Trivia Browser
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According to game's director Tatsuya Nakae in a 2000 Arcadia magazine #3 developer interview, he was asked how they were able to realize the support for the game's online matching service network (established in collaboration with Japanese telecom KDDI). He responded:
"In the beginning, Funamizu asked us if it’d be possible to add online battles as a major selling point, and after discussing it internally and determining that it might be feasible, we decided to approach KDDI with the idea. Thankfully, KDDI was on board and got to work on making it a reality; we didn’t have a ton of time for development, but thanks to the hard work of KDDI, we were able to make it happen."
"At first, I was worried about lag during online matches, but when we ran in-house tests, the lag didn’t feel as bad as I feared it would and we were able to comfortably play online, so we rushed to finish the game. People who’ve never tried it tend to think “online play, I don’t know…” and shy away from it, but those people are the ones who are the most impressed when they finally try it for themselves, so I’d really urge you to go hands-on for yourselves."
"At first, I was worried about lag during online matches, but when we ran in-house tests, the lag didn’t feel as bad as I feared it would and we were able to comfortably play online, so we rushed to finish the game. People who’ve never tried it tend to think “online play, I don’t know…” and shy away from it, but those people are the ones who are the most impressed when they finally try it for themselves, so I’d really urge you to go hands-on for yourselves."
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According to the game's director Tatsuya Nakae in a 2000 Arcadia magazine #3 developer interview, he was asked why the team included two Wolverines in the game, one with bone claws and the other with adamantium claws. He commented that the team wanted to focus on the bone claw Wolverine, but the directive from Marvel was that both had to be included in the game. This made it difficult for the team to differentiate the two characters as they look almost identical, so they had to think of where and how to add pronounced, yet subtle differences.
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According to game's director Tatsuya Nakae in a 2000 Arcadia magazine #3 developer interview, he was asked how Cable and Marrow were selected for this game? He responded:
"One of the staffers at our company is extremely well-versed in American comics, so we asked him to come up with a list of candidates. Using the selection criteria of “attacks that can be easily understood at a glance” and “doesn’t significantly overlap with any of the characters introduced with the previous games”, as well as “cool factor”, we narrowed the selection down to those two."
"With regards to Cable in particular, we also factored in his slightly convoluted backstory as Cyclops’ son from the future as something that players would find fun."
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According to the game's producer Yoshihiro Sudo in a 2000 Arcadia magazine #3 developer interview, he acknowledged that the line charge for the arcade release of the game in Japan charging 13 yen per minute, meaning 50-60 yen per game, was a controversially high rate that the developers did not want to increase and that fans complained about for being too high, but that it was the lowest possible price they could charge the game at for the time being. He then expressed hope that the cost would lower as more people played the game.
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According to game's artist Ben Fiquet on his Twitter account, the elevator platform from "Stage 11: Airplane" was inspired by the manga series Akira. The name of the stage's soundtrack is even "A Ki Ra".
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During the level "A Hole in Space", if you collect all 18 Bumpa Berries while riding the grind rail, you will be rewarded with a visual effect of a group of low-poly Crash Bandicoot/Coco models screaming "Woah!"/"Yeah!" respectively, while also earning the achievement "WHOA YEAH!". This is a reference to a CG animation created by Chris Patstone and based on an audio clip voice acted by animator Chris O'Neill which became a meme in 2017. The in-game reference uses individual frames of the same model of Crash featured in the original video, but O'Neill's voice is dubbed over. The Coco model is used from a pre-existing variant on the meme created by animator Zellphie.
Crash Bandicoot 4: It's About Time Easter egg:
https://www.youtube.com/watch?v=lvuBxuBa0VY
Chris Patstone animation:
https://www.youtube.com/watch?v=zkBqOmelX28
Zellphie animation:
https://www.youtube.com/watch?v=lI5UNrQSTmc
https://www.youtube.com/watch?v=lvuBxuBa0VY
Chris Patstone animation:
https://www.youtube.com/watch?v=zkBqOmelX28
Zellphie animation:
https://www.youtube.com/watch?v=lI5UNrQSTmc
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In Lungfishopolis, if you go to the island with the highest skyscrapers and climb onto one of the buildings closest to the mountain range, angling the camera enough will reveal a grainy picture placed just out of bounds of an Asian woman. At the time of the game's development, this person was world designer Fred Selker's girlfriend.
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In the early version of the game, Leon was able to air throw an opponent into the bouncing walls and the flammable fuel tanks in 'The Show' and 'Fuel' stages, respectively, an infinite number of times, making him overpowered in these stages. This was patched in a later version.
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Mai Shiranui from Fatal Fury makes a cameo appearance in Gen-An's ending as his final opponent Spoiler:to which Gen-An immediately dies from one blow.
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Entering "Jassica16" and then pressing F10, the command used to enable cheat codes in Crusader: No Remorse, will initially display a message indicating that cheats have been enabled, until a few seconds later when another message appears stating "Of course we changed the cheats... duh." and a voice clip of the game's antagonist Chairman Draygan plays. The Silencer is then transported to a hidden room where he is surrounded by a wave of powerful mechs while the game's Christmas medley, which normally plays when the system's clock is set to December 25th, plays in the background. Defeating all of the enemies in the room will cause the player to lose control of the Silencer as he quickly turns towards the camera while the last enemy dies, before exploding himself and shutting down the game.
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In Chapter 2-3: Breaking the Bank, it is possible to work off your debt of one million Rubees without finding Slim and stealing the needed currency from the mansion's vault. Although there are no differences in the stage's ending if you do this, working off the debt acts as a lengthy sequence break as traveling back to the vault after working and paying off the full debt will reveal that the counter on the vault door now displays 0, and the vault can be opened freely without entering the password to reveal that it is empty.
On the other hand, manually working to collect over 9,999,999 Rubees will result in the Rubees counter in the HUD overflowing and appearing to start back at 0 due to it only displaying seven digits, but in reality the game does register the collection of more than ten million Rubees and allows you to complete the level.
On the other hand, manually working to collect over 9,999,999 Rubees will result in the Rubees counter in the HUD overflowing and appearing to start back at 0 due to it only displaying seven digits, but in reality the game does register the collection of more than ten million Rubees and allows you to complete the level.
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Minecraft World's soundtrack was taken directly from two other spin-offs within its series, Minecraft Earth and Minecraft Dungeons. The game's director Masahiro Sakurai stated in a Nintendo Direct that adding in the original music from the game would have been impossible due to the music's ambience not being suitable for the game, jokingly stating that it would "make players relax."
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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.
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In a 1991 interview with the game's planner Akira Nishitani published in vol. 62 of Gamest magazine, he confirmed that in Taiwan, a special version of Street Fighter II was manufactured with only three buttons on a custom control panel. He claimed that the Taiwanese "don't mind if there's fewer buttons, as long as the game is playable." By pressing certain button combinations, such as two buttons at the same time, you can perform different attacks, but due to the limited controls, some moves cannot be performed at all.
Nishitani added that the game is popular in Taiwan as well: "They seem to prefer Street Fighter I/II and Tenchi o Kurau (Dynasty Wars) to Final Fight. It makes sense, being the home of kung fu and all."
Nishitani added that the game is popular in Taiwan as well: "They seem to prefer Street Fighter I/II and Tenchi o Kurau (Dynasty Wars) to Final Fight. It makes sense, being the home of kung fu and all."
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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.
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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.
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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.
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In the opening title card to the game's penultimate level "Escape from WooL.A.", Bubsy appears dressed as Snake Plissken, the protagonist of the action movies "Escape from New York" and "Escape from L.A.", the latter film of which the level is named after. Beyond that, inputting the password "XURASNAKER" on the Load/Save menu will allow you to play as Bubsy while wearing the costume in any level.
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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.
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.
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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."