Commodore 64 gaming in the 80s and 90s was a global phenomenon, but gamers quickly discovered that the experience wasn’t always uniform across the Atlantic. Differences between US (NTSC) and European (PAL) versions of games were common, sometimes subtle, and other times dramatically altering the gameplay and enjoyment. Let’s delve into some key examples highlighted by early players and explore what these variations meant for the gaming experience, and if we can even put a price tag on these differences in today’s money, like considering if a superior version is worth, say, 64 Euro To Us dollar conversion.
One of the most striking examples of regional disparity is Afterburner. According to player accounts, the US version was considered far superior, closely mirroring the quality of the Master System port. In contrast, the European release was often seen as a weaker imitation. Adding to this divide was the soundtrack: the US version boasted a MoN soundtrack, whereas European gamers were given a less favored Adam Gilmore set. This difference alone could sway a gamer’s preference significantly.
Then there’s 720. Here, opinions flip. The European version of 720 is often lauded, particularly for its Ben Daglish soundtrack, which many consider significantly better than the music in the US release. This demonstrates that regional variations weren’t always about one region getting a universally “better” version; preferences often came down to specific elements like sound and personal taste.
Bionic Commando on the C64 is another game where regional differences are starkly criticized. The NTSC version is described as a significant downgrade – slower paced, with poorer gameplay, and a soundtrack that pales in comparison to the renowned Follin brothers’ masterpiece in the PAL version. For fans of Bionic Commando, the regional version could drastically alter their perception of the game’s quality.
Flying Shark, known as Sky Shark in the US, presents a more balanced scenario. Both versions are considered playable and visually decent. The US release benefits from a Follin soundtrack, which is appreciated by many, though some players express a preference for the Jim Evans conversion found in the European version. This example shows that sometimes regional differences offered alternative, equally valid experiences.
Nemesis, or Gradius as it was rebranded in Europe (The Final Challenge being its full PAL title), is peculiar. The core game, coded by Simon Pick, remained largely consistent. However, the Gradius re-badging came with a notable change: the absence of in-game music during gameplay. Instead, a loading tune with basic white noise drums, similar to the PAL version’s intro music, was used. This is a curious alteration that impacted the game’s atmosphere in the European release.
The original discussion also mentions Outrun, with a promise of future comparison. It’s important to remember that these variations weren’t arbitrary. Licensing played a crucial role. For example, Sega distributed their games directly in the US, while companies like US Gold and Activision handled licensing in Europe for titles like Outrun and Afterburner. Interestingly, the US version of Afterburner was even coded by a British developer, highlighting the complex international nature of game development and distribution.
The question arises: why not create a single, worldwide version? The answer often lies in cost and logistics. Developing an NTSC version first might lead to Sega charging a premium for the source code. PAL licensors would then incur further costs to adapt it. Conversely, if a PAL version was developed first, Sega would potentially have to license back their own product’s code from the converters and invest again to make it NTSC compatible. Furthermore, concerns about the US version’s compatibility with the predominantly cassette-based European market added another layer of complexity.
In conclusion, the world of Commodore 64 games was far from monolithic. Regional variations, driven by licensing, technical differences, and perhaps even regional preferences, created distinct experiences for gamers in the US and Europe. While it’s difficult to quantify the exact value difference – whether any version was worth “64 euro to US” more or less – these differences undeniably shaped players’ memories and preferences, adding another layer of fascination to the history of retro gaming.
