Oh wow!
now this is some good nostalgia.
By this point, arcades in Europe and North America were already on the verge of extinction, while Japan still had a living, breathing arcade scene. A lot of people from the Western fighting game community were coming to Japan back then as well, hoping to learn from TOGEKI, which at the time was the biggest multi-title fighting game tournament in the world.
It was also an era when senior management, including our founder, Masaya Nakamura, would actually come down to the development floor, see what we were creating with their own eyes, and judge its value for themselves.
Looking back, though, what came next was probably the real turning point.
The VS R&D division, responsible for titles like Tekken, Soulcalibur, and Taiko no Tatsujin, had consistently been one of the teams carrying the company. But then people with very little in the way of actual accomplishments started bringing in consultants and all sorts of mysterious “methodologies” from outside the company.
I suppose at some point, they stopped trusting their own creative instincts.
And after that, people who seemed far more interested in PowerPoint decks and numbers in Excel spreadsheets than in the actual game builds themselves started to——
Oh!??
That’s the doorbell.
Looks like someone’s at the door.
Perhaps we’ll continue this story another time.
I know that the Character Select screen in Fatal Fury: City of the Wolves draws inspiration from the classic character select screens of Fatal Fury 2 and Fatal Fury 3, and personally, I really like that reference.
However, the wolf pack keeps growing, and with more and more characters joining the roster, it was only natural for the current layout to start feeling a little more visually crowded.
With that in mind, I decided to create my own version of the Character Select: a cleaner, more organized and straightforward screen that gives each character more individual presence, while still preserving the identity of City of the Wolves.
I kept the comic book-inspired aesthetic already established by the game's art direction as the foundation, while imagining how that same visual language could be applied to a cleaner and more functional character selection screen.
In addition to the Character Select, I also designed the Color Select and a new Versus Screen, following the same visual concept and aiming to create a more consistent transition between each step leading up to the fight.
In the end, this is simply my personal interpretation of how this part of the interface could evolve as the wolf pack continues to grow.
@SNKPofficial_jp@SNKPofficial@snk_esports_hub@snk_oda@KOFstudio_en@KOFstudio_jp@FATALFURY_PR
Today is Bub and Bob's birthday and to celebrate here's some more Puzzle Bobble/Bust-A-Move gameplay using my grandfather's cast iron drill press! The game first hit the arcades 32 years ago in 1994.😁🎂
Instead of generating a finished image, this AI paints by writing editable JavaScript.
The project uses reinforcement learning and hand-rated examples to teach Qwen 3.5 how to make a good watercolor.
https://t.co/39fHkqNn4i
The artwork of Bare Knuckle III aka Streets of Rage 3 by Taku Makino used on the cover of the Japanese #MegaDrive release (front and back). Restored by using different sources, filling in some bits, applying the usual upscale/clean/retouch combo.