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Um Jammer Lammy
Attachment
In 2022, Rodney Greenblat uploaded a VHS rip of the earliest beta versions of the game's cutscenes to YouTube. These cutscenes feature very little music, placeholder voice acting by Ryu Watabe, and an early pinker character design for Lammy which Greenblat thought made the character appear more lamb-like, but was rejected in favor of the final red-haired design.

This VHS rip also notably features two unused cutscenes that were changed significantly in the final game:
•An early intro cutscene showing the rest of Milk Can already backstage and waiting for Lammy to arrive, featuring the Jet Baby movie playing on TV rather than in theatres and an advertisement for Milk Can's show that night.
•A silent cutscene that appears to be an early version of the Joe Chin Museum Ma-san cutscene. In this cutscene, she is seen reading in a library rather than a museum, specifically a magazine featuring two disco dancers about to kiss. Ma-san, presumably irritated by the male dancer who appears to be the only one talking before this, begins drumming rapidly on a reading desk. Her drumming causes the library to shake, making books fall off the shelves and causing the male dancer to have a profuse nose bleed as they are kissing. The female dancer slaps him away, causing another stream of blood to shoot out of his right nostril, before cutting to a smiling Ma-san.
Contributed by MehDeletingLater
Phantasy Star IV: The End of the Millennium
In a 1993 interview with the game's director/story plan/graphic designer Toru Yoshida published in several shorter pre-release magazines, he was asked how is the game connected to the previous games of the series? He responded:

"It’s a direct continuation of the first two games. PSIII was like a collection of side-stories, but with PSIV, we’re returning to the main storyline, with PSI and PSII forming the historical backdrop. I wanted to make one more game where you get to explore the whole solar system and travel from planet to planet.

When our team made PSII, we were stretched pretty thin, and we couldn’t include all that we had imagined. We felt that leaving the story at PSII, therefore, would have been a real waste, and that’s how the idea for PSIV got started.

Also, PSII’s battle animation system still stands out today, I think. It allowed for really great visual presentation, and again, we thought it would be a huge waste to not revisit it. But PSII and PSIII also had a lot of flaws, and we wanted to fix all that and make a game which players would consider the definitive Phantasy Star. So in that sense, we also saw PSIV as a sort of remake of the best elements of the series."
Contributed by ProtoSnake
The Last of Us Part I
In The Last of Us Remastered's commentary with actress Ashley Johnson and director Neil Druckmann, in the scene where Joel found Ellie in the abandoned house, Ashley stated that she improvised by shoving him out of frustration, because she felt emotional reading for the scene where Joel is planning to leave her to Tommy.

Druckmann stated that the team wanted him to remove this scene where Joel is being too cold to Ellie, but he refused because he felt it was important to keep in the scene that Ellie is "being so vulnerable and [Joel is] having these feelings. He's trying to shut it down". Druckmann also commented that when Joel said to Ellie "You're not my daughter", he stated that while that quote is almost an insult, it's the opposite of what he actually feels.
Contributed by ProtoSnake
Final Fantasy Tactics
In the Japanese version's commentary with the game's composer Masaharu Iwata, he stated that "Run Past Through The Plain" ended up being the third battle theme. He thought that the two previous battle themes were too "in your face", so he decided to create a song with a central melody that sounded more friendly. Eventually it ended up sounding like "something you’d hear at a matsuri (local festival)".
Contributed by ProtoSnake
Final Fantasy Tactics
In the Japanese version's commentary with the game's composer Masaharu Iwata, he stated that the theme for "Unavoidable Battle" was the first battle theme he created. Before "Unavoidable Battle", he created another battle theme before it, but it felt too happy-sounding, so the team rejected it. As he reflected on it, he created "Unavoidable Battle" to be a more pointed, exaggerated song, while the rejected music was re-purposed and used for the Unit Introduction theme, which is played over the opening demo.
Contributed by ProtoSnake
The Last of Us Part I
In The Last of Us Remastered's commentary with director Neil Druckmann, he stated that Jeffrey Pierce originally auditioned for the role of Joel, which ultimately ended up being given to Troy Baker instead. When the team began finding someone to cast as Tommy, they called Pierce back in and were impressed with his performance, landing him the role of Tommy. Baker stated that he felt a chemistry between himself and Pierce that made for a sense of realism in Joel and Tommy's relationship.

Druckmann also stated that Ashley Scott was originally intended to play Tess instead of Maria, and that there were no auditions for either of those characters.
Contributed by ProtoSnake
Street Fighter X Tekken
The game's producer Yoshinori Ono has stated in some interviews that the reason behind including Bad Box Art Mega Man and his highly exaggerated appearance, instead of any other version of the character, was due to Mega Man's co-designer Keiji Inafune's wishes. Ono said that when he asked Mr. Inafune about including the character in the game, Inafune said "that's not interesting, we have seen Mega Man in fighting games before" and then asked Ono to give him "something original". Ono then decided to use the Mega Man from the "awful" North American box art from the first Mega Man game and "make it even wackier" by presuming that Bad Box Art Mega Man has aged since his picture was taken and used in the US box art 25 years ago. Ono said that Inafune "loved the idea" and that was what lead to his inclusion.
Contributed by ZpaceJ0ck0
Final Fantasy IV
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
Final Fantasy IV
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
Final Fantasy IV
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
Assassin's Creed II
In an interview with creative lead Patrice Desilets, he confirmed that the DLC was originally planned to be part of the main game.

"So we said, 'Okay, let's take a portion of the game that was planned and we'll give it in DLC.' We'll remove some stress to the team while giving more to fans and people who like Assassin's Creed."
Contributed by ClaudX
The Last of Us Part I
In The Last of Us Remastered's commentary with director Neil Druckmann, he stated that there was originally going to be dark music during the scene when Marlene revealed that Ellie was going to be sacrifice for a cure. However, Druckmann told the composers not to do that, because it would paint her as a bad person rather than a good person who is trying to save humanity. Instead, he let them use the dark music for Joel, because when Ellie's life is on the line, he slips back into murdering anyone who would try to kill her. Neil also stated that this scene defined the theme of the game: "as a father... you will... kill everybody else to save your kid."
Contributed by ProtoSnake
Deltarune
In the livestreamed playthrough of Chapter 1 conducted for Undertale's sixth anniversary, it was revealed that Lancer's childlike characterization was originally far more subdued. Toby Fox later chose to exaggerate these elements after playtesters instead assumed that Lancer was a Danny DeVito-esque adult.
Contributed by game4brains
Deltarune
Attachment
The emblem on Ralsei's robes went through two different renditions in early development. Initial concept art by Toby Fox depicts him with a fireball icon on his robe, matching a statement in an interview where he stated that "[he] was going to give a certain character a fire spell, but decided against it for the first chapter." Later pre-release concept art by Temmie Chang, meanwhile, depicts Ralsei's robes as bearing an upside-down spade symbol. Come the release of Chapter 1, and the design would eventually be changed to a heart; however, most of Ralsei's overworld sprites in Chapter 2 change this to the inverted spade design.
Contributed by game4brains
Sonic the Hedgehog 2
In the January 1993 interview with the game's programmer Yuji Naka published in the Beep! magazine, he commented on the game's 3D-stylised special stage, stating that it was conceived at the start of the game's development and was eventually implemented despite Naka being forced to work with rougher image quality. He also stated that the camera-view behind Sonic's spiny back running towards the Chaos Emerald in the final game was something that he was hoping to add. Him and the team also thought of having more "cliffs and valleys" in the special stage, but this idea was scrapped.
Contributed by ProtoSnake
Sonic the Hedgehog 2
In the January 1993 interview with the game's programmer Yuji Naka published in the Beep! magazine, he was asked when development began. He responded:

"It was around November of last year. At that time, it was just me and one other programmer. Then we added a third person, and after that we gradually increased the team size. However, like always, I feel like I’ve left something out of the game. There’s still so much I want to add. For Sonic 2, we had to remove so much due to memory limitations. We actually made about five more zones, but in the end, we had to cut them all. We actually cut one zone at the absolute very last minute. Even though it was basically complete, we couldn’t use it because of a lack of memory. There just wasn’t enough space."
Contributed by ProtoSnake
Dead Rising
In the August 2006 interview with the game's assistant producer Yutaka Haruki published in the XCN (Xbox Community Network), he stated that the team had considered allowing players to upload photos they had taken in-game to the Internet, but they were ultimately unable to implement it into the final game.
Contributed by ProtoSnake
Dead Rising
In the August 2006 interview with game's assistant producer Yutaka Haruki published in the XCN (Xbox Community Network), he stated that the development team's vision of wave after wave of zombies all appearing on-screen at once while maintaining a steady framerate was only possible thanks to the Xbox 360's processing power, and that they were happy with the large quantity of zombies they were able to achieve.
Contributed by ProtoSnake
Dead Rising
In the August 2006 interview with game's assistant producer Yutaka Haruki published in the XCN (Xbox Community Network), he stated that the game does not include any form of multiplayer mode, because the team always intended to make it a single player game as they felt that Dead Rising provided a unique experience that would be gone if they added a co-op or any other multiplayer mode.

Later games in the series would receive their own multiplayer modes despite this initial vision.
Contributed by ProtoSnake
Dead Rising
In the August 2006 interview with the game's assistant producer Yutaka Haruki published in the XCN (Xbox Community Network), he was asked why the development team made the game's main character Frank West a journalist, and not a cop or a regular civilian? He responded:

"We chose Frank’s profession to be a photo-journalist for a number of reasons. Firstly it gives him a motive for going to Willamette – he wants to find out what is happening there, why the Army is not allowing people in or out and hopefully post a story that is going to make him famous across the globe. It also allowed us to implement the photography feature into the game something which adds another dimension to the already multi-faceted gameplay. Finally I believe that while Frank is a photo-journalist, in many ways he is just an ordinary person like you or me and therefore has to make use of the items he finds in the shopping mall in order to stay alive. Sure, the longer he survives the more skills he can obtain, but when he first enters the mall he is just an ordinary guy."
Contributed by ProtoSnake
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