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Super Smash Bros. Ultimate
Contrary to the official explanation about Kirby's lack of a Keyblade after inhaling Sora, there is an unused Keyblade model for Kirby, meaning that at some point in the development of the final DLC Fighter, Kirby would have indeed wielded Sora's Kingdom Key during the use of Sora's Neutral Special, but this idea was scrapped. The weapon can be found in the game's data but remains functionally unfinished, and even when the game is modded the Keyblade will not spawn in.
Contributed by PirateGoofy
Metal Gear Solid 2: Sons of Liberty
In order to hide the twist of Spoiler:Snake being a decoy protagonist and Raiden being the true main character, director Hideo Kojima personally put together the game's trailers himself. The footage for the E3 2000 trailer was recorded from Spoiler:the Tanker segment at the start of the game, when Snake is the playable character, and in the E3 2001 trailer, Spoiler:several scenes that focus on Raiden in the actual game were edited to swap him out with Snake.
Contributed by game4brains
In a 2011 interview with the game's composer Harumi Fujita published in issue #2 of STG Gameside magazine, she stated that at the time when she heard about Tokuro Fujiwara starting his own company named Whoopee Camp, she went to him and asked him to “Please use me somehow!”. Both of them had been working together on Famicom games since they worked at Capcom.
Contributed by ProtoSnake
Series: Tomba!
In a March 2000 interview with the game's art director Tokuro Fujiwara published in the Tomba! The Wild Adventure manga, he was asked how the original Tomba!'s development began. Fujiwara stated that when he was making the characters, the first picture that came to his head was of an "energetic, spirited guy." Powerful, mischievous, and full of pep, all put into one character. When he looked back to his first rough sketches, he was struck by Tomba's half-human and half-animal appearance, and that creating him as a half-naked feral child was a very smooth, natural process.
Contributed by ProtoSnake
A Panasonic M2 version was in development, but never materialized due to the cancellation of the console.
Contributed by GamerBen144
Mission: Impossible
Developers looked to both Super Mario 64 and GoldenEye 007 as references to creating the game, especially the latter.
Contributed by GamerBen144
Crash Bandicoot 3: Warped
In numerous official video game demo compilation discs (such as the fondly regarded Pizza Hut demo disk that came about as a promotional stunt co-jointed by Sony Computer Entertainment America and Pizza Hut), there was a "late demo" of Crash Bandicoot 3: Warped included, featuring a playable beta version of the level "Under Pressure".

As this version of the stage came from an earlier build of the game, there are distinguished differences between this version and the final version. Two differences that stand out between versions is that the signature pufferfish is purple instead of its usual orange, and that the Time Trial record times differ in such a manner that the demo version appeared to be deemed too difficult shortly before the final build's completion and retail release.

In the demo:
•Sapphire Relic Time: 1:28:33
•Gold Relic Time: 1:04:93
•Platinum Relic Time: 0:58:73

In the final release version:
•Sapphire Relic Time: 1:46:00
•Gold Relic Time: 1:17:90
•Platinum Relic Time: 1:10:50
Contributed by Regen-33
Developer Ian Stewart stated the 1995 movie “Babe” and the video game franchise “Command & Conquer” inspired Hogs of War. He even described it as “Worms, except in 3D and with pigs.”
Contributed by GamerBen144
A Sega Saturn version was announced, but was shelved, most likely due to negative reception.
Contributed by GamerBen144
A Nintendo 64 version was under development, and was even mentioned on IGN, but was shelved without announcement.
Contributed by GamerBen144
The Combatribes
The fifth and sixth stages are different between the Arcade and console versions.

In the arcade version the fifth stage is a high-rise building where you fight a militia working for the main villain, and when you reach the rooftop you fight the fifth boss of the game. The sixth and final stage is made of a boss rush where you fight all the previous gangs while chasing a big crime boss in the harbor. After defeating all the gangs, Spoiler:the crime boss gets killed and the final battle against Martha Splatterhead ensues.

In the console version the boss rush takes place in the fifth stage instead, right before facing the militia. The sixth and final stage is simply the final boss battle set atop the rooftop of the high-rise building, with the harbor stage being completely removed. Additionally Spoiler:the crime boss from the arcade version is missing in the SNES port, which establishes Martha Splatterhead as the leader of the gangs early on.
Contributed by ZpaceJ0ck0
The Combatribes
The console release features short cutscenes that play after defeating a boss. The Super Famicon version features blood on the defeated boss' portrait whereas the Super Nintendo version has no blood. Depending on the portrait the blood was recolored to look like either saliva or tears, or it was completely removed.
Contributed by ZpaceJ0ck0
Street Fighter III
In a 2003 interview with the game's producer Noritaka Funamizu published in the 15th Anniversary Street Fighter limited edition DVD set, Funamizu stated that at the time he had been pushing Yoshiki Okamoto to include Chun-Li in the game, and Okamoto agreed to it, if 3rd Strike were to be developed. At the time, the team thought of making a big roster for 3rd Strike, and Okamoto was more insistent. He also stated that if Chun-Li wasn't included in the game, she wouldn't have gained the same impact as before. Okamoto thought of Chun-Li as the mascot of Capcom.

Funamizu also stated that Chun-Li's absence was the team's number one complaint they received from players for not including her in the previous Street Fighter III games. However, he stated that the team did wanted to include her in the games.
Contributed by ProtoSnake
Hardware limitations of the original PlayStation caused the development team to cut the frame rate in half and have only a handful of enemies appear on the screen at a time, among other technical restraints.
Contributed by GamerBen144
Plans for a Dreamcast port and another for the original PlayStation fell through due to the sudden end of the Dreamcast’s production, and developers slowly drifting away from the original PlayStation, respectively.
Contributed by GamerBen144
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
Console: Genesis
"Blast processing" is a marketing term coined by Sega of America to promote the Sega Genesis as the cooler and more powerful console compared to the SNES. It was such an effective campaign that it caused Nintendo to spend millions of dollars to ramp up their own smear campaign to rebut the claims, helping to create the textbook example of a "console war" between two rivaling video game companies through aggressive marketing and advertising. It is true that Blast processing as presented in advertisements at the time does not exist in any released Genesis game, but its creation was based on a real feature that ultimately went unused by developers: a low-level processing method that was progressive for its time.

The basic idea is that the hardware's video processor is "blasted" continuously, with the Genesis' 68000 processor working flat-out to change the color of every individual pixel during an active scan, a process where the "guns" on a CRT screen move from left to right and then down to the next line and so on. It was believed at the time that this function could be used to increase the Genesis' somewhat constrained color palette to showcase 256 color static images if timed right (this number would be exceeded by other developers like Jon Burton from Traveller's Tales who later discovered the trick).

Sega of America Senior Producer Scott Bayless claimed that Sega technical director Marty Franz first discovered the trick by "hooking the scan line interrupt and firing off a DMA [direct memory access] at just the right time", as firing it off at the wrong time would result in the scan lines appearing out of phase. This timing/synchronization issue, on top of the more pressing issue of the feature using all of the 68000's CPU time (meaning that while you could run the feature, you couldn't actually play the games that use it), effectively made it useless for cartridge games, and no shipped Genesis games ever used the feature. It’s speculated that it could have been used for Sega CD games, as the add-on had its own CPU that could run the feature, but this also did not come to pass.

The people responsible for the name "Blast processing" are Bayless and Sega of America's PR team. They interviewed him about the specs of the console, and he described to them how the feature could "blast data into the DAC's [digital-to-audio converters]". When talking about how the name came about, he assumed the PR team just liked the word "blast" without understanding what Bayless was explaining, and Blast processing was invented by them to more easily and vaguely sum up the technical capabilities of the Genesis when marketing it. Bayless later expressed reservations about the phrase, calling it "ghastly".

It should also be noted that this feature was not exclusive to the Genesis. In 2020, former Sculptured Software programmer Jeff Peters claimed that they discovered a similar technical trick on the SNES before Sega started using the phrase, but it was focused on audio rather than graphics. He claims that when porting Mortal Kombat to the SNES, Sculptured Software encountered an issue where the amount of graphics data being put onto the cartridge meant that sound had to be cut back drastically. To overcome this problem, Peters and his team used a homegrown system which allowed them to read sounds from the cartridge one at a time and blast them directly to a buffer in the sound memory. While the two tricks were achieving different things, it's interesting to note that both were possible on either console, despite Sega's insistence that only the Genesis could achieve Blast processing.
Contributed by MehDeletingLater
Animal Crossing: Wild World
When the game was first publicly shown at E3 2004, it was presented as a conversion of Dōbutsu no Mori, Animal Crossing, and Dobutsu no Mori e+, differing mainly in the lack of acres and the use of the touch screen for chatting, designing patterns, and using the inventory. It wasn't until five months later that the game would take on the final product's front-facing style.
Contributed by game4brains
No More Heroes III
In a 2022 interview with the game's director and writer Goichi “Suda 51” Suda published on the Gematsu website, he talked about the long wait time between numbered entries in the series being broken with No More Heroes III and how they tried to cater to their audience after years of fan demand:

“Yeah, 11 years is a long time; like longer than the usual lifespan of a platform itself. The game we had developed on the Wii ended up jumping generations and landing on the Switch, and it was, hm, how do I put it… It actually felt like we were able to come back to the world of No More Heroes pretty smoothly. But even within our studio, first, we needed to ensure that people knew about No More Heroes 1 and 2. What sort of games they are, and how much the fans loved them… I feel like that was our actual starting point.”

“So obviously, we had our own image of what kind of III we wanted to create, but there’s also the III that the fans wanted to see; the III they were imagining. So in development we tried to make sure that those visions of III overlapped as much as possible.”
Contributed by ProtoSnake
Dino Crisis 3 was originally planned as a "human drama" that took place in an unspecified facility in a city under siege by time-displaced dinosaurs (possibly through the same time distortion featured in Dino Crisis 2 Spoiler:as alluded to with the Noah's Ark Plan), with the player being able to fight the dinosaurs with AI partners, and in which decisions made by the player could change the course of the story. The only public appearance of this early version of the game was at its initial announcement at E3 2001, when a single piece of concept art was shown off featuring a city turned warzone against rampaging dinosaurs. However, later in the year, the September 11th attacks occurred, leading to a sharp collective increase in cultural sensitivity regarding violence and imagery that could be associated with the terrorist attacks in media. As part of this, Capcom decided to scrap the city proposal and later decided on a futuristic environment in space, which would allow for new story ideas.
Contributed by MehDeletingLater
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