On the screen, a nimble figure dodged and weaved, fists and feet moving like the wind—swift, precise, and rhythmic.
Takuya didn't play the full fight scene but highlighted key monts of attack and defense through freeze-fras, slow motion, and close-ups, presenting them vividly.
These dissected, magnified combat details carried striking visual impact, catching the eye of developers accustod to simplistic pixelated movents.
"Everyone, please observe," Takuya's voice cut in, like a comntator guiding attention. "Punching, kicking, jumping, crouching, defending, blocking—these are the core elents of 'fighting.'"
"Our goal is to recreate these powerful, skillful movents in a ga, fluidly and authentically, through player controls."
"But more crucially," he emphasized, "it's about the 'judgnt' between these actions."
He pointed to a freeze-fra of Jackie Chan narrowly dodging a heavy strike, countering with a precise punch to the opponent's ribs.
"Does the attack hit? Where does it land? How much damage does it cause? Was the defense successful? Does a successful block leave a brief opening due to impact? Does a blocked attack cause the attacker to stagger? These require a precise, intuitive, and deep rule system for judgnt."
"This is a core technical pillar of our envisioned fighting ga and what sets it apart from existing action gas."
As the footage ended, the eting room lights ca back on.
Doubt on many faces had shifted to keen interest. Even so previously indifferent, skeptical executives now looked focused, fingers absently rubbing their chins.
This breakdown was far more convincing than re words.
So began whispering, speculating how these fras tied to actual gaplay, what input devices and programming logic would be needed.
Takuya didn't linger on discussion, swiftly switching to the next slide.
The screen showed a popular Nintendo Famicom ga, Kung-Fu (Karateka/Kung Fu Master), with a white-robed figure facing an enemy.
"I know there are gas attempting 'combat' elents, like this one," Takuya said, his gaze on the screen, his tone sharp with unmasked critique.
"But frankly, this ga, and others like it, cannot be called true 'fighting gas' as I've defined."
He unapologetically listed Kung-Fu's flaws, a ga still popular at the ti, each point targeting its core experience.
"Character movents are stiff, lacking basic fluidity, like a marionette."
"Controls are sluggish—players press a button, and the character moves symbolically after a delay, with severe input lag."
"Attacks are overly simplistic, repeating the sa two or three moves, lacking variety and depth."
"Judgnt logic is vague and chaotic—players often feel they should've hit or blocked, but the outco defies expectations, causing frustration."
"Most critically," Takuya paused, emphasizing, "it lacks true 'competitiveness' and 'strategic depth.' It's less about fighting and more about morizing patterns, battling the ga's programming, not an opponent."
To support this ambitious vision, he outlined specific innovations.
"First, richer attack thods."
"Beyond basic punches and kicks, we'll introduce 'throws,' like wrestling or judo's close-range grapples and tosses."
He mid an over-the-shoulder throw.
"Imagine seizing an opponent's opening and slamming them down with a clean German suplex—how thrilling would that be?"
"Second, the concept of 'projectile attacks.'"
He switched slides, showing Goku from Dragon Ball firing a Kahaha.
"Of course, we won't go that extre, but similar ranged attacks can enrich tactical choices, adding variety and fun to mid- and long-range standoffs, probing, and maneuvering."
Judo throws, Dragon Ball's Kahaha—these vivid examples sparked wild imagination about the "K" project's fighting ga vision.
"To achieve this, we need advanced technical support."
Takuya knew concepts alone weren't enough; a feasible technical path was critical.
He explained the chanisms in clear, accessible terms.
"The core is a refined 'state machine.'"
"Every character action—standing, walking, jumping, punching, getting hit, falling—corresponds to a distinct state."
"States switch based on player inputs and ga rules, ensuring smooth, seamless actions."
"We'll also introduce a 'pixel block judgnt chanism' (Hitbox/Hurtbox)."
He displayed a diagram with a character covered in colored rectangles.
"Red areas are attack hitboxes, blue are hurtboxes."
"When an attacker's red box overlaps an opponent's blue box, the system registers a hit."
"By precisely mapping these boxes, we can judge hit locations accurately—head hits versus leg hits deal different damage, or certain moves only target the upper body."
"Finally, strict application of the 'fra' concept."
"Every action's duration, attack judgnt fras, and post-hit stagger fras are precisely tid."
"Through exact fra control, we can implent attack-defense transitions, move strengths, combos, and complex combat systems."
These technical terms, explained with clear logic and relatable taphors, beca approachable.
Team leaders, especially those with technical backgrounds, nodded in approval, so jotting notes rapidly.
Takuya's technical vision clearly inspired them.
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