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Franchise: Super Smash Bros.

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In a 1999 interview with game's director and designer Masahiro Sakurai published in Nice Games magazine vol.3, he was asked if Super Smash Bros. appealed to a younger age group? He responded:

"No, I wouldn’t say that—at least judging from what I saw at the most recent tournament. The “height gap” between players was funny: you had adults playing matches with kids half their size. Of course the core players are middle school and elementary age, but I’ve seen kids as young as 3 and adults over 30. I would say Smash’s uniqueness lies not so much in appealing to a wide age range, as it does a wide variety of skill levels. I’ve had people tell me it’s a huge hit at their preschool, and other people tell me how great the combo system is for a versus fighting game."

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Franchise: Star Fox

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The Japanese name of the Star Fox series' main antagonist, Andross, is アンドルフ (Andorf).

According to Takaya Imamura in a 2002 Nintendo Dream magazine interview, the name was deprived from “Andromeda”, and his name was changed to Andross in the Western localizations because of fears that his original name had "Nazi overtones", presumably suggesting the name's spelling had similarities to dictator Adolf Hitler, as アンドルフ can also be anglicized as "Andolf".

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Darkstalkers 3

Darkstalkers 3 (1998)

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According to general producer Noritaka Funamizu in a 1997 Gamest magazine interview, he was asked why the rounds mechanic was removed in the game? He responded:

"The structure of the rounds is one element of fighting games that’s hard to change, but for this game, we didn’t want the flow of the fights interrupted. The Damage Gauge System was originally part of a different game’s system. We tried inserting it here and it turned out to be really interesting, so we kept it."

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Darkstalkers 3

Darkstalkers 3 (1998)

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According to general producer Noritaka Funamizu in a 1997 Gamest magazine interview, he was asked why he wanted to make Darkstalkers 3 just two years after Night Warriors: Darkstalkers' Revenge was released? He responded:

"Well, we’d been planning to make a sequel since we finished Revenge. But there was a feeling we had of wanting to re-evaluate, from zero, the very concept of what it means to be a “monster.” We have a guy on our team who we call the “one many army”, who does planning work, and he handed us the initial game plans for Vampire Savior. From there we officially formed a team and got down to work. But the setting and story came first, in those plans."

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Streets of Rage 2

Streets of Rage 2 (1992)

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According to the game's composer Yuzo Koshiro on his Twitter account, he found an internal document for "Stage 7: Munitions Plant" from Streets of Rage 2 that revealed the stage used ideas from the manga series Akira, and particularly influenced the second half of the level which takes place on an elevator.

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Naruto Shippuden: Ultimate Ninja Storm Revolution

Naruto Shippuden: Ultimate Ninja Storm Revolution (2014)

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In an April 2014 trailer for the game, there is a gameplay scene of Mecha-Naruto & Shisui Uchiha in the Uchiha Hideout (Destroyed) stage, but this scenario does not occur in the final release and was removed for unknown reasons.

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Streets of Rage

Streets of Rage (1991)

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On the game's Japanese cover, illustrated by Yoshiaki Yoneshima. Blaze Fielding's pose strongly resembles the same pose made by Hitomi Kisugi in an illustration by mangaka Tsukasa Hojo for a 1994 10 aizōban re-release of Shonen Jump's Cat's Eye.

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Code Vein

Code Vein (2019)

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According to the game's director and producer Hiroshi Yoshimura in YouTuber Paolo fromTOKYO's "Day in the Life of a Japanese Game Programmer" video, it took the development team of 200 people up to five years to make the game after they first planned it. He also revealed in the video that they would continue to update Code Vein by listening to user feedback as well as making new downloadable content.

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Naruto Shippuden: Ultimate Ninja Storm 4

Naruto Shippuden: Ultimate Ninja Storm 4 (2016)

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According to CyberConnect2 chief executive officer Hiroshi Matsuyama about the playable character Hanabi Hyuga, when they were making the Naruto: Ultimate Ninja games for the PlayStation 2, Hanabi barely made any appearances in the manga. Because the lack of female characters in the Ultimate Ninja series, CyberConnect2 suggested to Shueisha, the company that produces Shonen Jump, to include Hanabi into the game and showed them how they wanted to present Hanabi and the moves she would use.
Another reason Hanabi was included in the game was because she had just appeared in "The Last: Naruto the Movie", where Naruto's manga artist Masashi Kishimoto presented her characteristics and what she's like in the movie. The team also drew inspiration and came up with ideas from anime episodes of both sisters Hinata and Hanabi together in some of the show's storylines for the game.

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Twin Mirror

Twin Mirror (2020)

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In interview with game's lead writer Matthew Ritter at Gamescom 2018, he stated that he was influenced by adventure games like Beneath a Steel Sky and the Space Quest series while growing up and always looked to those when writing.

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World Heroes

World Heroes (1992)

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According to Akira Ushizawa in a 1998 interview published in volume 122 of Gamest magazine, he was asked where the idea of all of the game's fighters being summoned through a time machine to fight each other came from, and he responded:

"It was when we were first working on the planning, and thinking of stages for each character. We wanted those stages to have a lot of individual personality, and someone suggested the idea of setting the stages in different eras."

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Shining Force II

Shining Force II (1993)

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In a 1993 Dengeki Megadrive interview with the game's producer and writer Hiroyuki Takahashi, he was asked what was the basic difference between Shining Force I and Shining Force II? He responded:

"The first Shining Force was a game of armies battling armies. In Shining Force II, it doesn’t have that rigid “troops” feel so much—it’s more of a swashbuckling adventure. For example, say your team is traveling by wagon. In the first game you’d basically proceed straight to your “true enemy”, but in this one, you might get waylaid by random monsters along the way. In that sense, Shining Force II doesn’t feel like a game where you’re simply trying to defeat the big bad guy at the end."

Hiroyuki also stated that he intentionally changed the way the game's story progressed, noting that in the first Shining Force game, as soon as the player leaves town, they're drawn into a fight. He felt that players saw this immediacy as too linear and forced, and decided not repeat it with the second game.

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World Heroes

World Heroes (1992)

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According to game's planner and director Kenji Sawatari in a 1998 Gamest magazine interview, he was asked why he added a female character to World Heroes. He responded:

"We haven’t had many female characters in our games up to now, so we wanted to add a proper one. Kagerou, the white ninja you can use after stage 3 in Ninja Combat, was ADK’s only other female character to date."

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Terranigma

Terranigma (1995)

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According to the game's director Tomoyoshi Miyazaki during a 1995 interview featured in Dengeki SFC and Famicon Tsuushin magazines, he was asked how the game's development began? He responded:

"We started the planning for Terranigma very shortly after completing Illusion of Gaia, so we’re about a year and a half into the development now. Of all our Super Famicom titles, I think Soul Blazer would be the most iconic Quintet game. However, the world of Soul Blazer didn’t feel like a big, epic—it felt more like you were playing a series of miniature set pieces. That was something I was left a bit unsatisfied with.

Soul Blazer had a unique worldview, though: in that game we tried to depict humans as viewed from a non-human perspective. So the inspiration for Terranigma came from the desire to combine that concept with an “epic”, larger world a la Illusion of Gaia."

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Guilty Gear

Guilty Gear (1998)

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According to the game's producer and graphics/visual artist Daisuke Ishiwatari in two 1998 The PlayStation (JP) and Dengeki PlayStation magazine interviews, Ishiwatari stated that he originally wanted to ask Koichi Yamadera to voice Sol Badguy, but didn't give him the role. The high cost of hiring Yamadera meant there would not be enough payment for the rest of the game's voice actors who had already been set for their roles, meaning the team couldn't make any further adjustments, so Ishiwatari took on the voice roles of Sol Badguy and Potemkin himself. When asked why they could not have just hired a different voice actor, Ishiwatari responded:

"Well, that was an option too, but I felt like if we couldn’t have Yamadera, I might as well just do it myself. Now I kind of regret that choice, it was a bit impudent of me."

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Guilty Gear

Guilty Gear (1998)

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According to the game's producer and graphics/visual artist Daisuke Ishiwatari in a 1998 The PlayStation (JP) magazine interview, he was asked how the game's development started? He responded:

"Well, at the time we wrote the initial planning documents, the decline of 2D versus fighting games had not yet begun. And I personally felt like there was not a single fighting game out then that had truly “cool” characters in it, though I had been a fan of the original 2D fighting game, Street Fighter II. Anyway, feeling dissatisfied, I started drafting the plans that would become Guilty Gear. Arc System Works then publicly announced it, along with the characters, but there followed a very long period where nothing happened… eventually we reached at point at the company where we had a software development environment capable of handling it, and that’s when the real development finally started."

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Guilty Gear

Guilty Gear (1998)

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According to game's producer and graphics/VA Daisuke Ishiwatari in The PlayStation (JP) magazine interview, he was asked how long did it take to make the game? He responded:

"Once we got down to the actual development work, it took about a year and a half to complete. It was a very long interval, though, from the time we finished the planning docs to the time we started development."

He also revealed that the game was originally in development for the Nintendo 64, the Sega Saturn, and for arcades as well as the PlayStation, and that as a result, Ishiwatari put a lot of thought into designing the Instant Kill system, and that it only ended up the way it was in the final game when the team decided to make Guilty Gear exclusive to home consoles.

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Oddworld: Abe's Oddysee

Oddworld: Abe's Oddysee (1997)

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In a 1997 The PlayStation (JP) Magazine interview, the game's producer Sherry McKenna was asked if the team used motion capture for the character animation in the game. She responded:

"No, it’s standard, original animation. The most important thing for us was making it feel like the characters lived in and inhabited that world. It wasn’t about showing off the latest in fancy technologies or anything."

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Dead or Alive

Dead or Alive (1996)

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Jann Lee's design, fighting style, and moves draw heavy influence from several Bruce Lee films including The Big Boss, Fists of Fury, Game of Death, Way of the Dragon, and Enter the Dragon.

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Dead or Alive 3

Dead or Alive 3 (2001)

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Brad Wong's design, fighting style, and moves are heavily influenced by several martial arts films starring Jackie Chan, most prominently the 1994 film Drunken Master II.

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