In the end credits of the Japanese release, three additional images with captions underneath them are shown during the montage of official artwork. These images appear to be drawings and fan mail sent by young Japanese fans to Capcom that influenced the game's development:
• The first image shown in the credits, submitted by 14-year-old Masahiro Onuma from Osaka, reads:
"Kobun Mole It comes out of the land on the ground, and comes out of anywhere in the cave. You can hit the body with a drill and crush the scattered soil and stones!"
This drawing appears to be the first design for the Servbot Borer that was later simplified for the final game and later modified again in Mega Man Legends 2.
• The second image, submitted by 11-year-old Takumi Miyayoshi from the Ishikawa Prefecture, reads:
"Kobun's Bomb Dummy dolls are passing one after another from right to left. (It's a bomb)"
This drawing may be the first design for the Servbot training minigame in the Gym, where a Servbot has to dodge and catch bombs volleyed at it by two other Servbots and then throw them back at targets behind them.
• The third image, submitted by 10-year-old Masashi Kaga from Tokyo, reads:
"Bonne Rocket Bazooka There is a roller under the trigger, so you can move while doing something!!"
This drawing appears to be the first design for the Bonne Bazooka, a weapon used by the Gustaff that can be developed by Servbot #31 after he obtains his skill and the Pipe from the Nakkai Ruins.
The text featured on the fan drawings themselves have been left untranslated in this submission as the pictures were scaled down to fit in the credits and thus appear smaller, grainier and more difficult to read.
Pixar were heavily involved in the creation of the Toy Box and Monstropolis worlds based on their properties. They collaborated with with Square Enix on the story, character design, and look of the worlds among other things and helped to design the Infinity Badge Keyblade. They even negotiated to have the story of Toy Box be set between Toy Story 2 & Toy Story 3. This went so far as to have Pixar suggest Andy's Room have the Starfield wallpaper instead of the iconic Cloud wallpaper, so the area can be chronologically accurate to the film series.
The characters Ruddin, Hathy, Clover, Lancer, and King all took their designs from a series of playing card illustrations that Tumblr user Kantonytes published in 2012, the year Deltarune first started development. In a tweet posted shortly after Chapter 1's release, Toby Fox credited Kantonytes' work as a key inspiration for the game as a whole.
According to a 1997 interview with the game's designer Masahiko Sato published in The PlayStation magazine, "in April 9th, on a Sunday afternoon, 2 or 3PM", out of nowhere, he came up with the idea for I.Q. that was "just like" the final game that was later released. After being asked again if the final version was the same as the original idea, he repsonded:
"Excluding the music, yes—visually it was almost exactly the same. I saw humans standing in an abstract, open space, with giant cubes coming at you. There were about 7 people, and in my initial vision, there were also dogs."
"At that time, I also imagined that, in addition to cubes, there would be blocks with more complex shapes: ones that were two stories high, for instance, or ones were more flat and oblong. However, when I actually made them, I realized that they made the game incomprehensible to human beings. The problem was that once the blocks became too complex in shape, people could no longer predict how they would move. Once I got into the actual development and created rules that humans could actually predict, that was when I first discovered the gameplay of I.Q."
"Gameplay, to me, is about finding the right balance. For example, take a game like Tic-Tac-Toe: it has a simple 3×3 board with players alternating between Os and Xs. This kind of game is easy to understand just by looking at it. But on the other hand, you have games like Othello and Go, which introduce a degree of non-intuitiveness that I think is handled well. When I ask myself why these games have continued to be played for so long, I think it’s because they strike just the right balance in having a moderate degree of complexity."
"My own initial image for I.Q, however, was far too complicated. It was too difficult and hence not very interesting. Gradually I refined the gameplay and the game changed accordingly."
"However, despite changing the number of humans on the game board, the one thing that remained nearly the same as my initial vision was the tone and atmosphere of the game."
According to a 1996 interview with the game's director Masaya Kobayashi published in the GSLA archive, he stated that he loves snowboarding, that he wanted to make a sport game about it, so he then drew up the initial plans. He also stated that it's like car racing, but racing in snowboarding by jumping and soaring through the air, and he thought including these elements in the racing game would be interesting.
According to a 1993 interview with the game's programmer Kan Naitou published in the 5/93 issue of Famicon Tsuushin, he stated that the game took a lot of inspiration from George Lucas and Steven Spielberg’s movies. He also stated that a single action in the game took 7 frames of animation, an idea which came from Disney's animated movies.
According to a 2003 interview with the game's director/writer Yoshio Sakamoto published in GSLA, he stated that after Super Metroid on the Super Famicom, they couldn't use the underpowered Game Boy Color for a new Metroid game. When the Game Boy Advance was released, a console whose specs surpassed the Super Famicom, the team from the mobile games division really wanted to work with it.
In a 1995 developer interview featured in the game's guidebook, the game's staff were asked what their concept for the development of this game was. They responded:
"A new Fatal Fury, one that both beginners and experienced players could enjoy, punched up with loads of snazzy visual effects. That was our image, but of course, the way newcomers and veteran players enjoy a FTG is dramatically different, right? Newcomers play relatively casually, and want to be able to perform lots of different special moves; meanwhile, veterans are more interested in precise timing and big combos. We tried to appeal to both, but above all, to make it the kind of game that jumps out at you visually."
"This may be too subtle to notice on first glance, but did you see how most of the stage backgrounds are done in darker colors? We did that so the flashy HIT marks and player graphics would stand out all the more. We asked ourselves, what do players really want to see in a FTG game today? And what you see in Real Bout Fatal Fury is the answer we came up with."
"I think you can say this about any game, but if it looks good, it will look fun to players. With that principle as our basis, we endeavored to make a game that truly anyone could enjoy."
According to a 1992 interview with the game's director/original story writer Makoto Ogino published in BEEP Megadrive magazine, he stated that while playing The Legend of Zelda, he held a strange fascination for it and loved the game, despite not caring for other games before then, and always wondered why there wasn't a game like it that came out since. He claimed that "it's good when games have a simple system like Zelda. It's got a lot of depth. I want King Colossus to be like that too."
According to a 2007 interview with the game's planner/graphic designer Yukio Takahashi published in the book Game Shokunin, the interviewer commented that the ending scene where the main character removes their helmet to find out that she’s actually a woman was the first game to make such a surprise twist. He responded:
"This was influenced by the anime Nausicaa of the Valley of the Wind. Actually, a bunch of things were influenced by Nausicaa: the protagonist you just mentioned, the side-profile perspective of the paccets, and the Blue Worm boss… Also, as I mentioned, because people during the development were so enthusiastic about slaughtering all the paccets they could, as a contrast to all that cruelty I wanted at least in the final scene to have something cute and adorable, so I drew those ending images."
In an interview with the game's director and planner Kengo Morita, which was published in the All About Puyo Puyo Tsu guidebook in 1995, he was asked why the Mega Drive version didn't have the endless mode (“Tokoton Puyo”)? He stated that he was so busy focusing on the main game that he forgotten about it because from the developers' perspective, they always thought that endless mode was more of a side-dish. He also stated despite complaints about the lack of manzai demos in user surveys during development, they were left out due to time constraints.
The game's official art book, The Art of Super Mario Odyssey, includes concept sketches for a never-realized scenario where Bowser uses his own version of the Capture ability to possess Princess Peach, who would adopt Bowser's physical characteristics.
The concept art attracted attention online following the book's publication, as it coincidentally predated the creation of Bowsette, a viral fanmade design for Bowser wearing the Super Crown power-up from the Nintendo Switch port of New Super Mario Bros. U. Like the concept art, the Bowsette design mixes together attributes from both Peach and Bowser. The original comic depicting Bowsette was itself a parody of Super Mario Odyssey's ending, Spoiler:depicting Mario going out on a date with the Super Crown-wearing Bowser following Peach's rejection of the two.
Xander Mobus who plays the Announcer and Master Hand and Crazy Hand in the English version of Super Smash Bros. Ultimate also reprises his role as Ren Amamiya/Joker from Persona 5 in this Smash game, making him the only English Language voice actor to play the announcer in a Super Smash Bros. game to also voice one of the game's playable fighters.
The N64 Controller that was released for Nintendo Switch Online's Expansion Pack can be used on any Switch game. However, it lacks X and Y buttons leading to some games being partially unplayable when someone attempts to play them with one.
In the Japanese version, Dōbutsu no Mori +, two paintings that were present in the original Dōbutsu no Mori, the Dreadful Painting and the Novel Painting, are not obtainable in the normal course of play. However, they still exist in the game's code and can be legitimately brought over to a player's save file by importing one from Dōbutsu no Mori (via Nintendo of Japan's now-defunct Data Moving Service), though they can't be donated to the Museum. In the international release of Animal Crossing, however, these paintings are completely removed, and their index numbers instead point to duplicates of the DUMMY furniture item.
It's likely that the decreasing accessibility of these paintings was due to the fact that their real-world equivalents, Edvard Munch's "The Scream" and Piet Mondrian's "Composition with Red, Yellow, and Blue", were still under copyright at the time. The Munch and Mondrian portfolios wouldn't enter the public domain until 2015, well after the Dreadful and Novel paintings were retired from the series.
One of the news articles and forum posts that appear in the game talk about the announcement of a new nonexistent handheld device from Bandai called the "WonderHawk", touted as the successor to the also nonexistent device the "WonderSwan Revolution". In reality, the only new models Bandai made after the original WonderSwan were the WonderSwan Color and the SwanCrystal. All three were originally meant to be competitors to the Game Boy Color and Game Boy Advance and all three were outsold by them, leading to the WonderSwan's discontinuation in 2003, the year after this game's release in Japan.
In the original game, the mural in Hyrule Castle Town was blurry and hard to make out. In Twilight Princess HD, the textures were updated with clearer, brand new designs. Notably, this updated mural features a Rito, a species which does not exist at the time the game takes place nor in the series' Child Timeline.
Separately, in the Temple of Time, a picture frame can be found with a backwards message written in Hylian along the lower border. Translating it reveals a hidden developer credit: "Jack Kirby Crosby Made This".
Crosby, a graphics designer working for Tantalus on the HD remaster of Twilight Princess, later confirmed that he was responsible for both that credit and the mural, the latter of which was the result of a higher-up at Nintendo asking for some reliefs in Hyrule Castle Town to be redone in the same style as a shop he had re-textured. The new mural design was inspired by Crosby's own idea of a story for a Zelda game and drew additional inspiration from a Zelda art book without any story direction from Nintendo, meaning the events depicted therein are non-canon.
A Famitsu Column with game director Masahiro Sakurai revealed that Sora was able to get into the game because of a chance meeting that he had with a Disney executive at an unspecified awards ceremony where they expressed how cool it would be for the Kingdom Hearts protagonist to be a part of the Super Smash Bros. roster. This soon lead to negotiations between Nintendo, Square Enix, and Disney that eventually got the extremely highly requested character in Super Smash Bros. Ultimate. Before then, Sakurai admitted he and Nintendo thought getting the Disney-owned character was a total impossibility.
The German rating board deemed the game's gore and violence excessive and refused to rate the game at all. Since this had the potential to place the game on Germany's "List of Media Harmful to Young People", banning shops from either advertising or selling the game to customers of 18 years or older, Tecmo censored the PAL version to obtain a rating. A year later, Tecmo managed to obtain an 18+ rating for the uncensored release of Ninja Gaiden Black.
According to a 2003 the Sega Meisaku series interview with the game's director/designer Noriyoshi Ohba, he was asked what kind of work directing the game specifically entailed. He responded that since he was the only planner/designer working on the game, he "basically had to be involved in everything" from the planning, to designing the gameplay system, to the art (including which backgrounds to use, among other things), etc.
In the end credits of the Japanese release, three additional images with captions underneath them are shown during the montage of official artwork. These images appear to be drawings and fan mail sent by young Japanese fans to Capcom that influenced the game's development:
The characters Ruddin, Hathy, Clover, Lancer, and King all took their designs from a series of playing card illustrations that Tumblr user Kantonytes published in 2012, the year Deltarune first started development. In a tweet posted shortly after Chapter 1's release, Toby Fox credited Kantonytes' work as a key inspiration for the game as a whole.
The game's official art book, The Art of Super Mario Odyssey, includes concept sketches for a never-realized scenario where Bowser uses his own version of the Capture ability to possess Princess Peach, who would adopt Bowser's physical characteristics.
In the Japanese version, Dōbutsu no Mori +, two paintings that were present in the original Dōbutsu no Mori, the Dreadful Painting and the Novel Painting, are not obtainable in the normal course of play. However, they still exist in the game's code and can be legitimately brought over to a player's save file by importing one from Dōbutsu no Mori (via Nintendo of Japan's now-defunct Data Moving Service), though they can't be donated to the Museum. In the international release of Animal Crossing, however, these paintings are completely removed, and their index numbers instead point to duplicates of the DUMMY furniture item.
One of the news articles and forum posts that appear in the game talk about the announcement of a new nonexistent handheld device from Bandai called the "WonderHawk", touted as the successor to the also nonexistent device the "WonderSwan Revolution". In reality, the only new models Bandai made after the original WonderSwan were the WonderSwan Color and the SwanCrystal. All three were originally meant to be competitors to the Game Boy Color and Game Boy Advance and all three were outsold by them, leading to the WonderSwan's discontinuation in 2003, the year after this game's release in Japan.
In the original game, the mural in Hyrule Castle Town was blurry and hard to make out. In Twilight Princess HD, the textures were updated with clearer, brand new designs. Notably, this updated mural features a Rito, a species which does not exist at the time the game takes place nor in the series' Child Timeline.
