In Chapter 3 (The Consequences DLC), in the KPD station, if the player uses the flashlight on a specific empty desk, it will reveal a hidden computer on the desk and identification revealing the desk used to be occupied by Spoiler:Juli Kidman.
Taking the mechanical hum outside Hometown's bunker and speeding it up by 666% reveals that it's actually a heavily slowed-down version of "mus_smile", the audio track that plays when Spoiler:accessing the hidden Wingdings version of Entry Number Seventeen in Undertale.
In the Meta Quest release of the game, in Chapter 4-1 in the fire dragon room, after the player has taken down the last Los Illuminados member on the fire dragon, some of the hitboxes where the chains once were can be aimed at, but are completely invisible.
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.
In Super Street Fighter IV, Hugo from Final Fight can be seen in the background in the Metro City stage, 'Skyscraper Under Construction'. When the Ultra Street Fighter IV announcement trailer was released, two Hugos could be seen together both in playable form and in the background. This was later fixed in the final version, if the player selects Hugo to play in 'Skyscraper Under Construction', the other Hugo in the background is replaced by a different character.
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.
The playable characters in the base game were decided via an online poll featuring all of the female (Team Ninja) characters from Dead or Alive 5. The top 9 characters were added to the final roster. However, the reoccurring lead characters Tina and Lisa were not among the winning casts.
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."
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In the Meta Quest release of the game, in Chapter 2-3 when the player is given the option to take the path with the second El Gigante, if Ashley is grabbed by El Gigante, and the player does enough damage to make it drop Ashley, she will lose her right eye model until the player has left the area.
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.
When Sora holds a battering Item or certain other items (such as a Mr. Saturn) he assumes the same idle stance that he did whenever he turned into Valor Form, one of the drive forms in Kingdom Hearts II that allows him to dual-wield two Keyblades, which in turn is also the basis for one of his alternate costumes in this game.
In Chapter 3 (The Consequences DLC), in the KPD station, if the player uses the flashlight on a specific empty desk, it will reveal a hidden computer on the desk and identification revealing the desk used to be occupied by Spoiler:Juli Kidman.
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.
In Super Street Fighter IV, Hugo from Final Fight can be seen in the background in the Metro City stage, 'Skyscraper Under Construction'. When the Ultra Street Fighter IV announcement trailer was released, two Hugos could be seen together both in playable form and in the background. This was later fixed in the final version, if the player selects Hugo to play in 'Skyscraper Under Construction', the other Hugo in the background is replaced by a different character.
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.