In a 1993 interview with the game's planner Hiroaki Chino in issue no. 7 of Marukatsu Mega Drive, he was asked what the biggest changes were in Sonic CD compared to past games that were released on cartridges? He responded:
"One place in particular where you feel the difference is the special stage. We used the Mega CD’s sprite rotation abilities for that. Also, a single regular stage will have past, present, and future to contend with… we could only bring that volume to life with the CD format—if you do a simple comparison with Sonic 2, it’s 3x the volume. But when you add in the secrets and other things, overall, I think it’s safe to say it has about 4x the volume."
In a 2019 IGN interview, Arthur's actor Roger Clark revealed that on top of playing Arthur, he also played "about two dozen" characters in Red Dead Redemption II. One character he had to play due to their actor being unavailable for motion capture recording that day was Spoiler:Mary in a post-credits scene where she mourns at Arthur's grave, ironically resulting in the actor mourning his own character's death.
According to The History of Castlevania: Book of the Crescent Moon, the Belmont family was originally planned to be called the Dante family, with Simon Belmont originally being "Peter Dante, Vampire Killer and grandson of Christopher Dante".
During BlizzCon 2016, Mei's voice actress Yu Zhang revealed that the character's popular line "Sorry! Sorry, I'm Sorry. Sorry." was a botched take that was put into the game anyways. The following year, the game's senior designer at the time Michael Chu took credit for including the line in the game after catching the mistake on tape in the recording booth, citing it as his favorite voice line in the game.
The original version of StarCraft developed prior to 1996 was considered to be inferior to other games shown at the time, most notably the real-time strategy (RTS) game Dominion: Storm Over Gift 3 being developed by Ion Storm Dallas, which was also shown at E3 and the Consumer Electronics Show that year. The game appeared to be miles ahead of what StarCraft was, with consumers responding to the latter game weakly as "Warcraft in space". Realizing that the version of StarCraft they had was worse than they had thought, following the release of Diablo at the end of that year, Blizzard began to "lick [their] wounds and plan for the future" by restarting development on StarCraft and completely overhauling their development process as a whole. StarCraft eventually released in March of 1998 to critical and commercial success, and was retrospectively dubbed as one of the defining games of the RTS genre.
However, after Ion Storm Dallas closed in 2001, a few of their former employees were scooped up by Blizzard and two of them later revealed to former Blizzard executive Patrick Wyatt that the demos Ion Storm presented of Dominion: Storm Over Gift 3 were actually pre-rendered trailers, and the players "presenting" the game's demos were actors pretending to play the game. This meant that the only reason why StarCraft was released in the form it was was because Blizzard got tricked into raising their standards to compete with a pre-rendered video, resulting in the creation of one of their most successful games.
According to a 1997 The PlayStation magazine interview with the game's director Makoto Ikehara & programmer Tatsuya Kitabayashi, they were asked how the game's development began. Ikehara stated that their developments "always sort of start the same way, with just a title." After which they just make whatever they want, and force it to all fit together after the fact. Ikehara also stated that when changing series to the PlayStation, the team considered calling the third game just "Breath of Fire" without the "III", but they ultimately decided not to as they wanted to bring about a conclusion to the work they had done up to then.
Kitabayashi added that after Breath of Fire II had finished, the team, now more confident, wanted to carry over that momentum from the previous game and begin working on Breath of Fire III straightaway.
Ikehara was also asked if there were things that they could not achieve in II that they wanted to do in III, to which he responded:
"Yeah. That’s true with every development, the whole “we’ll do it next time!” thing.
The reason why Taka-Arashi was cut from the roster was that the developers didn't think his large size and play style could fit with the new game's speed. He would later be added back to the roster in the enhanced versions of Virtua Fighter 5.
The second disc of the game has long been the subject of controversy due to its seemingly unfinished nature, where Fei and Elly sit in an empty area and narrate the remainder of the game's events as they are shown in a slideshow/montage format, with lengthy dialogue scrolls in front of them and little actual gameplay compared to the first disc. For almost two decades since the game's release, there was seemingly no official explanation about the production of the second disc, and fans believed that director Tetsuya Takahashi had more ambitious plans that the development team was forced to ditch because of budget and time constraints imposed by Square.
In a 2017 Kotaku interview with Takahashi, he revealed that while this speculation was correct, there was more to it than that:
"Honestly speaking, what had happened is Xenogears as a project was staffed pretty much entirely out of new staff members, young staff members... Back then, we had the direction of, ‘All projects take two years and that’s when we need to get it done.’ So on top of developing the game, we had to nurture and teach and grow these younger employees. Things like 3D were extremely new, which led to some delays in the schedule. It just wasn’t possible to get everything done."
The higher-ups at Square, when seeing that the team would not be able to reach the deadline in the state they were in, suggested that Takahashi end the game after the first disc when Spoiler:Fei and his team escape from Solaris. However, he did not feel the game's story should have ended there even with the lack of gameplay:
"It was a rough way to end it, and I felt like if we do that, then the players will not be satisfied... so we had a proposal—I proposed that if we do disc 2 in this way that it turned out to be, we can finish the game with the current number of staff and the current time allotted for the schedule and the remaining budget we have."
"I do think my decision was the right one to make, because if we had just ended at Disc 1 it would have been bad."
Metroid Fusion is one of only a few Game Boy Advance games to have a save battery through an SRAM chip in its cartridge, though this would only appear in earlier-produced carts, as the SRAM chip was scrapped from use halfway through production in favor of a battery-free EPROM chip.
In a 2020 interview conducted by the YouTube channel Archipel with series creator Shinji Mikami, he stated that Dino Crisis was not a project he had first created. There was a team within Capcom that was working on original projects, when one day the team's leaders suddenly quit working at the company, leaving the rest behind. They came to Mikami with a pitch for a game with a 3-4 member party system (which Mikami likened to a Dragon Quest game) and asked him what they should do now. In response, he took them under his wing and told them to do their best.
Mikami's team initially brainstormed ideas together, but after struggling to find any good ideas, he asked each individual member to come up with their own ideas so they could decide on which one was the best to pick. At that point, someone from Capcom's graphics department had an idea for a game that took place in a locale similar to Skull Island from the 1933 film "King Kong". Mikami thought that idea was new; there were not that many creatures inhabiting the island, but the only kind was dinosaurs, so they stuck to dinosaurs and applied a gameplay and camera system similar to the first three Resident Evil games to make what would become Dino Crisis.
According to Tomonobu Itagaki, the Temple on the Mountain stage was originally going to be filled with human tourists. But, for an unknown reason, the team filled the stage with 108 white monkeys instead (the number 108 representing worldly desires in Buddhist teachings). The lead designer of the game became so inspired by their addiction that he suggested making an all-monkey fighting game.
The game is a remaster of the original arcade game that was ported to the Sega Saturn, instead of the Playstation port which was vastly different from the original. This was because the developers felt that the Saturn version had the best quality out of the different versions of the game, with Tomonobu Itagaki citing it as his personal favorite version of the game on top of having great personal significance to him as it was the first game he fully produced.
In a 1997 interview with Koji Igarashi, found within the NTT-PUB official guidebook, he was asked how he came to hire Ayami Kojima as the game's illustrator? He responded:
"Wanting to do something different from previous Castlevanias, one of our first steps was to imagine an alluring new visual style for the characters. We decided then to search for an illustrator who hadn’t done much work with games, someone who was active in a whole different genre. As a team we went to bookstores and checked out book covers, buying the ones we liked and researching the artists. There were a number of candidates, but we felt that Ayami Kojima’s work had the rich, aesthetic direction we wanted for a new Castlevania."
According to a 2009 interview with the game's director Mitsuo Iwao & producer Yoshinori Yamagishi featured in the game's Official Complete Guide, Iwao stated that they did not immediately come up with the game's title "The Last Hope" right away. He questioned if mankind could really survive after the third World War, and wanted to express their thoughts that humanity's last hope may lie somewhere in the universe.
Yamagishi also stated about the game's title:
"As far as titles go, it was clear and easy to understand, which was big. It didn’t use any complicated terminology; it was straightforward, orthodox, using words any layperson could understand. It was a title that could be easily understood by people outside of Japan, too. I guess subtitles are sort of a tri-ace thing. The previous games didn’t use a numbering system either, and the subtitle makes it feel like its own single work."
In a 1997 interview with the game's producer Hironobu Sakaguchi, found within the Famicon Tsuushin magazine, he was asked how the development of the game started. He responded:
"The title “Final Fantasy Tactics” was actually something I thought up four years ago. We even took out a trademark on the name. I’m a strategy game fan myself, and I had been thinking about what Final Fantasy would look like as a strategy game. I’m the type of person who comes up with a name first, so nothing much else had been concretely set down, but there was a “Final Fantasy Tactics” design document that I had made then. Unfortunately I was caught up in the development of the main FF series—which were coming out at a quick pace, one every 12-18 months—so my plans for FFT remained unrealized. But it is true that the kernel of the development goes back 4 years, to 1993."
According to a 2001 developer interview published in V-Jump magazine, the game's composer Nobuo Uematsu stated his team started including theme songs in the Final Fantasy games since Final Fantasy VIII, and that each time, Uematsu & Yoshinori Kitase would hold a meeting to decide who would sing the theme song. The developers brought in various music CDs of singers they liked to listen to and would share their opinions. At some point during the meeting for Final Fantasy X's theme song, they could not decide on who to pick. Around the same time, a member from their staff happened to buy one of Rikki’s independent releases at a CD shop, and showed it to Uematsu. He loved it after listening to it, and said in a excited mood "This is great!", leading the team to contact Rikki right away to perform the song, called "Suteki Da Ne", for the game. Uematsu considered it a memorable song for FFX, and that from the beginning the music would be a central part of the soundtrack.
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The enemy Laments had their nipples removed in the Japanese release for the PlayStation 4 & Xbox One versions of the game.
According to a 1999 E.G.G. Complete Guide interview with the game's scenario writer/planner/supervisor Hiroaki Hara, he was asked what made him go for a fully illustrated 2D style for the maps. He responded:
"Hmmm… probably just our personal taste. Now that we’re firmly in the era of 3DCG, perhaps some of us may have wanted to go against that current. But in terms of what visual style would most fit the gameplay, for EGG we felt this was the best. This is a unique world that I don’t think can be rendered in polygons. Yet the Dreamcast is a polygon machine, isn’t it? We wanted to take advantage of that strength too, which is why the boss battles switch to 3D. The one thing we didn’t want, though, was for players to have to learn a whole new control scheme for the 3D fights, and we spent a lot of effort adjusting and revising it to feel right.
I would have personally loved to have more time to work on the game. But you know, we’d already spent 3 years… and if you consider the work we did before the initial pitch presentations, it’s even longer. I’ve never spent this much time on a game development before."
In a 1999 developer interview published in Gamest magazine, the concept art for Ibuki's "Yami Shigure" move was originally going to be a normal special attack, but was changed to Super Art after many people complained.
In a 1999 interview featured in the Giga Wing OST's liner notes, the game's planner Ikuo Satou stated that in his team's early planning documents, Giga Wing was a "surprisingly orthodox" shooter game, but the game's developers at Takumi Corporation had a habit of always wanting to do something different:
"Thus with [Capcom and the] development team at Takumi, every meeting became a search for new things to improve.
“We should focus on the 1P experience, right?!” “I know, let’s have the character profiles cut in every time you use a bomb!”
And so on and so forth. In the eruption of ideas and opinions from these meetings, the revisions piled up. By and by the gameplay system was transformed, until before we knew it, the score had 16 digits, the enemy bullets could be reflected, characters were created, and a whole story was added to boot."
Metroid Fusion is one of only a few Game Boy Advance games to have a save battery through an SRAM chip in its cartridge, though this would only appear in earlier-produced carts, as the SRAM chip was scrapped from use halfway through production in favor of a battery-free EPROM chip.
In a 1999 developer interview published in Gamest magazine, the concept art for Ibuki's "Yami Shigure" move was originally going to be a normal special attack, but was changed to Super Art after many people complained.
