Inside the fight: combat, lighting and a living world
This first journal entry opens up the current development build. The film combines recorded gameplay, original artwork and a narrated explanation of the systems behind the fight. It is a progress showcase, with slow-motion combat and accelerated environment time labeled in the video.
Recorded prototype · Narrated, with English captions · Download video · Download transcript
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The battle system, up close
Six punch and kick strengths have startup, contact and recovery. Light attacks can chain, confirmed normals can cancel into specials, and a timed Custom Combo opens a wider offense window. Regular opposing blasts clash; close grounded throws use capture, lift, impact and release. Meter-powered supers have an easier right-trigger shortcut.
Stages that keep changing
Layered dawn, day, dusk and night artwork follows the moving sun and moon while the fight continues. Frame-specific surface values let warm lamps and cool moonlight change the lit side of a character's pose. Moving silhouette shadows, rain contacts and body-shaped snow accumulation make the weather visible throughout the arena. The water demonstration is Bruno's stage.
Watch, measure, refine
AI Preview runs both fighters and cycles to new matchups. Its tracker records move use and flags patterns worth reviewing. The battle system still needs work on combo pressure, projectile defense, throw presentation and balance. A tracker flag is a review prompt; it does not by itself prove that a move is unfair.
Read the full video transcript
FIGHTING IN THE STREETS — TECHNICAL ANALYSIS Narrated prototype showcase • 120 seconds • 2026-10-10 0.0–6.0 INSIDE THE FIGHT Fighting in the Streets brings a two dimensional fighter into painted worlds with changing weather and light. 6.0–17.0 CONTACT + TIMING Six-button combat uses startup and recovery. Light attacks chain; confirmed normals cancel into specials. Custom Combo gives a timed offense window. 17.0–26.0 PROJECTILE SPACE Regular opposing blasts cancel on contact. A well timed jump can clear their collision bounds, keeping space and timing important. 26.0–35.5 CAPTURE TO RELEASE Close grounded throws control both fighters through capture, lift, impact, and release. The defender has a short fall window. 35.5–46.0 ONE PRESS. BIG PAYOFF. Right trigger activates a meter powered super. Character specific attacks use illustrated flashes, energy beams, rushes, and grappling sequences. 46.0–54.0 PLAY SIDE BY SIDE Two local players can use separate controllers. Custom layouts can be learned, and the game menus stay inside its window. 54.0–63.0 WATCH. MEASURE. REFINE. AI Preview plays both sides and cycles through random matchups. Its tracker records move usage and review flags for balance work. 63.0–73.5 ONE WORLD CLOCK A shared world clock keeps moving during combat. Layered dawn, day, dusk, and night paintings follow the moving sun and moon. This is accelerated testing. 73.5–84.0 LIGHT READS THE POSE Per frame surface fields change the lit side of each pose. Warm lamps and cool moonlight preserve painted colors. Silhouette shadows follow light direction. 84.0–95.0 WEATHER MAKES CONTACT Rain reaches mapped floor depth bands and strikes sprite surfaces. Snow accumulation follows animation frames and body contours. These are native game effects. 95.0–101.5 A STAGE WITH MOTION Bruno stage adds animated raster water, extending the environment beyond a still backdrop. 101.5–110.0 THE ORIGINAL DRAWINGS Original drawings by Keyeske Yamada unlock through played matches and victories. Automated Preview does not award artwork. 110.0–120.0 FIGHTING IN THE STREETS Original art by Keyeske Yamada. The game was made completely in Codex GPT six point one Sol. Codex music, remixed in Suno. CREDITS Original designs and artwork by Keyeske Yamada Game made completely in Codex GPT 6.1 SOL Music scores by Codex, remixed in Suno This film shows an evolving prototype. Controller support depends on browser-recognized devices. AI Preview is a passive balance review tool. World time and artwork progress are local to the browser; the clock is shared across stages, not network synchronized. Pose lighting uses inferred two-dimensional surface values, not three-dimensional ray tracing. The water demonstration is Bruno’s stage. Slow-motion combat and accelerated world time are labeled. No online multiplayer or mobile-touch gameplay claim is made.