According to Chris Priestly, Tali'Zorah nar Rayya was almost not included in the game as a full squadmate. Writer Patrick Weekes was able to persuade the development team to include her in the game as a full squadmate.
According to Chris Priestly, Conrad Verner was almost cut from Mass Effect 2 and Mass Effect 3, but enough members from the development team wanted him to stay that he was kept in both games.
According to the game's director and writer Shuntaro Tanaka in the Dreamcast Magazine interview published on September 10, 1999, he commented on the game's setting taking place in the skies:
"On a ship, you might scout a distant island on the horizon, but in the skies, things are hidden by clouds, and I think that makes the thrill of discovery all the more exciting. The seas have waves, but the sky has winds… we’ve prepared lots of little contrivances like that. At the beginning of the game, your map shows about 10 islands, but you’ll gradually find more—there’ll be exciting scenes where you discover whole new kingdoms beyond the clouds, lots of things like that."
"There’s all kinds of lands to discover, from huge continents to tiny islands. We want to have lots of varied terrain too, from vast sprawling deserts to smaller floating islands hidden within deep forests."
Since the game would have all kinds of varied terrain and islands, he elaborated that it would come with many different cultures to explore and discover. In particular, his team wanted to included a lot of “travelogue” elements, such as when the player heads to a new town, there would be many different shops and only local goods in that region.
In a June 1993 interview with game's producer and writer Hiroyuki Takahashi published in Dengeki Megadrive magazine, he was told about Shining Force II getting a lot of pressure for being better than the first Shining Force game and Shining Force: The Sword of Hajya (released in Japan as "Shining Force Gaiden II: Jashin no Mezame"). He commented:
"Yeah. I always feel like we’re “battling” with the previous games, so to speak. That’s why we talked a lot together as a team, about how to deliver a satisfying ending for players. We’d built this story up for them, from the opening to the mid-game climax, so we knew their expectations would be running high."
"Finding the right tone for that ending has taken a lot of trial and error. One day, as I was working on it, my brother Shugo sat down beside me and quietly said, “Seeing as this game has turned into such a big production… I want to cry at the ending.” I then spent about a month thinking about how to do that. I came up with something, but deep down I wasn’t sure if it was a good idea to do that to players at the end of the game. I showed the staff what I’d completed, not knowing what they’d think. Then one of the staff spoke, with tears welling up in their eyes, “This is really good!” So yeah, I’ve got some confidence in the story this time."
Later in an August 1993 interview published in the same magazine, Hiroyuki said the team objected to the idea of having an ending that would make people cry and would not include it in Shining Force II.
According to game's producer Akira Ushizawa in a 1998 interview published in volume 122 of Gamest magazine, he stated that the team originally designed the game hoping it would make it to home consoles because they did not think it would be played very widely in arcades.
In a 2001 interview with the game's designer Makoto Maeda published in Arcadia magazine, he was asked about why the characters from the first Giga Wing game did not appear in the second game. He responded:
"We thought a lot about it. Originally we had planned to have a character named “Ainosuke”, who was the child of Aisha and Shinnosuke. (laughs) If we had done that, though, all the dialogue would have become expositional, because we’d have needed to explain what happened. Then we thought, ok, why don’t we add 5 new characters to the original 4… but with 9 characters total, we’d have needed to prepare 36 different dialogue branches for every stage—way too much work. So we settled on swapping the older characters out for the newer ones."
In the 11/92 issue of Famicom Tsuushin interview with game's composer Nobuo Uematsu, he was asked why he wrote the Black chocobo theme "Mambo de Chocobo" as a mambo song. He responded:
"Well, it was a samba (Samba de Chocobo) in FFIV. Originally I was imagining the Balinese kecak music for the chocobos. I sampled it over and over, but just couldn’t bring out that same kecak atmosphere. After that I had the idea of using a human vocal sample, and the mambo just fit. I’m not sure where the original idea for it came from though."
According to Takaya Imamura in a 2002 interview published in Nintendo Dream magazine, he was asked how he came to create the game? He responded:
"At the time, the majority of “3D” shooting and racing games were achieved via 2D fakery; polygon technology was beginning to emerge, and Miyamoto really wanted to use polygons to create an authentic 3D shooting game with genuine depth. From there, talk began of the Super FX chip, and that’s when the prototyping started…
Actually, I worked on F-ZERO immediately after joining the company, and after that I worked on The Legend of Zelda."
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."
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".
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."
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."
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.
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.
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.
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.
After defeating the final boss Zeon, when Mitula disappears with the jewels of Light & Evil, her theme song "Water Goddess Mitula" fades out, then plays "Panic" when the Ancient Tower is being sealed in the International release of the game. But in the Japanese version, the "Water Goddess Mitula" theme plays out until Bowie and the others escape the Ancient Tower. The International version likely adjusted the timing of those songs to fit the situation of the cutscene.
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.
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."
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.
The Japanese name of the Star Fox series' main antagonist, Andross, is アンドルフ (Andorf).
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.
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.
