History YMMV / HatsuneMikuProjectDiva

*** Except with ''X'', almost all of the songs above are in the game. SturgeonsLaw has a hard time with this game.

* SturgeonsLaw: This is a major point of contention in ''Future Tone'', where some people will find that 10% of the songs in the game will be songs they will only play once or twice, but also at least 10% of the songs which they'll play again... and again... and again...

*** Future games play with this trope. ''Mirai DX'' had no translated lyrics and didn't translate any new song titles, though ''X'' went back to a full English translation. ''Future Tone'' understandably does not have translated lyrics either, but even ''reverts some of the existing translated titles'' such as ''Urbandonment'' (''Torinokocity'') and ''Clockwork Clown.'' (''Karakuri Pierrot'')

*** Averted for the US release of ''X,'' which was released on Vita and [=PS4=] simultaneously.

* AuthorsSavingThrow:
** ''F 2nd'' introduced Scratch Links, which easily drove themselves into ScrappyMechanic territory for often being inaccurate to the song's timing and being unwieldy to manage. ''X'' fixed this by removing both Wide Scratch Notes and Scratch Links, returning to the ''F'' formula.
** halyosy had removed ''Sakura No Ame'' from the games, due to [[ScrewedByTheLawyers licensing issues]], until it abruptly returned with a new music video for F 2nd, that rerelease coming to ''Future Tone'' in the arcades and on the [=PS4=].
*** This is in contrast to Jin, who forbade use of english karaoke lyrics on F 2nd for ''Kagero Daze'', and has globally forbidden it from being licensed in ''Future Tone'' at all.
** Depending on your stance on ''X'', ''Future Tone'' can be viewed as redemption for what ''X'' failed to deliver, such as story [=PVs=], challenging content, and a stuffed setlist.
** Also, ''Future Tone DX'' due to a small problem (well, a small problem relative to its base-breaking effect): while promising more songs, the ''Project Diva X'' tracks are the most likely candidates for addition to Arcade and [=FT=]. Somewhat averted with the reveal of two of the additional tracks, which aren't from prior Diva releases.
** Continuing with ''Future Tone DX'', SEGA confirmed the Western release of ''Future Tone'' will, at least, get the update DLC.
** ''[=Mega39's=]+''/''Mega Mix+'' adds in the option to switch between the game's default toon shader style and the CG style featured in ''Future Tone''. Pleasing those who didn't like the toon shaders in ''Mega Mix''.
** ''[=Mega39's=]+''/''Mega Mix+'' also notably adds practically every single song released for ''Future Tone DX'', with a future patch for the Switch original adding all the missing content.

*** ''X'' took all of the annoying aspects for earning trophies in ''F/F 2nd'' and cranked them UpToEleven with needing to endlessly grind songs for RandomDrops (instead of money) in hopes of getting the items that the characters like in what is a long, tedious process to get them to max level (a player can play the game for 50 hours, gather all of the crystals, have most of the item events, and ''still'' not have a single character to max level). Alongside that is the trophy for clearing every request for every song, adding even more FakeLongevity to a title that relies on MMO-level grinding.

*** If you want to witness increasingly lethal levels of absurdity, take the fastest song in the game [[UpToEleven and give it an EXTRA EXTREME chart.]] [[https://youtu.be/g6Uq4fd18ag Watch what happens.]]

*** The April 2018 update added [[OhCrap "Intense Voice" EXEX]]. This version deserves special mention because unlike its other charts, which only picked up in difficulty starting in the MotorMouth segments and featured either long drumming chains between one or two types of notes or short drumming bursts spliced in with gimmick notes, EXEX ''starts'' with the game attempting to cram as many Wide Notes as possible into the opening segment while splicing Slide Notes and constant button tapping chains in between Wide Note spam, and the denouement [[UpToEleven cranks the difficulty up to 13 even by "Intense Voice" standards]] by having you juggle a constant stream of Wides, Slides, and drum chains simultaneously to the same speed as the original chart.

** Players of other rhythm games have noted that the main games have unusually strict timing windows for a game series revolving around virtual idols, not helped by how difficult it is to maintain a combo because you only need a few frames off to get a SAFE (which breaks combo) rather than a FINE or a COOL (which maintain it).
* TastesLikeDiabetes:
** The inclusions and actions of the chibi Vocaloids in "God-Tier Tune" make it the most adorable apocalypse ever.
** ''Love-Hate'' in ''F 2nd'' is made of this.
** The ''Project Mirai'' games are done entirely in the chibi style. Their cuteness can be downright ''lethal''!
** ''Everything'' about "LOL -Lots of Laughs-" in ''mirai''. Its ''X'' video also qualifies, although not quite as much.
** The "Cute Medley" in ''X''.

* AudienceAlienatingPremise: ''X'' having a story mode at all was all but guaranteed to turn off fans, since a big part of Music/{{Vocaloid}}'s appeal was that they were {{blank slate}}s who can be used for anything and the idea of an story mode in an official Hatsune Miku work goes against that appeal. Even those who found the idea to be interesting however, were turned off by the story being effectively an ExcusePlot that does little with the potential it had, on top of using almost none of the pre-established ''Project Diva''-exclusive lore presented in the previous games' opening [=PVs=]. This, combined with the disliked changes to the gameplay formula, the excessive grinding and the tiny setlist, is considered to have played a large part in ''X'' doing poorly.

* AudienceAlienatingPremise: ''X'' having a story mode at all was all but guaranteed to turn off players, since a big part of Music/{{Vocaloid}}'s appeal was that they were {{blank slate}}s who can be used for anything. Even those who found the idea to be interesting however, were turned off by the story being effectively an ExcusePlot that does little with the potential it had and uses almost none of the pre-established ''Project Diva''-exclusive lore from the opening [=PVs=] that [[TheyWastedAPerfectlyGoodPlot could've been used]] for ''X''. This, combined with the disliked changes to the gameplay formula, the excessive grinding and the tiny setlist, is considered to have played a large part in ''X'' doing poorly.

* AudienceAlienatingPremise: ''X'' having a story mode at all was all but guaranteed to turn off players, since a big part of Music/{{Vocaloid}}'s appeal was that they were {{blank slate}}s who can be used for anything. Even those who found the idea to be interesting however, were turned off by the story being effectively an ExcusePlot that does little with the potential it had and uses almost none of the pre-established ''Project Diva''-exclusive lore from the opening [=PVs=] that [[TheyWastedAnPerfectlyGoodPlot could've been used]] for ''X''. This, combined with the disliked changes to the gameplay formula, the excessive grinding and the tiny setlist, is considered to have played a large part in ''X'' doing poorly.

* AudienceAlienatingPremise: ''X'' having a story mode at all was all but guaranteed to turn off players, since a big part of Music/{{Vocaloid}}'s appeal was that they were {{blank slate}}s who can be used for anything. Even those who found the idea to be interesting however, were turned off by the story being effectively an ExcusePlot that does little with the potential it had and uses almost none of the pre-established ''Project Diva''-exclusive lore from the opening [=PVs=] that [[TheyWastedAnPerfectlyGoodStory could've been used]] for ''X''. This, combined with the disliked changes to the gameplay formula, the excessive grinding and the tiny setlist, is considered to have played a large part in ''X'' doing poorly.

* AudienceAlienatingPremise: ''X'' having a story mode at all was all but guaranteed to turn off players, since a big part of Music/{{Vocaloid}}'s appeal was that they were {{blank slate}}s who can be used for anything. Even those who found the idea to be interesting however, were turned off by the story being effectively an ExcusePlot that does little with the potential it had and uses none of the pre-established lore from the opening [=PVs=] that [[TheyWastedAnInterestingStory could've been used]] for ''X''. This, combined with the disliked changes to the gameplay formula, the excessive grinding and the tiny setlist, is considered to have played a large part in ''X'' doing poorly.

* SturgeonsLaw: This is a major point of contention in ''Future Tone'', where some people will find that 10% of the songs in the game will be songs they will only play once or twice, but also at least 10% of the songs which they'll play again... [[JustOneMoreLevel and again... and again...]]

* JustOneMoreLevel: ''Project Diva Future Tone'' lives for this trope, with so many songs that you have little reason to stop.

** Some fans were fairly nitpicky about "Sand Planet" recycling its (very popular) animated PV instead of creating an original video for ''Future Tone DX''.

** The usage of 2D [=PVs=] starts to become this. Some fans don't mind this, either because they like the recycled PV or find the 3D graphic creepy, while others think SEGA is lazy and would like to have an original video for the songs. It doesn't help that, including DLC, over half of new songs in ''MEGA Mix'' use recycled [=PVs=] instead of original [=PVs=], many of which were fan favorites and heavily requested songs.

** Ironically for such a content-filled game, one of the only notable downsides of ''Future Tone'' is that it's essentially a rhythm game in its purest form -- as in, there actually isn't ''anything'' to do other than play the Rhythm Game (and watch [=PVs=]). Of course, most fans don't mind this, but it was notable enough for many critics to state the fact. The same applies to [=MegaMix=].

** Despite appearing in the games as playable characters, Kasane Teto, Akita Neru, and Yowane Haku don't receive any songs of their own, nor do they share any with the others, being little more than glorified skins. While this could be understandable for Neru and Haku, given they're merely derivatives of Miku, it is less understandable for Teto, who is an independent voice bank like the main Crypton characters (albeit as an Utauloid) and has several songs under her belt that could've been added to the games (such as "Mischivious Function" and "Song of the Eared Robot", amongst others), but were ultimately ignored instead. That said, in a similar case to Gumi, it's likely that the developers were playing it safe to avoid issues with her creator.

* HilariousInHindsight: Miku uses a [[VideoGame/VirtualOn Fei-Yen costume]] in ''extend''. Over a year later, and on a totally different system, [[VideoGame/SuperRobotWarsUX Fei-Yen turns into a familiar idol...]]

* UncannyValley: A recurring problem with the "toon shader" is that the shader often modifies how lighting interacts with the characters, oftentimes making them look plasticine or lacking features when viewed from certain angles. This problem is especially prominent in ''Mega Mix'', as in previous games, this issue was less noticeable due to the [=PVs=] being specifically designed with the toon shader in mind, but in this game ''every'' song has the toon shader, further exacerbating the problem. Sega has rectified this in "Megamix +" by making it so the players can optionally switch to Future Tone's graphics. This change will eventually be carried over to the Nintendo Switch version of the game.

* FranchiseOriginalSin: Many of the criticisms aimed towards ''X'' are aspects that had existed in earlier titles.
** One of the biggest criticisms from fans for how Miku-centric it is and how little focus the rest of her co-stars get by comparison. However, the series from the beginning has always had a heavy focus on Miku due to her popularity (she is the title character after all) with her often getting the lions share of the spotlight compared to her co-stars. However, it didn't really become a major vocal problem in previous games as they still gave the other Vocaloids a good bit of focus and a decent number of songs, despite not getting as many as Miku, whereas in ''X'', there are only ''four'' out of the game's thirty songs that aren't sung by Miku and/or don't involve her in some form, making the large Miku focus much more blatant by comparison.[[note]]The songs in question are "The Lost One's Weeping" (Kagamine Rin), "Holy Lance Explosion Boy" (Kagamine Len), "A Single Red Leaf" (Megurine Luka), and "Amazing Dolce" (MEIKO, Kagamine Rin and Len).[[/note]]
** The idea of a story mode in ''X'' has turned off many fans due to it giving the Vocaloids "officially" defined personalities and relationships in spite of much of their appeal being that they're {{blank slate}}s. However, earlier games have also given them official personalities and relationships via the opening videos, what with Miku, Len and Rin being classmates, the HomoeroticSubtext between Miku and Rin, the implication of Luka being their teacher, Kaito and Meiko being close friends, etc. The reason why fans didn't take much problem with it in previous games is because it was limited to the opening videos and isn't reflected in the rest of the game, which is mostly detached from it. It only became a criticism when ''X'' brought those portrayals to the forefront by having a story mode that ties the game together, which fans saw as being imposing on the idea of them blank slates in a way the openings weren't.

** The idea of a story mode in ''X'' has turned off many fans due to it giving the Vocaloids "officially" defined personalities and relationships in spite of much of their appeal being that they're {{blank slate}}s. However, earlier games have also given them official personalities and relationships via the opening PVs, what with Miku, Len and Rin being classmates, Luka being implied to be their teacher, Kaito and Meiko being close friends, etc. The reason why fans didn't take much problem with it in previous games is because it was limited to the opening PVs and isn't reflected in the rest of the game. It only became a criticism when ''X'' brought those portrayals to the forefront by having a story mode that featured those portrayals, which fans saw as being imposing on the idea of them blank slates.

* FranchiseOriginalSin: ''X'' has received a ton of criticism from fans for how Miku-centric it is and how little focus the rest of her co-stars get by comparison. However, the series from the beginning has always had a heavy focus on Miku due to her popularity (she is the title character after all) with her often getting the lions share of the spotlight compared to her co-stars. However, it didn't really become a major vocal problem in previous games as they still gave the other Vocaloids a good bit of focus and a decent number of songs, despite not getting as many as Miku, whereas in ''X'', there are only ''four'' out of the game's thirty songs that aren't sung by Miku and/or don't involve her in some form, making the large Miku focus much more blatant by comparison.[[note]]The songs in question are "The Lost One's Weeping" (Kagamine Rin), "Holy Lance Explosion Boy" (Kagamine Len), "A Single Red Leaf" (Megurine Luka), and "Amazing Dolce" (MEIKO, Kagamine Rin and Len).[[/note]]

* FranchiseOriginalSin: ''X'' has received a ton of criticism from fans for how Miku-centric it is and how little focus the rest of her co-stars get by comparison. However, the series from the beginning has always had a heavy focus on Miku due to her popularity (she is the title character after all) with her often getting the lions share of the spotlight compared to her co-stars. However, it didn't really become a major vocal problem in previous games as they still gave the other Vocaloids a good bit of focus and a decent number of songs, despite not getting as many as Miku, whereas in ''X'', there are only ''four'' out of the game's thirty songs that aren't sung by Miku and/or don't involve her in some form, making the large Miku focus much more blatant by comparison.[[note]]The songs in question are "The Lost One's Weeping" (Kagamine Rin), "Holy Lance Explosion Boy" (Kagamine Len), "A Single Red Leaf" (Megurine Luka), and ""Amazing Dolce" (MEIKO, Kagamine Rin and Len).[[/note]]

* FranchiseOriginalSin: ''X'' has received a ton of criticism from fans for how Miku-centric it is and how little focus the rest of her co-stars get by comparison. However, the series from the beginning has always had a heavy focus on Miku due to her popularity (she is the title character after all) with her often getting the lions share of the spotlight compared to her co-stars. However, it didn't really become a major vocal problem in previous games as they still gave the other Vocaloids a good bit of focus and a decent number of songs, despite not getting as many as Miku, whereas in ''X'', there are only ''three'' out of the game's thirty songs that aren't sung by Miku and/or don't involve her in some form, making the large Miku focus much more blatant by comparison.[[note]]The songs in question are "The Lost One's Weeping" (Kagamine Rin), "Holy Lance Explosion Boy" (Kagamine Len), and "A Single Red Leaf" (Megurine Luka).[[/note]]

* FranchiseOriginalSin: ''X'' has received a ton of criticism from fans for how Miku-centric it is and how little focus the rest of her co-stars get by comparison. However, the series from the beginning has always had a heavy focus on Miku due to her popularity (she is the title character after all) with her often getting the lions share of the spotlight compared to her co-stars. However, it didn't really become a major vocal problem in previous games as they still gave the other Vocaloids a good bit of focus and a decent number of songs, despite not getting as many as Miku, whereas in ''X'', where there are only ''three'' out of the game's thirty songs that aren't sung by Miku or don't involve her in some form or fashion, making the large Miku focus much more blatant by comparison.[[note]]The songs in question are "The Lost One's Weeping" (Kagamine Rin), "Holy Lance Explosion Boy" (Kagamine Len), and "A Single Red Leaf" (Megurine Luka).[[/note]]

* FranchiseOriginalSin: ''X'' has received a ton of criticism from fans for how Miku-centric it is, however, the series from the beginning has always had a heavy focus on Miku due to her popularity (the series is called ''"Hatsune Miku": Project Diva'' after all) with her often getting the lions share of the spotlight compared to her co-stars. However, it didn't really become a major vocal problem til ''X'' due to prior games giving the other Vocaloids a decent number of songs unlike in ''X'', where there are only ''three'' out of the game's thirty songs that aren't sung by Miku or don't involve her in some form or fashion, making the large Miku focus much more blatant by comparison.[[note]]The songs in question are "The Lost One's Weeping" (Kagamine Rin), "Holy Lance Explosion Boy" (Kagamine Len), and "A Single Red Leaf" (Megurine Luka).[[/note]]

* FranchiseOriginalSin: ''X'' has received a ton of criticism from fans for how Miku-centric it is, however, the series from the beginning has always had a heavy focus on Miku due to her popularity (the series is called ''"Hatsune Miku": Project Diva'' after all) with her often getting the lions share of the spotlight compared to her co-stars. However, it didn't really become a major vocal problem til ''X'' due to prior games giving the other Vocaloids a decent number of songs unlike in ''X'', where there are only ''three'' out of the game's thirty songs that aren't sung by Miku or don't involve her in some form or fashion[[note]]"The Lost One's Weeping" (Kagamine Rin) "Holy Lance Explosion Boy" (Kagamine Len) and "A Single Red Leaf" (Megurine Luka)[[/note]], making the large Miku focus much more blatant by comparison.

* FranchiseOriginalSin: ''X'' has received a ton of criticism from fans for how Miku-centric it is, however, the series from the beginning has always had a heavy focus on Miku due to her popularity (the series is called ''"Hatsune Miku": Project Diva'' after all) with her often getting the lions share of the spotlight compared to her co-stars. However, it didn't really become a major vocal problem til ''X'' due to prior games giving the other Vocaloids a decent number of songs unlike in ''X'', where there are only ''three'' out of the game's thirty songs that aren't sung by Miku or don't involve her in some form or fashion ("The Lost One's Weeping" (Kagamine Rin) "Holy Lance Explosion Boy" (Kagamine Len) and "A Single Red Leaf" (Megurine Luka)), making the Miku focus much more blatant by comparison.

** One of the biggest criticisms for ''X'' was the Virtual Singers receiving "canon" characterization to go with the game's storyline. Fans complained about this because they felt like these official portrayals were being forced on them, despite Sega going on the record to say that the characterization was ''not'' meant to be taken as how the Virtual Singers actually are. Fast forward a few years later to Sega's second attempt at this in ''Project SEKAI'' where they utilized a similar method to the personality-changing modules from ''X''; Instead of the Virtual Singers' personalities changing with their module's aura, they are influenced by the SEKAI they appear in, with their characterization primarily being a reflection of the SEKAI's owners' own traits, though they do have quirks unique to them as well. The "original" Virtual Singers that appear outside of the main SEKAI's have characterization as well, however, they are largely flat characters that don't have much screentime. As well, while fans of the Virtual Singers criticized the game for giving the characters official characterization, they eventually warmed up to the idea, making quite a few of these iterations fan favorites. And ironically, after some time fans began to complain that the Virtual Singers didn't receive ''enough'' screentime to expand on their characterization and inner group dynamics compared to the OriginalGeneration.