The agile figure moved and dodged on the screen, fists and feet flying like wind, movements swift, precise, and possessing a unique sense of rhythm.
Takuya didn't play the entire fighting sequence; instead, he clearly presented the most exciting moments of offense and defense through freeze-frames, slow motion, and close-up shots.
These disassembled and magnified details of the fighting actions were extremely visually impactful, making the developers, who were used to the simple movements of pixelated characters, light up with excitement.
"Please look, everyone," Takuya's voice rang out at the opportune moment, like a commentator, guiding everyone's gaze, "Punching, kicking, jumping, crouching, defending, blocking... these are all the basic action elements that constitute 'fighting'."
"What we need to achieve is to fluidly and realistically reproduce these powerful and skillful actions in the game through the player's operations."
"But more importantly, it's the 'judgment' between these actions," he emphasized.
He pointed to a freeze-frame where Jackie Chan narrowly dodged a powerful blow from his opponent with a side step, while simultaneously hitting the opponent's ribs with a precise backhand punch.
"Did the attack hit? Which part was hit? How much damage feedback was caused? Was the defense successful? If successfully defended, will there be a brief vulnerability due to the massive impact? After an attack is blocked, will the attacker be stunned? All of these require an extremely precise, intuitive, and deep set of rules for judgment."
"This is one of the technical core aspects of our envisioned fighting game, and also the biggest difference between it and existing action games."
When the video finished playing, the lights in the conference room came back on.
The confusion on many people's faces had been replaced by intense interest. Even several executives who had initially looked indifferent, waiting to see a joke, now showed focused expressions, their fingers unconsciously stroking their chins.
This kind of deconstructed demonstration was far more convincing than empty verbal descriptions.
Some even began to discuss in low voices, quietly speculating how these freeze-frames would relate to actual game operations, and what kind of input devices and program logic would be needed to achieve them.
Takuya didn't give everyone much time to digest and discuss, immediately switching to the next slide.
The screen displayed a popular game on the Nintendo FC console called "Karateka / Kung Fu Master." On the screen, a small figure in a white gi was confronting an enemy.
"I know there are already some games on the market that attempt to feature 'dueling' elements, like this one," Takuya's gaze swept across the screen, his tone becoming somewhat sharp, even carrying a hint of undisguised criticism.
"But frankly speaking, this game, and all similar games, cannot be called a true 'fighting game' as I just defined it."
He unceremoniously began to list the many serious flaws of "Karateka," a game that was still quite popular at the time, with each point directly addressing the core experience.
"Character movements are stiff, lacking basic fluidity, more like marionettes."
"Operation response is sluggish; when a player presses a button, the character only 'symbolically' moves after a while, with severe lag in command feedback."
"Attack methods are extremely monotonous, repeating the same two or three moves over and over, lacking variety and depth."
"Judgment logic is vague and chaotic; players often feel they should have hit or blocked, but the result is completely unexpected, leading to strong frustration."
"Most importantly," Takuya paused, emphasizing his words, "it lacks true 'confrontation' and 'strategic depth.' Rather than fighting, it's more like memorizing patterns, playing against the process, against the game program, not against an opponent."
To support this grand goal, he immediately put forward specific innovations.
"First, richer attack methods."
"In addition to basic punches and kicks, we will introduce 'throws,' which are close-quarters grappling and throwing techniques from wrestling and judo."
He gestured with his hand, mimicking an over-the-shoulder throw.
"Imagine, seizing an opponent's opening, a beautiful German suplex throwing him to the ground—what a exhilarating experience that would be!"
"Second, the concept of 'projectiles.'"
He switched slides again, and the screen showed a scene from the famous manga "Dragon Ball" where Son Goku fires a Kamehameha.
"Of course, we don't necessarily have to make it this exaggerated. But similar long-range attack methods can greatly enrich tactical choices and increase the variability and fun of the mutual standoff, probing, and containment phases at medium and long distances."
Judo throws, "Dragon Ball"'s Kamehameha...
These vivid examples filled those present with boundless imagination for the fighting game depicted by this "K" project.
"To achieve all this, we need more advanced technical support."
Takuya knew that concepts alone were not enough; a feasible technical path had to be presented.
He began to explain the technical principles for implementing these mechanisms in an accessible way.
"The core lies in introducing a more precise 'State Machine.'"
"Every action of a character—standing, walking, jumping, punching, being hit, falling down, etc.—corresponds to an independent state."
"States can switch according to player input and game rules, ensuring smooth and continuous actions."
"At the same time, we need to introduce a 'Pixel Block Judgment Mechanism' (Hitbox / Hurtbox)."
He displayed a diagram, with the character covered in different colored rectangular boxes.
"The red area represents the attack hitbox, and the blue area represents the hurtbox."
"When the attacker's red box overlaps with the opponent's blue box, the system determines it as a hit."
"By precisely drawing these judgment boxes, we can achieve accurate judgment of hit locations, for example, different damage for hitting the head versus hitting the leg, or certain moves only being able to attack the upper body, and so on."
"Finally, the strict application of the 'Frame' concept."
"Every action in the game needs to be precise down to the frame duration, which frames the attack judgment occurs in, how many frames of stun after being hit, and so on."
"Through precise control of frames, we can achieve complex combat systems such as offense-defense transitions, move strength, and combos."
These somewhat professional technical terms became less obscure and difficult to understand under Takuya's clear logic and popular analogies.
The development team leaders, especially those with technical backgrounds, nodded in agreement, with some even pulling out notebooks to quickly take notes.
Takuya's technical Ideas had clearly given them great inspiration.