Trivia Browser
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In the source code for Bubsy in Fractured Furry Tales, a string of text can be found reading "no smutty comments please", suggesting there were previously inappropriate developer comments in the code thet were deleted.
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The developers of Bubsy in Fractured Furry Tales got very agitated with having to listen to Bubsy's catchphrases on loop, and would repeat them to one another mockingly. For one of producer Faran Thomason's co-workers, Bubsy's catchphrase "What could possibly go wrong?" became a 20-year long in-joke with other developers of the game (in spite of said catchphrase not even being said in Fractured Furry Tales outside of the ending text scroll).
subdirectory_arrow_right Bubsy in Fractured Furry Tales (Game)
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Bubsy in Fractured Furry Tales was originally intended to be a straight port of Bubsy in Claws Encounters of the Furred Kind to the Atari Jaguar, owing to the Jaguar's hardware similarities to the Sega Genesis. It was ultimately decided that, due to the age of Claws Encounters at the time, it would instead be a new game built off of the older game's engine. Accolade were not able to provide source code for Bubsy 2 due to it not having been completed at the time.
subdirectory_arrow_right Good-Feel (Company)
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Good-Feel being the development company behind Princess Peach: Showtime! was not officially revealed until the day before the game's release, where it was discovered via the game's credits. It was also revealed through the credits that the game had been directed by Good-Feel president Etsunobu Ebisu, who had not directed a game since Mystical Ninja Starring Goemon in 1997. Two weeks prior to this, however, Good-Feel's involvement was leaked via the code from the game's demo version. When asked who the development company was, Nintendo merely stated that it would be revealed in the game's credits.
Good-Feel confirmation:
https://www.videogameschronicle.com/news/princess-peach-showtime-is-goemon-designers-first-directorial-role-in-over-25-years/
Initial leak:
https://www.nintendolife.com/news/2024/03/princess-peach-showtime-developer-seemingly-revealed-in-demos-code
Nintendo statement:
https://www.eurogamer.net/nintendo-says-to-wait-for-princess-peach-showtimes-credits-to-find-out-which-developer-made-it
https://www.videogameschronicle.com/news/princess-peach-showtime-is-goemon-designers-first-directorial-role-in-over-25-years/
Initial leak:
https://www.nintendolife.com/news/2024/03/princess-peach-showtime-developer-seemingly-revealed-in-demos-code
Nintendo statement:
https://www.eurogamer.net/nintendo-says-to-wait-for-princess-peach-showtimes-credits-to-find-out-which-developer-made-it
subdirectory_arrow_right Zaccaria Pinball (Game)
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The Poostall Dude is voiced by a fan known as Christian Hunter, who also did uncredited voice work as the announcer for the Postal: Redux and Postal 2 DLCs of the game Zaccaria Pinball.
Poostall Royale credits:
https://www.youtube.com/watch?v=SFkWoR1zTLM#t=1772
https://www.mobygames.com/game/201280/poostall-royale/
Zaccaria Pinball Postal Redux/Postal 2 DLC announcer voice work (when you start up the DLC you hear his voice):
https://www.youtube.com/watch?v=MEgeFZQvBOA
https://www.youtube.com/watch?v=SFkWoR1zTLM#t=1772
https://www.mobygames.com/game/201280/poostall-royale/
Zaccaria Pinball Postal Redux/Postal 2 DLC announcer voice work (when you start up the DLC you hear his voice):
https://www.youtube.com/watch?v=MEgeFZQvBOA
subdirectory_arrow_right Mario Strikers Charged (Game)
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The developers of Super Mario Strikers were concerned that one of Waluigi's goal celebration animations, referred to by fans as the "crotch chop", would not be approved. When developers from Nintendo saw the animation, they did not say anything about it at all, so the developers did not bring it up to Nintendo, fearing that drawing attention to it would result in their approval board changing its mind. The game's director, Mike Inglehart, described the reasoning behind Waluigi's crotch chopping:"The inspiration for that came from quite frankly like the shape – even though it’s a ‘V’, we thought it was a representation of part of the ‘W’, so that’s sort of his way of connecting into his first initial. Waluigi, we kind of depicted him as being – yeah, he’s a bit, I don’t know, a bit edgier than Wario. Wario’s kind of on-the-nose in terms of a bad guy, and Waluigi, we just wanted to explore him a bit more. He’s actually kind of mean to his sidekicks too. They’re both mean to their sidekicks but Wario’s about self-loathing and Waluigi is about blame, and everybody else has done something wrong."
The animation was also used in the game's sequel Mario Strikers Charged.
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In the seventh episode of each course, the player is required to chase down and defeat Shadow Mario to obtain a Shine Sprite, which spawns from his dematerializing body as he teleports away. In actuality, the Shine Sprites are stored at fixed locations and are simply teleported to his location by the flag "appearShineFromKageMario". If the flag is replaced with "appearShineFromNPC", the Shine Sprites appear where they are stored, implying that these were their originally intended locations. The fixed points in "Shadow Mario Revisited", "Hold It, Shadow Mario!", and "Shadow Mario Runs Wild" also feature dedicated cameras for spawning cutscenes, corroborating the idea.
Of note is that the internal location for the Shine Sprite in "Shadow Mario Runs Wild" places it partially inside Pianta Village's golden mushroom, which further implies that this object had its height raised at some point during development.
Of note is that the internal location for the Shine Sprite in "Shadow Mario Runs Wild" places it partially inside Pianta Village's golden mushroom, which further implies that this object had its height raised at some point during development.
The Cutting Room Floor article:
https://tcrf.net/Super_Mario_Sunshine#Unused_Shadow_Mario_Shine_Spawns
YouTube video showcasing the unused spawn points:
https://www.youtube.com/watch?v=ODI0ZeZ4s8Y
https://tcrf.net/Super_Mario_Sunshine#Unused_Shadow_Mario_Shine_Spawns
YouTube video showcasing the unused spawn points:
https://www.youtube.com/watch?v=ODI0ZeZ4s8Y
Company: Cyberdreams
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When the company first started, their original first project was intended to be a side-scrolling action game for PC called "Evolver". However, the game was never actually finished, likely due to the company having very few staff members at the time (the company itself only consisted of president Patrick Ketchum, programmer John Krause, game designer Mike Dawson, and graphic artist Joby Otero).
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According to art director Ikeno "Daigo Ikeno" Metaka, Dragon's Dogma's cover artwork was inspired by the Japanese covers of Dragon Quest, and also Dragon Quest II, because of the pawn placement on that cover. Both covers were illustrated by Akira Toriyama, and this information was revealed after his death was announced in March 2024.
Daigo Ikeno tweet:
https://twitter.com/goidanokei/status/1766244020274200862
Article by a Dragon Ball fan website compiling over 100 tributes to Akira Toriyama:
https://web.archive.org/web/20240401173328/https://www.kamisama.com.br/mais-de-100-homenagens-ao-falecimento-de-akira-toriyama/
https://twitter.com/goidanokei/status/1766244020274200862
Article by a Dragon Ball fan website compiling over 100 tributes to Akira Toriyama:
https://web.archive.org/web/20240401173328/https://www.kamisama.com.br/mais-de-100-homenagens-ao-falecimento-de-akira-toriyama/
subdirectory_arrow_right Mario (Franchise)
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Concept art for Paper Mario: Color Splash shows that the captain of the Violet Passage was at one point going to have a dark skin tone. This would've marked the first instance of a Toad with a distinct skin color (not counting usually-pale Toads under a transformation) in a Mario game, but not the first instance of a non-pale Toad in the Mario franchise as a whole. The Super Mario Bros. Super Show featured a one-off Native American Toad named Pronto, a parody of Tonto from The Lone Ranger, in the episode "The Provolone Ranger".
Paper Mario: Color Splash concept art:
https://www.spriters-resource.com/wii_u/papermariocolorsplash/sheet/84046/
Pronto in The Super Mario Bros. Super Show:
https://www.youtube.com/watch?v=So1O3wAB5LE#t=346
https://www.spriters-resource.com/wii_u/papermariocolorsplash/sheet/84046/
Pronto in The Super Mario Bros. Super Show:
https://www.youtube.com/watch?v=So1O3wAB5LE#t=346
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Pixar's higher-ups almost rejected the prospect of including Pixar content in Kingdom Hearts III, as none of them were gamers or knew what Kingdom Hearts is or how popular it was. Theme park creative director Tasha Sounart managed to convince them on how popular Kingdom Hearts is, and pointed out that catering to the series' teen audience lined up with Pixar's desire to be seen as an all-ages film studio instead of simply being perceived as targeting children and their parents alone. Sounart noted that, while the Pixar studio members familiar with Kingdom Hearts did not need to extensively detail the lore to those that weren't except when needed, it was needed to be clarified that the Pixar characters would not be meeting one another, or any other Disney characters aside from Donald and Goofy, as Pixar has an aversion to crossovers and shared universes outside of their signature Easter eggs.
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In an interview with the game's developer Masaaki Nagaura published in STG Gameside #5 in 2011, Nagaura stated that he ended up working with the game's illustrator Tanaka "Tony Taka" Takayuki, because each of their companies were located close to each other, and they were already on friendly terms. Nagaura wanted Takayuki because shoot 'em up's already have a reputation of only being for hardcore players, and he felt that Takayuki's illustrations could help make it appear inviting to a wider, broader audience.
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Within the data for Pokémon Diamond, Pearl, and Platinum is code to spawn in a Level 40 Darkrai as a roaming Pokémon, tying in with its nature as a malevolent counterpart to Cresselia (which similarly becomes a roaming Pokémon after meeting the player on Fullmoon Island). In the final game, Darkrai is instead encountered as a stationary opponent at Newmoon Island after obtaining the Member Card as a Mystery Gift item at select in-person events.
The Cutting Room Floor article for Pokémon Diamond and Pearl:
https://tcrf.net/Pokémon_Diamond_and_Pearl#Unused_Roaming_Darkrai
The Cutting Room Floor article for Pokémon Platinum:
https://tcrf.net/Pokémon_Platinum#Unused_Roaming_Darkrai
YouTube video showing the unused roaming Darkrai in action:
https://www.youtube.com/watch?v=ot-u1X8V2Q8
https://tcrf.net/Pokémon_Diamond_and_Pearl#Unused_Roaming_Darkrai
The Cutting Room Floor article for Pokémon Platinum:
https://tcrf.net/Pokémon_Platinum#Unused_Roaming_Darkrai
YouTube video showing the unused roaming Darkrai in action:
https://www.youtube.com/watch?v=ot-u1X8V2Q8
subdirectory_arrow_right Pokémon Silver Version (Game)
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Early builds of Pokémon Gold and Silver indicate that Celebi was originally designed after Kokopelli, a trickster figure, mythical flautist, and fertility deity worshiped by certain indigenous tribes in the American southwest (most prominently the Hopi and Anasazi). This is most apparent in a leaked build from May 6, 1998, in which Celebi's sprite is nearly identical to modern depictions of Kokopelli, with the only major deviation being the addition of eyes. A later design is present in the data for the Spaceworld 1999 demo, bearing a closer resemblance to Celebi's finalized sprite but retaining the Kokopelli motif.
Dr. Lava tweet:
https://twitter.com/DrLavaYT/status/1293193966649630720
The Cutting Room Floor article for the May 6, 1998 build:
https://tcrf.net/Development:Pok%C3%A9mon_Gold_and_Silver/Sprites/980506#Sprites_300-448
The Cutting Room Floor article for the Spaceworld 1999 demo:
https://tcrf.net/Proto:Pok%C3%A9mon_Gold_and_Silver/Spaceworld_1999_Demo/Pok%C3%A9mon#Demo_152-251
Indigenous Peoples' Literature article about Kokopelli:
https://www.indigenouspeople.net/kokopelli.htm
History Daily article about Kokopelli:
https://historydaily.org/kokopelli-a-fun-loving-guy/3
https://twitter.com/DrLavaYT/status/1293193966649630720
The Cutting Room Floor article for the May 6, 1998 build:
https://tcrf.net/Development:Pok%C3%A9mon_Gold_and_Silver/Sprites/980506#Sprites_300-448
The Cutting Room Floor article for the Spaceworld 1999 demo:
https://tcrf.net/Proto:Pok%C3%A9mon_Gold_and_Silver/Spaceworld_1999_Demo/Pok%C3%A9mon#Demo_152-251
Indigenous Peoples' Literature article about Kokopelli:
https://www.indigenouspeople.net/kokopelli.htm
History Daily article about Kokopelli:
https://historydaily.org/kokopelli-a-fun-loving-guy/3
Franchise: Angry Birds
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During development of "The Angry Birds Movie 2", it was decided to break away from the original source material by having the birds and the pigs end their conflict and team up against a greater threat. This was done both in an effort to surprise audiences with a new experience involving the same characters, and as part of an attempt to outdo what was done in the first film thanks to the unprecedented level of freedom that the change made available to them. According to actor Josh Gad, the production team went forward with it not only because they thought the idea was "ingenious", but also because it would be most appropriate given the increasingly polarized political climate at the time, stating:
While not explicitly stated, it's speculated that this change in the story may have also been made in response to theories that its preceding film, "The Angry Birds Movie", contained thinly-veiled political and anti-immigration undertones as an allegory on the European refugee crisis, most notably with the portrayal of the pigs being unintentionally similar to Arab and Muslim terrorist stereotypes. However, it is not likely this was intended by the film's producers as the pigs were actually inspired by the 2009 swine flu epidemic during the original game's development, on top of there being antagonistic, invasive, and explosives-based elements in the pigs and their weaponry dating back to the first game that are crucial to the series' gameplay and story concept, albeit in a less developed state than they are shown in the film.
"The movie has some amazing messaging in it, not the least of which is overcoming differences with people you disagree with in order to find a common ground, which I think speaks to a lot of issues we’re dealing with right now."
While not explicitly stated, it's speculated that this change in the story may have also been made in response to theories that its preceding film, "The Angry Birds Movie", contained thinly-veiled political and anti-immigration undertones as an allegory on the European refugee crisis, most notably with the portrayal of the pigs being unintentionally similar to Arab and Muslim terrorist stereotypes. However, it is not likely this was intended by the film's producers as the pigs were actually inspired by the 2009 swine flu epidemic during the original game's development, on top of there being antagonistic, invasive, and explosives-based elements in the pigs and their weaponry dating back to the first game that are crucial to the series' gameplay and story concept, albeit in a less developed state than they are shown in the film.
General info:
https://www.cartoonbrew.com/feature-film/interview-angry-birds-2-director-and-producer-on-defying-the-franchises-video-game-origins-178262.html
Josh Gad statement:
https://www.hollywoodreporter.com/news/josh-gad-new-cast-additions-political-messages-angry-birds-movie-2-1230727
2010 Ville Heijari interview with pig origin:
http://www.pocketgamer.co.uk/r/Various/Angry+Birds/news.asp?c=24243
Film trailer review highlighting various political undertone theories:
https://www.vulture.com/2016/05/angry-birds-about-trump-probably-not.html
https://www.cartoonbrew.com/feature-film/interview-angry-birds-2-director-and-producer-on-defying-the-franchises-video-game-origins-178262.html
Josh Gad statement:
https://www.hollywoodreporter.com/news/josh-gad-new-cast-additions-political-messages-angry-birds-movie-2-1230727
2010 Ville Heijari interview with pig origin:
http://www.pocketgamer.co.uk/r/Various/Angry+Birds/news.asp?c=24243
Film trailer review highlighting various political undertone theories:
https://www.vulture.com/2016/05/angry-birds-about-trump-probably-not.html
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In an interview with the game's composer Yuzo Koshiro published in the Japanese book series Game Maestro in 2001, he clarified that while there were dozens of people on the game's music staff, there were only four main composers actually writing and arranging the music, making them the smallest group within the project (this also included people working on sound effects and voice acting). The main theme of the game was written by composer Mitsuyoshi Takenobu. Koshiro believed Takenobu had "the hardest time of us all" during development as he also helped fine-tune the game's music in line with the programmers and director's requests. Koshiro also mentioned that at the beginning of the project, the offer made to get him on the project was that Takenobu would write songs, and Koshiro would orchestrate and arrange them. However, as the project went on, they both went on the opposite direction.
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Despite being an online-oriented game, Toontown Online was briefly distributed as a CD-ROM title in 2005, with Sony subsidiary Platform Publishing handling the physical release. The CD-ROM version allowed players to run the game without needing to install it onto their computers and came with a free two-month subscription and an in-game kart that players could drive on Goofy Speedway. Home console ports of Toontown Online were also announced concurrently with the CD-ROM edition, but these never materialized.According to a 2004 Game Developer article by developer Mike Goslin, the decision to give the game a physical release was due to anxieties from consumers about not being able to physically hold a game that they were spending money on, as online distribution had not yet been fully established as a mainstream distribution model for video games.
Disney Online Newsroom article:
https://web.archive.org/web/20051202171511/http://corporate.disney.go.com/wdig/online_releases/2005/2005_0825_disney.html
Sony Online Entertainment article:
https://www.sony.com/en_us/SCA/company-news/press-releases/sony-online-entertainment/2005/platform-publishing-lets-the-toons-out-with-disneys-toontown-online.html
Game Developer article:
https://www.gamedeveloper.com/business/postmortem-disney-online-s-toontown
https://web.archive.org/web/20051202171511/http://corporate.disney.go.com/wdig/online_releases/2005/2005_0825_disney.html
Sony Online Entertainment article:
https://www.sony.com/en_us/SCA/company-news/press-releases/sony-online-entertainment/2005/platform-publishing-lets-the-toons-out-with-disneys-toontown-online.html
Game Developer article:
https://www.gamedeveloper.com/business/postmortem-disney-online-s-toontown
Company: Cyberdreams
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"Reverence" was one of the last announced projects by Cyberdreams, but never made it past the Alpha phase before the company's closure. The game saw the player being chosen by the gods themselves to help determine the future of the human race, whom the gods believed to have grown too apathetic and unjust to live. It was intended to be a first-person shooter game, with the player wielding a variety of guns and spells as they traveled through four different realms to decide the fate of humanity. Each realm was modelled after a real life mythological god, those being Osiris (Egyptian god of the underworld), Kokyangwuti (Hopi goddess of life), Freyja (Norse goddess of love), and Manjursi (Tibetan god of wisdom). While the game itself was cancelled, a playable prototype was leaked in 2015.
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The vehicle-building gameplay of Banjo-Kazooie: Nuts & Bolts has been claimed by many Banjo-Kazooie fans, often with an underlying anti-Microsoft or pro-Nintendo console war motive, to have been a corporate mandate from Microsoft to Rare, who supposedly wanted to make another 3D platformer like the previous games in the series. However, this is a complete lie as the only known influence on Nuts & Bolts from Microsoft was that they wanted Rare to make games aimed toward a younger demographic. Otherwise, the creative decisions made with Nuts & Bolts were entirely on Rare's development team, which was burned out by 3D platformers and genuinely believed that vehicle-building was a natural evolution of the genre.
Reddit posts collecting all of the below sources and specific quotes from them:
https://www.reddit.com/r/BanjoKazooie/comments/grmk7k/comprehensive_list_as_to_reasons_why_nuts_bolts/
https://www.reddit.com/r/BanjoKazooie/comments/gro2kc/child_post_list_of_comprehensive_quotes_from_rare/
GamesRadar 2008 interview revealing Nuts & Bolts has nothing to do with Microsoft's buyout:
https://www.gamesradar.com/banjo-kazooie-nuts-bolts-interview/
IGN 2012 interview revealing demographics mandate:
https://www.ign.com/articles/2012/08/22/ex-rare-member-shares-info-on-cancelled-game
Gregg Mayles 2018 interview revealing Rare wanted a different approach to platformers:
https://www.youtube.com/watch?v=9h9Y55vpHZo
VideoGamer 2008 interview revealing that they thought a platform-centric game would be boring to work on, and was not inspired by user-generated games like LittleBigPlanet:
https://www.videogamer.com/previews/banjo-kazooie-nuts-and-bolts-interview/
Wired 2008 interview revealing Rare thought platforming games stopped being innovative after the Nintendo 64, and the team expanded from 13 to 71 people so they could not make projects like they used to:
https://www.wired.com/2008/05/qa-banjo-kazooi/
Xbox Achievements 2008 interview revealing Rare thought the old movement system was stale, that they wanted players to come up with different solutions to problems, and assumed fans would be mad if they remade a game instead of a making a sequel:
https://www.xboxachievements.com/news/news-1567-x360a-Meets--Rare-and-Talks-Banjo-Kazooie--Nuts---Bolts.html
Gamereactor 2008 interview revealing Rare thought the blockier character designs felt more BK than the smooth versions of N64 models:
https://www.youtube.com/watch?v=rn9Il7IKgEI
The Rare Witch Project 2008 interview revealing Rare believed vehicle-building was the next evolution of platforming games, and that Nuts & Bolts was the third attempt at a third Banjo-Kazooie game:
https://web.archive.org/web/20081223105418/http://www.rarewitchproject.com/?id=1655
Kikizo 2008 interview revealing Rare wanted to test the power of the new Xbox 360 hardware:
http://archive.videogamesdaily.com/features/banjo-kazooie-nuts-and-bolts-rare-interview-p1.asp
Edge Magazine 2010 interview revealing Conker Live & Reloaded's negative fan reception caused Rare to rethink a remake:
https://web.archive.org/web/20101015012359/http://www.next-gen.biz/features/rare-vintage-part-two
Rare 2018 interview revealing Gregg Mayles was bored with the formula and did not know where to take it:
https://www.youtube.com/watch?v=p2QVnSJDAl4?t=3556
Steve Mayles 2020 interview stating Banjo-Threeie is Nuts & Bolts, putting work into reimagined worlds from Banjo-Kazooie is the same amount of work as new worlds, at one point Rare's management moved all but two people from the Banjo-Kazooie project, Xbox Market was different than the Nintendo market so they weren't sure it'd sell, and Rare was burnt out from making 3D platformers:
https://www.youtube.com/watch?v=Dp8n7QKJZHs
https://www.reddit.com/r/BanjoKazooie/comments/grmk7k/comprehensive_list_as_to_reasons_why_nuts_bolts/
https://www.reddit.com/r/BanjoKazooie/comments/gro2kc/child_post_list_of_comprehensive_quotes_from_rare/
GamesRadar 2008 interview revealing Nuts & Bolts has nothing to do with Microsoft's buyout:
https://www.gamesradar.com/banjo-kazooie-nuts-bolts-interview/
IGN 2012 interview revealing demographics mandate:
https://www.ign.com/articles/2012/08/22/ex-rare-member-shares-info-on-cancelled-game
Gregg Mayles 2018 interview revealing Rare wanted a different approach to platformers:
https://www.youtube.com/watch?v=9h9Y55vpHZo
VideoGamer 2008 interview revealing that they thought a platform-centric game would be boring to work on, and was not inspired by user-generated games like LittleBigPlanet:
https://www.videogamer.com/previews/banjo-kazooie-nuts-and-bolts-interview/
Wired 2008 interview revealing Rare thought platforming games stopped being innovative after the Nintendo 64, and the team expanded from 13 to 71 people so they could not make projects like they used to:
https://www.wired.com/2008/05/qa-banjo-kazooi/
Xbox Achievements 2008 interview revealing Rare thought the old movement system was stale, that they wanted players to come up with different solutions to problems, and assumed fans would be mad if they remade a game instead of a making a sequel:
https://www.xboxachievements.com/news/news-1567-x360a-Meets--Rare-and-Talks-Banjo-Kazooie--Nuts---Bolts.html
Gamereactor 2008 interview revealing Rare thought the blockier character designs felt more BK than the smooth versions of N64 models:
https://www.youtube.com/watch?v=rn9Il7IKgEI
The Rare Witch Project 2008 interview revealing Rare believed vehicle-building was the next evolution of platforming games, and that Nuts & Bolts was the third attempt at a third Banjo-Kazooie game:
https://web.archive.org/web/20081223105418/http://www.rarewitchproject.com/?id=1655
Kikizo 2008 interview revealing Rare wanted to test the power of the new Xbox 360 hardware:
http://archive.videogamesdaily.com/features/banjo-kazooie-nuts-and-bolts-rare-interview-p1.asp
Edge Magazine 2010 interview revealing Conker Live & Reloaded's negative fan reception caused Rare to rethink a remake:
https://web.archive.org/web/20101015012359/http://www.next-gen.biz/features/rare-vintage-part-two
Rare 2018 interview revealing Gregg Mayles was bored with the formula and did not know where to take it:
https://www.youtube.com/watch?v=p2QVnSJDAl4?t=3556
Steve Mayles 2020 interview stating Banjo-Threeie is Nuts & Bolts, putting work into reimagined worlds from Banjo-Kazooie is the same amount of work as new worlds, at one point Rare's management moved all but two people from the Banjo-Kazooie project, Xbox Market was different than the Nintendo market so they weren't sure it'd sell, and Rare was burnt out from making 3D platformers:
https://www.youtube.com/watch?v=Dp8n7QKJZHs
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A rendition of Star Fox 64's Area 6 theme can be listened to in Star Fox Adventures' sound test, despite it being otherwise unused in the final game. In a January 10th, 2003 edition of Rare's Scribes, composer David Wise explained that the Area 6 theme was temporarily used as the theme for the final confrontation against Andross, but was always intended to be replaced with the music that plays there now in the final game, which is a rendition of Andross' battle theme from Star Fox 64. According to Wise, this track was literally substituted in the final hours of development, and Rare did not have time to remove it from the final version.
David Wise discussing the unused Area 6 theme in Rare Scribes:
https://www.raregamer.co.uk/scribes-january-10th-2003/
Unused Area 6 SFA theme:
https://www.youtube.com/watch?v=JGvKX81YgcA
VS. Andross theme in final SFA:
https://www.youtube.com/watch?v=oGzXW39gREs
https://www.raregamer.co.uk/scribes-january-10th-2003/
Unused Area 6 SFA theme:
https://www.youtube.com/watch?v=JGvKX81YgcA
VS. Andross theme in final SFA:
https://www.youtube.com/watch?v=oGzXW39gREs