#[ felt like a writeup would be most appropriate!! and it was just a quick one hehe ]

[xinganhao]

✏️ seatmates joshua x reader.

prompt: "we sit next to each other every day, i lend you pencils, you share snacks with me, people are assuming we’re a couple, let’s go with that." ✶ part of my svt university milestone event

⤿ fluff, slight miscommunication, joshua is whipped, jeongcheol [if u squint!]. more content under the cut. ♡⸝⸝ prompt from anon!

It's not looking like a good start of the week for Seungcheol.

He had an insane bender the night before. He missed the morning bus to school and ended up walking the whole two-kilometer way. And now, the not-quite-a-couple duo who sat in front of him at class was back on their bullshit again.

With his fingers pressed to his temple, Seungcheol watches warily as the starry-eyed boy— Joshua, Seungcheol thinks his name is— places a canned coffee atop the edge of your desk. God, Seungcheol would kill for that right about now.

He's too far gone to make out anything the two of you are saying, but Seungcheol can fill in the blanks. It's probably something stupid, he thinks bitterly. Good morning, love. How was your weekend, love? I missed you, love.

Blegh.

There's only one thing he can think to do. Seungcheol whips out his phone and shoots out a quick slew of texts, trying to ignore the way that Joshua has begun to laugh a little too loud at something you just said.

Seungcheol it's a monday and i'm hungover and the pretty boy in front of me keeps making heart eyes at his seatmate he's laughing. i'm hungover to the heavens and he's laughing god what have i done to deserve this god when will it be my turn Jeonghan you think someone else is pretty? :( Seungcheol do NOT start with me rn

Seokmin doesn't think Joshua notices.

It's just like Joshua, really, to be a bit slow on the uptake when it comes to matters of the heart. And so Seokmin nods along, the perfect picture of indulgence, as you wheedle your way into Joshua's every day.

You don't even have to show up in the physical sense. Joshua fills in those gaps for you. I think they'll like this, Joshua (while holding a box of some obscure snack) tells Seokmin at the grocery store. They'll get a kick out of that, Joshua cackles as he snaps a photo of a silly eraser.

Seokmin knows he could, should probably ask his best friend what the hell is going on. The boy is in desperate need of a quick 'check-the-label' moment, honestly.

In the end, Seokmin decides: Not my circus, not my monkeys.

He figures the two of you will eventually hammer it out yourselves. It's a rite of passage, isn't it? The limbo of flirtation, confined in the four corners of a classroom. The happy crush that may or may not reciprocate.

As Joshua all but skips— honest-to-God skips!— to the Wednesday session of his class with you, Seokmin can't help the fond shake of his head at what Joshua has gotten himself into. Sharing snacks and stationery every M/W/F?

There are worse situationships to have, Seokmin concedes.

Professor Kang has been in the academe for nearly two decades.

He's watched relationships bloom, and last, and end. One or two students have even invited him to their weddings. There's no shortage of gossip in the faculty rooms; there's always a seating plan to orchestrate, a partnered project to use for a little drama.

He likes to think he has a sixth sense for this sort of thing, and that's why he initially believed that you and Joshua... aren't really a thing.

Sure, the two of you bend your heads together a little too close when discussing something. He notices, too, the exchanges— both the transactional and spoken ones. But he's unconvinced, for the most part of the semester, that there's not really anything worth reading into.

That is, until, you don't show up to class one day. On a whim, Professor Kang asks Joshua about your absence, and the boy fumbles with his phone for a couple of minutes.

"Doctor's appointment," Joshua eventually divulges, though there's a slightly worried crease in his eyebrows that has Professor Kang thinking, huh.

That huh gives way to an ah when, at the next class, the two of you slot right back into place. Professor Kang catches bits and pieces of your conversation with Joshua; how he eagerly inquires about your Friday plans, how he listens intently to your little rants.

As the two of you walk out the classroom, your shoulders brush. It's slight enough that anybody not really looking would miss it, would dismiss it, but Professor Kang can only watch with amusement. Joshua apologizes for crowding you— only to take an infinitesimal step closer as the two of you leave the classroom.

By the time the two of you are out in the hall, your shoulders are almost touching again.

Ah, Professor Kang thinks. He swears he's seen it all in the past twenty years, but he's not immune to making mistakes.

Perhaps they're a little bit in love, after all.

[meyerlansky]

platoapproved replied to your photo “boardwalk empire: daemon au [5/?] arnold  –  clouded leopard…”

post the deets immediately just saying

UM EXCUSE YOU’RE NOT EVEN SUPPOSED TO BE ONLINE THIS WEEKEND I SAW UR POSTS

i am working on the writeups for the previous two posts, i swear, but. you all know who i am as a person at this point. team ny’s picks were the FIRST ONES I DID and i’m fairly secure in the rationale for all of them SO UH:

ar — clouded leopard

given the rationale for the other bird daemons i assigned, ar probably should’ve gotten the birdiest bird of all time, but i picked all four of these out before anyone else’s so he’s solidly been a clouded leopard for me for like two years. clouded leopards are at least semi-arboreal, though, so the “above street level” mentality plays out there, and he is more directly involved in the actual dirty work of gangstering than nucky, who does still try to play politician for a good chunk of the series. ar is pulled back far enough from the cooperative elements of the organization he oversees that giving him a canid wouldn���t have fit, but a big cat fits his mystique and reserve perfectly. at the same time, something like a tiger or other well-known big cat is too flashy, too visible, too obvious. clouded leopards are supremely under-studied and not a whole lot is known about them in comparison to other apex predators, so it seemed like a sensible choice of species. all four of them have bonus details and are more fleshed out than most other characters’ daemons are, because, again, you all know who i am as a person at this point, so here are ar’s: her name is maximiliane, with every flourish of pronunciation that is appropriate on a name like that. they settled in ar’s late teens, after a few years of skulking around pool halls playing at wolves to try to fit in. once ar figures out how to work the flow of gambling, they try some of those flashier big cat forms on for size, but it’s not until ar owns a few games of his own that she settles into a clouded leopard.

charlie — black-backed jackal

charlie’s daemon has actually gone through two iterations; he is the archetypical wild canid for sure, so that was never in question, but picking out the species has gone through some changes. initially i gave him a golden jackal, but after thinking about it more in depth i switched the species to a black-backed jackal instead. superficially, black-backed jackals are much prettier to look at than golden jackals, they’re much more visually striking and, listen, charlie’s a pretty boy, i’m not gonna let that go unacknowledged in the daemon i pick for him, i’m allowed to be superficial here. the more in-depth reasons include the more basal nature of the black-backed jackal’s taxonomy: they’re more removed from domestication than any other wolf or jackal, but not as removed as the foxes like chalky’s grey fox. charlie very much has a “pack” in meyer and benny, and operates best when he’s got the support of that pack, but he pushes back pretty hard against the idea that he should be loyal to other italians just because they’re also italian, considering he calls for the death of the two bosses who try to keep him from his partners and profits, so the black-backed jackal’s taxonomic position fits better than the golden jackal’s did. [for reference, the golden jackal is more closely related to the ethiopian wolf, but jimmy’s reliance on the traditional don’t-make-waves structure of AC’s political maneuvering got him killed, so i wanted charlie further up the chain than that.] black-backed jackals are also relatively less specialized than a lot of canids, and able to survive in a variety of environments—the parallel to charlie’s prolific business [and personal] ties to non-italian gangsters is probably clear there. the only holdover from the golden jackal daemon days is her name, which is oriana, from the italian for “golden” because i am unoriginal and uninspired in my naming. they settled after charlie’d been in hampton farms for about a month; for at least a year or two before that they were trying on different canids for size, but he comes out of hampton farms with a concrete idea of who he is and who he wants to be, and it’s just about the only good thing they take out of there.

meyer — beech marten

THEY EAT CARS. BEECH MARTENS EAT CARS AND NO ONE KNOWS WHY THEY DO IT. i don’t even NEED any other reasons for this one. I HAVE THEM, but i feel the need to stress that the car-eating is a determining factor in determining daemon species for ex-tool-and-die-shop-worker car-nerd meyer. because, really, any of the martes or mustela species would work pretty well for him? he’s tiny and cute and looks relatively nonthreatening, but then you find out that beech martens routinely take down hares twice their size and there’s a few recorded incidences of house cats [who are effectively tiny superpredators in their own right] being injured or killed by martens, and after that you’re a bit less flippant about saying they’re harmless. that said, beech martens in particular do tend to forage a bit more than pine martens or fishers, and since meyer tends to prefer the least-confrontational option [until he doesn’t] that felt like a pretty good fit. also, beech marten pelts are generally considered less desirable to trappers than pine marten or sable pelts, so there’s a comparison to be made there wrt meyer’s exclusion from the formal “mafia” structure on the basis of not-being-italian which you all know i have my own scholarly gripes about but ANYWAY. bonuses for meyer: her name is atarah, which i have in my notes is the hebrew word for “crown” because, again, i am uninspired and unoriginal when it comes to names. they settled early, i mean early-early, as in before meyer hits his teens. meyer and atarah prefer to have it out of the way, but it… unsettles people. for a few years. which they find useful, most of the time, but the set of people that are unsettled by how early they settle include meyer’s family. that stings, a little bit.

benny — black-necked spitting cobra

like charlie, benny also went through a few iterations of species, and i honestly had trouble nailing him down to an ORDER for a while. i settled on something with some sort of externalized offensive “attack” pretty early on, given how combative he is. very prominent in the running was a bombardier beetle, both because they also spray chemicals as a form of attack, and because it plays into the “bugsy” nickname, but ultimately the nickname is why i decided against it; since by all accounts benny hated being called that and i don’t really want to saddle him with a soul that he hates, and because i’m not super comfortable with the ableism of the nickname, i shelved that one as his permanently settled form pretty quick. in the AU itself, though, i think they did a long stint with the bombardier beetle form, long enough that people thought that might be what they settled as, which itself contributed to the nickname. once it started bothering them, they tried on other forms for size and eventually she settles as a black-necked spitting cobra. it maintains the offensive attack thing, while also being flashy as fuck. a jet black huge fuck-off cobra is so up benny’s alley i cannot even stand it. it took some figuring out to pick a spitting cobra species, and i’d be lying if i said the flashiness of the black-necked cobra wasn’t a heavy factor. one of the other species in the running was the rinkhals, which also has an interesting visual appearance. the black-necked spitting cobra has higher accuracy with its venom, though, and a higher tendency to spit in the first place than most other spitting cobras. she’s named neva, from the hebrew for “speech,” and in terms of settling, they’re pretty much the exact opposite of meyer in that they settled very late, probably not before benny’s early 20s. they enjoy the freedom of multiple forms for as long as possible, and even after neva settles they’re never 100% comfortable with feeling stuck as one thing.

[symbianosgames]

Street Fighter 2 is one of the only games that truly deserve to be called "genre-defining" -- today, 25 years after SF2's release, we can see that practically every fighting game out there has adopted its core game design principles as industry-standard gospel, with only a few tweaks here and there to stand out from the crowd.

If you're the average consumer or dev, or even if you're an experienced fighting game competitor, you probably aren't all that familiar with all the games that have tried to make major changes to the fighting game template.

So, in celebration of SF2's 25th anniversary, I'm going to walk through some of the fascinating deviations and beautiful experiments that fighting game devs took to try and change SF2's fighting game formula. Studying these games may inspire you in your own designs, or may suggest ways to tinker with the paradigm you're currently wokring within.

I'm going to try to avoid the other well-known franchises (if you know Street Fighter, you probably also know Mortal Kombat and Tekken) and focus on the weird stuff... for education's sake!

A quick note about me: I've written a (free) book that teaches fighting game fundamentals using Street Fighter, as well as educational fighting game streams and videos, and I'm the community manager for a free-to-play PC fighting game currently in public technical alpha called Rising Thunder. You might also like my previous Gamasutra article, Street Fighter for Designers: Top 8 Lessons from Evo 2015.

Asuka 120% Burning Fest (Fill-in Cafe, 1994): Clash system and simplified inputs

[embedded content]

SF2 may have set the foundations for the 2D fighter genre, but there are several notable games that have poked and prodded at some of the genre's conventions while keeping a similar format.

Shoutouts to ex-Game Developer magazine editor-in-chief Brandon Sheffield for introducing me to Asuka 120% Burning Fest, a Japanese 2D fighter from the post-SF2 boom. Not only did it swap the standard martial-artists-from-around-the-world fighter cast with high school girls representing their various club activities (including the chemistry and biology clubs), but it also made two notable system changes. 

One was the "clash system": in SF2, if two attacks collide simultaneously, both players take damage and go into hitstun, but in Asuka 120%, both characters will just go on into the next hit-phase of the move. The second was a significantly simplified input system -- pretty much everyone has the same special move codes, meaning that if you could perform one character's moves, you could perform all of them.

Combined, both systems made for a fascinating permutation of the SF2 standard. With the clash system, the number of hits in a move are relevant for determining who wins a clash -- and since the window to cancel a move into another move is fairly lax, players can clash across entire combo routes before one of them wins out and takes damage. All told, Asuka 120% does a lot with these relatively simple system tweaks to make a traditional 2D fighting game more accessible and less intimidating without feeling like a lesser SF2. The developers of Asuka 120% Burning Fest eventually went to Treasure, where they reused some of the core concepts in their fighting games.

Weaponlord (Visual Concepts, 1995): An online fighting game in '95

[embedded content]

Others have done good work unearthing Weaponlord's history as an interesting-but-ill-timed attempt by early American fighting game devs to challenge SF2's success, so if you want to know the whole story, check out the GameSpy interview with James Goddard and Dave Winstead, GameSpot's Forging Weaponlord, and the Hardcore Gaming 101 writeup.

From a modern game design perspective, the most notable contribution Weaponlord made to fighting games the active defense system called the "thrust block" -- a versatile parry that served as a high-risk, high-reward defensive option. This a relatively new innovation for the time, but more interesting to contemporary devs is this tidbit from the GameSpot interview with James Goddard, where he mentions that the thrust block was designed with zero-frame startup specifically as a concession to online play via the XBAND dialup peripheral.

That's right: A Super Nintendo game in 1995 was designed around internet play. Personally, as someone currently working on a fighting game built around online multiplayer over broadband, I can't imagine designing a 2D fighting game for ~250ms travel times, yet there they were, handling sync timing and tweaking frame data to make the game playable over a modem. Perhaps it shouldn't be a surprise that Goddard is currently design director on Killer Instinct for Microsoft, a game which has been lauded in core fighting game circles for having better-than-average netcode.

Marvel vs. Capcom 2: New Age of Heroes (Capcom, 2000): The best team fighter

[embedded content]

Capcom had found plenty of success doing crossover fighting games during the late '90s, as their concurrent work on Street Fighter Alpha, Darkstalkers, and various licensed Marvel fighting games gave them plenty of readily reusable assets to keep the games coming. This peaked with Marvel vs. Capcom 2: New Age of Heroes, a three-on-three tag match slugfest so chaotic that even genre veterans could barely parse what is happening on screen at any given time.

Capcom's earlier crossover games (X-Men vs. Street Fighter, Marvel Super Heroes vs. Street Fighter, and Marvel vs. Capcom) had treated tag-team two-on-twos much like a similar pro wrestling match: You had one character on the field responding to your controls, and certain moves would allow you to tag them in, summon them for a brief assist attack, or perform a joint hyper combo together. MvC2 largely kept the same basic structure, but the addition of a third team member shifted the emphasis toward developing teams that synergized effectively between the three.

The ideal MvC2 team must take into account how well any given character can use the other two assists; how much super meter the team needs to build for each character to do its job, and how long it'll take to generate that meter before the opponent does; how well the team can recover from opponent-inflicted forced tag-outs (called "snapbacks"); and several other factors before even considering how effective the player is at controlling any of their characters individually.

It's a strange testament to MvC2's design that even though competitive play revolves around roughly 1/5th of the 56-character cast, the dozens of permutations available with just those characters are enough to have kept the game interesting for over a decade. The net effect is that MvC2, by virtue of its three-on-three format, has gotten the closest out of any fighting game to a compelling competitive 'build-your-own-character' mode.

Guilty Gear (Arc System Works, 1998): The 2D fighter for people who love 2D fighters

[embedded content]

As Guilty Gear is still very much alive and kicking, I'll keep this brief. With GG and its sister series BlazBlue, Arc System Works has forgotten more about traditional 2D fighting games than most studios will ever begin to explore. Each GG character is practically its own fighting game at this point, often with resources and mechanics that exist only for that specific character -- and they're bound together by a set of core shared systems and mechanics that would be enough to populate five Street Fighters. If you're ever trying to design a character for pretty much anything, it's worth your time to dig through the GG library, because ASW probably did something like that way before you did.

Highlights include: Bridget, a young boy dressed as a nun who fights with a yo-yo that must be carefully placed and moved across the screen; Zato-1, a blind assassin who fights by summoning his shadow (which responds to the player's joystick inputs and button releases, meaning the player must simultaneously handle two characters with one controller, and time their button presses and releases appropriately); Venom, another assassin who lays pool balls across the screen to create intricate setups off their chain collisions; and most recently, Jack-O, whose minion-summoning mechanics draw more from a MOBA than a fighting game.

Bushido Blade (Light Weight, 1997): Real-enough samurai duels

[embedded content]

One frequent criticism of traditional fighting games is that they don't look or feel like a real fight does, leading a handful of developers to build games aiming for a more realistic experience without getting into the sporty nature of a Fight Night or UFC game.

When I put the call out on Twitter for suggestions for this list, Bushido Blade was hands-down the most frequent response. Instead of street fighting, Bushido Blade aimed to recreate the thrill of a samurai duel by breaking out from the 2D plane into free-roaming 3D environments and designing a realistic damage system; you could block or parry, but if you ate a clean hit it was either going to injure a limb or kill you outright.

When most fighting games were going for more systems, more characters, more stylized graphics, more combos, and generally digging itself deeper in a hole of genre esoterica, Bushido Blade felt simple and clean. Interestingly enough, its legacy is best felt not in any major triple-A fighting game, but in indie games Nidhogg and Divekick.

Fighters Destiny (Genki, 1998): Point-sparring in a fighting game

[embedded content]

Of all the core design elements to mess with, Fighters Destiny arguably picked the most-core element to change. Rather than determine a victor using health bars, Fighters Destiny implemented a point system inspired somewhat by competitive karate, where players would fight until one scored a point by inflicting a ring out, knockdown, or other specific conditions, at which point the action would reset and the fight would resume.

Fighters Destiny certainly didn't leave any lasting impacts on the genre overall, but it's certainly an experiment worth considering further. Contemporary fighting games built around life meters and the best-two-of-three rounds system make it easy to snowball early advantages into a victory, because players have to earn a mid-round reset by doing something to get the opponent off their back and into a neutral state, at which point the defending player is forced to play aggressively and make bigger bets to win the round from a life deficit. With the point sparring model, you get to emphasize the players' jousting for superiority from a neutral state over their ability to snowball a small advantage into a bigger one, leading to more exciting matches for competitors and spectators alike.

Buriki One: World Grapple Tournament '99 in Tokyo (SNK, 1999): 2D MMA

[embedded content]

Buriki One is a curious one. Where SNK's core lay in their 2D fighter pantheon (King of Fighters and Fatal Fury, among others), Buriki One was an attempt to tie the outlandish characters of a typical fighting game into a game that felt more like Pride, the Japanese mixed martial arts event promotion that swept the country in the late '90s and early 2000s. (Ryo Sakazaki from Art of Fighting actually shows up as a playable character!)

What we end up with in Buriki One is a game that looks like a sports-fighting game, like any pro wrestling, boxing, or MMA game, but plays on a 2D plane. Part of this change entailed swapping the attack controls to the joystick (up for a heavy, slow attack, down for a quick, light attack, and toward for a medium attack) and the movement controls to two buttons that move your fighter left or right.

Given the realistic setting, this actually makes a certain amount of sense, especially if you think of Buriki One as an attempt to convert Pride fans to fighting games. If your goal is to simplify a core fighting game experience, it makes sense to try focusing less on the importance of positioning in a 2D plane, which is often hard for new players to learn and understand, and more on interactions between the different attacks.

Virtua Fighter (Sega, 1993): Welcome to the third dimension...kind of    

[embedded content]

Bringing fighting games to the third dimension is not a trivial task, particularly because the established genre conventions call for the arcade-standard eight-way joystick and buttons to be used for both inputting move codes and navigating space. Once you've solved those problems, though, you still kind of need to figure out how to use the third dimension to, well, add depth to the actual fighting experience.

Sega's Virtua Fighter was the first fighting game to try 3D -- though when it comes to the actual gameplay, the devs kept it to fighting in a 2D plane until Virtua Fighter 3 introduced the sidestep mechanic to the series. VF's biggest contribution to the genre was arguably designing movesets around three buttons (punch, kick, and block) and a simpler set of motions -- usually combinations of single-direction inputs and button presses, often used in preset chains.

This made learning a character's moveset less about complicated joystick execution and more about memorizing a wider set of context-specific moves, which later turned out to be useful for freeing up the joystick so players could use it to more easily navigate a 3D space. Also, Virtua Fighter added ring-outs as another win condition; knocking your opponent off the platform immediately wins you the round.

Battle Arena Toshinden (Tamsoft, 1995): Sidestepping

[embedded content]

Battle Arena Toshinden was another one of the early 3D fighting games -- and that's usually the main thing people remember it for. However, it is generally recognized as the first fighting game to work in all three dimensions via the sidestep mechanic, where players can use the L and R shoulder buttons to dodge projectiles without sacrificing position. Most 3D fighting games now use different permutations of a sidestep, though DreamFactory's Tobal No. 1 was notable for using more of a free-roam style navigation system.

Soul Calibur (Namco, 1999): Full movement with eight-way run

[embedded content]

Namco had made a splash in 3D fighting games with both Tekken and Soul Edge, but the difference between the two games was mostly thematic (contemporary martial arts vs. fantasy weapon fighting) until its sequel Soul Calibur. Soul Calibur was arguably one of the first games to truly embrace all three dimensions; in addition to the simple sidestep, many attacks often included Z-axis movement as part of the animation, and players could actually shift into an eight-way-run movement stance that gave you access to a different subset of moves. The end result was that Soul Calibur felt like an excellent compromise between the samurai fantasy of Bushido Blade's free-roaming duels and a traditional fighting game.

Cyber Troopers Virtual-On (Sega, 1995): Mobility in sustained projectile fights

[embedded content]

When we look back at the fighting game canon, one thing stands out about SF2 and its numerous sequels: Projectile attacks are very, very important. Indeed, most of the subsequent Street Fighter series are largely defined by the systems they implement in order to avoid non-stop douken-fests. However, many later games decided to double down on projectiles, space control, and precision movement as the focal point of a one-on-one duel while feeling closer in spirit to a classic fighting game than, say, a first-person shooter.

At first glance, Virtual-On doesn't look like it has much in common with a classic fighting game; yes, it is one-on-one and uses health meters, but it's about robots dashing around in an arena blowing each other up, not people punching each other in the face. Spend some time with any of the Virtual-On games, though, and you'll find that it fits in far better with fighting games than any other genre. It doesn't emphasize aiming or weapon selection enough to feel like a shooter, nor is it about tactical positioning and attrition like a typical mech or tank sim.

Instead, the game is about attacking to force your opponent to dodge by dashing or jumping, then punishing your opponent for dashing or jumping while they're trying to counter attack and force you to move. When it comes down to it, Virtual-On is basically the Ryu fireball/Dragon Punch trap expanded into a 3D robot dueling game.

Touhou Suimusou: Immaterial and Missing Power (Tasogare Frontier / Team Shanghai Alice, 2004): Bullet hell 2D fighter

[embedded content]

In 2004, Japanese doujin devs took bullet hell series Touhou into 2D fighter-land with Touhou Suimusou: Immaterial and Missing Power (commonly abbreviated as IaMP). While the game appears to resemble any other anime-styled fighting game, it's actually built largely around projectile attacks (hence the bullet hell roots) and the "graze" mechanic, where most projectiles can be dashed through -- meaning that the traditional attack-block-throw triangle in fighting games is instead largely replaced by ranged attacks, mobility, and physical attacks.

Senko no Ronde (G.rev, 2005): Even more bullet-hell than IaMP

[embedded content]

If IaMP and Virtual-On gently push projectile combat to the center of the game, Senko no Ronde goes full-on bullet hell, complete with a change in perspective to a flat top-down 2D plane and the ability to temporarily transform your robot fighter into a giant boss form. The combat mechanics draw from a similar pool as Virtual-On, as well -- it's largely about using projectiles to force movement to open up more opportunities for damage.

It's worth noting that lots of other games have played in this space, to varying degrees: Taito's Psychic Force, Sunsoft's Astra Superstars, the Dragon Ball Z games by Dimps, and the Naruto: Clash of Ninja games by Eighting are some of the more notable examples.

Yuu Yuu Hakusho: Makyou Touitsusen (Treasure, 1994): Four players, two layers

[embedded content]

One-on-one is great, but what happens when we try to add more players to the party? These games open up the action to more players, which introduces control challenges, since you no longer can rely on the opponent-relative movement scheme that traditional fighting games use.

Yuu Yuu Hakusho: Makyou Touitsusen was another one of those Treasure games that was way better than anyone ever expects from licensed anime games -- unfortunately, since Yuu Yuu Hakusho didn't have a whole lot of clout in the U.S. at the time, we never got it here. The game was built around two-to-four-player combat, which they pulled off by borrowing Fatal Fury's two-layer stage design -- players can hop between a foreground plane and a background plane. Of course, this gets a bit tricky if you're working in the SF2 template.

Since Yuu Yuu Hakusho was designed for the Genesis, Treasure had to build a compelling fighting game around a three-button controller (which was more than Capcom was able to do; the Street Fighter II: Championship Edition release on the Genesis was meant to use a special six-button controller, and if you had a three-button controller you had to press the Start button to alternate between punches and kicks). They started by opening up the movement system so you could freely look in either direction, and simplified the input codes to only use down and forward in special moves, meaning that players didn't have to worry about facing the wrong direction in the process of executing a special move. Also, the three buttons were mapped to Light Attack, Heavy Attack, and Guard -- after all, SF2's hold-back-to-block system doesn't really make sense if you have an opponent on both sides of you.

The end result is a game that feels much better than you'd expect a four-player SF2 to feel. Fortunately, it wasn't just a one-off; the core design work was later recalled in Treasure's Bleach DS games, which are also excellent and worth checking out.

Super Smash Brothers (HAL Laboratory, 1999): A platforming fighting game

[embedded content]

In 2016, Super Smash Bros. Melee and Super Smash Bros. for Wii U tournaments are routinely topping the Twitch stream charts, so it can be easy to forget that Smash's status as a fighting game was contested for a long, long time. After all, changing the static 2D box arena out for levels that feel more like the original Mario Bros. and losing the health bars for the damage percentage mechanic essentially pull out two design elements so core to fighting games most players never even thought to question them.

It's fair to say that the standard four-player party mode, with items aplenty and stages that kill you rather often, don't really feel consistent or rigorous enough to encourage players to play it competitively. That's why the truly defining innovation in Smash isn't the levels, or the movement, or the simplified controls -- it's the way the team created a play space that is rich enough to sustain both party play and serious competition, and made the options available for the players to determine for themselves what they want out of it. Honestly, Smash wasn't a fighting game until the players made it a fighting game.

Power Stone (Capcom, 1999): Like Smash in 3D

[embedded content]

I'd be remiss in including Smash in this list and not also giving Capcom's Power Stone a shoutout; it was another party fighting game with items, engaging levels, and simplified inputs, but unlike Smash, it featured a free-roaming 3D arena. While it's certainly fun to hop around the various levels beating up your buddies, the tradeoff to free-roaming 3D in a party fighter is that the devs relied on a rather high level of auto-targeting in the attacks, which kind of diluted the player's feeling of mastery after a certain point.

Rakugaki Showtime (Treasure, 1999): If dodgeball was a fighting game

[embedded content]

Shoutouts to Ian Adams for pointing me in the direction of an interesting, obscure contender for the party fighter throne: Rakugaki Showtime, by Treasure. Like Power Stone, it takes place in an open 3D arena, but the combat is built more around projectiles, leading to a game that feels like dodgeball without the center dividing line. Play it to admire the scribbly, sketchy aesthetic and see how Treasure used targeting lines to visualize aiming projectiles in a 3D space.

***

Patrick Miller is a writer, fighter, and community manager for Rising Thunder. You can find him on Twitter, Facebook, Twitch, and YouTube. Or just sign up for his monthly mailing list.

Special thanks to Brandon Sheffield, Ian Adams, Andres Velasco y Coll, Bellreisa, Chris Pruett, Luis Garcia, and everyone else who suggested not-SF2 fighting games. Also, shoutouts to the poverty FGC for keeping this knowledge alive and kicking.