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GSK | ALL CITY SLOP SHOP (ETA SOON)

@allcityslopshop.com
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gimme a minute (GSK)

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GSK | ALL CITY SLOP SHOP (ETA SOON) @allcityslopshop.com · 13/10/2026
anyone wanna take a guess at what "the big hit" was supposed to be?
—Normally, when a company wants to land a huge hit to recover, they look toward safer mainstream genres like fantasy RPGs. But with Resident Evil, choosing horror naturally limited the potential audience to some degree. As you mentioned earlier, aiming for a big hit under those conditions must have seemed like a tough proposition...
Mikami: That's why there was actually another project in development alongside Resident Evil. There was this whole separate title carrying the burden of being "the big hit." It ended up getting cancelled, though. (laughs)

That gave Resident Evil a very different role. Since the other title was supposed to be the big commercial blockbuster, our job was simply to build something that wowed people on a technical and visual level. That was our specific mission. So I felt, "Well, if that's the case, even if we can't sell a million units, we can still do something really interesting." For me personally, that was the starting point.
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GSK | ALL CITY SLOP SHOP (ETA SOON) @allcityslopshop.com · 13/10/2026
oh that looks like a Sega Amusements cab, but I wonder who's handling the actual dev...?
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GSK | ALL CITY SLOP SHOP (ETA SOON) @allcityslopshop.com · 13/10/2026
oh and they went to Capcom specifically for Captain Commando, of all games
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GSK | ALL CITY SLOP SHOP (ETA SOON) @allcityslopshop.com · 13/10/2026
yeah okay
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GSK | ALL CITY SLOP SHOP (ETA SOON) @allcityslopshop.com · 12/10/2026
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GSK | ALL CITY SLOP SHOP (ETA SOON) @allcityslopshop.com · 10/10/2026
Senxin Aleste physicals will be available to order in ~1hr from now; the special edition includes new cover art, docs booklet, special OST & more TBA the first-print bonus with all copies: a special strategy guide written by Ratna, one of the game's pilots & unabashed game dork
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GSK | ALL CITY SLOP SHOP (ETA SOON) @allcityslopshop.com · 10/10/2026
they're also adding a full suite of gadgets, a voiced opening/ending, art/bgm/voice galleries etc
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GSK | ALL CITY SLOP SHOP (ETA SOON) @allcityslopshop.com · 10/10/2026
the home version of Senxin Aleste will also include three sets of BGM: the original soundtrack by Tatsuhiko Kasuga, the new Blade BGM by M2's Sakuoki Kudo & chibitech, and a "New" arrange by Hirokazu Koshio (COSIO)
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GSK | ALL CITY SLOP SHOP (ETA SOON) @allcityslopshop.com · 10/10/2026
in addition to a faithful port of the arcade version, they'll be adding a new "Blade" arrange that'll add a new bullet-cancelling "blade missile" shot, the ability to freely switch characters (the original uses characters as lives), etc
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GSK | ALL CITY SLOP SHOP (ETA SOON) @allcityslopshop.com · 10/10/2026
announcement #5: Senxin Aleste, coming to PS5/PS4/Switch in Japan on March 18! (PS4's digital-only) icymi, this is an original, M2-made Aleste game released to arcades via APM3 in '21: design by Daisuke Koizumi (Akai Katana, Rolling Gunner etc), charas by Yoshiyasu Matsushita (Twinkle Star Sprites)
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GSK | ALL CITY SLOP SHOP (ETA SOON) @allcityslopshop.com · 10/10/2026
announcement #4: M2 ShotTriggers is coming to arcades via APM3, starting with Kyukyoku Tiger the arcade version will include arcade & super easy modes, split into st1~5 & st6~10 courses with separate mode/course leaderboards & end-game life bonuses; button/gadget configs can be saved to aime card
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GSK | ALL CITY SLOP SHOP (ETA SOON) @allcityslopshop.com · 10/10/2026
announcement #3: M2's bringing Devil Blade Reboot to consoles as part of the M2 ShotTriggers line icymi, this is a 2024 PC STG by Vanillaware artist Shigatake & the longest in string of self-made games that started on Dezaemon in the '90s, with Reboot being made in the Shooting Game Builder engine
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GSK | ALL CITY SLOP SHOP (ETA SOON) @allcityslopshop.com · 10/10/2026
announcement #2 (of 5, apparently): The Edward Ragtime Show, a two-pack featuring the event-rush action game Edward Randy and the vehicle-hopping STG The Great Ragtime Show, two cult Data East arcade games that M2 pledged to reissue many, many years ago
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GSK | ALL CITY SLOP SHOP (ETA SOON) @allcityslopshop.com · 10/10/2026
M2STG Batrider gadgets include: item drop tracker a la Garegga rev.2016 (incl. option tracking for the greg ship) indicator icons for secret boss conditions team/ship status display
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GSK | ALL CITY SLOP SHOP (ETA SOON) @allcityslopshop.com · 10/10/2026
M2STG Batrider will ofc feature a Super Easy mode, playable across all courses—changes include edits to specific enemies/attacks that remain tough even at minimum rank, full autobomb, smaller hitbox, 500k extends, 4 bombs on respawn, medal value remaining stable if you miss a medal, etc
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GSK | ALL CITY SLOP SHOP (ETA SOON) @allcityslopshop.com · 10/10/2026
right off the rip: Batrider! directed at M2 by the ex-Cave employee formerly known as Shootaro, dontcha know
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GSK | ALL CITY SLOP SHOP (ETA SOON) @allcityslopshop.com · 08/10/2026
out today in Japan: Rainbow★Parasol Collection (Switch), a physical comp containing Ratalaika's Parasol Stars reissue, ININ's Spica Adventure port & the brand-new, M2-dev'd Rainbow Islands CS, a six-pack of console ports of Rainbow Islands (FC, NA-NES, SMS, MD, Genesis, PCECD)
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GSK | ALL CITY SLOP SHOP (ETA SOON) @allcityslopshop.com · 03/10/2026
yeah but not by people. ffffffffffuck offfffffffff
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GSK | ALL CITY SLOP SHOP (ETA SOON) @allcityslopshop.com · 28/09/2026
neat how this series regularly spikes in the mainstream due to events that Sega knows about and/or is directly involved with and they are just never prepared to capitalise on any of em the public's actively looking for learning resources, communities, classic &/or new games; they get jelly soap
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GSK | ALL CITY SLOP SHOP (ETA SOON) @allcityslopshop.com · 26/09/2026
gg small child people were commenting on how stoic he was, even after the grand final... apparently the rule on site was that they weren't allowed to pop off after winning so he no-sold the entire time bc he didn't want to get in trouble on tv
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GSK | ALL CITY SLOP SHOP (ETA SOON) @allcityslopshop.com · 25/09/2026
they're not wasting any time, either
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GSK | ALL CITY SLOP SHOP (ETA SOON) @allcityslopshop.com · 25/09/2026
ex-Taito planner Yuichi Tanzawa is making waves after publicly declaring their intent to create a spiritual successor to Taito's early-'00s create-a-character series Rakugaki Oukoku (Graffiti Kingdom): in short, a chance encounter with some young indies snapped him into wanting to just do it himself
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GSK | ALL CITY SLOP SHOP (ETA SOON) @allcityslopshop.com · 25/09/2026
same, dialogue portrait of Master Roshi as played by Chow Yun Fat, taken from Dragon Ball Evolution (PlayStation Portable, 2009)
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GSK | ALL CITY SLOP SHOP (ETA SOON) @allcityslopshop.com · 25/09/2026
please Taito, my several dozen fujo children have not tasted a Burn mirror in decades. they demand nourishment
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GSK | ALL CITY SLOP SHOP (ETA SOON) @allcityslopshop.com · 24/09/2026
lots of info here on the makings of early Samsho (and quite a few pre-NG titles, too), including some insight on just how Samsho 3 ended up the way it did

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The Samurai Craftsmen of SNK (2020)
This massive interview with SNK alumni Yasushi Adachi and Tomoaki Fukui originally appeared in the SNK Anniversary Fan Book published in 2020. The first half of the interview looks at SNK's "arcade action" era of the late 80s and early 90s. The second half is a wonderfully detailed recounting of the making of Samurai Shodown and its sequels, which Adachi and Fukui were deeply involved in as producers and designers.

SNK | Yasushi Adachi | Tomoaki Fukui | Samurai Shodown
The late 1980s is often called SNK's first golden age. Many of the developers who were there during that era (who would also go on to support the company's second golden age in the 90s) are now gathered at the game development studio Engines. We sat down with two of those developers, Yasushi Adachi and Tomoaki Fukui, to talk about what it was like on the floor at SNK back in the day and the creation of the Samurai Shodown series.

—In this interview, we'd like to look back at your time at SNK from the 80s into the 90s, including your involvement in launching the Samurai Shodown series, and ask about the atmosphere inside the company back then. First, could you give us a brief intro regarding when each of you joined SNK?
Adachi: I joined in 1986.

Fukui: I came in three years later, in 1989.

Adachi: We should probably explain how we got hired. The catalyst for me joining SNK was a job listing flyer posted at the design vocational school I was attending at the time. A classmate said to me, "I'm going to apply here," so I replied, "Alright, I'll go with you." Back then, SNK had set up shop on the second floor of a prefabricated building right in the middle of the rice fields in Esaka. The first floor was rented by a company that manufactured magnetic tape, so SNK was just subletting the space upstairs.

—Ah, that was right after SNK moved to Esaka.
Adachi: The moment you opened the entrance door, game sounds came blaring out at you. SNK was working on Dogou Souken (Victory Road) at the time. As an arcade-obsessed kid, seeing that made me explode with excitement: "Whoa, they've got an Ikari cabinet in here!" After that, I handed over my resume and had a brief interview. Then out of nowhere, they just casually told me, "Alright, you're hired." By the way, the friend who went with me passed as well, and he later went on to work as a director on titles like Art of Fighting.


SNK alumni Yasushi Adachi (L) and Tomoaki Fukui (R).
—That sounds like an incredibly informal hiring process.
Adachi: It really was. In fact, senior co-workers teased me about it for years afterward, because I actually showed up to the interview wearing a Mao suit and a Mao cap.

—That's certainly a unique fashion choice...
Adachi: I was completely obsessed with YMO (Yellow Magic Orchestra) at the time. (laughs) But that was the atmosphere of the gaming industry back then: it was open enough to let a crazy guy like that right through the door.

—A true reflection of the industry's early boom era.
Adachi: There is one thing I give my younger self credit for, though. (laughs) I had actually brought a game proposal document I wrote myself. Of course, I had no clue how to properly write a game design document back then, so it was just a handwritten binder filled with whatever I imagined a game proposal ought to look like.

—Design documents weren't really something people saw out in the open back then. What kind of work did you do after you were hired?
Adachi: I was assigned to the development team working on arcade titles like Ikari. The whole team was only about five people back then. I spent a lot of time debugging Victory Road.

—That marks what you could call SNK's first golden age, a period when titles like ASO (Alpha Mission) came out and boosted SNK's reputation among gamers.
Adachi: That's right. Alpha Mission was a groundbreaking title. Kazuto Kohno (currently at Dimps), who created that game, also worked on games like Athena, and he possessed an RPG sensibility that was rare at SNK at the time.

—Alpha Mission is a shooter and Athena is an action game, but both contain clear RPG elements.
Adachi: Gameplay-wise, they really are RPGs. Kohno went on to work on actual RPGs like Satomi Hakkenden and God Slayer (Crystalis). Around that time, SNK was bringing in more and more people with an arcade action background. If we had brought in more developers from the home console RPG side instead, the SNK of today might look completely different.

—That's an interesting timeline to imagine: SNK as an RPG developer. Speaking of Alpha Mission, I remember being surprised by how carefully tuned each weapon's performance was. In most shooting games back then, even if there was a wide variety of weapons, usually one or two were so overpowered that you could clear the whole game using just those.
Adachi: You're right, every weapon in that game had its specific use case.

—Today that might seem standard, but it was very impressive back then. Around that time, SNK's titles were ramping up in quality at a frightening speed, and games like HAL 21 and T.A.N.K (T.N.K. III) felt exceptionally well-crafted.
Adachi: T.N.K. III was a fantastic game across the board, music included. The programmer on T.N.K. III was also heavily involved in Ikari, and he wasn't just a programmer--he composed music too. Later on, he handled the programming for games like Art of Fighting as well.


Although not particularly celebrated today, TNK III was a landmark title for SNK, and the first to use the new LS-30 rotary joystick which would go on to define arcade classics like Ikari Warriors and Guerilla War.
—Fukui, we'd love to hear about the period when you joined.
Fukui: I joined right when SNK had constructed a brand-new development building and moved out of the prefab setup. I first found out about SNK from a job flyer I saw at the art university I was attending. At the time, the games industry wasn't even widely recognized as an actual "industry." There were job postings for Nintendo on campus too, but among my peers no one really knew anything about them. It was like, "Nintendo? Who's that? Oh, I guess working in games is a thing." It's crazy when you look back on it now. Actually, I knew about Nintendo and wanted to apply, but by the time I noticed the posting, the application window had already closed... a lot of my college friends received job offers from Nintendo, but almost none of them ended up going there. They chose design firms instead.

Adachi: I bet those people are looking back today thinking, "Man, I should have taken that offer!". (laughs) But anyway, that's just the kind of era it was.

Fukui: So, with the Nintendo applications closed, I was wondering what to do next when that SNK job posting caught my eye. I didn't know anything about SNK at the time, but I grabbed a portfolio of my artwork and went in for an interview.

—And you were hired right on the spot?
Fukui: Well, I had gotten married while still a student and already had a child. When I mentioned that during the interview, they just said, "Oh, you've got a kid? That must be tough." After the interview, I walked home, and my wife said, "A company called SNK called and said you're hired!" I was totally shocked: "Wait, already?!" (laughs) After a brief, bewildering wait, the official offer letter arrived, and I officially joined the company.

Learning Game Design by Trial and Error
—Adachi, what titles did you work on after joining?
Adachi: I was initially hired as a graphic artist, and the first project where I got deeply involved in development was Psycho Soldier, the sequel to Athena. I worked on characters and objects, what SNK called "front-end" graphics back then. Athena was a side-scrolling action game, but Kohno initially said, "I want to make this an overhead view game." Drawing characters from a top-down perspective is an absolute nightmare, so I remember seriously begging him: "Please, anything but that!"

—So that's why Psycho Soldier ended up sticking with the side-scrolling format.
Adachi: After that, I was told, "Go design your own project," which led to ASO II (Alpha Mission II). That was the very first project I worked on in a planning capacity. At first, I had zero clue what a planner was actually supposed to do, so I just fumbled through writing a design document by mimicking what I saw others doing.

—So there weren't standard document templates at the company back then? Some companies in the 80s had rigid formats for design docs, even if only a few.
Adachi: SNK had nothing like that at all. Everyone was just flying by the seat of their pants.

Fukui: It was mostly word-of-mouth back then. Knowledge wasn't written down; it was passed along orally.


Psycho Soldier, Adachi's first project at SNK before moving into planning. He worked on the character and object sprites.
—Was your first planning experience pretty rough?
Adachi: Alpha Mission II was a shooter, but no matter how much work we put into it, the game just wasn't turning out fun at all. I had no idea how to fix it. There's an episode from that time I'll never forget. As I was sitting there lost, someone from the Ikari team walked up to me and said, "Get out of that chair for three days."

—Meaning, "Let me handle this"?
Adachi: Exactly. For three full days, I wasn't allowed to touch the game at all. That person spent those three days working directly with the programmer, and as a result, the game's quality shot up drastically. I was so frustrated and furious with myself. I spent every spare moment desperately analyzing the documents he left behind, trying to figure out what actually made a game fun. You could say that experience was my true starting point as a game designer. The tricks I picked up then are still useful to me today.

—Are there any other moments where work by other staff members left a deep impression on you?
Adachi: The stories around Bermuda Triangle are really memorable to me. Bermuda Triangle, The Super Spy, and Guerrilla War were all made by the same director, and I loved the bold, wild energy of that team. As you know, in Bermuda Triangle, your craft is huge, and as you collect items to power up, by the end of the game you become absurdly overpowered.

—Enemies could barely touch you at that point.
Adachi: When we first put that game out for location testing, the skilled players could play indefinitely, and the game just wouldn't end. So, the dev team tried to rebalance it by making the player's ship weaker. But the company president at the time stepped in and yelled at the team: "Nonsense! Weakening the player is the wrong approach. Don't make the player weaker--make the enemies stronger!" When I heard that, it hit me: "He's completely right!" That mindset became the foundation of my own design philosophy. Bermuda Triangle was aggressive in both its visual design and its balance, and it's a game I love dearly. The vehicle designs were so cool too, all covered in spikes. (laughs)

—Games from that era had a sensibility that felt like it would be even more popular overseas than in Japan. And I hear it was indeed quite popular abroad.
Heated Debates in the Trenches
—Fukui, what kind of work were you given after joining?
Fukui: When I joined in 1989, the team was working on Prehistoric Isle. My very first job was test-playing that game. As a new hire, I wasn't yet assigned to any specific team during my training period. Right as the game was approaching its master submission deadline, the president suddenly summoned me out of nowhere. I walked over to where I was told to go, and there was an arcade cabinet set up, with the president and Adachi sitting next to it with grim expressions on their faces. Then they told me: "Test play this game right now."

—Without any explanation whatsoever?
Fukui: Adachi didn't say a single word. I thought to myself, "Why does everybody look so intense?" and started playing. Shortly after starting, my ship crashed into a tree leaf on screen and got destroyed. Without thinking, I gasped, "Ah!" The president immediately seized on that and asked: "You just said 'Ah!' Why did you say 'Ah!'?"

—Wow, what was really going on here?
Fukui: I had no idea what was happening, so I just answered, "It's a tree leaf, so I assumed my ship wouldn't break if I hit it." Later on, I found out that Adachi and the president had been arguing about that exact detail. Adachi argued it should break, the president insisted it shouldn't, and neither side would yield an inch. So they decided, "Let's get someone who knows nothing about the game to play it and see what happens," which is how I got dragged into it.

—Ah, I see. (laughs)
Fukui: I don't know if that was the reason, but after that, I got singled out (or maybe noticed?) and started getting called in constantly for test-playing.

Adachi: We made you test-play Mechanized Attack too, which ran on the same board.

Fukui: Mechanized Attack was a light-gun shooter. The system was designed so that when you ran out of ammo, it would play a quick click sound and automatically reload. Right when that click sounded on screen, I accidentally let out another "Huh?" Immediately, they pressed me again: "Why did you just say 'Huh?'" (laughs)

—An automatic reload system is user-friendly, but for a first-time player, it's hard to instantly grasp what just happened. You end up wondering what that sound was.
Fukui: In modern games, the word "RELOAD" would flash on screen the instant it happens, but back then there was no visual indicator, just a momentary pause. Because of incidents like that, the Mechanized Attack team labeled me as "that rookie who doesn't know when to keep his mouth shut".... (laughs) Shortly after, I was assigned to Adachi's team.


For his first project at SNK, Fukui drew the war-torn, industrial backgrounds for NAM-1975.
—What was the first project you were officially involved in developing?
Fukui: The first project I worked on from a development standpoint was NAM-1975, the very first Neo Geo title. Early in development, it wasn't being made for the Neo Geo; it was just a standard arcade board project. Midway through, we were told, "SNK is building something called the Neo Geo, and this is going to be its launch title." But the specs for the board were completely different!

Adachi: The thing that caused a panic initially was the "line sprite" rendering system. The Neo Geo was marketed as having a massively higher sprite count than our previous hardware, but the line sprite system had a major quirk: there was a hard limit on how many sprites could overlap within a 16-pixel vertical strip. If you exceeded that limit, objects would simply flicker out of existence.

Fukui: You'd sometimes see the screen flicker in Neo Geo games. That was the cause. You could display a massive total number of sprites, but you couldn't stack them arbitrarily. For instance, if a character at the bottom of the screen aligned vertically with a character at the top, graphics would disappear even if the two characters weren't touching each other.

Adachi: The Neo Geo hardware was incredibly peculiar.

Fukui: At first we were thrilled to hear the sprite count was going up, but when we tried running NAM-1975 on Neo Geo hardware, bullets were disappearing, enemy soldiers were vanishing.... (laughs)

—It definitely had its quirks.
Fukui: Everyone struggled with it, but by the latter half of the development, we'd learned how to handle it.

Adachi: Before NAM-1975, were you helping out with anything else?

Fukui: Before that, it was pure test-playing. On NAM-1975, I did the background graphics. Oh, and voice acting too. (laughs) I remember voicing one of the bosses.

—I imagine that was common across most studios back then: development staff doing voice work.
Fukui: Was Fatal Fury the first SNK game to use professional voice actors?

Adachi: Was it? I honestly don't remember.

Fukui: I recall a bit of buzz around the office with people saying, "Hey, the staff isn't doing the voices this time!"

—Let's talk about the Neo Geo era. From the outside, it looked like a project where the company was betting its entire future.
Fukui: As a new hire, I didn't understand what risks or benefits were involved. I would listen to the senior devs chatter around me while I worked. I heard the arcade operators were concerned about the commercial risks of the MVS system and its multiple game cartridges hosted in a single cabinet.

—Because operators might buy fewer complete cabinets.
Fukui: Listening to those discussions, I remember realizing for the first time that there was this whole business perspective to game development. What personally baffled me was the price gap: home console software was around 40,000 yen, while arcade boards were around 200,000 yen, even though the actual content inside was identical! Why was there such a huge price difference? (laughs) Now I understand the various industry factors behind it, but back then, I thought, "Aren't these literally identical except for the pin count on the edge connector?" (laughs)

—That was around 1990. How did the internal company dynamic evolve after that?
Adachi: SNK had three main development departments back then, and there was very little cross-department communication. The department heads might talk to each other, but rank-and-file staff rarely wandered over to see what other teams were doing, and development information was almost never shared. It wasn't that people got along poorly, though.


Early concept art for "THE SAMURAI", the early title for Samurai Spirits. As explained in more detail below, the team initially considered multi-line fighting like Fatal Fury.
—Was that just SNK's corporate culture?
Adachi: Probably. I don't know if management intentionally structured things that way, but it felt more like an organic result than a deliberate corporate policy.

Fukui: The Samurai Shodown team was on the same floor as the KOF team, so individual staff members chatted casually all the time. But we rarely dove deep into discussions about actual game design. The First Development Division—the team making Fatal Fury, Art of Fighting, and The Last Blade—was on a completely different floor, so we had almost no contact with them.

Adachi: It was completely routine for us to learn about games being made inside our own company for the first time by reading game magazines! But in a way, that was part of the fun. (laughs)

Fukui: This was a bit later, but I remember the absolute shock I felt when I first saw Metal Slug. As a fellow designer, I thought, "They're doing this with pixel art?!" There's an explosion effect that looks rainbow-colored, but if you look closely, it's actually just a black dithering pattern. Because of the phosphor bleed on CRT monitors, though, it renders as a rainbow. I was blown away: "They calculated the CRT display behavior to draw this?! That's insane!"

Adachi: The Metal Slug team was a total mystery team to us. They were housed in a completely separate building from main SNK.

—I've heard the Metal Slug designers would skip writing design specs altogether when an idea hit them and just start drawing sprites immediately, because drawing sprites was faster than writing documentation.
Adachi: It was a much more relaxed, generous era where nobody was obsessed with production costs. (laughs)

The Winding Road to Samurai Shodown's Creation
—We'd love to hear about Samurai Shodown, a project both of you were involved in launching. It wasn't originally conceived as a fighting game, correct?
Adachi: Right. I loved monsters and splatter horror, so I was writing a proposal for a monster-themed action game where you played as the monster. Right around then, I was called in by one of the company executives who declared: "From now on, we're going to make fighting games." Capcom's Street Fighter II (hereafter SFII) had taken the industry by storm, and there was a massive surge of momentum toward competitive fighting games.

—So you reworked the monster concept into a fighting game?
Fukui: At first, Adachi resisted: "I am absolutely NOT turning this into a fighting game!" But the higher-ups talked him down, and one day he just came in and said, "Alright, we're making a fighting game." I was amazed at the sudden turn.

—SFII was a miraculous, revolutionary title that completely reshaped the industry. Back then, there was an overarching atmosphere of "if it's not a fighting game, it doesn't matter." But your team had zero prior experience making fighting games.
Adachi: Exactly. Once we actually sat down to make a fighting game, we realized we couldn't even touch SFII. But I honestly believe our team studied SFII more rigorously than anyone else in the industry at the time.

Fukui: We played it every single day.

Adachi: We went frame-by-frame through SFII footage, analyzing every single move, studying hitboxes and hitstop to figure out how it was built and what made it feel so good to play.


Early planning document for Samurai Shodown proposing a multi-line system similar to Fatal Fury. This was scrapped, as were the 1P VS COM mechanics where a "waiting enemy" would have bided their time in Line B, influencing the fight by throwing items in certain situations. Likewise, a simultaneous 2P mode, with both players fighting separate enemies in different rows at the same time, was also abandoned.
—You were analyzing the core mechanics of action game feel. SFII is unarmed combat while Samurai Shodown is weapon combat, so the play feel is completely different. Yet both games deliver an incredible sense of impact and satisfaction when a move hits. Games with sloppy hitboxes or awkward hitstop feel jarring to play, but Samurai Shodown completely avoided that awkwardness.
Adachi: We had time back then, that's why. Schedules and budgets weren't nearly as strict as they are today; it's not much of an exaggeration to say the concept of a schedule barely existed. (laughs) The company let us work with a lot of freedom, and that helped immensely. There was virtually no concept of "marketing" back then either.

—When Samurai Shodown debuted, it felt remarkably stylish. It had a different vector of coolness compared to the gritty, masculine tone of Fatal Fury or Art of Fighting.
Adachi: A big reason for that was that we were unabashed otaku at heart. Myself included, the team was packed with anime fans.

—While Fatal Fury and Art of Fighting leaned into hardboiled manga and action cinema tropes, Samurai Shodown had a distinct anime-culture aura to it.
Adachi: Pure, graceful characters like Nakoruru were tailor-made for what otaku loved at the time, right? (laughs) When Mai Shiranui exploded in popularity in Fatal Fury 2, we were sitting there saying, "For the next Samurai Shodown, let's bundle Nakoruru up in even thicker clothes!" (laughs) It's not like I consciously set out to design characters that way—it just naturally turned out like that because the development floor was full of otaku.

—Why did you choose a period-drama (jidaigeki) setting?
Fukui: We didn't start out trying to make a period drama. The core idea of "let's make a game focused on weapon combat" came first. The original monster project had characters wielding weapons, so we thought using weapons would be a great way to differentiate ourselves from other studios' games. From there, someone said, "Well, if we're using weapons, it's gotta be swords," which naturally led into a period setting.

Adachi: My personal tastes probably influenced the final decision too. (laughs) Though my memory is a bit hazy.

—During development, Haohmaru was named "Musashi" and Ukyo Tachibana was "Kojiro." I recall seeing early screenshots of the two fighting on Ganryu Island.
Adachi: Our original motif was the duel at Ganryu Island, which eventually turned into Gairyu Isle in the final game. Wanting to target the overseas market was another reason we went with a Japanese historical theme, though.

Fukui: Though once we started throwing in tons of ninjas because of their popularity overseas, the actual samurai proportion shrank quite a bit. (laughs)

—The global perspective makes total sense.
Adachi: We kept the market in mind, but ultimately we just shoved in everything we personally liked. (laughs) Honestly, the worldbuilding of Samurai Shodown only came together late in development. Early on, we focused far more on game systems and visual impact than lore.


Early character concept art for Samurai Shodown. The top character "Shinzo" was an Koga ninja who clan was wiped out by a mysterious organization. He was envisioned as a "speedy" ninja character; the American ninja Galford was likely conceived later to add more international flavor into the roster. The bottom character, "Kanzo" is Shinzo's older brother. He is the top ninja of the Iga clan and is sent on an assassination mission to kill the leader of the Bateren.
—Could you elaborate on what you mean by "visual impact"?
Adachi: When I saw Art of Fighting, the camera zoom-in/zoom-out effect looked incredible, and I wanted to bring that into our game. I wanted striking visual frames, characters colliding in mid-air while the camera dynamically zoomed in and out. The worldbuilding was retrofitted to match those visual goals.

Fukui: I'm pretty sure we only fleshed out the story near the very end of development.

—In the original Samurai Shodown, ground-based anti-air attacks were generally weak, so jumping air-to-air attacks were heavily utilized to intercept incoming opponents.
Adachi: Right. We specifically wanted the visual of characters slashing each other mid-air, so we intentionally tuned the balance to encourage that.

—For a fighting game at the time, that was quite an unconventional approach.
Adachi: Developers at other companies gave us a lot of praise for that later on. (laughs)

—Speaking of visual impact, Haohmaru's heavy slash (his far standing heavy slash, officially named zantetsusen) was mind-blowing to see for the first time. It's a massive diagonal slash with significant startup; if guarded, the blade repels with a sharp clatter, yet leaves very little disadvantage. On hit, Haohmaru steps deep into the blow while the opponent reels back dramatically. It feels amazing whether hit or guarded, without breaking the game's competitive balance.
Fukui: Originally, Haohmaru's heavy slash shared the exact same recovery motion on block as it did on hit. But we wanted to capture that authentic sword-fighting feel, so we added a recoil animation where the blade gets knocked back with a loud clank. However, if blocking it gave the opponent a guaranteed heavy punish, players would stop throwing out heavy slashes altogether. That wouldn't feel satisfying for the player, so we minimized the frame disadvantage on block.

—Prioritizing the player's feeling of satisfaction, then.
Fukui: As Adachi mentioned earlier, we avoided the mindset of "this move is too strong, so let's make it weak." Instead, we thought, "This move feels incredible, so we have to preserve it," and carefully dialed in the tuning to find the right balance.

Adachi: Fukui and the rest of the original Samurai Shodown team were a fantastic crew. Everyone on the dev team shared a unified sense of what felt good in combat.

—So because your sensibilities aligned, you were able to refine the mechanics deeply without your design direction drifting off course.
Adachi: We didn't calculate all of that game feel up front, though. It was built up through painstaking, incremental iteration over time.

Fukui: For hitstun duration, we initially assigned standardized values across moves, but it didn't feel satisfying, so we went through tweaking data for every single attack individually.

Adachi: We could only pull that off because, as I said, schedules basically didn't exist. (laughs) Every single day was spent asking ourselves how we could make the game better.

Fukui: If we had been pressed for time, it never would have happened. After the game became playable end-to-end, we spent roughly six months just on fine-tuning.

—Beyond Haohmaru's heavy slash, many other moves prioritized visual flare and game feel. For example, Senpūretsuzan (Cyclone Slash) dealt damage in two distinct hits: once when the tornado connected, and once when the launched opponent hit the ground.
Adachi: That was spot where we prioritized visual impact. An otaku's obsession. (laughs)


Early character concept art for Musashi and Nakoruru. Musashi is fairly similar to Haomaru, though in this early version he is a "secret agent" acting under orders from Katsu Kaishu. Nakoruru was still an Ainu warrior, but she was also a direct descendant of the people of Atlantis (which is where her power to control animals comes from).
The Unforgettable Characters of Samurai Shodown
—The villain Genan Shiranui possessed an abundance of moves designed to irritate the opponent, like long command grabs and extended poison spray animations. (laughs)
Fukui: Genan was Adachi's creation. (laughs)

Adachi: He was the sole survivor from that original monster game concept, so that origin showed through loud and clear. I've always loved dark anti-heroes. Giving him moves that annoy the player was 100% intentional. (laughs) The team was very deliberate about assigning distinct personality traits to every character. Like Earthquakes's fart command grab. (laughs)

Fukui: After Earthquake farts, he lets out this "Khehe" laugh, and the animator drew that expression with absolute glee, despite how little sprite memory we had to work with! (laughs)

Adachi: Earthquake was a huge struggle, wasn't he? We built him focusing heavily on visual scale, and he gave us the most trouble by far.

—Did you intend to include a giant character like that from the start?
Adachi: We said we wanted to make a huge character from early on, but deciding just how big he should be involved a lot of back-and-forth between Fukui and me.

Fukui: If I recall correctly, we built a custom tool specifically to scale graphics up and down, and we sat right in front of each other adjusting his size in real time while arguing about it.

Adachi: I just kept shouting, "Bigger! Make him bigger!" so he kept growing. (laughs) Wrapping up his design was probably our hardest task. Getting that character functional and balanced was all thanks to Fukui's brilliant work. (laughs)


The indignity of the Skunk Burst.
Fukui: I was in charge of the weirdo cast: Wan-Fu, Earthquake, Kyoshiro Senryo... Memory allocation per character was identical regardless of whether a character was large or small, so compressing the data was a nightmare. The designers would come to me asking, "How are we supposed to fit this?" so I had to invent tricks like reusing frames from one animation for another move. Yet despite all that aggressive compression, we still went out of our way to draw custom frames for a fart expression! (laughs)

—Balancing match-ups must have been equally chaotic.
Fukui: During our first location test, a player went on an 80-game win streak using Earthquake. Word reached the office, and Adachi came barging in shouting at me: "Fukui! Is Earthquake broken?!" (laughs)

Adachi: I did not shout like that! (laughs)

Fukui: I said he wasn't actually that strong, but Adachi insisted: "He's on an 80-win streak right now!" So we went down to the arcade to check it out. When we arrived, there was barely anyone lined up on the opposite side of Earthquake's cabinet. There was a huge crowd of spectators, but nobody wanted to step up to challenge him. So I stepped in to play against him myself.

—Were you able to win?
Fukui: Yeah. I had been watching him play beforehand, and all he was doing was spamming the Fat Chainsaw move. That move leaves you wide open if blocked, so you can easily punish it for a win. But none of the local players had realized that yet. They were just holding guard and freezing up.

Adachi: Fighting game literacy was still primitive back then, and on top of that, a lot of players were intimidated by his sheer size on screen.

—Earthquake couldn't be thrown in that initial version either, which must have confused a lot of players.
Fukui: We didn't even realize that while making him. The designers only noticed it later. "Wait, you can't throw this guy!" (laughs)


Early character designs from Samurai Spirits. The top character is called 闇 (Yami) He was an illusionist tricked into holding a cursed scythe, which now controls him, and his purpose in fighting is "to find someone who can kill him." The bottom character is a monk called Tenkai, who became Wan-Fu in the final release.
—The roster had so many character traits that defied conventional fighting game design of the era. Hattori Hanzo's shadow clones and substitution techniques were mind-blowing.
Adachi: That was another case of visual impact taking priority. We figured, "He's a ninja, of course he should vanish!" (laughs)

Fukui: I wasn't handling Hanzo, but watching from the side I kept thinking, "How on earth are they going to turn this into a functional game mechanic?" (laughs) Implementing it was a mess too. The move splits him into four clones so the opponent doesn't know which is real, but initially, the opponent's character would automatically face toward the real Hanzo! (laughs) We realized, "Wait, this completely gives it away!" so we went to the engineer and asked him to turn off automatic target tracking during the move. He snapped back: "Think about these things before you ask me to code them!" (laughs)

Adachi: Animal companions were tough to implement too. Another visual-first idea.

Fukui: Poppy and Mamahaha caused us endless headaches.

—Controlling an external companion character as an option existed in shooters, but it was virtually unheard of in fighting games.
Fukui: Back then, our ideas just kept snowballing without any sense of whether they were actually viable. We'd implement things, all the while wondering, "Can we really use this?"

Adachi: Looking back, I think our deep study of earlier fighting games allowed us to build a solid mechanical foundation, which is why all those wild ideas worked out. If the core foundation had been shaky when we stacked those "visual-first" ideas on top, the game might have collapsed entirely. Building a sound underlying system was what saved us... at least, that's how I view it now. (laughs)

—Samurai Shodown wasn't just a hit gameplay-wise; the characters exploded in popularity, too. It felt distinct even within SNK's lineup at the time.
Adachi: Samurai Shodown and KOF had a unique character appeal that ultimately expanded SNK's character licensing business. The KOF team had a very similar vibe to ours, just a bunch of otaku hanging out together.

—Did the massive commercial success of the original Samurai Shodown change your standing within the company?
Adachi: The working conditions inside the office improved, and we were allowed to make Shin Samurai Spirits (Samurai Shodown II) with complete freedom. Though we might have pushed that freedom a bit too far in some questionable directions. (laughs) Silly jokes like turning characters into plush dolls... (laughs)

—Speaking of hidden elements, Haohmaru's Tenha Fuujin Zan secret move comes to mind.
Adachi: The truth is a programmer coded and implemented that move entirely on his own without telling anyone! He kept it secret from the planners and designers, recycled existing graphic frames, and quietly snuck a secret move into the code for just Haohmaru and Nakoruru.

Fukui: I remember other staff members getting furious: "Don't just sneak stuff into the build!" I thought, "Adachi is the director, so he probably knew about it in advance," but when I looked over, he was right there getting mad alongside everyone else. (laughs)

Adachi: I was furious! (laughs) But since it was already made, we decided to leave it in. The programmer said he saw the Ryūko Ranbu in Art of Fighting and wanted to try making a move like that. So during development, the working title for Tenha Fuujin Zan was actually "Haohmaru Ranbu."


Two early boss designs for Samurai Shodown. The first is an iaigiri master jokingly called Iaido in katakana. The second looks like a version of G-Mantle, SNKs mysterious mascot. Here he is called ゲームァント (Gameant), which sounds more punny in Japanese. Mock-ups of their respective stages are also shown, with a Japanese rooftop overlooking a castle keep and a circus fight in front of an audience.
—The Ryūko Ranbu was very dramatic despite reusing existing sprites. Even though every single motion frame was something players had seen before, it felt like a completely new technique.
Adachi: When I first saw the Ryūko Ranbu, I was blown away: "Man, this is incredible!"

—Many fans probably assumed Tenha Fuujin Zan was created as a tie-in for the anime TV special Samurai Shodown: The Motion Picture.
Adachi: It definitely wasn't designed as an anime tie-in from the start.

—You can really feel how free-spirited the studio culture was back then.
Adachi: I don't know what management thought of us, but we were given tremendous freedom. Our development team started calling ourselves "Samurai-Gumi" (The Samurai Team) and operating like our own internal brand, but that was never an official corporate designation. Management just tolerated it.

—Oh, you gave that name to yourselves? Didn't you even build an elaborate website for it?
Adachi: We did it completely without company permission. (laughs) That's just how things were back then.

The Fierce Struggle of Samurai Shodown III
—The original Samurai Shodown and Samurai Shodown II achieved a miraculous balance, even if defensive play was exceptionally strong.
Fukui: Speaking of which, I recently saw footage of players who are still playing Samurai Shodown II today. The way they play, it's like they're playing a completely different game from the one we knew. (laughs)

Adachi: Among fans, there seems to be a school of thought that Samurai Shodown III is the pinnacle. To us, that's a bit surprising... maybe people just love how wildly unhinged it is. (laughs)

—When that game came out, it sent shockwaves through the editorial department at Gamest magazine.... (laughs) The massive overhaul of the game mechanics was surprising, and the overall balance tuning felt entirely different from previous titles. It was almost as if a completely different department had made it.
Adachi: The development schedule was extremely brutal, for one thing. Plus, losing key team members had a big impact. But a major reason the core systems changed so drastically was simply that I got bored of the systems we used up through Samurai Shodown II. I just always want to change things up. Looking at the KOF team in the 90s, the thing I respected most about them was how carefully they preserved the elements fans didn't want changed. Me, I get restless too easily, so I'm terrible at that...


Two unused characters from Samurai Shodown III. The notes don't give too much insight into their backgrounds, but the character on the right appears to be named "Gordon." The name on the left is too obscured to read clearly; possibly "Toku" (徳).
—The mechanics and move concepts in Samurai Shodown III were certainly fascinating, though.
Adachi: The core concept for that game was: "Let's create a more tense, life-or-death battle." I don't think the idea was bad in itself. If we'd had more time to properly polish it, it would have turned out much better.

Fukui: We had virtually zero time for balance tuning.

Adachi: We were fixing hitboxes right up until the literal minute of master submission.

Fukui: To be honest, ten minutes before the master ROM was submitted, the character I was in charge of was still completely bugged. (laughs) The bug got fixed right before master submission. It was total chaos.

—Could you share what happened there?
Fukui: There was a bug where hitboxes set in the dev tools would render in unintended ways in-game. I assumed the bug wasn't going to get fixed in time, so I assigned hitboxes while accounting for the bug's distortion. But then, ten minutes before deadline, I realized the bug had suddenly been patched.... (laughs) When I checked my character, the fixed engine caused the hitboxes to go completely haywire, making the move properties utterly insane. (laughs) Panic set in: "Oh no no no, this is a catastrophe!" I had to fix every single hitbox across the entire character in ten minutes flat.

—That's an incredible clutch save!
Adachi: Didn't you also unilaterally change rage gauge values right before submission? That turned out to be a great call in the end, too.

Fukui: Oh yeah, that happened too!
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GSK | ALL CITY SLOP SHOP (ETA SOON) @allcityslopshop.com · 23/09/2026
hbd to Keiko Erikawa's HR Simulator
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GSK | ALL CITY SLOP SHOP (ETA SOON) @allcityslopshop.com · 21/09/2026
I like to think they saw the weirdly large pop for the Dream Club-themed puzzle art in their upcoming Clubhouse Games knockoff and felt compelled to strike while the iron was hot
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GSK | ALL CITY SLOP SHOP (ETA SOON) @allcityslopshop.com · 20/09/2026
Lufia 2's NA loc in particular has a ton of issues beyond the quality of the translation, so ditching it should ideally also address lot of bugs... otoh, there's no substitute for greatness
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GSK | ALL CITY SLOP SHOP (ETA SOON) @allcityslopshop.com · 20/09/2026
neat, but I suspect the motivation behind this decision on the part of the publisher/s is primarily commercial: the publishing rights to Lufia 2's original loc in particular have been thought to be the bottleneck in getting it reissued, and if they have to retranslate it, why not rewrite it, too?
I was given the opportunity to re-write the script (which due to the memory limitations of the SNES was mainly written in hiragana) in kanji for this release, and as a result, I reread every line of dialogue in both Lufia I and Lufia II.
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GSK | ALL CITY SLOP SHOP (ETA SOON) @allcityslopshop.com · 20/09/2026
evidence of City Connection doing a little more than nothing with Muchi Muchi Pork & Pink Sweets: rank gadgets!
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GSK | ALL CITY SLOP SHOP (ETA SOON) @allcityslopshop.com · 20/09/2026
not a lot of details atm but Super Sweep's announced Battle Garegga 30th Anniv. Remix, a club-style Garegga AST, due out Nov.27 will they be the only folks celebrating Garegga's 30th...?
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GSK | ALL CITY SLOP SHOP (ETA SOON) @allcityslopshop.com · 19/09/2026
one extra wrinkle to this saga: Escala, the Brazilian company that had licensed the Malibu comic for BR release, was so desperate for material post-cancellation that they wrote a couple new issues themselves (& many afterwards, from #6 onwards they jettisoned the Malibu stuff & did their own thing)
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GSK | ALL CITY SLOP SHOP (ETA SOON) @allcityslopshop.com · 18/09/2026
...and here's that roadmap
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GSK | ALL CITY SLOP SHOP (ETA SOON) @allcityslopshop.com · 16/09/2026
Torneko HD got the first on what will ideally be many patches—out now on PC, rolling out ASAP on consoles steamcommunity.com/games/4027450/an…
Update Notes
This update contains the content listed below.
Improved response when changing direction.
Improved response of diagonal movement.
Improved response of diagonal movement lock.
Faster text prompt when entering stairs.
Miscellaneous fixes and adjustments.

We are also investigating your other comments and requests.
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GSK | ALL CITY SLOP SHOP (ETA SOON) @allcityslopshop.com · 12/09/2026
absolutely mate
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GSK | ALL CITY SLOP SHOP (ETA SOON) @allcityslopshop.com · 11/09/2026
from last night's ACA stream with ex-DECO planner Shunichi Ii, the precise origins of Karnov's chara design: the director was inspired by a fire breather in a specific commercial—ii thought it might've been Mandom, but I think was this specific Suntory CM www.youtube.com/watch?v=hy-z421FwGQ
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GSK | ALL CITY SLOP SHOP (ETA SOON) @allcityslopshop.com · 10/09/2026
when the goblin ijidks too hard
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GSK | ALL CITY SLOP SHOP (ETA SOON) @allcityslopshop.com · 10/09/2026
someone's dad at misk finally told em to start recouping, huh
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GSK | ALL CITY SLOP SHOP (ETA SOON) @allcityslopshop.com · 10/09/2026
Japan's getting physicals, including this LE: the green thing's a squishy replica of Gonbe's spear, and the blanked-out image is a full Atlantis no Nazo map
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GSK | ALL CITY SLOP SHOP (ETA SOON) @allcityslopshop.com · 09/09/2026
there's also a gallery with box/manual/flyer scans, complete with JP-translated versions additionally, Natsume's given them a ton of design docs, viewable raw or translated into English
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GSK | ALL CITY SLOP SHOP (ETA SOON) @allcityslopshop.com · 09/09/2026
"typical JALECOlle perks" = savestates, rewind, controller & screen settings, achievements, video-annotated manual, E-to-J subs (& typically J-to-E also, but Shatterhand's a NES-only game), optional screen gadgets with useful &/or hidden info (boss & option health, power-up duration, etc)
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GSK | ALL CITY SLOP SHOP (ETA SOON) @allcityslopshop.com · 09/09/2026
from tonight's City Connection stream: JALECOlle Shatterhand hits Switch on September 24 alongside the usual JALECOlle perks, they're offering 2 new enhancements: a setting that'll let you heal your option by punching projectiles, & a mode that'll buff you for assembling specific per-stage options
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GSK | ALL CITY SLOP SHOP (ETA SOON) @allcityslopshop.com · 09/09/2026
while I'm here, reminder that there was a point in time where the Shantae devs very strongly implied that Karnov was Shantae's dad
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GSK | ALL CITY SLOP SHOP (ETA SOON) @allcityslopshop.com · 09/09/2026
Arika's Mihara is Mihara-ing once more: apparently, he was quietly working on a home port of the long-out-of-service Druaga Online arcade game, but now that he's seen people have just got it running via emulation, he's taking his ball & going home (but admittedly might change his mind a la TGM)
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GSK | ALL CITY SLOP SHOP (ETA SOON) @allcityslopshop.com · 08/09/2026
this particular passage illustrates some of the particulars of Super Famicom audio design that I feel aren't properly appreciated by all the folks looking to "restore" old soundtracks with resourced/"higher quality" samples
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GSK | ALL CITY SLOP SHOP (ETA SOON) @allcityslopshop.com · 08/09/2026
of all the games you'd think Miyamoto might've publicly acknowledged but hasn't, somehow Cho Aniki got a shoutout
Miyamoto: A conventional shooter is a game where you dodge and shoot things on a flat plane. You call it a shooter simply because there happens to be a spaceship drawn on the screen. If it had a haniwa clay figure drawn on it, it'd be Hani in the Sky. (laughs) Or Cho Aniki, for that matter. (laughs) I think that's the right approach, actually, because you aren't limited to one visual style. But ever since Thexder, developers have just drawn robots and made games that didn't actually need to be about robots.
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GSK | ALL CITY SLOP SHOP (ETA SOON) @allcityslopshop.com · 04/09/2026
Akira Nishitani out here openly asking to get a shot at rebalancing ST (with apologies in advance for potentially nerfing it into the ground) 🇯🇵
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GSK | ALL CITY SLOP SHOP (ETA SOON) @allcityslopshop.com · 03/09/2026
an update from Dodonpachi Resurrection Reignite producer Akihiro Kotani: in addition to apologising for the issues caused by the post-launch patches, they've acknowledged the criticism the release has received & will be sharing an update roadmap soon, which will include a training mode (with st.6) 🇯🇵
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GSK | ALL CITY SLOP SHOP (ETA SOON) @allcityslopshop.com · 03/09/2026
is this a flex
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GSK | ALL CITY SLOP SHOP (ETA SOON) @allcityslopshop.com · 01/09/2026
they're running a boss rush contest for Shatterhand at their booth on Saturday, 13:00, in case anyone feels like showing off
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