In an early unused version of the "Mountain of Rubble" cutscene, Fiona is voiced by a different voice actress, but she is completely silent in the final version. In addition, there's a unique music in the cutscene that was removed in the final version, and the dirt effects when Fiona falls back down were originally brown instead of grey.
Contributed by ProtoSnake
NSFW - This trivia is considered "Not Safe for Work" - Click to Reveal
In Episode 205 of "The Angry Video Game Nerd" in which the Nerd reviewed Doom, game designer Sandy Petersen claimed that the lack of music on the Atari Jaguar version was due to a monetary issue regarding the game's composer, stating in the composer's contract that he was supposed to be compensated the same amount of money for the Jaguar version as he was for the PC version, despite the Jaguar version selling less copies. Sandy Petersen ended by saying:
However, designer John Romero disputed this claim on Twitter shortly after the episode's release, claiming the lack of music was due to a lack of memory and CPU space available on the Jaguar cartridge.
"I know that's a shitty reason to leave out the music, but there ya have it."
However, designer John Romero disputed this claim on Twitter shortly after the episode's release, claiming the lack of music was due to a lack of memory and CPU space available on the Jaguar cartridge.
Unused dialogue for "Of Their Own Accord" suggested that if the player neglected to, or otherwise failed to defend the Washington Monument evac site, it would eventually be overrun and destroyed by the Russian army resulting in the deaths of all military personnel and civilians on-site, and thus mission failure.
The dialogue itself features the previous operator being replaced with a far more desperate one warning the player of the site's worsening combat effeciency. This would eventually result in the untrained civilians taking up arms against the Russian invaders before being completely overrun. In the original final game, effectiveness never goes below 80% and the danger is more to the player themselves.
The 2020 campaign remaster implements some degree of dialogue, including combat effectiveness dropping to 50% if the player is on harder difficulty levels, though never lower than that.
The dialogue itself features the previous operator being replaced with a far more desperate one warning the player of the site's worsening combat effeciency. This would eventually result in the untrained civilians taking up arms against the Russian invaders before being completely overrun. In the original final game, effectiveness never goes below 80% and the danger is more to the player themselves.
The 2020 campaign remaster implements some degree of dialogue, including combat effectiveness dropping to 50% if the player is on harder difficulty levels, though never lower than that.
Contributed by MightyKombat
There are unused voice files within the game, suggesting that the game was originally going to feature a tag battle mode. This game mode did not make it into the final game.
Contributed by DrakeVagabond
Present in the game's PC port is an unused electronic remix of the "Radiator Springs Theme" used on the pause menu and main menu from the game Cars. In the final release of that game, only the regular theme is used.
Contributed by billebobfacts
Alongside all the available playable characters (minus Bubble), Matilda and Hal have unused voice clips, suggesting they were to be added to the roster as well.
Contributed by GamerBen144
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
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
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
Within the game's files is the main title theme to the Star Wars series, presumably having been used to test how the Sony ADPCM audio compression would affect the game's music.
Contributed by MehDeletingLater
Originally, the cutscene that plays after Spoiler:the Phantom Thieves believe Ryuji to be dead after the destruction of Shindo's palace was going to feature extra lines of dialogue not present in the final game, as well as a dialogue tree for Joker, the player's character. Additionally, there are unused animations in the game's files Spoiler:showing the Phantom Thieves beating up Ryuji. In the final game, the scene cuts to black.
Contributed by ZpaceJ0ck0
Within the game's data is an original cover of the song "Battle! Wild Pokémon" from Pokémon Diamond & Pearl. In addition, an early placeholder texture for score rankings features the names of numerous Pokémon characters.
Contributed by MehDeletingLater
Within the game's files is an arrangement of "Tifa's Theme" from Final Fantasy VII, presumably having been used to test out the game's soundfont before implementing any original music.
Contributed by MehDeletingLater
There were three levels planned and almost finished for the game but cut: The first was a level in the Episode I chapter which has the player playing the scene where Anakin accidently attacks and destroys a Trade Federation ship in the space above Naboo. The second one was for the Episode II levels and featured a playable version of Anakin and Obi-Wan's chase of Zam Weasel in a speeder throughout Coruscant like in the beginning of the movie. The third was the scene in Episode III where Obi-Wan chases General Grevious around Utapau on a Boga creature.
The first level was cut because the developers thought that it bloated its Episode's level count, and they wanted the number of levels between all of them to be mostly even. It is unknown why the Speeder chase was cut, but the Boga chase level was cut due to the developers thinking it clashed with the game's co-op multiplayer feature. Nonetheless, the Trade Federation ship level and the Zam Weasel Chase would eventually be realized in LEGO Star Wars: The Complete Saga. However, the Boga chase level didn't appear in that game at all.
The first level was cut because the developers thought that it bloated its Episode's level count, and they wanted the number of levels between all of them to be mostly even. It is unknown why the Speeder chase was cut, but the Boga chase level was cut due to the developers thinking it clashed with the game's co-op multiplayer feature. Nonetheless, the Trade Federation ship level and the Zam Weasel Chase would eventually be realized in LEGO Star Wars: The Complete Saga. However, the Boga chase level didn't appear in that game at all.
Contributed by PirateGoofy
Seven Force, a boss from Gunstar Heroes that appears in this game as the boss of the Underground Mine stage, was originally intended to have two extra forms: Harpy Force and Nemesis Force. These forms were never finished due to time constraints, but voice clips of the game's announcer saying each form's name can be found in the Voice Test, and their idle sprites can be found in the game's data.
Contributed by MehDeletingLater
An unused Goop effect can be found in the game's files that, when Mario jumps into it, will cause him to sink like it was quicksand and take damage. This effect causes Mario to perform unique struggling animations and voice clips that are not found anywhere in the final game, suggesting that this Goop variant was cut late into development.
Contributed by MehDeletingLater
The Genesis version of the game was originally planned to use a rendition of Richard A. Whiting's "Hooray for Hollywood" arranged by the game's composer Matt Furniss instead of the story theme found in the final game. The song was most likely cut due to licensing issues.
Contributed by MehDeletingLater
Several temporary music files used during the game's development that were later replaced and left in the encrypted data for the final game include songs from the soundtrack to Castlevania: Lords of Shadow, as well as several licensed songs from the soundtrack to Deus Ex: Human Revolution, Hans Zimmer's score for the film "Inception", and Daft Punk's soundtrack to the film "Tron: Legacy".
Contributed by MehDeletingLater
Within the data for Chapter 2 is an alternate, sped-up version of "Digital Roots" that lacks the ambient wind sounds. The existence of this track is a marked deviation from the rest of both Deltarune and Undertale, which otherwise speed up and slow down tracks in real time.
The filename for this unused variation is "spamton_house.ogg"; as "Digital Roots" itself uses the filename "spamton_basement.ogg", this seems to imply that the faster version was originally meant for Spamton's shop, which instead uses "Dialtone" (named Spoiler:"spamton_neo_after.ogg" in the game's files) in the final game.
The filename for this unused variation is "spamton_house.ogg"; as "Digital Roots" itself uses the filename "spamton_basement.ogg", this seems to imply that the faster version was originally meant for Spamton's shop, which instead uses "Dialtone" (named Spoiler:"spamton_neo_after.ogg" in the game's files) in the final game.
Contributed by game4brains
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