due to differences in what kind of music is popular in certain areas, licensing, etc., For the hardcore players who are more used to what the Japanese arcade versions offer (or are on a neverending quest to get all perfects on every song ever stepped), the regional variations can quickly turn into One Game for the Price of Two meets Mission Pack Sequel
    • The PlayStation versions based off the arcade titles were quite different between territories. The Japanese releases would be an accurate port of the arcade version, and even have some bonus content or songs from the next arcade version. Then for America, they get the branding and some of the original music from the corresponding arcade version, but almost everything that wasn't a Konami Original would get replaced by American pop (essentially, In Name And 50% Of The Content Only). If Europe were lucky, they'd get a game at all, but it would have European pop, and would be part of a completely separate continuity. be called Dancing Stage, and have little connection to the game its based off.
    • Beginning on SuperNOVA (which was by the way, the first arcade version to get an almost consistent international release), Konami got the bright idea to release an American PS2 version of it before the Japanese versions. Missing songs and features that came through unlocks or the Japanese PS2 version got held over to the next release, if not at all. For the most insane example, just look at how significantly different the PlayStation's "DDR X2" was in comparison to the arcade version.
    • The Wii games, for the most part, avert and subvert this at the same time. Except for its tendency to use different logos in Europe (and eventually staying with the Hottest Party branding, even though American versions would reset the count on HP4), the Hottest Party games between America and Europe are almost identical. In Japan, the first one was close (with a few odd song replacements and a new boss America would not get until HP3), but the second and third editions diverged with completely different names, and a selection of J-pop to replace most of the American music.
    • The debut of Konami's e-Amusement system (which stores statistics/progress, etc. on an online account accessed with a smart card reader) on SuperNOVA frustrated many American players, since the game's unlock system and other features had a dependency to it, and it's exclusive to Asia. This left American SuperNOVA cabinets without complete access to all of the game's content (although a software patch distributed via CD for sync issues did unlock one of the main boss songs for regular play).
      • However, you've got to give Konami credit for at least trying: a SuperNOVA2 machine in Naperville was the test site for a beta test of e-Amusement in the United States. Due to a lack of interest (most likely due to the fact that it was subscription-based and needed a bit of extra hardware to work, and even Golden Tee Live manages to pull off online functionality through either just a normal internet connection or a cellular network out of the box), it didn't launch officially, but code-based unlocks would also return on SN2, thankfully.
    • For X, due to cost concerns, North America and Europe did not get the highly anticipated new machine design that Japan got. Raw Thrills (who had previously worked with Konami on a arcade version of Guitar Hero) designed a more frugal variation for the American market. Unfortunately, these machines were plagued by a poor sound system, an uncalibrated monitor, and very crappy pads with a single sheet of metal atop them. Some adjustments were made for X2 (including building the pads more like the pre-X design, and making the cabinet look a little more aesthetically pleasing), but problems still surfaced. Even worse, due to concerns that the SN2 to X hardware upgrade would be too much for operators to handle (SuperNOVA involved one too, but they managed), they refused to offer upgrade kits for legacy machines.