Tags

Filter trivia by tag, game, series, console, and/or developer.
Filter Arrow
Consoles
























































































Developers

















































































































































































































































































































































































































































































































































































































































































































































































































































































































Other
Name Contains:
(?)

Clear All Filters




































Final Fantasy Tactics
In the Japanese version's commentary with the game's composer Masaharu Iwata, he stated that when his older brother Sakimoto heard the "Night Attack" theme, he said to Iwata that the theme sounded like it was done by a foreigner trying to write something that sounds "Japanese". Iwata took it as a harsh comment, but agreed with him, admitting that he was too influenced by playing a lot of Western games at the time. He really wanted the atmosphere to feel like a night raid, but the latter half of the song "sounds like all the soldiers are dancing around or something".
Contributed by ProtoSnake
The Legend of Zelda: Ocarina of Time
In a 1999 commentary with the game's composer Koji Kondo published in the GSLA archive, he stated that when "Ocarina" became the game's title, he decided to try and build the music around one central ocarina melody. Given that the ocarina only has five notes to play, he tried to write the various background themes in different genres (bolero, serenade, etc.) where each one would evoke a "catchy, memorable 3-note ocarina melody". This was the motif around which he created various simple, but distinct melodies, and was very careful to make sure he didn't repeat himself. Kondo then commented:

"Game music is different from other genres in that it exists to make the game more enjoyable. In addition, there's a lot of interactive things you can do with game music, which I think is one of its defining traits. A very simple example would be the way the tempo increases when a time limit is running out."

Kondo also stated the Hyrule Field theme is the main central song, and that he wrote it so that each time you play it, the song structure unfolds in a slightly different way. He also stated that when Link stands still for a while, the song will change to a more relaxed melody, and when enemies come close, the song will get tenser. Since it is a very long game, he tried to think of ways to keep the players from getting bored, and how to make the music evolve with what's happening on-screen. He hoped to continue pursuing this idea for interactive music in future games.
Contributed by ProtoSnake
Fatal Fury 3: Road to the Final Victory
In a 1995 interview with the SNK Sound Team published in Neo Geo Freak Magazine, composers Shimizm and Konny stated that the team wanted to change up the patterns and image of each song, as they had to compose a large number of songs for each game they worked on while also adding something new into the image of earlier versions of songs and also relating to what the game was trying to express. By doing this, they set up a distinct identity for each game, always searching to make things more "real":

Shimizm: "Basically, these are fighting games, and their core is a system of gameplay that I endeavor to match with my music. What is the game itself trying to express…? That's where I look for my themes. For sound effects too, for example, with punches, I try to make them as realistic as possible. I place a lot of importance on that."
Contributed by ProtoSnake
Final Fantasy Tactics
In the Japanese version's commentary with the game's composer Hitoshi Sakimoto, he joked that he wrote "Bloody Excrement" while he was thinking about the game's protagonist, Mr. Forest Bear, a "pleasant, heartwarming tale of Mr. Bear’s family adventure, that's really never explained", and that his original idea for the song was to make it feel like a pleasant, heartwarming story of Mr. Bear’s family adventure.
Contributed by ProtoSnake
Attachment
A prototype version of this game contained an item, called "Flametrail", which is not present in the final release of the game. It is theorised this item would use the jet engines of the ship as a means of damaging other ships.
Contributed by psyducklover13
Fallout 3
Attachment
An unused set of Enclave Power Armor can be found in the game files and spawned in-game, utilizing console commands.

The stats differ and the armor set carries the file name, "Robo-Thor Armor", evidently a reference to Marvel Comic's Thor, as the armor helmet has a unique design reflective of Thor's own signature helmet.
Contributed by Regen-33
PaRappa the Rapper
Attachment
In 2022, Rodney Greenblat uploaded a VHS rip to YouTube of the very first animation test of the game's opening cutscene, recorded directly from a Macintosh video output in 1995. The VHS, apparently a Christmas gift, is bookended by messages to Greenblat from Matsaya Matsuura, has no music, and features placeholder voice acting by Ryu Watabe. The cutscene features an early design for Katy, sporting a grass skirt, a yellow bra and dark blue and white fur, as well as a temporary stand-in design for PaRappa as his main design had not yet been finalized. This placeholder depicts him as a blue man sporting a red jacket and dark green shorts.
Contributed by MehDeletingLater
Um Jammer Lammy
Attachment
In 2022, Rodney Greenblat uploaded a VHS rip of the earliest beta versions of the game's cutscenes to YouTube. These cutscenes feature very little music, placeholder voice acting by Ryu Watabe, and an early pinker character design for Lammy which Greenblat thought made the character appear more lamb-like, but was rejected in favor of the final red-haired design.

This VHS rip also notably features two unused cutscenes that were changed significantly in the final game:
•An early intro cutscene showing the rest of Milk Can already backstage and waiting for Lammy to arrive, featuring the Jet Baby movie playing on TV rather than in theatres and an advertisement for Milk Can's show that night.
•A silent cutscene that appears to be an early version of the Joe Chin Museum Ma-san cutscene. In this cutscene, she is seen reading in a library rather than a museum, specifically a magazine featuring two disco dancers about to kiss. Ma-san, presumably irritated by the male dancer who appears to be the only one talking before this, begins drumming rapidly on a reading desk. Her drumming causes the library to shake, making books fall off the shelves and causing the male dancer to have a profuse nose bleed as they are kissing. The female dancer slaps him away, causing another stream of blood to shoot out of his right nostril, before cutting to a smiling Ma-san.
Contributed by MehDeletingLater
Phantasy Star IV: The End of the Millennium
In a 1993 interview with the game's director/story plan/graphic designer Toru Yoshida published in several shorter pre-release magazines, he was asked how is the game connected to the previous games of the series? He responded:

"It’s a direct continuation of the first two games. PSIII was like a collection of side-stories, but with PSIV, we’re returning to the main storyline, with PSI and PSII forming the historical backdrop. I wanted to make one more game where you get to explore the whole solar system and travel from planet to planet.

When our team made PSII, we were stretched pretty thin, and we couldn’t include all that we had imagined. We felt that leaving the story at PSII, therefore, would have been a real waste, and that’s how the idea for PSIV got started.

Also, PSII’s battle animation system still stands out today, I think. It allowed for really great visual presentation, and again, we thought it would be a huge waste to not revisit it. But PSII and PSIII also had a lot of flaws, and we wanted to fix all that and make a game which players would consider the definitive Phantasy Star. So in that sense, we also saw PSIV as a sort of remake of the best elements of the series."
Contributed by ProtoSnake
The Last of Us Part I
In The Last of Us Remastered's commentary with actress Ashley Johnson and director Neil Druckmann, in the scene where Joel found Ellie in the abandoned house, Ashley stated that she improvised by shoving him out of frustration, because she felt emotional reading for the scene where Joel is planning to leave her to Tommy.

Druckmann stated that the team wanted him to remove this scene where Joel is being too cold to Ellie, but he refused because he felt it was important to keep in the scene that Ellie is "being so vulnerable and [Joel is] having these feelings. He's trying to shut it down". Druckmann also commented that when Joel said to Ellie "You're not my daughter", he stated that while that quote is almost an insult, it's the opposite of what he actually feels.
Contributed by ProtoSnake
Final Fantasy Tactics
In the Japanese version's commentary with the game's composer Masaharu Iwata, he stated that "Run Past Through The Plain" ended up being the third battle theme. He thought that the two previous battle themes were too "in your face", so he decided to create a song with a central melody that sounded more friendly. Eventually it ended up sounding like "something you’d hear at a matsuri (local festival)".
Contributed by ProtoSnake
Final Fantasy Tactics
In the Japanese version's commentary with the game's composer Masaharu Iwata, he stated that the theme for "Unavoidable Battle" was the first battle theme he created. Before "Unavoidable Battle", he created another battle theme before it, but it felt too happy-sounding, so the team rejected it. As he reflected on it, he created "Unavoidable Battle" to be a more pointed, exaggerated song, while the rejected music was re-purposed and used for the Unit Introduction theme, which is played over the opening demo.
Contributed by ProtoSnake
The Last of Us Part I
In The Last of Us Remastered's commentary with director Neil Druckmann, he stated that Jeffrey Pierce originally auditioned for the role of Joel, which ultimately ended up being given to Troy Baker instead. When the team began finding someone to cast as Tommy, they called Pierce back in and were impressed with his performance, landing him the role of Tommy. Baker stated that he felt a chemistry between himself and Pierce that made for a sense of realism in Joel and Tommy's relationship.

Druckmann also stated that Ashley Scott was originally intended to play Tess instead of Maria, and that there were no auditions for either of those characters.
Contributed by ProtoSnake
Street Fighter X Tekken
The game's producer Yoshinori Ono has stated in some interviews that the reason behind including Bad Box Art Mega Man and his highly exaggerated appearance, instead of any other version of the character, was due to Mega Man's co-designer Keiji Inafune's wishes. Ono said that when he asked Mr. Inafune about including the character in the game, Inafune said "that's not interesting, we have seen Mega Man in fighting games before" and then asked Ono to give him "something original". Ono then decided to use the Mega Man from the "awful" North American box art from the first Mega Man game and "make it even wackier" by presuming that Bad Box Art Mega Man has aged since his picture was taken and used in the US box art 25 years ago. Ono said that Inafune "loved the idea" and that was what lead to his inclusion.
Contributed by ZpaceJ0ck0
Final Fantasy IV
In a 1991 commentary with the game's composer Nobuo Uematsu published in the FFIV Minimum Album Liner Notes, he stated that the unreleased track "The Sea of Silence" was planned for the Moon overworld map, but the scenery didn't exactly match so it got scrapped, much to Uematsu's dismay as he was fond of the song.
Contributed by ProtoSnake
Final Fantasy IV
In a 1991 commentary with the game's composer Nobuo Uematsu published in the FFIV Minimum Album Liner Notes, he stated that in early plans for the game, the team wanted to use the unreleased track "Rosa o Sukue! (Save Rosa!)" aka "Restless Moments" for a scene where you had to save Rosa within a time limit or a game over would occur; this scene would appear in the final game in the Tower of Zot without this song.
Contributed by ProtoSnake
Final Fantasy IV
In a 1991 commentary with the game's composer Nobuo Uematsu published in the FFIV Minimum Album Liner Notes, he stated that the unreleased track "The Origin" was the first song he composed for the game, and described the song as setting the tone for the rest of the pieces that came after. He also stated that it was originally intended to be the opening introduction theme, but "Red Wings" was chosen instead.
Contributed by ProtoSnake
Assassin's Creed II
In an interview with creative lead Patrice Desilets, he confirmed that the DLC was originally planned to be part of the main game.

"So we said, 'Okay, let's take a portion of the game that was planned and we'll give it in DLC.' We'll remove some stress to the team while giving more to fans and people who like Assassin's Creed."
Contributed by ClaudX
The Last of Us Part I
In The Last of Us Remastered's commentary with director Neil Druckmann, he stated that there was originally going to be dark music during the scene when Marlene revealed that Ellie was going to be sacrifice for a cure. However, Druckmann told the composers not to do that, because it would paint her as a bad person rather than a good person who is trying to save humanity. Instead, he let them use the dark music for Joel, because when Ellie's life is on the line, he slips back into murdering anyone who would try to kill her. Neil also stated that this scene defined the theme of the game: "as a father... you will... kill everybody else to save your kid."
Contributed by ProtoSnake
Deltarune
In the livestreamed playthrough of Chapter 1 conducted for Undertale's sixth anniversary, it was revealed that Lancer's childlike characterization was originally far more subdued. Toby Fox later chose to exaggerate these elements after playtesters instead assumed that Lancer was a Danny DeVito-esque adult.
Contributed by game4brains
Select this option if you'd like to include results that match any of your criteria. Otherwise, only results that match all selected criteria will be returned.