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No More Heroes III
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Attachment The final battle between Travis Touchdown and Spoiler:Damon Riccitiello is a parody of the Super Smash Bros. series.

Director Goichi Suda stated in an interview that the idea for the fight being a "total rip-off" of Super Smash Bros. was originally a joke. However once they actually developing it, he felt this may end up becoming a problem because it felt "really, really close to the actual game" and had decided to change the idea. However, representatives from Nintendo and even Masahiro Sakurai himself liked the idea and told him to keep it in the game.
The King of Fighters '99: Millennium Battle
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The original Kyo was redesigned for the game, but some designers wanted his iconic school uniform. When they were nearing the end of their production schedule, staff members were indecisive upon which uniform the Kyo clone should wear (KOF '94 or KOF '95). When the project head said to just make two clones instead, the game’s staff objected due to time constraints. In response, the project head then drew designs for Kyo-1 and Kyo-2 on the spot to resolve the issue.
The King of Fighters '99: Millennium Battle
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Kyo and Iori were originally not planned to be in the game so that the story could focus on the newer characters. However, it was ultimately concluded that the characters were popular enough that they couldn’t just leave them in limbo, so they got a reprieve as well as a redesign.
The King of Fighters 2003
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The theme for the Sky Noah stage is Chopin's "Revolutionary Etude Op.10 No.12." The inclusion of this song on the Neo Geo system required a huge amount of memory which overwhelmed the voice data of other characters.
The King of Fighters 2000
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Vanessa was originally planned to appear as a playable character rather than a striker character in The King of Fighters '99, but was cut from the roster due to time constraints.
The King of Fighters 2001
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The inception of May Lee Jinju was at the request of the game's sponsor, Eolith, expressing a desire for a "Korean Athena" character. This request initially asked for an "idol-like visual fighter," which charged over time into what was in the final game. She was named after the person who was in charge of Eolith at the time.
Guilty Gear
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According to game's producer and graphics/visual artist Daisuke Ishiwatari in a 1998 interview featured in The PlayStation (JP) magazine, he stated that he loved the light fantasy world featured in the Shonen Jump manga Bastard!! and wanted to make the setting of Guilty Gear similar to it, leading to Ishiwatari coming up with many different ideas that would further the game's development.
Final Fantasy X
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At the 2017 Emerald City Comic Con during a panel with American voice actor John DiMaggio, he explained that he was told to make Wakka's voice sound like an islander, with an island accent. At the time, he broke up with his girlfriend from Hawaii, so he came up with some Hawaiian impersonations which landed him the role of Wakka.
The King of Fighters 2000
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Hinako's design was initially based on the protagonist of the manga Jarinko Chie, who used sumo moves. The supervising designer, however, succumbed to insistent requests to use "a debutante" and Hinako gradually transformed into a wellborn young maiden. She was also originally going to fight barefoot, which was also dropped. The only thing that remained from her original concept was the athletic tape on her fingers.
The King of Fighters XI
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Shion was originally a rejected character idea from the early development of The King of Fighters 2003, and was drafted for the purpose of being "Ron's daughter". The artist in charge of the character found the design in a past background illustration and insisted that he be made into the game's penultimate boss.
The King of Fighters '94
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During the early stages of development, there was going to be a Fugitive Team with Chang, Choi, and a third "vicious criminal" character. This third character would later be replaced with Kim for unspecified reasons.
Vanquish
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In a 2020 interview conducted by the YouTube channel Archipel with the game's creator Shinji Mikami, he talked about the development of Vanquish, which started after he left Capcom and joined PlatinumGames. While he claimed to not remember how he arrived at working on or coming up with the concept for Vanquish, he pitched 5 different project ideas beforehand to Sega and Platinum:

From the start, Mikami wanted to make an open-world game set in a universe similar to the film "Blade Runner", but due to budget, time and staffing constraints, he considered the project to be impossible to make. Regardless, Mikami drafted a design document that he formally pitched to Platinum as a coping mechanism in order to clear his head of the long-gestating idea and work on other projects, stating "I just couldn't switch my mind for a project that fit budget and resources before I gave form to this one. So I just presented it".

Afterwards he moved on to a completely different project; a cel-shaded game set in a universe akin to the works of Studio Ghibli entitled "The Witch and the Piglet". The game was about an evil witch who turned a prince into a piglet and cursed the accompanying village. The villagers would be friendly by day, but at night, they would turn into animals such as horses, pigs, and goats, and do "terrible things" every night, in turn revealing the villagers' evil sides. The main protagonist, a girl with "magical powers who could hover in the sky with an umbrella", had to defeat the witch and break the curse. Mikami believed the game was a mid-scale project that could be easily managed within a given budget and really wanted to make it happen, so he pitched it to Sega. However, Sega strongly declined the pitch, saying that they weren't looking for a game like The Witch and the Piglet.

Angered, Mikami moved on to another project designed exclusively for the Nintendo DS. The game was about a girl with psychic powers and an unknown serial killer who were confined in a hospital. The killer would murder people in the building one by one, and the girl had to figure out if the killer was a doctor, a nurse, or a patient. She used her powers to fight with the killer remotely, move things from a distance, take limited control of peoples' minds, and used a smartphone to send texts and chat during battles, all the while the killer would threaten to kill more people the closer she was to him. One of the central gameplay mechanics involved selecting floating Kanji on the Touchscreen to form two-word phrases such as "Drop Vase" or "Open Door", and watch the results on the hospital's surveillance cameras. Upon pitching it, Sega also rejected the game for the same reason as The Witch and the Piglet, stating the projects were too small and not what they were looking for.

Mikami then recounted an incident during the same meeting, where Sega's executives told him that they were looking for a "Taisaku", or a major project. In response, and angrier than before, he came up with a pitch on the spot called "Keiko and Taisaku", about two delinquent gang leaders, a boy and a girl dressed in high school uniforms, that fought each other, proclaiming "Here, you get Keiko and Taisaku, there's Taisaku in it so it works right?" Sega's executives silently ignored the pitch. Mikami recalled that after this incident came the back-and-forth talks that lead to him working on Vanquish.

Sometime in-between these events, Mikami also had an idea for a rhythm action game that he promptly scrapped after pitching it to Platinum, believing that the idea was not as fun as he had thought it was after presenting it.
Policenauts
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According to a 1999 Nice Games magazine interview with game's director Hideo Kojima, he was asked if the game was originally released for the PC-9821 computer, knowing that it had a very long development cycle:

"Yeah, that was crazy. It was progressing pretty well at first, and by 1990 I had all the storyboarding done—I did it all myself, you see. But thanks to a department transfer at Konami, and the PC Engine port of Snatcher, for awhile I didn’t have much time to work on it. So then when we were working on the PC-9821 version, by that point there was already talk about the next-gen hardware, and that’s how it ended up getting ported to the 3DO, Playstation, and Saturn."
Secret of Mana
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According to a 1993 Hippon Super magazines interview with the game's producer/scenario writer Hiromichi Tanaka, he was asked what were the biggest things he wanted to accomplish with the development of the game. He responded:

"Our earliest concept for the game revolved around our consideration of the state of RPGs today. We felt like mainstream RPGs had gotten kind of stale, only differing in the stories and scenarios they offer, but otherwise all having the same basic format."

"Trapped in the same old gameplay systems that have become “standard” for RPGs, only changing up the story… that’s boring. The RPG genre is supposed to be about being able to do anything you want. Is ignoring the gameplay systems and just focusing on story really the right way to go…?"
Resident Evil
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In a 2020 interview conducted by the YouTube channel Archipel with series creator Shinji Mikami, he stated that the idea for when the first Hunter makes his appearance to kill the player came from the film The Texas Chainsaw Massacre:

"Around the beginning you have this scene where the character enters that spooky house. There's that open door, then Leatherface appears and hits the character with an axe and kills him. He then drags him like cattle. I liked that sudden fear. It may be hard to grasp, but in the first Resident Evil there's the Hunter, a new creature that suddenly pops in and attacks you. I think that influence lives there a little."
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Attachment In a 1994 interview with the game's creator Shigeru Miyamoto, featured in the liner notes of "The Legend of Zelda: Sound and Drama" CD, he was asked what themes he was trying to convey through the series as a whole? He responded:

"An everyday boy gets drawn into a series of incredible events and grows to become a hero. Within that framework, I wanted to create a game where the player could experience the feeling of exploration as he travels about the world, becoming familiar with the history of the land and the natural world he inhabits. That is reflected in the title: “the legend of ____”"


"Adventure games and RPGs are games where you advance the story through dialogue alone, but we wanted players to actually experience the physical sensation of using a controller and moving the character through the world. We wanted dungeons to be explorable with a simple mapping system. These and similar ideas were what we wanted to experiment with in Zelda. These themes are carried forward in the SFC Zelda as well."
The Legend of Zelda
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In a 1994 interview with the game's creator Shigeru Miyamoto, featured in the liner notes of "The Legend of Zelda: Sound and Drama" CD, he was asked what were the things he struggled with during the game's development. He responded:

"We were brimming with new ideas on how to fully utilize the Disk System’s new capabilities: a name entry system, using better music, recording the player’s progress, and so forth. In that sense it was a very fun game to create. The flip side of doing something new, however, is that Zelda was a game where we were very concerned whether players would understand what they were supposed to do (much like the fear Nakamura had when Dragon Quest was first released). Once we decided there’d be riddles and puzzles in Zelda, that carried a lot of anxiety with it as well. Some of the puzzles are quite difficult to solve, after all."

"Since we were working on Super Mario at the same time, once Mario was finished, we grabbed the Mario programmers and used them for Zelda in a final programming sprint. That was really tough."
The Legend of Zelda
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In a 1994 interview with the game's creator Shigeru Miyamoto, featured in the liner notes of "The Legend of Zelda: Sound and Drama" CD, Miyamoto revealed that his team started development on the game as a launch title for the 1984 Famicom Disk System. Shortly before that, they began working on Super Mario Bros., which lead to a period of 5 to 7 months where they worked on both games simultaneously, consequently causing the design stage of development to be very busy.
Terminator: Resistance
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In 2011, Bandai Namco created the "United Galaxy Space Force" series that retconned and merged many of their futuristic space games that were previously unrelated to each other into a single continuity. As of 2014, the timeline connects together the plots of numerous games and series including (in chronological order on the timeline) Ace Combat 3: Electrosphere, Cyber Sled & Cyber Commando, Burning Force, Galaxian, Bosconian, Bounty Hounds, Starblade, Dig Dug, Baraduke, Mr. Driller, Star Luster & Star Ixiom, Mizuiro Blood, the cancelled game "Starblade - Operation Blue Planet", Shin-Gun Destroy! Girl's Tank Battalion, the cancelled game "New Space Order", and Thunder Ceptor & 3-D Thunder Ceptor II.
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