
In the Stillwater Loft where the Bachelor takes refuge during the course of the game, a map of the Town can be found. Almost everything on this map reflects the in-game map except for the Train Station, as the positions of the railways and station buildings are different. It's possible that this was an earlier version of the game's map used by the developers and was not updated as the layout of the Town changed.
After figuring out how to destroy the Glass Tunnel in Maridia, the glass itself will not shatter until Samus jumps, shoots, or changes her item selection. If you fire a shot to break the glass on the exact same frame you enter the door transition to move to the next room, the game will freeze.
Billy Kane's pre-battle dialogue against boss Saiki has him wondering about Saiki's appearence, calling him "one of those weird monster types". Later he wonders what would happen if he "catch 'em all", with him stating that "Maybe they'll call me an Elite Trainer or something". This dialogue is a reference to Pokémon.
In an 2000 interview with the game's composer Atsuhiro Motoyama published in the Great Mahō Daisakusen OST liner notes, he stated he had a great deal of personal affection for the first game in the Mahō Daisakusen series since he wrote the music for it. Before he started to compose Dimahoo, he chose to go back and listen to the old songs from Sorcer Striker for reference.
In Sorcer Striker, he stated that the approach he took to the songs was "melodious and colorful", but for Dimahoo he decided to try something else, not over-emphasizing the melodies and instead attempting to evoke a sense of atmosphere. In his mind, by contrasting these two approaches he was trying to explore the theme of what background music is supposed to be:
He also stated that he was not only plagued with technical difficulties with his sound equipment, but his air conditioner also broke. This made his working experience worse for a few days as Motoyama was "extremely sensitive to the heat":
He also thanked composer Manabu Namiki for assisting him with assembling the game's music data, saying he was "very indebted" to him. The way Namiki handled the music data for Dimahoo was different compared to the way he normally did it. Although he endeavored to keep his original data clean and simple to understand, it ended up being "idiosyncratic and confusing", and Namiki ended up spending many extra overtime hours dealing with it. So, he expressed his gratitude towards him by thanking him for cleaning all that up.
In Sorcer Striker, he stated that the approach he took to the songs was "melodious and colorful", but for Dimahoo he decided to try something else, not over-emphasizing the melodies and instead attempting to evoke a sense of atmosphere. In his mind, by contrasting these two approaches he was trying to explore the theme of what background music is supposed to be:
"When a video game composer writes melodic, busy pieces with tons of notes, and lots of progressive, complex chord structures, those songs make a good impression on the listener as songs, and they can also be quite effective in making the stages seem more exciting… but if you make a single misstep in this approach, it's very easy for the BGM to stand out too much (of course, if you can pull it off, the results can be spectacular). For Dimahoo I tried to do "both" (melody and atmosphere)… but how do you think it turned out?"
He also stated that he was not only plagued with technical difficulties with his sound equipment, but his air conditioner also broke. This made his working experience worse for a few days as Motoyama was "extremely sensitive to the heat":
"The sun would gradually heat the room up by midday, and on top of that, there was heat from the three computers and a rack full of music modules… I wasn't going to get through this with some dinky little table fan! The repair guy couldn't come for three days, and during that time I filled a bucket with ice water and put my feet inside while I worked (yes, I really did this). Damn! Now I can't use the damper pedal on my keyboard!"
He also thanked composer Manabu Namiki for assisting him with assembling the game's music data, saying he was "very indebted" to him. The way Namiki handled the music data for Dimahoo was different compared to the way he normally did it. Although he endeavored to keep his original data clean and simple to understand, it ended up being "idiosyncratic and confusing", and Namiki ended up spending many extra overtime hours dealing with it. So, he expressed his gratitude towards him by thanking him for cleaning all that up.

In the game's code is evidence of an unused Event Pokémon. Event Pokémon are exclusive Pokémon throughout the franchise's history which usually have movesets or other unique properties that would not otherwise legitimately occur in normal gameplay.
A code string indicates that Diglett learns the move "Acid" at Lvl. 1, found at the end of Diglett's Generation 1 move pool, as this programming method was the manner in which the programmers ensured Event Pokémon transferred via the Game Pak to Stadium could function properly during gameplay.
To date, a Diglett with Acid being legitimately learned in it's moveset has never been released or distributed by an official Event by Nintendo nor Game Freak.
A code string indicates that Diglett learns the move "Acid" at Lvl. 1, found at the end of Diglett's Generation 1 move pool, as this programming method was the manner in which the programmers ensured Event Pokémon transferred via the Game Pak to Stadium could function properly during gameplay.
To date, a Diglett with Acid being legitimately learned in it's moveset has never been released or distributed by an official Event by Nintendo nor Game Freak.
Konami Man, one of Konami's early mascots, makes cameo appearances in several Konami games. He would later have his own game titled Konami Wai Wai World, which released in 1988, making it his first video game debut as a protagonist.

In a similar way that Zelda II: The Adventure of Link revealed that the entirety of the map from The Legend of Zelda was just a portion of the former game's map, the entirety of the first game's map makes up where Death Mountain is located in A Link to the Past.
Within the game's data is an unused Mashup for the song "Istanbul" by They Might Be Giants. While it is unknown why the Mashup was removed, it is theorized that it was because of the low amount of dancers within the Mashup, as only 6 dancers are used.
Both the opening cinematic and the Double Impact sequence found in the Japanese version are absent in both the USA and PAL versions of the game for unknown reasons.
In the first, second and sixth SoulCalibur games, the classic numeric input for Ivy's notoriously difficult Summon Suffering throw is 376231A+G (Attack + Guard). This number combination actually holds significance as it appears to be a reference to the phone number for Namco's headquarters from before they were acquired by Bandai, being 03-3756-2311.
Allegedly, the developers used the phone number as the basis for the input as a reaction to an in-joke among Tekken and Soul Edge arcade communities, who would react to degenerate or weird stuff in the games with "gonna call Namco about this". The joke being: "If you can't do the throw, go call Namco about it." However, since this input was brought back in SoulCalibur VI long after the phone number stopped being used by Bandai Namco, this adds an additional (albeit probably unintended) layer to the joke: "Go call Namco about it. Oh wait, you can't."
Allegedly, the developers used the phone number as the basis for the input as a reaction to an in-joke among Tekken and Soul Edge arcade communities, who would react to degenerate or weird stuff in the games with "gonna call Namco about this". The joke being: "If you can't do the throw, go call Namco about it." However, since this input was brought back in SoulCalibur VI long after the phone number stopped being used by Bandai Namco, this adds an additional (albeit probably unintended) layer to the joke: "Go call Namco about it. Oh wait, you can't."
In the Blood and Wine expansion, there is a hidden achievement you can earn if you kill a frozen opponent with a crossbow bolt. The enemy can be frozen in two ways, by either using a Northern Wind bomb, or using the Piercing Cold to give a 25% chance of freezing opponents when Aard is cast. Beat down the enemy until they are low on health and then throw a bomb at them or try and freeze them with the Aard sign (keep in mind there is a chance they will die when doing this). Once they are frozen, finish them off with the crossbow. Alternatively, this achievement can be more easily earned on wild animals that can be killed with a single bolt. After the enemy is killed, Geralt will say "Hasta la Vista", and the achievement will be revealed, also named "Hasta la Vista™" but with a trademark symbol. This is a reference to a scene from the 1991 film "Terminator 2: Judgment Day" where the Terminator says "Hasta la Vista, Baby" before shooting the frozen T-1000.

An early version of the legs for one of Gotchawrench's climbing sprites can be found in the game's data.
A bonus stage where the player uses the attack force to blow out candles was planned to be included during the early stages of development, but it was eventually scrapped.
In Street Fighter III: 2nd Impact there is an unused female voice that doesn't match either Elena or Ibuki. It's possible these voice lines belonged to an earlier version of Makoto, as she was originally meant to debut in this game but was moved to 3rd Strike due to time constrains.

According to the game's illustrator Akira “Akiman” Yasuda in the Street Fighter X Tekken Artworks artbook, he wanted Cammy to serve as a counterpart to Chun-Li, citing how Cammy is from the West and has upper body strength, in contrast to Chun-Li's eastern origins and lower body strength.
He also stated he modelled Cammy after the pigtail assassin Misty who appears in the manga Wounded Man. Her arm protectors are based on the ones used in Masamune Shirow’s Appleseed.
He also stated he modelled Cammy after the pigtail assassin Misty who appears in the manga Wounded Man. Her arm protectors are based on the ones used in Masamune Shirow’s Appleseed.
In the 2023 film "The Super Mario Bros. Movie", the Japanese name for the character Spike (the foreman from Wrecking Crew) was changed in the corresponding dub. Although no specific reason was given as to why the change was made, it can be assumed it was done to avoid controversy as the character's original Japanese name is "Blackie", which is also a derogatory racial slur in English-speaking countries used to refer to dark-skinned people of African descent.