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.
Contributed by MehDeletingLater
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.
Contributed by ProtoSnake
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.
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.
Contributed by ZpaceJ0ck0
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.
Contributed by ZpaceJ0ck0
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.
Contributed by ZpaceJ0ck0
According to series' producer Katsuhiro Harada, Craig Marduk was named after Marduk, a character from the real-time strategy game Sacrifice. This name was chosen because this was Harada's favorite RTS game.
Contributed by ZpaceJ0ck0
In a 2023 interview done to promote "The Super Mario Bros. Movie", Shigeru Miyamoto shared his thoughts and opinions on certain aspects of the character Mario that the filmmakers could easily take from the video games that made him endure over time and become so beloved the world over:
"It’s the very fact that he is not your typical superhero that makes him such an interesting movie character[...]He’s so relatable. He’s an Everyman character. He never gives up. He always keeps coming. Those qualities make for a very compelling central character.
I think part of it is the idea that Mario never gives up[...]And he’s kind of got this shy side to him. When all the attention is focused on him, he’s a little bashful and doesn’t maybe want that. That speaks to me. He might seem brave, but that’s still a fundamental core essence of his character."
"It’s the very fact that he is not your typical superhero that makes him such an interesting movie character[...]He’s so relatable. He’s an Everyman character. He never gives up. He always keeps coming. Those qualities make for a very compelling central character.
I think part of it is the idea that Mario never gives up[...]And he’s kind of got this shy side to him. When all the attention is focused on him, he’s a little bashful and doesn’t maybe want that. That speaks to me. He might seem brave, but that’s still a fundamental core essence of his character."
Contributed by PirateGoofy
In an interview with character and demon designer Masayuki Doi, Hayataro was supposed to be the first demon that players would meet and recruit in the game. The staff considered having the protagonist ride Hayataro's back "as a partner-in-crime," but the idea was scrapped due to the technical circumstances and the demon's role as a one-off character.
Contributed by ZpaceJ0ck0
According to producer Takashi Sado, the game's fantasy setting and RPG-like character progression system were inspired by other Capcom games such as Magic Sword: Heroic Fantasy and The King of Dragons.
Contributed by ZpaceJ0ck0
NSFW - This trivia is considered "Not Safe for Work" - Click to Reveal
In the original arcade version and in the Super Famicom version, a decapitated head of the Hydra Dragon falls to the ground every time the player defeats one of the heads. In the SNES version however, the head falls farther to the right in order to obscure the gore.
Contributed by ZpaceJ0ck0
When a full screen spell is performed, an image flashes on-screen for a few frames. In the Japanese and World 900623 revisions, it's a hexagram, which the symbols inside of it being astrological symbols for Saturn, Mercury, Venus, the Sun, Mars, and possibly Jupiter; the symbols on the outer circle are unknown and possibly made up.
The other two revisions (USA and World 900725) feature a lightning bolt instead.
The other two revisions (USA and World 900725) feature a lightning bolt instead.
Contributed by ZpaceJ0ck0
In 2011, Udon Entertaiment pitched the idea of a "Darkstalkers HD" remake, which would be similar to Udon's previous work of Super Street Fighter II Turbo HD Remix. The pitch was rejected because Capcom wanted to focus Darkstalkers Resurrection, a collection of the second and third games in the series.
Contributed by ZpaceJ0ck0
When aksed about which beat-em-up games inspired the game's creation, Shank's executive producer Jamie Cheng stated the main inspiration was Double Dragon and its variety of attacks, as well as their different effects. However, he also stated that during development meetings their references ranged "from Prince of Persia to Uncharted to Street Fighter to... pretty much anything."
Contributed by ZpaceJ0ck0
Street Fighter series director Takayuki Nakayama revealed some concept designs by Bengus meant to represent each of divine beasts in Japanese mythology. These designs depict Byakko (the white tiger), Suzaku (the vermillion bird), Genbu (the black tortoise), Seiryu (the azure dragon), and the less often seen Koryu (the yellow dragon). These designs were meant to be used for mascots of the annual Special RAGE Cup events, which were Street Fighter tournaments held in Japan. The winner would recieve an special costume made for them.
As the RAGE Cup event only lasted for three years (2016-2018), only three of the beasts were present. It is unknown what the final concept of the blue and yellow dragons might have looked like.
As the RAGE Cup event only lasted for three years (2016-2018), only three of the beasts were present. It is unknown what the final concept of the blue and yellow dragons might have looked like.
Contributed by ZpaceJ0ck0
According to former Rare employee Kev Bayliss and current creative director Gregg Mayles, the reason why Donkey Kong Country had the "Country" part of its name was because the game had been known as "The Country Project" during development, owing to the fact that Rare was effectively situated in the middle of the countryside. When staff from Nintendo visited them, they decided to keep 'Country' in the name.
Contributed by ZpaceJ0ck0
The game's date contains unused forward and backward walk cycles for Bishamon where he can be seen bracing his sword in a defensive posture. They have no hitboxes or other properties assigned, implying they were eliminated early in development, and it is unknown what exactly they might have been used for.
Contributed by ZpaceJ0ck0
In a 1985 interview with Bill Gates published in the 8/83 issue of LOGiN magazine, he stated the "X" letter in the MSX name doesn't have any special meaning. It was added purely for aesthetic reasons that he felt the logo needed to look good, and that it had an almost artistic sound and a nice ring to it. He thought the logo captured their distinctive style, and that it acted as a "guarantee of compatibility" when systems compatible with the MSX would start using it.
Contributed by ProtoSnake
In a 2003 interview with the game's chief designer Masahiro Kumono published in Shinobi THE WIDE Illustration Archives, he stated him and his team began development in April 2001, and they exhibited the game's first playable demo at E3 2002. At the time, because they were showing the Shinobi game at an overseas trade show, they wanted to focus on the Japanese elements of the visuals to help stand out in an obvious way. For the ninja for instance, they incorporated super-Japanese onigawara into the ninja's leg armor, held on with buckled kumihimo, and joked that it was made of lacquerware. In the initial settings for the game, they tried to incorporate Japanese touches like this everywhere, such as characters in furisode-esque outfits, and the backgrounds would show more element like torii in between city buildings, or traditional Japanese houses with expressways running behind them and so on. Kumono wanted to try and express those juxtaposed "modern/Japanese" elements from every potential angle.
Contributed by ProtoSnake
If the player lands a lethal blown with Captain Commando's flamethrower or similar fire attacks the enemy will burn until they turn into ash. This does not happen in the SNES version, where the burned enemies stay on the ground before dissapearing.
Contributed by ZpaceJ0ck0
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