Tags

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.

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 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 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.

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.

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.

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.

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.

In the campaign levels "Assault on the Control Room" and "343 Guilty Spark", a glitch can be performed where if you hold down the button to throw a grenade right as a cutscene showing you arriving on the Pelican starts, you will stay inside the Pelican despite map scripting normally forcing you to jump out. The ship will then fly off out-of-bounds. If this glitch is done in the former mission, you can exit at any time and explore, but if you do not jump out in time, the Pelican will fly through a kill barrier and kill you. If done in the latter mission, you can safely get out at any time and explore with no risk of death. If you travel northeast from where the Pelican landed, you may eventually encounter a lone Marine, Private Mendoza from later in the mission, standing around in the empty area doing nothing. In Anniversary Edition, this Marine is slightly hidden behind a tree (several were added to this area in this edition), but he can still be seen as the trees do not have collision-detection, allowing you to walk through them. While it may seem that him standing around doing nothing is an Easter egg, his presence here is actually just a pre-determined location for his model to spawn in at before he is needed later in the level so there are no memory allocation spikes that would occur if his model was just loaded in and destroyed from the level. This is part of a common game programming pattern called "object pooling" where multiple objects are pre-initialized to be in use, and once their usage is finished are set to no longer be in use. The position of Mendoza's model is changed to be used in a pair of cutscenes during the mission.

It's notable that Mendoza's model has very minimal AI unlike other NPCs in the stage. Normally, if you use mods to possess any other character in the level and play as them, the game will recognize that the functions assigned to that character are being overridden by the player character and the level will crash. If you use mods to possess Mendoza's model however, the game will not recognize his functions have changed and you can play through the entire mission as him. He has less functionality than Master Chief, he freezes when he is hit due to him playing an animation central to his original AI, and will die in a few hits, but with the God Mode invincibility cheat on he can complete the level. Although designer Jaime Griesemer mentioned that there was a playable Marine unit named "future soldier" in an earlier RTS prototype of Halo titled "Monkey Nuts"/"Blam!", it's unknown if Mendoza specifically was ever planned to be playable.

Among the files included in the Gigaleak, a massive 2020 content leak of internal data from Nintendo, are assets associated with Super Mario 64 depicting a fully-coded enemy named Motos, which is absent from the final game. The enemy is programed to chase Mario, pick him up, and throw him similarly to Big Bob-omb and Chuckya. Like those characters, Motos can be picked up and thrown, but unlike them, it can only be defeated by being thrown into lava, similarly to the Bully and Big Bully. This weakness implies that Motos was originally intended to appear as an enemy in Lethal Lava Land and Bowser in the Fire Sea, which is corroborated by the fact that various other assets associated with the levels feature "motos" in their filenames.

Further analysis of the source code indicates that Motos were intended to be connected to Bullies, which are labeled "Otos" in the source code and use sound effects that are also associated with Motos. Additionally, the code contains a filename for an "icemotos" miniboss in Snowman's Land, and the "Bully the Bullies" star in Lethal Lava Land is internally named "bigmotos," implying that at least two variants of Motos were conceived as minibosses before being replaced with Big Bully and Chill Bully in the final game.

Additional data in the Gigaleak indicates that at some point in development, Motos was reconfigured into a boss version of the Chuckya enemy, labeled "Katsugikun" in the source code, before being scrapped altogether. Unlike Motos, no assets for Katsugikun exist other than a filename and behavior code.

The game was originally planned to feature a "Heat Meter" that kept track of how many enemies the player was able to defeat in a row. More consecutive kills would build up the player's "heat," while getting hit and spending too much time without attacking enemies would lose heat. Higher heat levels would additionally make enemies more aggressive, increase the amount of points lost from taking damage, and grant Peppino new attacks. The development team compared this mechanic to a similar one found in God Hand.

The Heat Meter was fully implemented in a demo released to Patreon backers in April of 2021, but was simplified in later builds before ultimately being removed in October of 2022 due to mixed audience responses; several animations associated with it were also reconfigured for other purposes. Despite this, graphics for the Heat Meter and code for the more aggressive enemy behavior are still present in the final game. The Pizza Slug, Shrimp Thug, and Tribe Cheese enemies would also have their high-aggression modes enabled by default.

In a 2010 interview with the game's producer Yoshinori Ono published in the MTV Multiplayer Blog, before the release of Super Street Fighter IV, he revealed that he's a big fan of the character Rainbow Mika, and that he wanted her to be put in Street Fighter IV, especially in Super Street Fighter IV. He "basically harassed the director constantly" by just whispering in his ear "Rainbow Mika! Rainbow Mika!". Ultimately, the directors of either version of Street Fighter IV didn't listen to Ono for unknown reasons, and Rainbow Mika never appeared in any Street Fighter IV installments. She would later appear as a playable character in Street Fighter V.

In the 1992 interview with the game's designer/writer Oji Hiroi published in The Super Famicom magazine, an interviewer asked him in what ways was Tengai Makyou II an upgrade from the first game? He responded that the game cartridge could now hold 2 MB of storage. He went on to talk about how they wanted the first Tengai Makyou to be a CD-ROM game before the PC Engine system went on sale, but once they began the development, a variety of unexpected problems cropped up. They spent about a year prototyping and doing various experiments, and "for awhile it didn't seem like we were going to be able to make an RPG at all."

In a 2000 interview with the game's director Yoshio Sakamoto published in the Nice Games' Game Boy Navigator tankobon, he stated at the time, he had been developing Kaeru no Tame ni Kane wa Naru and 3D games were just beginning to emerge. Argonaut Software, an overseas company with a high degree of technical expertise, approached him and his team with the offer to make a 3D game with them. Sakamoto thought it would be a useful experience, so he took the job, but he noted it was hard, summing up the hardships he faced working on the game as "brutal". Sakamoto had not finished writing the scenario for Kaeru, so someone else was put in charge of his half-written scenario, and he told them to continue working on it until he returned. When the development of X was finished and he returned to see how Kaeru was turning out, the game was essentially content-complete, with the only thing left for him to do was to fine-tune the enemy placement and the balance of the maps himself. Despite his minimal involvement with that game, he thought that it turned out exactly as he imagined.

In 2/86 interview with the game's designer Masanobu Endō published in the issue of Famimaga magazine, while he was discussing with Shigeru Miyamoto about how hard it is to work with employees, he mentioned one incident when working on The Tower of Druaga where he proposed to his team that he wanted the player to be able to defend with his shield even when his sword is drawn. After constantly pleading: "Put it in, put it in, it'll be cool! It'll look good! Put. it. in!!!", he eventually convinced them to put it in.

According to a 1998 The PlayStation magazine interview with director/producer/writer Hideo Kojima & designer/artist Yoji Shinkawa, they commented about designing the character Psycho Mantis, specifically how elements such as him wearing a gas mask because he had "no face" were "part of expanding and developing the story", according to Shinkawa. Kojima clarified that while he didn't know why Shinkawa made those choices, he was not against them being made, stating that "unexpected things like this are part of the fun".

Early concept art of Psycho Mantis by Shinkawa includes notes that read: "His body is like a preying mantis, spindly and emaciated. He wears a mask to hide his ugly face." and "Is this Psycho’s secret real face?"

In an interview featured in the 124th issue of the Nintendo Dream magazine, the game's director Hidemaro Fujibayashi explained that the character Ezlo was created because in The Legend of Zelda: Oracle of Ages and Seasons, there wasn't any character that could explain things to the player and the development team felt players were disadvantaged because of this. He stated:

"At the time that we were making the Oracle games, we really struggled with the lack of a character like Navi in 'Ocarina of Time' that could explain the situation. So from the beginning, we had decided there would be a companion character on the next adventure".

In 1/92 interview with the game's producer Shigeru Miyamoto published in the edition of Famicom Tsuushin magazine, he was asked if the SNES version of Zelda be the same as the Super Famicom version. He responded that him and his team thought about making some improvements to the SNES version, including a number of things they could not complete in time for the Super Famicom release. Zelda makes full use of the available 8 MB of ROM space, but they knew they were going to need extra space for the English translation. They initially planned to increase the ROM size by 1 MB to solve this, until the compression routine their programmers wrote actually allowed them to fit everything in the original 8 MB storage. Miyamoto joked that they would save those aforementioned improvements for the next game.

In 1/92 interview with the game's producer Shigeru Miyamoto published in the edition of Famicom Tsuushin magazine, he revealed that him and his team began developing the game at the same time as Super Mario World. Even back when they initially revealed the Super Famicom at the company in July, 1989, their plan had always had been to make and release the game alongside Super Mario World as a launch title for the new system. They were hoping to release the game in March of 1991, but it was delayed into the Summer, until it was finally released on the one-year anniversary of the release of the Super Famicom on November 21, 1991.