A look at Ken-Ju, an unreleased fighting game from 2005

Today we are going to talk about a game that was announced for the arcade, and home consoles. It was previewed in the magazines, tested in arcades, and then vanished into thin air. Ken-Ju was a 3D fighting game scheduled for release in 2005. This was during an era where fighters were few, and far between. Namco should be given credit for their efforts. Tekken 4 came out in 2001, Tekken 5 in 2004, and Tekken 6 in 2007. As far as Capcom was concerned the genre wasn’t worth it. Street Fighter III: 3rd Strike, the last sprite-based fighter from the studio came out in 1999. Street Fighter IV wouldn’t debut until 2008. If it weren’t for Yoshinori Ono being passionate about rebooting the franchise many fans would be out of luck today. This is the only thing I’ll give him credit for. His enthusiasm for the series was genuine, but his sense of direction was too silly.

Ken-Ju was going to be published by Sammy. The company was no stranger to the genre. There were former Capcom employees that worked there. The studio released Survival Arts, The Rumble Fish, Guilty Gear X, and Battle Blaze to name a few. The developer of Ken-Ju was Dream Factory. While you may not be familiar with the studio, you should know that they contributed a lot to the fighting, and brawler genre. The studio developed Tobal No. 1, and Ehrgeiz: God Bless the Ring. Those were two highly-influential 3D fighting games for the console, and arcade. Most notably they proposed the idea that fighting game mechanics could cross over well with dungeon crawlers. While working alongside Square they also released The Bouncer on the Playstation 2. It was the first brawler for the console, and it gave exposure to the designs from the artist Tetsuya Nomura. The main character in the Bouncer, a kid named Sion, influenced the creation of Sora in the game Kingdom Hearts. The rest as the say is history…

The hardware that Dream Factory was building on was the Atomiswave. This was developed by Sega, and it was designed to help port arcade titles to the Sega Dreamcast. There were a number of new features that would have been featured for the genre. Ken-Ju would support net-play. Audiences would be able to find competition regardless of what arcade they visited. Not only that they would be able to keep track of their character, and progress in online leaderboards. Gamers could unlock clothing, costumes, and accessories to customize their fighters. The studio was ahead of the curve, as similar things would be featured in the Tekken series as well.

People had recorded matches while the game was testing in a few arcades. This hand-cam footage had been uploaded to game forums, and YouTube. It was the only way to see it in action for over 15 years. All of that changed in early 2021 when a kind sole dumped the file online, and people quickly got it working on Dreamcast emulators. For the longest time it was assumed that if a build managed to get ripped it would prove the game was incomplete. That the animations, stages, and control would be unfinished. Those that had been playing through the game, and its various characters could all attest that the game felt complete. Every character had a single player story. The balance seemed to be there with multiplayer matches.

So then the question became why did the game never get published formally? I don’t have an answer to that, as the developer, and publisher haven’t given a formal explanation. Perhaps it was determined that publishing an arcade game in the early ‘00s was bad for business. The arcades had just about all dried up in the US. To make matters worse the Dreamcast was losing the console war, so publishing it might not make any return on the investment. So the studio just scrapped the project. Which was a sad thing for fans of the genre. Dream Factory had been pushing their own version of fighting game mechanics. They had three things they wanted to highlight. Fist awakening, was what they called a Super attack. It could be used when “the Breacher Gauge” reaches maximum. They also had Impact Defense, which was a parry system that worked on directional attacks as well, so long as the player moved the joystick at the critical moment. Lastly they had a Boost Special Move. Street Fighter fans would know this as an EX move, a stronger version of a special attack.

There were short character profiles in the game, but most players didn’t really have their backstory. I actually had the issue of Arcadia magazine where the game was profiled. I scanned in a few of the pages, and did some rough translations for those interested in the cast. The two oddest characters that I could identify were Rina and Mina (Malicious Twin Agents) they were 12-years-old. I believe they are the youngest, and lightest fighting game characters ever featured in the genre. I think the only other character that comes close is Momo Karuizawa from Project Justice. You fighting game historians out there can remind me of who was younger. Anyhow, according to Rina, and Mina’s bio they were “Innocent twins who always act together. Formerly circus performers that enjoy fighting with acrobatic techniques.” The two girls don’t fight at the same time, although it would be fair given the size of their opponents. Players could press four attack buttons to tag in the other sister. It was an interesting mechanic for sure, especially since each sister played slightly different.

The star of the game the “Ryu” essentially was Eiji Kammori (Free-spirited Brawler). His bio says “High school student that fights with the Kammori style “Sky Hand.” Then there was the standard sexy lady Shihua Fumika (Oblivion fugitive). “She is an amnesiac that rejects others, she feels she is being chased by someone.” What made her unique was that she was the only one in the cast that could attack while moving forward. I can’t think of another fighting game where a character could attack, and advance at the same time. Then there was a character that could only be described as Indiana Jones from the Guilty Gear universe. Hector Slayman (Know the Truth Explorer). He’s “An archeologist, and explorer. He fights with a mix of jujitsu, and Muay Thai.” He also has an adorable money on his shoulder. You can’t have a decidedly Japanese fighting game without the next character. Mikoshiba Nanaba (Kunoichi Schoolgirl). She’s “A high school girl trained in ninjitsu following the death of her parents.” Then of course a game with a “Ryu” needs a “Ken” as well. Enter Roger Barnes (Elite warrior advocating justice). He was “Born in a well-known family, and master of various martial arts that he learned at an early age.” Like I said, every Ryu needs a Ken.

The Black guy in the game was a boxer (surprise!) Gale Williams (Greedy Puncher) the “Former world-ranked boxer who was banished from the ring by a max-fixing match.” Then there was a classic kung-fu villain. Liu Tailong (Mysterious god of war). “He is willing to sacrifice everything for the purpose of attaining power. He invented Formula 88 Bajiquan which is based on multiple Chinese martial arts.” No good fighting game is complete without a vain pretty-boy. De-rake (Those who rule beauty). He is “A narcissist who loves himself, and beautiful things. He selects techniques that make him look beautiful.” No fighting game would be complete without an oddball. This was without a doubt a new take on Blanka. Hanuman (Revived wild). He was literally “A monkey whose abilities have been enhanced by experiments. He fights with techniques created by his rampaging animal instincts, and not martial arts.” Then you have to have your big wrestler. This one is a bit T. Hawk-meets-Zangief-meets-Necalli. The Mexican was named Guarde (Jewel keeper). He is a “A guardian who protects a temple in a certain country. He currently makes a living as a professional wrestler.” Last but not least is the handsome I Jongha (Koreas leading superstar). He is “A popular actor, and professional soccer player. He fights to protect Seafore using his foot technique which is a mix of taekwondo, and soccer skills.”

For the most part I really enjoyed the character designs, and their style which falls between Bengus’ work on Street Fighter Zero / Alpha, and Daisuke Ishiwatari’s work on Guilty Gear. Moreover the characters actually have an entirely different outfit for Player 2. Normally fighting games have a pallet swap, a slightly different color of the main costume. Ken-Ju had radically different looks for their cast. The wild Hanuman went from appearing like an escaped beast to a god in disguise. Others like I Jongha actually showed up in their soccer kit. Gale Williams was the first striker that I saw wearing a rashguard top with pants, his alternate look predated the makeover that Ken received in Street Fighter V more than a decade later. Imagine that, a game studio simply putting in entire outfits that were unlocked from the get-go, plus the ability to earn other costume upgrades!

Visually the game had an anime, almost cel-shaded look. It worked well for the cartoon style that Dream Factory was going for. The studio was good at recreating the aesthetic of the lead artists. This was especially true for the Akira Toriyama (Dr. Slump, Dragon Ball) designs in Total No. 1. This adherence to character stylization would be a graphic format used by DIMPS, and Arc System Works on their franchises as well. All games need a boss character, and this one was as unique as the cast. His name was Zine. He sported long blonde hair, and a red suit. His torso was wrapped as bandages. The character floated around the stage like a vampire. If I could compare him to another villain I’d say he was similar to Avel AKA Code Death from the unreleased Capcom Fighting All Stars, and the despot Vold Ignicio from Fighting Layer. The game also featured a secret time-release character. The title lacked a traditional karate fighter until Sekishusai popped up after the game had been running for a few weeks. The 75-years-old “Kagamiryu Karate Master” was as memorable as the rest of the cast.

Maybe the game wouldn’t have been a commercial success, but then again, maybe it could have sold enough copies to warrant a series. Sadly we may never know how. The good thing is that we have emulation letting the most die-hard fighting game fans enjoy the experience. Would you like to see a studio bring this game to modern consoles? Do you think it would be an interesting addition to the Xbox, or Playstation libraries? Do you think game studios should make more experimental fighting games, rather than sequels to established franchises? I’d like to hear your take in the comments section. Thank you for reading this entry. If you would like to sponsor me please visit my Patreon page and consider donating each month, even as little as $1 would help make better blogs and even podcasts!

How fight culture became fighting game history, part 6

In the era of high technology there were still many places in the world that were heavily influenced by the tenants of old religions. Politicians extolled the virtues of ancient scriptures as the sway to get society back on the right track. These politicians could not see how science and reason might also be beneficial to a nation. The use of religion or scripture as a learning tool was not necessarily a bad thing. A proud culture preserved many classic traditions, many of these traditions did not fly in the face of science or common wisdom but were instead celebrations of cultural foundations. The heroes of ancient religions were the templates that people were supposed to emulate. In many cases peace was the desired outcome but in order to achieve that peace sometimes blood had to be spilled fighting against the forces of evil.

In Asian traditions two of the oldest icons were symbols of purity, strength and nobility. Arjun (also written Arjuna) and Hanuman were figures central in Hindu traditions. The gods favored Arjuna and blessed him with weapons and training. He was challenged at every opportunity and tempted to go astray many times. His name could be translated literally as shining or bright. Arjun was a figure whose martial prowess and especially the use of a bow were inspirational. If he had one failing, as most classic heroes tended to do, it was that he was extremely prideful in his abilities. He was so proud that he would squander his gifts from the gods just to prove he was as mighty a warrior as he claimed to be. More often than not these parables were a way to humble the man and remind him that the needed to be humble and honor the gods that favored him. That pattern of pride coming before the fall turned up in both Western and Eastern storytelling traditions. The legend of King Arthur and Beowulf from classic tradition also featured stories of how pride was a dangerous thing.

   

A contemporary of Arjun was Hanuman. The god creature was actually a vanara, or ape-like man. Hanuman was also blessed with powers and gifts from the gods. He was insanely strong, capable of carrying mountains with one arm, he also had the ability to change his size at will. His favored weapon was a war hammer, sometimes referred to as a mace. Despite his appearance Hanuman was extremely intelligent and well spoken, having memorized all of the holy scriptures and a scholar of nine different languages. Arjun and Hanuman crossed paths and you can imagine that two prideful characters did not get along well. After they had a quarrel they were reminded that they should know better than to waste their talents just to satisfy the foolish notion of pride. A wonderful graphic novel Sundarkaand Triumph of Hanuman explores the myths of the character and shows why even to this day Hanuman is still revered around the world.

  

There was a fighting game in the works called Ken Ju that actually featured a beast man called Hanuman. He was a large hairy, red-skinned character. He wore chains and shackles and was sort of like Blanka but on steroids. The arcade game was a rare 3D title developed for the Sega Atomiswave cabinet. Sammy designed the title and few copies of the game are known to exist. Above is a look at the alternate costume for Hanuman, in it his skin was white and he wore golden armor and a mask. The alternate look was more in line with the traditional representations of the figure. The adventures of Arjun and Hanuman helped spread the tenants of Hinduism. What was interesting was how the use of mythological characters spread from India to China. Animal gods were celebrated in almost every culture around the world. There were creatures who could think and act like a person while retaining the appearance of an animal. Some of these creatures even had supernatural powers as well. 

In Chinese tradition no animal character was better known than Sun Wukong, the Monkey King. He was one of many figures that existed in classic storytelling traditions. As Buddhism spread from India through China a new parable was created. The mischievous Wukong was humbled by Lord Buddha and made to serve as a guide to the Buddhist monk Xuanzang (Tang Sanzang) as penance. The story that featured his adventures would become known as "Journey to the West." Wukong was a mighty figure, he was impossibly strong, could change shape, a master martial artists and could leap countless miles in a single jump when he wasn't riding around on a cloud. He was also a trickster and notorious troublemaker. Yet even with all of his powers he was nothing in comparison to Buddha. This format of humbling mythological characters helped demonstrate that the new religions were the true faiths. I would contend that Sun Wukong was actually a variation of the legend of Hanuman that had reached China before Buddhism. The war hammer of Hanuman was replaced by a magical staff that could also grow impossibly long. As Buddhism spread Journey of the West helped bring in older figures into the fold and keep them relevant to the culture.

The legends of Hanuman and Wukong would persevere and last well into the 21st century. In pop culture the characters would be celebrated in comics, cartoons and even video games like IGS' Oriental Legend series. The long-running Japanese series Dragon Ball was inspired in equal parts by Superman and Journey to the West. The main character Son Goku was mistaken as his reincarnation of Sun Wukong early on in the series. He even had a magical staff and could ride around on a cloud like the classic figure. The manga inspired a generation to read up on the older stories and see what Akira "Dr. Slump" Toriyama used as the basis of his series. Live-action features based on ancient gods were still being produced and the relevancy of these figures was still an important part of society. The legends were still heroic and virtuous and could teach modern audiences a thing or two about doing the right thing. An excellent analysis of the symbolism used in action games can be found on A Buddhists Guide to Asura's Wrath by Art-Eater. The author goes to great lengths to chronicle all of the nuances and details that Capcom had placed in their game.There were also other ways in which classic traditions were observed in modern culture.

In combat sports like boxing, wrestling and mixed martial arts there were rewards given to the victors that resembled ancient artifacts. The belt awarded to prize fighters could be traced back to ancient times, more than two thousand years ago. In different parts of the world combatants, sometimes soldiers on a battlefield, sometimes gladiators would be rewarded the banner or sash of a rival opponent as a victory trophy. In modern times boxers would show that they were champions by wearing a colorful belt with a large buckle at social events. Over time the belts became larger, more ornate and more colorful. The belt signified that they were the absolute best in the world, the literal peacock feathers for the fighting community. There were also trophies that went even further back in time. The Greeks would reward the victors of early sports competitions with jars filled with olive oil. The victor would be crowned with a wreath of olive leaves as well. The wreath was lost to tradition but the cup remained. It would become synonymous with victory and would take many forms and materials over the years but retain its basic shape.

 

In South Asia the trophy used for wrestling competitions was shaped like a mace. It symbolized the war hammer of Hanuman. The victor of a competition was said to have had the same qualities of the ancient god. Chief among them were honor and strength. Just like the title belts and victory cups the hammers could be made of polished gold or silver and be decorated with precious stones. To this day the belt, cup and mace were still used as symbols for sporting champions. In many fighting games there were characters that were shown with belts or trophies that they had won as well. Symbols became very important to the development of fighting games. The oldest figures from Asian tradition would become the backbone of the most powerful characters in the fighting games developed by both SNK and Capcom. The next blog will look at the most fearsome characters ever created. As always if you enjoyed this blog and would like to sponsor me please visit my Patreon page and consider donating each month, even as little as $1 would help make better blogs and even podcasts!