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According to Eidos Senior Project Manager Kevin Gill, he stated that the game came about when he ordered tapings of backyard wrestling footage during a Christmas party:

"[Later] I went to Rob Dyer, the president of Eidos Interactive, and pitched the idea to him. It went through the whole development committee, [and then] we had the task of finding who was the best-suited, most talented developer for the project. The first thing that came to my mind was, 'Well, it could be like Thrill Kill.' Then it was like, 'let's just go right to the source, you know?'"
Contributed by Tuli0hWut
Shenmue
In 2018, on the Discord channel of the Japanese gaming blog Gamecast, an anonymous former Sega AM2 developer revealed a previously-unknown Easter egg where at the end of the quick-time event at the New Yokosuka Harbor, if you input Hado Hado + A within 3 frames, you will perform a Shin Shōryūken as used by Ryu in Street Fighter III two years prior to Shenmue's release (Note that "Hado Hado" (or 236 236) refers to performing the command for the Hadoken move from Street Fighter by moving the D-pad down, down-right, right in rapid succession, twice in a row).

The developers had originally planned to include this in the game as a tribute, but producer Yu Suzuki stepped in and disabled it from being useable in the final release. For the average player to make the move, it takes 6 frames to perform, but the game lowers the window to successfully perform it to 3 frames, making it impossible to perform under normal circumstances. However, the secret itself was not removed, and would later be discovered and executed by a modder in 2019.

When asked why the Easter egg was added in the first place, the developer added:

"Although we were employees at Sega, we were far from staid workers, and all we wanted to do was make our games fun. We told ourselves we mustn't ever lose that way of thinking.

We attributed a minimum number of various events in parallel to all the characters, so even if the ending is the same, the path to get there will be different for every player. We were trying to do something like that. Quite different from multiple endings. The main story alone was followed without exception, but at the same time we wanted to give all the players a differing experience."
Contributed by MehDeletingLater
Homeworld's closing theme "Homeworld (The Ladder)" was composed by the British progressive rock band Yes for the game. It was originally released on the band's 1999 album "The Ladder" eight days before the release of Homeworld. The collaboration was spearheaded by lead singer Jon Anderson who wanted a piece of Yes' music to be worked into a video game, which resulted in the band discovering and becoming interested in Homeworld's plot and development, writing lyrics that fit with the themes of the game such as "thoughts that we're all trying to find our way home". Sierra Studios CEO Alex Garden commented that they tried to do as much as they could to tie the real world into their games to enhance the experience and provide a grounding in reality, and that the collaboration with Yes just came together with that philosophy.
Contributed by MehDeletingLater
Sunset Overdrive
NSFW - This trivia is considered "Not Safe for Work" - Click to Reveal
The game's creators Marcus Smith and Drew Murray pitched the game to numerous companies, but all of these pitches broke down over Insomniac's condition that they own the IP for Sunset Overdrive. They ended up pitching the game directly to Microsoft several times, who were more open to Insomniac owning the IP, and they ended up publishing the game as an Xbox One exclusive. The "main pitch" that presented the core ideas of the game to several executives however was noted for being unconventional, with Murray arriving wearing his "lucky shoes", riddled with holes, which he had not changed in two weeks:

Murray: "We're presenting, and I have these wet socks up in Seattle. I swear, there must have been six or seven levels of [Microsoft executive] hierarchy at this thing."

Smith: "It's the guy we know, and his boss, and his boss, and his boss... But it started off with us cluing into the speaker system in the conference room and playing the sample from the beginning of MC5's 'Kick Out the Jams', where it's like, "kick out the jams, mother fucker,' not knowing that one of the executives there hates swearing. And then it ended with Drew on top of a chair, mimicking how the game was going to play, and the last minute heroics. It was epic, and I'm shocked they didn't walk away from the table at that point. But for some reason, here we are."
Contributed by MehDeletingLater
Streets of Rage 2
According to Ayano Koshiro, Adam did not turn for the sequel because he didn't have a special play style compared to Axel and Blaze.

"You had Axel, your standard fighter, then Blaze, the speedy character. But there was also Adam in the first game…. but Adam had no real speciality… (laughs) So he was out. (laughs)"
Contributed by DrakeVagabond
Streets of Rage 2
According to Ayano Koshiro, all the visuals for the characters and their moves were inspired by having played Street Fighter II with her brother, Yuzo.

"I’m sure you’ve played Street Fighter II—my brother and I did too. We liked it so much we bought a cabinet and had it installed in the office at Ancient. My brother and I liked the way they fought in SFII, and between the two of us, a shared vision of the fighting of Streets of Rage 2 arose: two jabs, followed by a straight punch, then some heavy hit, and the enemy goes flying! That kind of flow had to be in there."
Contributed by DrakeVagabond
Although the lack of Final Fantasy characters in later Kingdom Hearts titles (such as the base game of Kingdom Hearts III) was met with backlash from some KH fans, Nomura found this to be quite bizarre as he always viewed the series as not at all being the "Disney and Final Fantasy crossover" that it is commonly seen as.

"I understand there weren't that many Final Fantasy characters in Kingdom Hearts III. One thing I want to clear up is that a lot of fans are saying that Kingdom Hearts is this collaboration between Disney characters and Final Fantasy characters. But I really feel like that's not the basic concept of Kingdom Hearts; that's not exactly what Kingdom Hearts is.

When we released the first title, we had only a few original Kingdom Hearts characters. When they were interacting with really well-known, beloved Disney characters, I felt nobody really knew these new characters, so it was harder for them to stand their ground just yet. And so, we had a lot of Final Fantasy characters involved to lend a hand for everyone to get to know these [original Kingdom Hearts] characters better.

Now, there are so many original characters from Kingdom Hearts that are so well-loved, and people want to see more of those characters. With Kingdom Hearts III, since we did have so many original Kingdom Hearts characters, it was hard to find room for including more Final Fantasy characters. We're trying to find a good balance for that. I know that some fans were concerned about that and weren't too happy and wanted to see more Final Fantasy characters. That's something we definitely are thinking about. But just with the sheer number of original characters that we have now, it's hard to say what the exact balance is going to be [in future games]..."
Contributed by PirateGoofy
According to Tetsuya Nomura, he said that he did not expect the side characters from 358/2 Days and Birth by Sleep (i.e. Roxas, Xion, Axel, Saix, Terra, Ventus, Aqua, etc.) to be incredibly popular among fans, especially compared to the main reoccurring cast.

"I really didn't think that the characters from these two titles would become this popular. I had thought that players wanted to see more of characters like Sora or Riku. It was kind of unexpected that the characters from these two titles were so well received. [...] So, if possible, it would be great to include more of them or continue to share more of their story in future opportunities."
Contributed by PirateGoofy
During the sixth episode of Destructoid's Bit Transmission podcast, Capcom's former senior manager of community Seth Killian stated that the project was originally meant to be a Star Wars game. However, Capcom wasn't able to obtain the Star Wars license, so they scrapped the idea and turned the game into it's own IP.
Contributed by ZpaceJ0ck0
Street Fighter II
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According to the game's illustrator Akira “Akiman” Yasuda in a 2003 interview, Chun-Li's design was initially based on the Chinese character Tao from the animated film, Genma Wars (or Harmagedon in the west). Yasuda then went on to make several additions to the design, which resulted in her appear appearance the final game.

"My first idea resembled the Chinese character Tao from the Genma Taisen (Genma Wars) animated movie, with big wide-legged pants. She would also have that front and back apron. The character wasn’t very sexy though, and my design lacked visual impact and personality. So at the 11th hour, I experimented and made a bunch of frantic changes to the pixel art. First I tried giving her bare legs and a bodycon dress. That made her look like a female pro-wrestler, a sort of “fake” kung-fu fighter. It’s a little bit hard to describe in words, but it had a lot of impact, and I decided to go with it and release her to the world this way."
Contributed by DrakeVagabond
World Heroes
According to Kenji Sawatari in a 1998 Gamest interview, Jeanne's design was based on the model from the Timotei Shampoo commercials.
Contributed by DrakeVagabond
Kirby's Adventure
Because the NES had a higher resolution and the fact that it, in general, could fit more on screen and allow for bigger environments, Masahiro Sakurai claimed to have problems with Kirby's float ability as it became far more powerful then it was on the Game Boy. The game director and his team cleverly resolved this by creating the game's large information panel UI on the lower-third of the game screen, which was also perfect because the developers could show off unique artwork and info to the player based on the game's new copy ability system.
Contributed by PirateGoofy
Star Fox
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In 1993, a Japanese strategy guide was released for the game entitled "Star Fox: Mission File Printout", containing backstory for the game's universe that would be retconned with the release of Star Fox 64, as well as developer profiles of both producer Shigeru Miyamoto's Japanese team and the British developers from Argonaut Software. These interviews were translated for the first time in 2013 and document some of the most troublesome moments during Star Fox's development, and what the developers wanted players to see from the game in their own words, as well as their birthdates and blood types.

The most common issue cited by Miyamoto's team that arose during development were communication issues with Argonaut. Since Star Fox was being developed as a co-production between Japanese and British developers, a first for Nintendo, language barriers were encountered early in development as they initially required the use of a translator, and according to composer Koji Kondo, he had to write down things he would normally explain verbally on paper and "pass the message along in English" during meetings with Argonaut. Programmer Katsuya Eguchi claimed that his family "sometimes heard [him] speaking English in [his] sleep." After about 2 months, the teams were able to talk directly to and understand each other even with the Japanese-flavored English spoken by Miyamoto's staff, allowing development to go more smoothly. Programmer Yoichi Yamada also expressed issues in balancing "the amusement that comes from carefully aiming and firing at enemies and defeating things in succession, the careful depiction of enemy animations, the tempo as the game unfolded, the feel of avoiding obstacles, and the enjoyable sense created by the game's quick scrolling." He wanted players to take note of the sense of distance between 3D polygonal objects, how lively the animations were, and to have fun flying around in the 3D world.

According to Miyamoto, it took two years to develop the Super FX chip and one year to develop Star Fox itself. Miyamoto thought the audience perspective of Star Fox fit somewhere between a stage play like his past games (where the audience is stationary and viewing everything from a fixed angle) and a movie (where the camera angle changes freely and constantly while the audience is stationary), commenting: "If you consider the fact that you can control the camera yourself, you can experience the world of the game in a less detached manner than you would if you were watching a movie." Eguchi wanted players to to observe the game's world from "an insider's point of view", and also wanted players to find themselves unconsciously moving their bodies along with the controller as they played the game.

Another notable anecdote comes from character designer Tsuyoshi Watanabe, who commented on the early limitations working with 3D polygons on the SNES that forced him to make very simple shapes, and also forcing him to wonder how much personality and detail he should put into each thing he created. To help answer this, he would do additional research when creating creatures, like the stingrays and whales that appear in Sector Y, by watching videos or looking them up in the encyclopedia. This eventually resulted in a fight that broke out amongst the staff over whether or not stingrays' tails bend. Graphic designer Takaya Imamura further commented on working with Watanabe to decide what should be created with polygons, and how color balancing them with each stage's differing color schemes proved difficult through trial and error.

Composer Koji Kondo was responsible for all of the sound programming in the game, while composer Hajime Hirasawa was responsible for collecting samples for the music and sound effects and giving them to Kondo. Since Star Fox was a 3D game, Kondo took the sounds of passing objects, explosions, and the atmosphere around the ship affecting how the engine sounded (i.e. the ship flying in space, or over a planet), into consideration while writing the soundtrack, and wanted the players to get a sense of levity and presence from this. Hirasawa commented that four of the SNES's 8 sound channels were used on sound effects, making it difficult to "pack [the remaining four channels] full of orchestral sounds, especially during gameplay." Hirasawa also commented on his difficulty in finding a splashing sound effect for the water that appears on Fortuna in Level 3, getting to the point where he was considering making Imamura hold a microphone to record the sound of him diving into a pool.

Argonaut's developers did not have as much to comment on as the Japanese team, with their cited troubles coming from animating certain enemies like the Hop Bots and Andross, and most commonly trying to get the 3D graphics from the Super FX chip to run as smoothly as possible and respond quickly to controller inputs without crashing the game. Super FX chip designer Peter Warnes wanted players to notice the glittering of each planet changing in real-time depending on the position of the comets on the Map screen, something that was made possible with the chip. Programmer Krister Wombell commented that the week or two before the game's release was an extremely busy time as they were making the final push to complete the game. Additionally, graphic animators Giles Goddard and Dylan Cuthbert's blood types were listed as "ABC" and "Green" respectively.
Contributed by MehDeletingLater
The Legend of Zelda: Majora's Mask
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In an article for the September 2000 issue of Nintendo Power, Jason Leung, the writer for the game's English-language script, claimed that the South Clock Town Business Scrub's allusion to his work keeping him away from his wife is a nod to the tribulations that the developers at Nintendo of Japan were going through while working on the game.
Contributed by game4brains
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The Poison Forest appears to lift its visuals directly from the Toxic Jungle from the 1984 Japanese animated film "Nausicaä of the Valley of the Wind", with the area's boss, the Giant Insect, bearing extreme similarities to the Ohmu from that film.
Contributed by MehDeletingLater
Capcom vs. SNK: Millennium Fight 2000
According to the game's general producer Noritaka Funamizu, the game's ratio and grove systems were partially inspired by his personal idea of what The King of Fighters series was supposed to be.

"I had heard of King of Fighters, and just from the title, I had my own impression of what kind of game it would be. It sounded really cool. The Neo Geo had all these different fighting games, you know, so wouldn't it be great if you mixed all their strengths together in one single game? That's what I imagined King of Fighters to be. But when I actually played it, it turned out to be totally different. So when we were making Capcom vs. SNK, I wanted to make it more like the King of Fighters I had imagined in my head."
Contributed by ZpaceJ0ck0
Series: Kirby
According to Masahiro Sakurai in a YouTube video he made on Kirby's Dream Land, the character's signature float came about as a way to avoid losing a life when simply missing a jump in a heavy platforming section, as he found such an occurrence in games like Ninja Gaiden and Castlevania, among others, to be particularly frustrating.
Contributed by PirateGoofy
Halo: Combat Evolved
For the premiere demo of Halo: Combat Evolved at MacWorld 1999, Marty O'Donnell and Michael Salvatori were tasked to create music for the demo within three days. They were directed to make the song that would become the Halo series' main theme sound "ancient, mysterious and epic". While driving to Salvatori's home, O'Donnell brainstormed the song and its core melody:

"[A]s I was driving, I thought 'Okay, ancient...you know, monks are ancient, so I'm going to start with some sort of monk chant, and it's got to be hook-y, it's got to stick in people's heads and then we'll go on to something sort of epic and pounding; cellos and drums, and stuff.'

I've always analyzed [the melody to "Yesterday" by The Beatles]; it's got one high point, it's got one low point, it's got four sort of irregular phrases...

So, [the Halo theme is]...not a copy of the Yesterday melody, but the Yesterday melody inspired me to put that together, because I thought, 'Well, if I have one high point, one low point, to four irregular phrases but still do a legitimate monk chant melody...it may be able to have legs.'"

The song was recorded the day prior to MacWorld 1999 by three jingle singers, O'Donnell and Salvatori, accompanied by a string sextet of four violins and two cellos. O'Donnell requested one of the jingle singers to perform the Qawwali-like voice solo during the string melody, but upon hearing O'Donnell's example, it was decided O'Donnell would sing the solo instead.
Contributed by MehDeletingLater
Super Smash Bros. Ultimate
There's a small chance that the Guile assist trophy will jump and perform a flying kick attack, as opposed to doing a Flash Kick. This is a reference to a common human error where if Guile players failed to charge the attack long enough, they'll jump and do a flying kick instead.
Contributed by ZpaceJ0ck0
God Hand
According to Clover Studio's president and God Hand's producer Atsushi Inaba, the game was originally going to focus on "hardcore action" with little to no humor. However, after showing a trailer for the game at the 2006 Electronic Entertainment Expo (E3) which contained some comic relief, the team decided to integrate a large amount of comedy into the game based on the viewers' reactions. Mr. Inaba stated:

"So the original concept was a very hardcore action game -- a game that you had likely seen before but a game you wanted to play because it was a fresh take. When it came time to show the game at E3 we decided to make a trailer that had some comedy aspects in it because we thought it would be fun. Then we saw everyone's reaction to the trailer and thought, 'you know, what if we put some more comedy into this game?' So, the comedy grew out of that and became a much bigger portion of the game."
Contributed by ZpaceJ0ck0
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