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Kingdom Hearts III
The team behind Square Enix's Einhander helped develop the expansive Gummi Ship aspect of Kingdom Hearts III. They even included references to Einhander, including an unlockable Gummi Blueprint obtained by scanning a constellation in the Misty Stream area that greatly resembles Einhander' Endymion ship. One of Einhander's bosses, the Schwarzgeist, also cameos as a boss in Kingdom Hearts III, and a remix of Einhander 'Thermosphere' plays when the boss is fought with most Gummi ships. However, if the boss is fought with the Endymion blueprint, then the original PlayStation 1 version of the Thermosphere theme will play.
Contributed by PirateGoofy
Kingdom Hearts
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Concept art featured in early design documents of the first Kingdom Hearts game shows a world clearly based on Disney-Pixar's Toy Story franchise that, for reasons that have not officially been stated, does not appear in the final release. A Toy Story world would, however, appear in Kingdom Hearts III
Contributed by PirateGoofy
Joe Higashi’s personality was apparently modeled after the lead character from the Japanese show Abarehacchaku.
Contributed by DrakeVagabond
Series: Tengai Makyo
According to Oji Hiroi in Vol. 22 of The Super Famicom magazine, Tengai Makyo originally wasn't going to be a series, and was planned to be a single game. He elaborated, saying:

"The first map I drew for the game was way too huge, though, and we split it into three parts. That left a whole section of the game for China, as well as Kyuushuu and the Ryukyu islands. I realized if we left it at just one game, the player would never learn the origins of the Fire Clan or the Book of WareWare."
Contributed by ProtoSnake
Darkstalkers 3
According to general producer Noritaka Funamizu in the Gamest magazine interview, he named the third game for Japan “Vampire Savior” because he wanted each title to have a unique name instead of just calling it by it's early name 'Vampire 3'. He added "As for the meaning, I’ll leave that for players to discover."
Contributed by ProtoSnake
Series: SaGa
According to game's illustrator Tomomi Kobayashi in a 1996 Game Hihyou magazine interview, Hawke is based on 'Blood the pirate' from Osamu Tezuka’s Ribbon no Kishi ('Princess Knight').
Contributed by ProtoSnake
Real Bout Fatal Fury
In the RBFF guidebook interview, the game's staff were asked about why they updated 'Real Bout' by changing the layout of the buttons. They responded:

"In Fatal Fury 3 we introduced the Oversway Line. It seemed to be very difficult for new players, but we were convinced the idea itself was good. So we tried to make it easier to use this game, which meant adding a dedicated button for it. That was the biggest reason for changing the entire button layout."

Having three attack buttons also corresponded to having weak, mid, and strong attacks, which matched their vision of the game being simple to understand, but deep.
Contributed by ProtoSnake
Real Bout Fatal Fury
In the RBFF guidebook interview, the game's staff were asked about the meaning of the title “Real Bout”? And they responded:

"That was actually the working project title of the original Garou Densetsu. As this development progressed, we wracked our brains trying to come up with a new title for this sequel, and wondered if changing the entire title itself wouldn’t be more interesting. Then someone suggested, “hey, what if we bring back ‘Real Bout’…” So we have a lot of attachment to it, as you might imagine."
Contributed by ProtoSnake
Baraduke
According to an interview with the game's planner and graphic designer Yukio Takahashi in the book 'Game Shokunin', it took him a whole year to finish off development of the game. He had to do everything but the programming himself, and drew all the graphics in about 5 to 6 months.
Contributed by ProtoSnake
The Revenge of Shinobi
In an interview with game's director and designer Noriyoshi Ohba, he was told about how popular the game's composer Yuzo Koshiro’s music was. He commented:

"Yeah, it’s really a collection of some of his most famous songs. The Chinatown stage theme, in particular, is amazing. I remember getting goosebumps when [...] I listened to a demo tape of the Chinatown theme for the first time. I was impressed by his work, and we worked well together, so I asked him to do the music for Streets of Rage the following year."

Ohba's sound effects would also be re-used in later titles such as the Streets of Rage games.
Contributed by ProtoSnake
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In a 1992 developer interview, it was revealed that Cú Chulainn's name and design were inspired by Cú Chulainn from Yousei-ou manga series.

The attached image shows Shin Megami Tensei’s Cú Chulainn design (left) and its inspiration, the Cú Chulainn character from the Ryoki Yamagishi manga Yousei-ou (right).
Contributed by ProtoSnake
Castlevania: Rondo of Blood
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In the Akumajo Dracula X CD liner notes, the game's character designer Toshiharu Furukawa stated that they had to remove some monsters in previous Castlevania games, due to the game's international localizations. Having destructible monsters with humanoid forms (i.e. Medusa, Carmilla, and Gargoyle) went against America's morals. However, for Castlevania: Rondo of Blood, it doesn't need to be localized, due to it being released in Japan-only.
Contributed by ProtoSnake
Mega Man X4
In an Sega Saturn Magazine interview, the game's planner Koji Okohara stated that looking back at Mega Man X3, they felt there wasn't a big enough difference between how Zero and X controlled, so they tried to distinguish both of them further in the sequel. In X4, Zero only got a sword without any "charge" ability for his weapon.

The game's producer Yoshinori Takenaka stated that many developers were against that decision. Koji Okohara also stated "His sword doesn’t have any reach, and they thought it would make the game too difficult. To address that, we raised his attack power and added Street Fighter-style moves, so he feels completely different from X."
Contributed by ProtoSnake
According to game's producer Tokuro Fujiwara, their idea was to combine 2D and 3D graphics for Tomba! 1, but they weren't able to achieve they effect they wanted. They went with 3D for the second game so that they can achieve a greater freedom in expression. Also in Tomba! 2, the graphics may have changed from the first one, but it's system and gameplay were carried over so players wouldn't feel alienated from the first game.
Contributed by ProtoSnake
The Elder Scrolls IV: Oblivion
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Concept art of multiple cities feature amphitheaters, as seen in the Anvil, Chorrol, and Skingrad concept art. These amphitheaters are nowhere to be seen in the final game.
Contributed by ClaudX
The Elder Scrolls IV: Oblivion
Concept art of Anvil reveal some slight differences from the original design. Originally, the port was connected inside the city walls, the lighthouse was accessed via a paved path, and the bay was much larger. In the final game, the port and lighthouse are located outside of the city walls, in a separate cell, the lighthouse has no paved path leading to it, and the bay is much smaller.
Contributed by ClaudX
The Elder Scrolls IV: Oblivion
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Concept art reveals a vastly different design for the city of Leyawiin than in the final game. The Niben river would have flown through the city, splitting it into 3 different sections, with 2 outer sections on land, and the third section, an island in the Niben River, connected via bridges.
Contributed by ClaudX
The Elder Scrolls IV: Oblivion
Upon first entering the Market District, a notice will appear on the screen reading "New Topic: Do you need couriers?". However, this topic cannot be discussed with any NPCs. This may be a leftover from a scrapped quest or questline in which the player would deliver letters to NPCs. The string of text's file name is "ImpExWork", with "ImpExDeliveredLetter" and "ImpExGiveLetter" also existing in the game's files.
Contributed by ClaudX
The Elder Scrolls IV: Oblivion
The game files reveal that High Elves were originally supposed to be 50 points vulnerable to Fire, Frost, Shock, and Magic. In the final game, they only have a 25 points vulnerability, with no general vulnerability to Magic.
Contributed by ClaudX
The Elder Scrolls IV: Oblivion
An unused "Darkness" spell exists in the files, but ultimately goes unused. It acts oppositely to the "Light" spells in the game, making an area darker (most likely to make it easier to sneak and remain undetected). Similar to the unused "Lock" spell it contains many "DO NOT USE" warnings.
Contributed by ClaudX
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