In a 1991 commentary with the game's composer Nobuo Uematsu published in the FFIV Minimum Album Liner Notes, he stated that the unreleased track "The Origin" was the first song he composed for the game, and described the song as setting the tone for the rest of the pieces that came after. He also stated that it was originally intended to be the opening introduction theme, but "Red Wings" was chosen instead.
In an interview with creative lead Patrice Desilets, he confirmed that the DLC was originally planned to be part of the main game.
"So we said, 'Okay, let's take a portion of the game that was planned and we'll give it in DLC.' We'll remove some stress to the team while giving more to fans and people who like Assassin's Creed."
At the 2022 PAX East during an interview with the game's composer Tiago "Tee" Lopes from Mega Visions, he was asked what was his personal history with the TMNT series was and why was he apart of the project. He responded:
"So I was always a very big fan of TMNT since I was a very small kid, I remember it being the first cartoon I ever watched on TV, and them being my first favorite superheroes... and also I had the opportunity to work with these wonderful teams. Dotemu is the second game I do with them. And it's my first time working with Tribute, and they did such an amazing game and I'm just so glad to be apart of this project."
In The Last of Us Remastered's commentary with director Neil Druckmann, he stated that there was originally going to be dark music during the scene when Marlene revealed that Ellie was going to be sacrifice for a cure. However, Druckmann told the composers not to do that, because it would paint her as a bad person rather than a good person who is trying to save humanity. Instead, he let them use the dark music for Joel, because when Ellie's life is on the line, he slips back into murdering anyone who would try to kill her. Neil also stated that this scene defined the theme of the game: "as a father... you will... kill everybody else to save your kid."
In the January 1993 interview with the game's programmer Yuji Naka published in the Beep! magazine, he commented on the game's 3D-stylised special stage, stating that it was conceived at the start of the game's development and was eventually implemented despite Naka being forced to work with rougher image quality. He also stated that the camera-view behind Sonic's spiny back running towards the Chaos Emerald in the final game was something that he was hoping to add. Him and the team also thought of having more "cliffs and valleys" in the special stage, but this idea was scrapped.
In the January 1993 interview with the game's programmer Yuji Naka published in the Beep! magazine, he was asked when development began. He responded:
"It was around November of last year. At that time, it was just me and one other programmer. Then we added a third person, and after that we gradually increased the team size. However, like always, I feel like I’ve left something out of the game. There’s still so much I want to add. For Sonic 2, we had to remove so much due to memory limitations. We actually made about five more zones, but in the end, we had to cut them all. We actually cut one zone at the absolute very last minute. Even though it was basically complete, we couldn’t use it because of a lack of memory. There just wasn’t enough space."
In The Last of Us Remastered's commentary with director Neil Druckmann, he stated that him and the team initially didn't want to do an opening credits sequence. They changed their minds, partially because they felt that going from Sarah's death to a timeskip of twenty years later was too sudden. On top of that, the team found that when playtesters watched it in succession, they weren't paying attention when Tess and the rest of the game's world was introduced, because they were still focused on Sarah's death, so an opening sequence was needed to help bridge the gap between those events. The idea they came up with for the intro was time lapsed video footage of fungus growing, because the disease and outbreak in the game was based on a cordyceps fungus that spread through spores. The team contacted a group at Sony San Diego who made the whole opening sequence for them, making use of fungal kits to allow fungi to grow in their bathrooms, which took several days of filming to produce. The only use of computer animation in the opening sequence were the black spores seen throughout the intro.
In the August 2006 interview with the game's assistant producer Yutaka Haruki published in the XCN (Xbox Community Network), he stated that the team had considered allowing players to upload photos they had taken in-game to the Internet, but they were ultimately unable to implement it into the final game.
In the August 2006 interview with game's assistant producer Yutaka Haruki published in the XCN (Xbox Community Network), he stated that the development team's vision of wave after wave of zombies all appearing on-screen at once while maintaining a steady framerate was only possible thanks to the Xbox 360's processing power, and that they were happy with the large quantity of zombies they were able to achieve.
In the August 2006 interview with game's assistant producer Yutaka Haruki published in the XCN (Xbox Community Network), he stated that the game does not include any form of multiplayer mode, because the team always intended to make it a single player game as they felt that Dead Rising provided a unique experience that would be gone if they added a co-op or any other multiplayer mode.
Later games in the series would receive their own multiplayer modes despite this initial vision.
In the August 2006 interview with the game's assistant producer Yutaka Haruki published in the XCN (Xbox Community Network), he was asked why the development team made the game's main character Frank West a journalist, and not a cop or a regular civilian? He responded:
"We chose Frank’s profession to be a photo-journalist for a number of reasons. Firstly it gives him a motive for going to Willamette – he wants to find out what is happening there, why the Army is not allowing people in or out and hopefully post a story that is going to make him famous across the globe. It also allowed us to implement the photography feature into the game something which adds another dimension to the already multi-faceted gameplay. Finally I believe that while Frank is a photo-journalist, in many ways he is just an ordinary person like you or me and therefore has to make use of the items he finds in the shopping mall in order to stay alive. Sure, the longer he survives the more skills he can obtain, but when he first enters the mall he is just an ordinary guy."
In the January 1993 interview with game's programmer Yuji Naka published in the Beep! magazine, he stated that the rumors about Tails being a girl or Sonic's girlfriend wasn't true, he was always intended to be a boy from the very beginning. He also stated that Tails' name was originally Miles for most of the game's development. His nickname first came up from during a meeting with a producer from ABC.
Although announced, the game was never released in Europe. The release date had been constantly pushed back from its original June 24th, 2005 date before being cancelled altogether with no official explanation.
One rumor that circulated about why the European release was cancelled were false claims that the game's unique gyroscope cartridge required mercury, which the European Union had banned from use in certain electrical and electronic products, to help the gyroscope function.
In a 1999 interview with the game's director and designer Masahiro Sakurai published in Nice Games magazine vol.3, he was asked if he ran into trouble with getting permission to use Nintendo characters? He responded:
"The first person I asked for permission was Shigesato Itoi. Next was Shigeru Miyamoto. When he saw our work he said, “Hey, you’ve got Mario down pretty good!” The Pokemon characters took the longest to get permission, because their image is tightly supervised. I broached the subject with Pokemon Company president Tsunekazu Ishihara, but the impression I got from him was that it would probably be difficult. Satoshi Tajiri was more encouraging—he was like, “this looks cool!”"
"Personally, as the creator of Kirby, I understood how they felt: I would feel be really upset if Kirby was featured in a game that people ended up disliking, or if the people got his image and movements wrong. In fact, there had been times when I’d been kind of annoyed by the way Kirby was depicted in someone else’s illustration or as a game cameo. Smash Bros. was conceived, in part, as a reaction against that kind of sloppy handling. I imagine anyone who creates a character feels similarly protective, but Smash Bros. brought an unprecedented number of different characters together and it was of the utmost importance to us that we re-create their personalities and characteristics faithfully. I absolutely did not want to betray the original characters’ creators."
In a 1997 interview with the game's composer Keiichi Suzuki published in the GSLA, he stated that him and his team did an about-face in their approach to composing the soundtrack, from attempting to create vocal-oriented pop music like in Mother, to concentrate on making solid instrumentals:
"At the time, ambient music was very popular, so I wanted to try incorporating ambient, and also world music as my touchstones. Nevertheless, despite my thematic intentions, I ended up getting a lot of requests for specific types of songs for certain scenes. They wanted Arabian music for the desert area, or rock and roll for the scene where you enter a club and there's a band playing. And for the overworld where you're walking around, they wanted music that would feel like its spurring you onwards."
In a 1997 interview with game's composer Keiichi Suzuki published in the GSLA, he stated that originally his goal for the game was to write pop music. It was a request from Shigesato Itoi, who wanted Suzuki to make pop music with real vocals, and then use instrumental versions of those songs in the game:
"It was rare to see something like that in game music in those days. Mother was a Famicom game, and RPGs back then had to use arpeggiation to express chords and harmony, so the melodies in most games tended to sound rather classical. There was nothing like genuine pop music in Famicom games then."
According to Steven Universe creator RebeccaSugar, the inspiration for the show's background color palettes comes from the level aesthetics in Super Mario World 2: Yoshi's Island, due to its colorful atmosphere and also being one of her favorite video games at the time.
Valentine's design was officially changed on May 13th, 2014 via a patch update. The update changed all parts of her design that involve a red cross against a white background to be altered so the cross is colored pink instead. This was done in order to prevent legal action by the International Committee of the Red Cross.
Destiny of the Doctors featured Anthony Ainley's final performance as the Master, having played the role since the TV serial "The Keeper of Traken" in 1981. Ainley would die on May 3, 2004, almost six and a half years after the game's release.
When playing the game's tutorial "A Keeper's Training" on Expert mode, a secret room can be found after you finish the sword fight with the Sparring Partner. You must run to the table behind the sparring arena and pick up the key, and then follow the Sparring Partner into the hallway he walked out of. This must be done quickly as a set of bars will lower to prevent entry not long after he re-enters the hallway. Once in the hallway, continue past him to the right until you see a locked door. You can then either use the key to unlock it or bash the door open with the sword. Inside this room is a pair of crudely-modeled basketball hoops, complete with a basketball that can be equipped and thrown, and in the very back of the room, a Bedroll can be found containing a set of humorous quotes attributed to the developers during the making of the game.
According to Steven Universe creator Rebecca Sugar, the inspiration for the show's background color palettes comes from the level aesthetics in Super Mario World 2: Yoshi's Island, due to its colorful atmosphere and also being one of her favorite video games at the time.
Destiny of the Doctors featured Anthony Ainley's final performance as the Master, having played the role since the TV serial "The Keeper of Traken" in 1981. Ainley would die on May 3, 2004, almost six and a half years after the game's release.
When playing the game's tutorial "A Keeper's Training" on Expert mode, a secret room can be found after you finish the sword fight with the Sparring Partner. You must run to the table behind the sparring arena and pick up the key, and then follow the Sparring Partner into the hallway he walked out of. This must be done quickly as a set of bars will lower to prevent entry not long after he re-enters the hallway. Once in the hallway, continue past him to the right until you see a locked door. You can then either use the key to unlock it or bash the door open with the sword. Inside this room is a pair of crudely-modeled basketball hoops, complete with a basketball that can be equipped and thrown, and in the very back of the room, a Bedroll can be found containing a set of humorous quotes attributed to the developers during the making of the game.