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Tweet announcing UKButt:
https://twitter.com/ULTRAKILLGame/status/1600549517853704192
Dextero article:
https://www.dexerto.com/gaming/indie-fps-games-official-sex-update-adds-support-for-adult-toys-as-controllers-2015315/
PC Gamer article:
https://www.pcgamer.com/retro-shooter-ultrakill-now-has-official-sex-toy-support/
YouTube video about UKButt which goes over the "add sex to Ultrakill" meme:
https://www.youtube.com/watch?v=SIp7GPUR3Ak
https://twitter.com/ULTRAKILLGame/status/1600549517853704192
Dextero article:
https://www.dexerto.com/gaming/indie-fps-games-official-sex-update-adds-support-for-adult-toys-as-controllers-2015315/
PC Gamer article:
https://www.pcgamer.com/retro-shooter-ultrakill-now-has-official-sex-toy-support/
YouTube video about UKButt which goes over the "add sex to Ultrakill" meme:
https://www.youtube.com/watch?v=SIp7GPUR3Ak
This trivia has been marked as "Not Safe for Work".
It may not be appropriate for all visitors and definitely isn't appropriate for work or school environments.
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It may not be appropriate for all visitors and definitely isn't appropriate for work or school environments.
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The Cutting Room Floor article:
https://tcrf.net/Bishoujo_Senshi_Sailor_Moon_(SNES)#Body_Model
Excerpt from a Twitter thread translating posts from a hashtag where Japanese developers share their contributions to old games:
https://twitter.com/gosokkyu/status/1517753335373254657
https://tcrf.net/Bishoujo_Senshi_Sailor_Moon_(SNES)#Body_Model
Excerpt from a Twitter thread translating posts from a hashtag where Japanese developers share their contributions to old games:
https://twitter.com/gosokkyu/status/1517753335373254657
subdirectory_arrow_right Dinosaur Planet (Game)
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Contrary to popular belief, Shigeru Miyamoto and Nintendo did not singlehandedly force Rare (who was never even fully owned by Nintendo) to convert Dinosaur Planet into Star Fox Adventures. It was merely an offer and suggestion Miyamoto gave to Rare, and at the very least, the higher ups such as the Stamper Bros. and Kevin Bayliss were on board with it. An October 2004 edition of Rare's Scribes says as such:
Q: First of all, what’s the true story here, did Rare approach Microsoft because Nintendo raped Dinosaur Planet, or did Microsoft approach you guys because of your talent?
A: None of it had anything to do with Dinosaur Planet. That was way before the negotiations started, and besides, the Rare-Nintendo relationship didn’t work in such a way that they’d just force the SFA switch on us.
A: None of it had anything to do with Dinosaur Planet. That was way before the negotiations started, and besides, the Rare-Nintendo relationship didn’t work in such a way that they’d just force the SFA switch on us.
Dinosaur Planet/Star Fox Adventures Development Explained:
https://www.youtube.com/watch?v=j-bPiQr9AoE
Rare Scribes – October 19th 2004:
http://www.raregamer.co.uk/scribes-october-19th-2004/
https://www.youtube.com/watch?v=j-bPiQr9AoE
Rare Scribes – October 19th 2004:
http://www.raregamer.co.uk/scribes-october-19th-2004/
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While the game's Project Giana Kickstarter campaign was active, voice actress Cristina Vee went to Black Forest Games' forums and offered to voice Giana for the game. While her offer was considered, voice actress Katie Leigh got the role instead.
Black Forest Games Forum archive:
https://web.archive.org/web/20121127100647/http://project-giana.com/forum/viewtopic.php?f=1&t=158
Game credits:
https://www.youtube.com/live/U-LZZcdGlj0#t=11511
https://web.archive.org/web/20121127100647/http://project-giana.com/forum/viewtopic.php?f=1&t=158
Game credits:
https://www.youtube.com/live/U-LZZcdGlj0#t=11511
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According to level designer and artist Alex "Pikomi" Pierschel, since Giana Sisters DS lacks a multiplayer mode, Giana's sister Maria couldn't be playable or even appear in the game, and revealed that Punk Giana took her place.
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According to developer Hiroshi Iuchi, the reason that Radiant Silvergun features no power-ups is because he thought items in shoot ‘em up games like Thunder Force or Gradius could often result in cheap deaths, and he wished to streamline how players switched between their ship's guns in an effort to create a game that progressed through just shooting and dodging:
"There’s been many previous games where you swap weapons, so adding a button just for switching weapons seemed too boring, and you always have to be keeping track of where your weapon gauge is. I wanted something where the way you used your hands was managed mentally. If the different weapons were all based on finger combinations, you wouldn’t need to visually confirm weapons, you’d just automatically know what you were using.
We also deliberately made the bullets slow. If you’re going for a gameplay style that involves threading through tiny cracks in bullet curtains, then a slower bullet speed will allow a wider audience to enjoy the pleasure of bullet dodging."
We also deliberately made the bullets slow. If you’re going for a gameplay style that involves threading through tiny cracks in bullet curtains, then a slower bullet speed will allow a wider audience to enjoy the pleasure of bullet dodging."
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The story section of Sonic Underground's manual has numerous inconsistencies with the plot of the show it's based on, though are still featured in early production documents. These include:
• Robotnik at one point being referred to as "Sheriff Robotnik", likely a reference to the Sheriff of Nottingham from the legend of Robin Hood. He does not bare this title in the show itself; early leaks to the show's plot prior to release also reference his role as a sheriff, suggesting it was a scrapped concept from early on in development.
• The Oracle of Delphius being banished to the Frozen Wastes by Robotnik and passing away from unknown causes sometime after, telling Sonic how to reunite with his siblings in his dying breath. While the Oracle does take up residence in Ice Cap in the final show, he was not banished there, nor does he ever die.
• The Medallions being stated to be golden, but in the final show they bare a more silver coloration. Another detail stated in the manual but not in the final show is that they each possess three notes engraved into them.
• Robotnik's given motive for finding Queen Aleena is so that he can marry her and make her his consort, as he believes that by doing so he can become the rightful ruler of Mobius. While not his overall motive in the final show, the episode "Wedding Bell Blues" did use a similar premise for its plot.
• While not in early production documents, the game's manual states that it ends with Sonic, Manic and Sonia reuniting with their mother, which never actually happened in the original show, making it the only piece of Sonic Underground-related media where this goal is actually accomplished.
• Robotnik at one point being referred to as "Sheriff Robotnik", likely a reference to the Sheriff of Nottingham from the legend of Robin Hood. He does not bare this title in the show itself; early leaks to the show's plot prior to release also reference his role as a sheriff, suggesting it was a scrapped concept from early on in development.
• The Oracle of Delphius being banished to the Frozen Wastes by Robotnik and passing away from unknown causes sometime after, telling Sonic how to reunite with his siblings in his dying breath. While the Oracle does take up residence in Ice Cap in the final show, he was not banished there, nor does he ever die.
• The Medallions being stated to be golden, but in the final show they bare a more silver coloration. Another detail stated in the manual but not in the final show is that they each possess three notes engraved into them.
• Robotnik's given motive for finding Queen Aleena is so that he can marry her and make her his consort, as he believes that by doing so he can become the rightful ruler of Mobius. While not his overall motive in the final show, the episode "Wedding Bell Blues" did use a similar premise for its plot.
• While not in early production documents, the game's manual states that it ends with Sonic, Manic and Sonia reuniting with their mother, which never actually happened in the original show, making it the only piece of Sonic Underground-related media where this goal is actually accomplished.
Full details:
https://twitter.com/SatamHistorian/status/1538585617600335872
Sheriff Robotnik origin:
http://www.tesp.co.uk/TESP/main.php?FrameURL=Articals/Reports/RoadSU.htm
"Wedding Bell Blues" - Sonic Underground:
https://www.youtube.com/watch?v=d0Hr-chOCtI
Wiki page with game manual scans:
https://sonic.fandom.com/wiki/Sonic_Underground_(LCD_game)/Manuals
https://twitter.com/SatamHistorian/status/1538585617600335872
Sheriff Robotnik origin:
http://www.tesp.co.uk/TESP/main.php?FrameURL=Articals/Reports/RoadSU.htm
"Wedding Bell Blues" - Sonic Underground:
https://www.youtube.com/watch?v=d0Hr-chOCtI
Wiki page with game manual scans:
https://sonic.fandom.com/wiki/Sonic_Underground_(LCD_game)/Manuals
Company: Nintendo
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Nintendo's development philosophy is often described with the quote "a delayed game is eventually good, but a rushed game is forever bad," which is generally attributed to Shigeru Miyamoto. However, there is no evidence that he actually said the quote: a 2022 investigation by video game researcher Ethan Johnson revealed that it was first documented as "an industry catchphrase" in a November 1997 issue of Gamepro magazine. The quote was first tied to Nintendo in the June 1998 issue of Edge, in which an article about the protracted development of The Legend of Zelda: Ocarina of Time alleges that Nintendo saw it on a poster in a developer's office and took it to heart.
Over the next three years, the quote circulated among Usenet forum members when describing a variety of game developers, Nintendo included, and in 2003 it started being attributed to Miyamoto specifically. Johnson speculates that this came from people conflating it with comments Miyamoto made in a 2001 interview looking back on the making of Ocarina of Time, where he stated that "the entire staff starts to feel like 'if I let the game be released in this state, I will be ashamed.' Because if the development team doesn't end up feeling like craftsmen, artisans... then it won't be a good game." Johnson attributed the quote's longevity to the emergence of modern hype culture and growing public awareness about the significantly longer development periods needed for 3D games.
Over the next three years, the quote circulated among Usenet forum members when describing a variety of game developers, Nintendo included, and in 2003 it started being attributed to Miyamoto specifically. Johnson speculates that this came from people conflating it with comments Miyamoto made in a 2001 interview looking back on the making of Ocarina of Time, where he stated that "the entire staff starts to feel like 'if I let the game be released in this state, I will be ashamed.' Because if the development team doesn't end up feeling like craftsmen, artisans... then it won't be a good game." Johnson attributed the quote's longevity to the emergence of modern hype culture and growing public awareness about the significantly longer development periods needed for 3D games.
Article about Johnson's findings:
https://gamerant.com/miyamoto-famous-quote-delayed-games-good-misattributed/
Johnson's original Twitter thread, including a correction about his statement regarding the poster Nintendo allegedly saw:
https://twitter.com/GameResearch_E/status/1504850248107188234
https://gamerant.com/miyamoto-famous-quote-delayed-games-good-misattributed/
Johnson's original Twitter thread, including a correction about his statement regarding the poster Nintendo allegedly saw:
https://twitter.com/GameResearch_E/status/1504850248107188234
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In a 2001 interview featured in the Capcom vs. SNK 2 Another Play Guide, it was revealed that the team wanted to include Linn Kurosawa from Alien vs. Predator as a playable character, but that they couldn't do it due to copyright issues. Because of this, they went with Maki from Final Fight 2 instead.
At another point, they considered giving Maki a moveset identical to the one Linn has, but eventually decided against it, instead giving her a moveset that more closely matches the one she had in her debut game.
At another point, they considered giving Maki a moveset identical to the one Linn has, but eventually decided against it, instead giving her a moveset that more closely matches the one she had in her debut game.
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The Japan-exclusive Super Famicom version of Monopoly was produced by famed Japanese copywriter and essayist Shigesato Itoi (best known to people outside of Japan as the creator of Nintendo's EarthBound series), who is a champion Monopoly player and the leader of the Japanese Monopoly association. Itoi also served as a supervisor on the game's Japan-exclusive sequel, The Monopoly Game 2.
Blog post by a developer of Super Famicom Monopoly, mentioning Itoi's involvement:
https://web.archive.org/web/20160624143841/http://www.omorita.com/monopoly/
Itoi's Monopoly page:
https://www.1101.com/monopoly/index.html
The Monopoly Game 2 credits:
https://www.youtube.com/watch?v=FuLoEcw6pIw#t=3152
https://web.archive.org/web/20160624143841/http://www.omorita.com/monopoly/
Itoi's Monopoly page:
https://www.1101.com/monopoly/index.html
The Monopoly Game 2 credits:
https://www.youtube.com/watch?v=FuLoEcw6pIw#t=3152
subdirectory_arrow_right The Oregon Trail (Game)
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When The Oregon Trail was first being tested with 12-to-14 year olds at the Carlton College, the school faculty reacted negatively to offensive portrayals of Native American people in the game as tomahawk-wielding savages inspired by cowboy movies. While the developers of the game were initially offended by the prospect of changing the depiction, they eventually realized it was the right thing to do after questioning how an indigenous descendant would react to having to fight members of their race in the game.
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During Chapter 3: Course Correction, after going through a brief Zero Gravity section on the way to the Engine Room, you have to proceed through a tunnel featuring blasting steam, flashing lights, and an extremely loud and dense noise lasting all throughout the room, referred to by some players as one of the scariest rooms in the game. According to series creator Glen Schofield in a 2019 Ars Technica interview, this sound originates from a recording of the trains in San Francisco's Bay Area Rapid Transit (BART) system.
For decades, BART trains were infamous for producing a "high-pitched squeal" during turns that stemmed from a conscious design choice when engineers started building it in the mid-1960s to make the train wheels solid axle - or connected - so that they rotated at the same rate. This made the trains relatively quiet on straightaways, which constitute a majority of BART's tracks, but because of the design, one of the wheels ended up getting dragged against the rail on turns, with this friction causing the noise.
During Dead Space's development when this was still an issue, audio director Don Veca recounted his experience riding a BART train to Schofield (the following quote paraphrased by him):
The next day, Veca brought a microphone with him to record the noises. According to Schofield, the developers loved the resulting recordings, because it showed them a new way to use sound even more in the game's design by helping them realize how they could only use sound to scare people without relying on any enemies or other planned horror elements:
As for BART, they finally remedied the noise issues between October 2017 and February 2019, when they gradually replaced every train wheel in its fleet with new wheels designed to reduce the noise by as much as fifteen decibels, effectively making the riding experience "many times quieter than before".
For decades, BART trains were infamous for producing a "high-pitched squeal" during turns that stemmed from a conscious design choice when engineers started building it in the mid-1960s to make the train wheels solid axle - or connected - so that they rotated at the same rate. This made the trains relatively quiet on straightaways, which constitute a majority of BART's tracks, but because of the design, one of the wheels ended up getting dragged against the rail on turns, with this friction causing the noise.
During Dead Space's development when this was still an issue, audio director Don Veca recounted his experience riding a BART train to Schofield (the following quote paraphrased by him):
"'Glen, I was going in the BART train, we went under the Bay, and it's THE WORST SOUND IN THE HISTORY OF MAN!' or something like that, and I'm like 'RECORD IT!'"
The next day, Veca brought a microphone with him to record the noises. According to Schofield, the developers loved the resulting recordings, because it showed them a new way to use sound even more in the game's design by helping them realize how they could only use sound to scare people without relying on any enemies or other planned horror elements:
"-people are RUNNING in the room! They are just trying to get out of that room, it's so awesome!"
As for BART, they finally remedied the noise issues between October 2017 and February 2019, when they gradually replaced every train wheel in its fleet with new wheels designed to reduce the noise by as much as fifteen decibels, effectively making the riding experience "many times quieter than before".
Dead Space - BART train sound effect:
https://www.youtube.com/watch?v=BFPr6OlNKpg
Glen Schofield interview:
https://www.youtube.com/watch?v=BQ3iqq49Ew8?t=272
Article on the sound origin:
https://www.pcgamer.com/one-of-dead-spaces-scariest-sounds-is-san-franciscos-public-transportation/
BART screeching noise articles:
https://www.kqed.org/news/11030282/why-are-bart-trains-so-loud
https://www.wired.com/2016/09/three-year-fight-make-san-franciscos-subway-stop-screaming/
https://sf.curbed.com/2018/6/11/17449460/bart-screen-conversion-wheel
https://sf.curbed.com/2017/10/17/16488656/bart-tracks-loud-noise-maintenance
https://www.sfgate.com/bayarea/article/BART-noise-levels-decibels-trains-headphones-loud-13602734.php
https://www.youtube.com/watch?v=BFPr6OlNKpg
Glen Schofield interview:
https://www.youtube.com/watch?v=BQ3iqq49Ew8?t=272
Article on the sound origin:
https://www.pcgamer.com/one-of-dead-spaces-scariest-sounds-is-san-franciscos-public-transportation/
BART screeching noise articles:
https://www.kqed.org/news/11030282/why-are-bart-trains-so-loud
https://www.wired.com/2016/09/three-year-fight-make-san-franciscos-subway-stop-screaming/
https://sf.curbed.com/2018/6/11/17449460/bart-screen-conversion-wheel
https://sf.curbed.com/2017/10/17/16488656/bart-tracks-loud-noise-maintenance
https://www.sfgate.com/bayarea/article/BART-noise-levels-decibels-trains-headphones-loud-13602734.php
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During any cutscene where Bayonetta has a lollipop, if you hold down a specific button before the candy head of the lollipop first appears, you will gain the effect of a specific lollipop item available in the game's stores, and this is reflected in the cutscene by changing which lollipop flavor is shown:
• A for Green Herb lollipop (recover health)
• B for Bloody Rose lollipop (temporary damage boost)
• X for Purple Butterfly lollipop (recover magic)
• Y for Yellow Moon lollipop (gain armor)
It is pertinent that you press and hold the desired button before the candy part of the lollipop is actually seen in the cutscene to ensure the trick works. For example, in Chapter IV: The Cardinal Virtue of Fortitude, when Bayonetta walks into the colosseum, you can see that she is holding a lollipop, but you can only see the stick at first, meaning there's still time to perform the trick. If performed correctly, the lollipop head will be revealed as the one you have chosen. You can also skip the cutscene while still holding the button in order to keep the effect. Unlike normally using a lollipop item, performing this trick does not remove points from your score in a chapter.
Going off of the colors of each lollipop that are used for each face button, they match up with the Xbox 360 controller's color scheme, possibly being a remnant of Platinum Games primarily developing Bayonetta for the Xbox 360. This feature would not be carried over into subsequent Bayonetta games.
• A for Green Herb lollipop (recover health)
• B for Bloody Rose lollipop (temporary damage boost)
• X for Purple Butterfly lollipop (recover magic)
• Y for Yellow Moon lollipop (gain armor)
It is pertinent that you press and hold the desired button before the candy part of the lollipop is actually seen in the cutscene to ensure the trick works. For example, in Chapter IV: The Cardinal Virtue of Fortitude, when Bayonetta walks into the colosseum, you can see that she is holding a lollipop, but you can only see the stick at first, meaning there's still time to perform the trick. If performed correctly, the lollipop head will be revealed as the one you have chosen. You can also skip the cutscene while still holding the button in order to keep the effect. Unlike normally using a lollipop item, performing this trick does not remove points from your score in a chapter.
Going off of the colors of each lollipop that are used for each face button, they match up with the Xbox 360 controller's color scheme, possibly being a remnant of Platinum Games primarily developing Bayonetta for the Xbox 360. This feature would not be carried over into subsequent Bayonetta games.
Bayonetta - Lollipop effect demonstration:
https://www.youtube.com/watch?v=sz86JmloCoE
Steam Community page thread:
https://steamcommunity.com/app/460790/discussions/0/1327844097132423017/
Image source:
https://www.reddit.com/r/GamingDetails/comments/10vrco1/in_bayonetta_during_cinematics_where_shes_eating/
https://www.youtube.com/watch?v=sz86JmloCoE
Steam Community page thread:
https://steamcommunity.com/app/460790/discussions/0/1327844097132423017/
Image source:
https://www.reddit.com/r/GamingDetails/comments/10vrco1/in_bayonetta_during_cinematics_where_shes_eating/
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Contrary to popular belief, Johnny Cage wasn't cut from MK3 because his motion capture actor, Daniel Pesina, had to be fired from Midway after advertising a game called BloodStorm (developed by a different company) while dressed as his character.
In a 2020 podcast interview, Mr. Pesina stated that he wasn't fired, but rather that he left Midway because they refused to pay their actors on time. He also stated that series' co-creators Ed Boon and John Tobias assisted him with negotiating for the BloodStorm promo and what he wore in that ad was approved by Ed Boon, directly debunking the rumor.
A year later, John Tobias confirmed in a Twitter thread that the reason why Johnny Cage didn't show up in MK3 was because he was one of the least popular/played characters in the previous game, so they decided to remove him entirely, with the in-universe reason being that he died. He was later brought back for Mortal Kombat Trilogy, this time being potrayed by Chris Alexander.
In a 2020 podcast interview, Mr. Pesina stated that he wasn't fired, but rather that he left Midway because they refused to pay their actors on time. He also stated that series' co-creators Ed Boon and John Tobias assisted him with negotiating for the BloodStorm promo and what he wore in that ad was approved by Ed Boon, directly debunking the rumor.
A year later, John Tobias confirmed in a Twitter thread that the reason why Johnny Cage didn't show up in MK3 was because he was one of the least popular/played characters in the previous game, so they decided to remove him entirely, with the in-universe reason being that he died. He was later brought back for Mortal Kombat Trilogy, this time being potrayed by Chris Alexander.
The infamous BloodStorm ad:
https://web.archive.org/web/20130630224813/http://www.ugo.com/games/bloodstorm
Chris Alexander's IMDb page:
https://www.imdb.com/name/nm0018325/
The 2020 podcast interview with Daniel Pesina:
https://youtu.be/ObYR2IvvBxs?t=504
The Twitter thread by Mr. Tobias:
https://twitter.com/therealsaibot/status/1379528265203806209
https://twitter.com/therealsaibot/status/1379528267468664833
https://twitter.com/therealsaibot/status/1379528269054140416
https://twitter.com/therealsaibot/status/1379528272623464449
https://twitter.com/therealsaibot/status/1379528277010735105
https://twitter.com/therealsaibot/status/1379528278436839427
https://twitter.com/therealsaibot/status/1379528280533991425
https://twitter.com/therealsaibot/status/1379528282027089920
https://twitter.com/therealsaibot/status/1379528283717443584
https://twitter.com/therealsaibot/status/1379528285365805057
https://twitter.com/therealsaibot/status/1379528287051911169
https://web.archive.org/web/20130630224813/http://www.ugo.com/games/bloodstorm
Chris Alexander's IMDb page:
https://www.imdb.com/name/nm0018325/
The 2020 podcast interview with Daniel Pesina:
https://youtu.be/ObYR2IvvBxs?t=504
The Twitter thread by Mr. Tobias:
https://twitter.com/therealsaibot/status/1379528265203806209
https://twitter.com/therealsaibot/status/1379528267468664833
https://twitter.com/therealsaibot/status/1379528269054140416
https://twitter.com/therealsaibot/status/1379528272623464449
https://twitter.com/therealsaibot/status/1379528277010735105
https://twitter.com/therealsaibot/status/1379528278436839427
https://twitter.com/therealsaibot/status/1379528280533991425
https://twitter.com/therealsaibot/status/1379528282027089920
https://twitter.com/therealsaibot/status/1379528283717443584
https://twitter.com/therealsaibot/status/1379528285365805057
https://twitter.com/therealsaibot/status/1379528287051911169
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This game is the second Leisure Suit Larry game to feature no involvement from series creator Al Lowe. Around the time the game was released, Lowe wrote this testimony about the game on his blog:
Lowe then proceeded to list several negative reviews of the game from various major outlets, before concluding with:
"All I know about BOB is what I've read online. VU [Vivendi Games] (and later Activision, Team 17 and Codemasters) did not consult me nor discuss anything about this game with me. In fact, they've expressed no interest in me whatsoever! For a while, I hoped that they would remember to send me a review copy. Now that the reviews are in, it's just as well that they didn't!
In case you missed the news, Sierra announced another Larry Lovage game (although this time they spelled his name with an extra "E" i.e., "Loveage" ): Leisure Suit Larry: Box Office Bust. A few months later, after Activision merged with VU, they cancelled it, along with many other VU titles. In early 2009, the game's developer Team 17 announced that Codemasters had picked up the title. It was released at the end of March. No advance copies were released to reviewers (always an ominous sign).
Originally, the game's Executive Producer, John Melchior, claimed it had "open world sand box gameplay," racing, platforming, and puzzles and yet also repeated four times that "it's an adventure game." As another warning sign that rarely bodes well for good gameplay, Larry BOB proudly features its voiceover talent, which includes some D-list "stars." Mr. Melchior wanted to make a game that "Al Lowe would like to play." I wonder why he didn't just ask me?
Ah, well; it can't be worse than Magna Cum Laude, can it?
Now that the reviews are in, the answer is: Yes, it can!"
In case you missed the news, Sierra announced another Larry Lovage game (although this time they spelled his name with an extra "E" i.e., "Loveage" ): Leisure Suit Larry: Box Office Bust. A few months later, after Activision merged with VU, they cancelled it, along with many other VU titles. In early 2009, the game's developer Team 17 announced that Codemasters had picked up the title. It was released at the end of March. No advance copies were released to reviewers (always an ominous sign).
Originally, the game's Executive Producer, John Melchior, claimed it had "open world sand box gameplay," racing, platforming, and puzzles and yet also repeated four times that "it's an adventure game." As another warning sign that rarely bodes well for good gameplay, Larry BOB proudly features its voiceover talent, which includes some D-list "stars." Mr. Melchior wanted to make a game that "Al Lowe would like to play." I wonder why he didn't just ask me?
Ah, well; it can't be worse than Magna Cum Laude, can it?
Now that the reviews are in, the answer is: Yes, it can!"
Lowe then proceeded to list several negative reviews of the game from various major outlets, before concluding with:
"My Take: Thank you, VU Games, for keeping me completely away from this latest disaster!"
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Shigeru Miyamoto had actually teased the existence of Star Fox Adventures at least an entire year before its actual announcement at E3 2001. In an interview with Miyamoto in a February 2000 issue of 64 Dream (so several months before Dinosaur Planet was revealed at E3 2000 that year), he had mentioned that, while a sequel to Star Fox 64 was not currently in development, he'd like to make a game titled "Star Fox Adventures" for the then-coming GameCube. Similarly, in an interview with Miyamoto at E3 2000, when asked about how he felt about Rare's recently unveiled Dinosaur Planet, he had this to say:
Further interviews reveal Star Fox Adventures' origins indeed actually came from within Nintendo in Kyoto, Japan, even before Rare and Dinosaur Planet were involved. Towards the end of the Nintendo 64's lifecycle, Takaya Imamura, who had created Fox McCloud and had been heavily involved with the series since the first game, had begged Miyamoto to let him work on the Star Fox series again. Miyamoto obliged, but had requested for Imamura to instead create an action-adventure title starring Fox as the main character as opposed to a traditional arcade shooter in the vein of Star Fox on the SNES or Star Fox 64. This led Imamura and other Nintendo staff like Kazuaki Morita to begin experimenting with various ideas, like having Fox run around on-foot and shooting down enemies with a gun.
However, with it being a late-stage N64 title, the project was not making much progress as many of the staff were being pulled away to work on bigger projects for the then-upcoming GameCube such as Mario and The Legend of Zelda. This was when Miyamoto noticed Rare was making their own action-adventure game starring Star Fox-esque characters known as Dinosaur Planet. Impressed by their demo at E3, he and other Nintendo staff arranged a meeting with Rare employees to discuss the prospects of merging their similar projects into one, and from there the game that today would be known as Star Fox Adventures would be born.
"It looks really nice, doesn't it? I wish they would use Star Fox characters so that they could use the title Star Fox Adventures. Maybe I should call the team and talk about it [laughs]."
Further interviews reveal Star Fox Adventures' origins indeed actually came from within Nintendo in Kyoto, Japan, even before Rare and Dinosaur Planet were involved. Towards the end of the Nintendo 64's lifecycle, Takaya Imamura, who had created Fox McCloud and had been heavily involved with the series since the first game, had begged Miyamoto to let him work on the Star Fox series again. Miyamoto obliged, but had requested for Imamura to instead create an action-adventure title starring Fox as the main character as opposed to a traditional arcade shooter in the vein of Star Fox on the SNES or Star Fox 64. This led Imamura and other Nintendo staff like Kazuaki Morita to begin experimenting with various ideas, like having Fox run around on-foot and shooting down enemies with a gun.
However, with it being a late-stage N64 title, the project was not making much progress as many of the staff were being pulled away to work on bigger projects for the then-upcoming GameCube such as Mario and The Legend of Zelda. This was when Miyamoto noticed Rare was making their own action-adventure game starring Star Fox-esque characters known as Dinosaur Planet. Impressed by their demo at E3, he and other Nintendo staff arranged a meeting with Rare employees to discuss the prospects of merging their similar projects into one, and from there the game that today would be known as Star Fox Adventures would be born.
Shigeru Miyamoto teasing "Star Fox Adventures" in a February 2000 issue of 64 Dream:
https://archive.org/details/64-dream-february-2000-02-600dpi-ozidual/64Dream%202000%2002%20%28J%20OCR%29/page/n91/mode/2up
Miyamoto discussing Dinosaur Planet and the prospects of renaming it "Star Fox Adventures" at E3 2000:
https://www.ign.com/articles/2000/06/06/interview-miyamoto-and-aonuma
Nintendo Japanese website Star Fox Adventures interview:
https://web.archive.org/web/20070705035402/http://www.nintendo.co.jp/nom/0210/fox_03/index.html
English translations of above NOM interview:
https://www.reddit.com/r/starfox/comments/18rek3h/just_throwing_out_a_translation_of_this_old/
Nintendo Dream interview:
https://shmuplations.com/starfoxadventures/
2001 article on shift from Dinosaur Planet to Star Fox Adventures:
https://www.nintendoworldreport.com/news/5981/rare-explains-star-fox-adventures
Article by Kev Bayliss on a leaked build of Dinosaur Planet:
https://www.videogameschronicle.com/features/opinion/dinosaur-planet-leak/
https://archive.org/details/64-dream-february-2000-02-600dpi-ozidual/64Dream%202000%2002%20%28J%20OCR%29/page/n91/mode/2up
Miyamoto discussing Dinosaur Planet and the prospects of renaming it "Star Fox Adventures" at E3 2000:
https://www.ign.com/articles/2000/06/06/interview-miyamoto-and-aonuma
Nintendo Japanese website Star Fox Adventures interview:
https://web.archive.org/web/20070705035402/http://www.nintendo.co.jp/nom/0210/fox_03/index.html
English translations of above NOM interview:
https://www.reddit.com/r/starfox/comments/18rek3h/just_throwing_out_a_translation_of_this_old/
Nintendo Dream interview:
https://shmuplations.com/starfoxadventures/
2001 article on shift from Dinosaur Planet to Star Fox Adventures:
https://www.nintendoworldreport.com/news/5981/rare-explains-star-fox-adventures
Article by Kev Bayliss on a leaked build of Dinosaur Planet:
https://www.videogameschronicle.com/features/opinion/dinosaur-planet-leak/
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Sonic the Hedgehog 4 was originally going to be a mobile exclusive game under the title "Sonic the Portable" before being made into a cross platform game marketed as a sequel to the classic trilogy on the Genesis. This name remains left in the game in Carnival Street Zone where it is displayed on the ferris wheel in the level background on a blurred out neon sign.
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Among files uncovered in the Gigaleak, a large-scale leak of assets from Nintendo's internal servers in 2020, are various assets from Super Mario World 2: Yoshi's Island depicting alternate ideas for Baby Mario. The earliest of these assets are a series of sprites from October 1993 depicting him in a bonnet and with a mustache similar to his adult counterpart; by comparison, the earliest sprites depicting his final design are dated to August 1994.
In the interim, however, Nintendo apparently considered omitting Baby Mario entirely; sprites dating to the spring of 1994 show that the developers considered having the Yoshi Clan ferry an infant wizard around instead. These sprites depict the wizard both in normal gameplay and in the pre-rendered CGI graphics used in the opening cutscene. Other sprites of the wizard show that they would've provided an in-universe reason for Yoshi's ability to transform into various vehicles: the wizard would cast a spell on a Yoshi egg while encasing themself and the real Yoshi in a bubble.
While the developers ultimately went back to using Baby Mario, the wizard still appears in a prototype build from December 6, 1994. In this iteration, the wizard is a form that Baby Mario can turn into through the use of an item depicting the projectiles fired by Kamek in the penultimate area of "6-8: King Bowser's Castle". This "Wizard Mario" form could similarly cast spells that transform certain enemies into objects such as eggs, watermelons, and Winged Clouds.
In the interim, however, Nintendo apparently considered omitting Baby Mario entirely; sprites dating to the spring of 1994 show that the developers considered having the Yoshi Clan ferry an infant wizard around instead. These sprites depict the wizard both in normal gameplay and in the pre-rendered CGI graphics used in the opening cutscene. Other sprites of the wizard show that they would've provided an in-universe reason for Yoshi's ability to transform into various vehicles: the wizard would cast a spell on a Yoshi egg while encasing themself and the real Yoshi in a bubble.
While the developers ultimately went back to using Baby Mario, the wizard still appears in a prototype build from December 6, 1994. In this iteration, the wizard is a form that Baby Mario can turn into through the use of an item depicting the projectiles fired by Kamek in the penultimate area of "6-8: King Bowser's Castle". This "Wizard Mario" form could similarly cast spells that transform certain enemies into objects such as eggs, watermelons, and Winged Clouds.
Development sprites:
https://tcrf.net/Development:Super_Mario_World_2:_Yoshi%27s_Island/Sprites
Items in the December 6, 1994 prototype:
https://tcrf.net/Proto:Super_Mario_World_2:_Yoshi%27s_Island/ys_romX_0/Items
https://tcrf.net/Development:Super_Mario_World_2:_Yoshi%27s_Island/Sprites
Items in the December 6, 1994 prototype:
https://tcrf.net/Proto:Super_Mario_World_2:_Yoshi%27s_Island/ys_romX_0/Items