Ca et Cadillacs and Dinosaurs qui a été produit dans la même vague d’adaptations de comics et qui a brièvement eu droit à une publication chez Marvel en 1991.
@Dom C’est devenu une IP Disney aussi ? Pas que ça me choquerait mais je t’avoue que ça devient difficile à suivre.
Je suis par exemple moins inquiet de la faisabilité pour des trucs comme Spawn ou Heavy Metal Geomatrix ; doit y avoir moyen de négocier avec les ayants-droits sans trop y laisser des plumes. (M’enfin reste à voir si Capcom en aurait quelque chose à foutre…)
Je me demande si Mark Schultz n’a pas conservé les droits dessus. D’autres éditeurs que Marvel ont ressorti sa BD depuis donc je suppose qu’il faudrait négocier directement avec lui.
Je crois comprendre de Cadillacs et Dinosaurs, c’est mort de chez mort, les droits sont partagés entre plusieurs ayants droits et ils préfèrent ne pas faire d’argent si ça veut dire qu’ils peuvent empêcher l’autre parti de faire de l’argent. AvP aurait été plus faisable (surtout que Marvel fait des comics Alien tout le temps) mais c’était sans doute un middle manager différent qu’il fallait avoir au bout du fil.
Un autre truc manquant à la compilation serait les jeux XMen SFC… enfin SNES de Capcom, mais ils étaient un peu tous caca donc c’est pas une grosse perte pour la conservation du médium.
J’ai adoré cette vidéo. Non seulement parce que je n’étais pas conscient (ou que j’avais oublié) l’existence de ce jeu caché, mais aussi et surtout parce que ça m’a ouvert un nouveau vortex dans lequel je ne pourrais malheureusement pas m’y plonger faute de temps, mais what a time to be à la retraite.
Je suis vraiment abasourdi par le potentiel et le temps qu’il faudrait investir dans cette version ultime pour la déguster à sa juste valeur. Certain d’entre vous on fait une partie de ce voyage ?
Savez-vous si cette version du jeu peu se trouver en standalone ailleurs (flemme de le débloquer pour y jouer 5 minutes).
Je suppose que c’est Hyper Street Fighter Zero ? Je dirais que ça prend 30 grosses minutes en version occidentale et 60 petites minutes en version japonaise (qui a deux ou trois jeux en plus dans le loop à débloquer et finir). Je l’ai fait plusieurs fois, y a pas mal d’options pour accélérer l’entreprise (tout foutre en un round par exemple).
Pour l’anecdote, c’est le lead programmer de SF6 qui a créé / conçu / fan hacké cette version.
Oui c’est ce qu’il dit dans la vidéo, mais cette version n’existe que dans cette compilation ?
Ah pardon, oui, Hyper Street Fighter Zero n’existe à ma connaissance que dans cette collection spécifiquement. Mais plusieurs des modes de jeu (enfin des ISMs) alternatifs sont également disponibles dans les versions Dreamcast et Saturn de SFZ3, sans avoir besoin de les débloquer.
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Conclusion de la trilogie des trois pires jeux de l’histoire de Famitsu (avec la note 12/40) par RndStranger avec Shura no Mon sur PS1, sans aucun doute le plus connu des trois.
Perso, rien ne dépasse The Master’s Fighter de Cinema Supply (1997), sur PlayStation et dans l’absolu. Méfiez-vous du pouvoir de la Playstécheum en effet…
Même si je réalise presque trente ans plus tard la jolie repompe de N.O. pour la musique du stage de Gamp, qui méritait probablement de croupir dans un meilleur jeu.
Harada en roue libre sur Twitter pendant sa pause dej’.
Okay, since it’s lunchtime, let’s talk a little about the differences between Soul Calibur (Project Soul) and TEKKEN Project. Before we get to that subject, you mention « game mechanics » as a prime example of how to talk about the survival of a game, but things are not that simple. In the case of fighting games, if the arcade game market was in its heyday and the income of « one coin per play » was important, it was still the case, but in the home video game market, the only people who can reach an evaluation of game mechanics are those who have already purchased the game, and the paradigm shift in the business model of games has changed the marketing of games itself. The paradigm shift in the business model of games has changed marketing itself in games. In other words, the world of marketing has changed to a world where the question is how to create a situation where people want to buy a game before they play it, and they do buy it, and how to increase the pre-release evaluation and the number of initial sales. In talking about historical video game franchises, the shift in marketing and branding due to the paradigm shift in business models cannot be overlooked, and many people who have been in the industry for a long time will probably agree with my simple explanation.
C’est pas lui qui fait une pause, hein. C’est moi qui coupe parce que ça fait déjà beaucoup d’une traite.
On top of that, of course, it is important to evaluate game mechanics. It is important to have game mechanics that can be played for a long time, because it is a factor that affects the sales beat after the initial launch, and it is a factor that will work like a body blow in the long run. However, it is too naïve and innocent a point of view to leave everything to game mechanics when talking about the survival of a game franchise. If they are so innocent, why did that game title that was so fun to play disappear? Where are those arcade titles that we were so crazy about? Where did that fighting game franchise with those great mechanics go? Why did that fighting game with those good mechanics disappear? There are so many titles that have disappeared, that didn’t sell despite their highly regarded game mechanics, that are literally dying (people around 45~55 years old today should remember, how many fighting games were there in the 90’s? And each of them had reasonably well-received mechanics, More to the point, there must have been some titles you rated as having much better mechanics than TEKKEN!).
Justice pour Tobal 
Yes, The fact that a series with no good game mechanics has disappeared may be on one hand, but it should not be the only reason. While it is true that games with better mechanics will be loved and survive longer, you are not so naïve as to believe that, and you understand that the world is not simple. Especially in this day and age when there are so many choices of games, marketing is becoming more and more important as it is the key to sales.And back to the point…you said… « If Soul Calibur II had a director as loyal (or better said long term?) as @Harada_TEKKEN » While this is a hypothetical, it is not an industry theory, as it is also a theory of consequence. However, after observing the industry for 30 years, I can say that in the case of fighting games, there have been many instances in which a series has stagnated or ceased to exist when a key player in the franchise leaves or disappears. and the reasons for the disappearance of these key persons are often not only their own problems. And in the case of Soul Calibur, I can assure you, having seen it up close and personal, that this is the case. This was not simply a matter of sales and marketing, but I can tell you that the organizational changes and decision makers at Namco Bandai had a great deal to do with it. I was one of the support personnel for the planning and debugging of SC’s predecessor, Soul Edge (Soul Blade), and have since served as Co-Director for SC IV, but I have basically been in the position of maintaining a certain distance from the SC franchise.
A partir de là, gros déballage sur Soul Calibur et les conflits internes chez Namco.
In the past, the SC series had a strong leader named Yotoriyama (who was also once the Animation Team Leader of TEKKEN), and above all, the team of engineers was more knowledgeable about Fighting Game than TEKKEN, and had excellent programming skills. The TEKKEN Project had been called « a group of outlaw », « Bellicist » since the days of the old Namco, and was a unique group in the development department, but Project Soul was an elite group, a sophisticated development team. At the dawn of the polygon era, Namco and SEGA were leading the video game industry, and rivalries were intensifying. In a similar vein, the rivalry between TEKKEN Project and Project Soul was intensifying. I was in the same game designer department as Yotorityama of Project Soul, but we had friction to the point where we fought daily (That was just the first 10 years, and we were very close after that. BTW, He quit Bandai Namco), and TEKKEN and SC were always rivals within the company as well. More so than people can imagine. The two projects had different visions, different development policies, and very different ways of thinking about the brand.It is not that we hated each other. However, they were such rivals that it was not surprising to think so. However, even though they were very different at the time, they had a clear vision for each other. Yotoriyama always said, « There is no point in putting the needs of TEKKEN into Soul Calibur, » and I agreed with him. However, our policies clashed with each other in the debate over whether it was a good thing for a fighting game of the same company to have « lever guards » or « button guards, » for example (Discussion of…Is it good that they are products of the Same Company, yet different there?). Ah…I will tell you another time how Tomonobu Itagaki, who was Tecmo at the time, adopted a hybrid lever/button guard system for DOA, and how he called me into his office and proudly presented it to me (By the way, he and I attended the same University).
Ah non, stop les digressions ! On se concentre !
Whatever the case, Project Soul certainly had a leader and staff with « soul » and "clear vision. The enthusiasm of the game designers on site could have surpassed that of the TEKKEN team, and it was enough to make us feel impatient. If Project Soul had been able to maintain that structure, I sometimes wonder if things might be a little different today. When the paradigm shift from the arcade market to the console market occurred, SC’s console version was outperforming TEKKEN in the North American market and had a high technical reputation.On the other hand, TEKKEN had grown to be an immovable object that earned overwhelming top income in the arcade game market, and in home use, it was a title that sold less than SC in North America and was characterized by « wide sales in many countries in all regions ». SC was always seen as having a promising future, even within Namco, and was considered to be capable of expanding beyond the realm of Fighting Game in a rather global perspective. Even I, at the time, had a certain appreciation for the hypothetical possibilities. However, as you all know, as the industry expanded, it became larger and larger, and companies merged with each other. Bandai Namco is no exception, and has changed for better or for worse.
Virage « le management à la japonaise ». Où est Amélie Nothomb ?
As you know, Japanese game companies and the IT industry do not have the same organizational systems as those found on the West Coast of North America. There are not many presidents or directors with engineering or game designer backgrounds, and most of them have a « sales/sales » background, or are management professionals, or come from banks, in other words, people with excellent « organizational management » skills have become decision makers. This is not a snide remark, but a fact. One thing is for sure: They are not familiar with game development, game branding, or the game community. For example, on the West Coast of the U.S., each position has its own board of directors, but this is not the practice in Japan. As a result, what happens in the case of major game companies is that the management and operation of game companies is focused on « organizational management » and « Human Capital, Capital Available, Resources ». Within this framework, game developers will do their best. But what will be the career roadmap for game developers? The career path of a game developer who focuses on « organizational management » and « Human Capital, Capital Available, Resources » results in « becoming a manager of an organization ». This is a phrase that many of the leaders of each part of the Ace Combat Project, both we at TEKKEN Project and Project Soul, have actually been asked, « How long are you going to be in the field? When are you going to become a manager? » And, "When will you be the manager of the organization? « How long will you be a creator? (Yeah, that was directed at the director of Ace Combat.) » No one in the organization at the time was asking, « When are you going to grow up to be a great game developer? » Literally, not one person talked about the career path of a game developer. It was all about management and administration, and it was true that this was not an organization that could properly evaluate the content of games and their value.
Intéressant ! La suite s’occupe de rattacher les wagons avec Soul Calibur.
And by « becoming a manager of an organization, » he meant that one should not stick to one thing forever, but should broaden one’s perspective to every department, division, and business. In fact, at the time, the only way to advance one’s career was under such a system. Broadening one’s horizons" sounded good, but in game development, it was the opposite of « pursuing a single path » or "mastering something. Also, at that time, the concept of job rotation was widespread, based on the idea of "broadening one’s horizons, growing as a manager leading any department or any division or business, and contributing to the expansion of the company. It was originally intended for younger employees, but as a result, it was undoubtedly one of the factors that gave rise to the trend that "working only on a specific game or a specific genre of work forever is not a career development and is not valued. Then the phenomenon of people leaving various titles and series as if they were being peeled off began to occur. Each time a project’s key players were peeled away, the big dreams and visions that the project once held became weaker. Project Soul was struggling to survive (or so it seemed to me), especially among its younger members. However, it seems that it was difficult for them to maintain their vision, will, and organizational structure now that they are no longer in the game development-centered world of the past, but rather « a game development team that is just one of all the businesses in the group companies ».
Comparaison avec la team Tekken.
At the same time, of course, this was happening to me in the same situation. First, the company was split into a development company and a publishing company, and I became of the publishing company member, but also the head of a new department called Global Business Development, which had nothing to do with game development (none of my subordinates were in development, they were all marketing staff). This meant that from a company organizational point of view, I was out of the TEKKEN Project, both in terms of the company itself, its divisions and departments, and its budget management. This was not my idea, of course, but was decided by the management at the time according to the company policy I mentioned earlier. And while this might have put me on a career path…I had something else in mind entirely. I made the decision to lead the TEKKEN Project despite the fact that I was in a different company, department, and division, and had no budget authority. I practically manipulated the creative and budget planning. Why? I knew, that the soil and currents of such a large organization « just happen from Things that are happening due to delusions caused by the group mind And a head appointed solely for career advancement, with no love for that game title and no long term vision, cannot be good for the survival of the series or the fan community ».And we, TEKKEN Project, always said that « the rights to the title belong to the company, but the fan community can only rely on the team that has the will to make the game ». So, from the very beginning, I decided to completely break the « rule of tacit understanding in a company ». So, I decided to continue to play the role of « TEKKEN Project leader, » which was not directly related to my original duties, and proceeded with the development as an independent team « with independent decision making as a team beyond the boundaries of the company or organization » with the team members who became a separate company (this move was very much disliked by the publisher department heads must have been very uncomfortable with it. Yeah, he hated me so much). Yes, as mentioned above, we, TEKKEN Project, were called a"a group of outlaw", « Bellicist ». So we survived as the only group with independent decision making in the great tide of group companies (Now recognized as an official organization). If there is only one major difference between Project Soul and the other companies, this is the only one.
Et pour conclure.
There are many titles that have disappeared in the course of these past transitions. There are no obvious villains in that history. They are all being chipped away in the course of a larger trend. However, I think… me and the TEKKEN Project, were Evil in the eyes of the group companies.In TEKKEN, Heihachi and Kazuya say « A fight is about who’s left standing. Nothing else. » …and This line used to be my motto. I kept this in mind throughout our rivalry with Soul Calibur, and even when the market for 3D fighting games was becoming increasingly competitive, I continued to tell my team, « No matter how you do it, the last one standing wins, » And this motto remained unchanged even in the midst of the major trends that occurred within the group companies (I understand that there were some board member who were not happy about it, and I received quite a few complaints). So we were never obedient, but always a wicked group with a strong will (I’ve realized through these experiences that, unfortunately, I probably have a bad personality). I think this was the only difference between TEKKEN Project and Project Soul. I think that the fact that the number of members who had the drive to keep the title alive, even if they had to jump through all kinds of pressure, decreased as the organization changed, and that is one of the aspects that weakened Project Soul little by little. I am not saying that is all But it was a big factor. Happened due to organizational policy, not individual problems. But from my point of view, I don’t think the fire of Project Soul has been extinguished. There are still a few people in the company who have the will to do it. I would like to believe that they are just not united now.
Rarement vu un truc aussi candide dans l’industrie japonaise contemporaine (même si c’est de l’auto-célébration déguisée).
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Le nouveau perso d’Under Night In Birth II Sys Celes (c’est quoi, le raccourci accepté ? UNIB2 ? UNISC ? UNISEX ?) est choupi. Presque dommage qu’elle sorte avant Hallowe’en.
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Résultat des élections, suite.
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J’ai éclaté de rire en voyant les bonus de précommande de Dragon Ball Sparking!ZERO, everything was Goku au premier degré, mais c’est sympa de voir Yajirobe qui, pour rappel, a sauvé le monde plus de fois que Yamcha et Krilin réunis. La « sword » titulaire de cette PV me faisait plutôt attendre Trunks (qui est là) et Tapion.
Bandai Namco a aussi profité de l’Anime Expo pour dévoiler Bleach: Rebirth of Souls sur PS4, PS5, Xbox Series et Steam. Pas de date mais c’est Tamsoft, donc faut pas en attendre grand chose. (Et c’est Bleach, donc faut pas en attendre grand chose.)
Et trois ans après son annonce (ça devait à l’époque sortir au printemps 2022), elle-même survenue deux ans après une campagne Kickstarter ratée, Blazing Strike devrait enfin sortir le 17 octobre via Alsys Games. C’est apparemment programmé en solo par un mec depuis le début donc je l’excuse volontiers pour ses multiples retards et le félicite pour sa résilience, mais il aurait peut-être pu engager quelqu’un de compétent pour réaliser ses PV…
UNI2, je pense.
Je trouve la meuf chouette, mais un peu hors de ce dont j’ai l’habitude dans le jeu, elle fait plus Skullgirls qu’UNI, qui est bizarrement un jeu assez honnête. C’est un Street Fighter animu… bon, avec des standing high punch qui couvrent la diagonale supérieure de l’écran, OK.
Peut-être que c’est juste le trailer.
Sinon, HxH a annoncé Kuroro (et Feitan) après Uvogin et Machi. Ils ont aussi l’air d’avoir rajouté du lipsynch un peu ? Courage, les gens.
Bizarrement, ils ont l’air de coller à l’animé, donc j’imagine qu’ils s’arrêteront à Meruem. Dommage, mais avec seulement 16 persos (et les pouvoirs chelous des persos des derniers volumes) c’est sans doute mieux.
Si on était encore sur PS2, je me prendrais à espérer une suite où ils rajouteraient des persos de Yuyu Hakusho. Je suis sûr que ça intéresserait au moins 12 personnes de plus !
EDIT Je comprends de moins en moins les collabos de SF6. Mais si on peut avoir les deux idiotes en commentatrices du jeu, ma carte bleue est dans ma main Capcom.
Chouette petite vidéo sur Guilty Gear 2 -Overture-, le MOBA sorti avant que le monde comprenne les MOBA. Je me souviens effectivement qu’on comparait plus volontiers le jeu aux Warriors/Musō, et que la communauté baston justifiait aveuglément que l’overture du titre signifiait qu’il ne s’agissait pas du « vrai » Guilty Gear 2 mais simplement d’un gentillet spin-off. Dingue à quel point Ishiwatari avait senti le truc avant presque tout le monde.
Voilà qui est faire l’amour pour de vrai : Baberuthless revient pour parler des stages de Capcom Vs. SNK 2.
Elle ne s’épanche pas trop sur le stage d’Aomori mais elle rappelle (et moi donc) qu’elle avait déjà parlé du stage dans une vidéo dédiée.
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J’ai les pools du « plus grand tournoi 3S de l’Histoire » à l’EVO dans l’écran du fond au boulot, 60% des matches c’est Ken v Ken qui font des wakeup shoryu…
Ça reste plus sympa à regarder que SF6 ; boudiou, le jeu a l’air chouette (je n’y ai pas encore touché), les persos legacy sont vraiment rigolos dans cette version et j’aime bien justement que la meta actuelle encourage les joueurs à rester très près l’un de l’autre façon 3S, mais c’est incroyablement busy à l’écran, il y a trop d’effets partout, je pige parfois mieux ce qui se passe les yeux fermés en écoutant Jwong qu’en essayant de comprendre ce que je vois.
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Beaucoup d’amour pour les sprites Technos de Dojo Masters.
Evo Moment 38
https://x.com/HiFightTH/status/1814654399446458804
Guitar Hero
EVO toujours, SNK vient d’annoncer SvC CHAOS -SNK Vs. Capcom- sur Steam (dispo dès maintenant), GOG, Switch et PS4 (dispo vers minuit GMT ce lundi 22 juillet sur ces trois magasins). Toutes les versions sont compatibles Rollback Netcode. $19.99 / €19.99 / £16.75 / ¥2980. Dis donc, c’est dingue que Kyo ne soit même plus invité sur l’illustration officielle de cette réédition ; quelle déchéance politique post-Smash.
Rooflemonger a déjà sorti un petit guide de fortune sur le jeu pour fêter ça.
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EVO toujours, Maximilian Dood et sa bande ont pu toucher à Marvel Vs. Capcom Fighting Collection (toujours pas de date) et ont décidé d’affronter Justin Wong sur MVC2 en ayant le droit de choisir son équipe. Ça permet de voir des persos moins populaires à haut niveau.
Aucun rapport avec l’EVO, je crois, mais voici Meruem dans HUNTER×HUNTER: Nen Impact.
Apparemment, c’est le dernier perso de base du jeu (comme prédit par @Iggy ci-dessus) et donc Bushiroad a aussi balancé l’intro.
