In June 2021, the game's developer NetherRealm issued an apology after it received backlash from the community over its special event in celebration of Pride Month in the mobile port of Injustice 2. The event's challenge was for players to defeat Poison Ivy, a character which identifies as bisexual, hundreds and thousands of times to unlock prizes, a task which was deemed to be tone-deaf by the community.
In their apology, they stated, "We recognize associating our latest Global Challenge with Pride was insensitive and inappropriate. Real life violence against the LGBTQIA+ community and women within that community in particular is all too common and we should actively engage in efforts to end LGBTQIA+ violence, not normalize it. We apologize to the greater community, but especially LGBTQIA+ members. We are committed to listening and doing better."
In their apology, they stated, "We recognize associating our latest Global Challenge with Pride was insensitive and inappropriate. Real life violence against the LGBTQIA+ community and women within that community in particular is all too common and we should actively engage in efforts to end LGBTQIA+ violence, not normalize it. We apologize to the greater community, but especially LGBTQIA+ members. We are committed to listening and doing better."
Contributed by KnowledgeBase
During a scene with the character Demyx, he spouts the line "Yes, Demyx time!" This may be a reference to the web-series "Demyx Time", which released in the late 2000's and followed a cosplayer dressed as Demyx going over Demyx's daily life and events inside Organization XIII.
Contributed by ultimateseanboy
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
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
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."
"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
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
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
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.
"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
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."
"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
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
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.
"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
The reason for the game's closure was due to it not being deemed financially sustainable any more. The game had already ran past its original plan and the team wanted to move on as they had to take on other projects.
Despite receiving lots of requests from fans to bring back the game, it would be deemed impractical due to no one having looked at the game's code in years and lots of licensing obligations in relation to the actor's likenesses.
Despite receiving lots of requests from fans to bring back the game, it would be deemed impractical due to no one having looked at the game's code in years and lots of licensing obligations in relation to the actor's likenesses.
Contributed by KnowledgeBase
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
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."
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 "skooma drinking" animation in the final game is buggy and functions incorrectly. When a character is displaying the animation, their mouth clips through their head, and unlike any other animation in the game, they do not stop the animation when entering dialogue with the player.
If the game detects that the game is pirated, a pitch-shifted and reversed version of the main theme song will play on the title screen. When this song is plugged into a spectrogram, the end of the song will form The Devil in the 3 forms of his boss fight - Regular, skeletal and giant face.
Contributed by KidDivinegon
In 1986 then video game journalist Boris Schneider undertook one of the first documented fan translation efforts. Over the course of one weekend he single-handedly cracked and translated the Commodore 64 version of Murder on the Mississippi into German by using a simple hex editor and a self-written disk editor. He then sent his translated version of the game to Activision, who gave him the means to make an official translation, which they released in Germany.
Contributed by DarkChojin
According to the development team in the game's official Japanese guide book, during the planning stage they had a list of dinosaur names they wanted to include the game. Two dinosaurs that were on the list but left out of the final game are Triceratops and Ankylosaurus.
Contributed by ProtoSnake
In Press Garden Zone Act 1, there's a hidden area that has word "HELLO" spelled backwards on the wall.
Contributed by ProtoSnake
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