fdurso224 #23676 Posted September 9, 2020 Hi guys, Video Game Music Online@VGMOnlineJun 19, 2014 Art of Fighting and Samurai Shodown veteran Yasumasa Yamada (@yamadub) provides a rare insight into SNK's sound team: http://vgmonline.net/yasumasayamadainterview/… Mel Geo CDZ@MelquiCurty 31m Yasumasa Yamada was one of SNK's most important musicians and who designed the sound for the NeoGeo logo. Source: http://vgmonline.net/yasumasayamadainterview/… Yasumasa Yamada Interview: SNK Veteran on the Sound of Fighting Yasumasa Yamada was one of the most important musicians at SNK. You might not be familiar with the name, as he was always credited under aliases (e.g. YAMAPY-1) and collectives, but his legacy is a huge one. During his time at the company, he balanced responsibilities such as composition, sound design, and sound programming on numerous fighting games. He led the sound for the Art of Fighting trilogy and Samurai Shodown titles, between contributing to the arranged albums, rhythm games, and, of course, the King of Fighters franchise. He even designed Neo Geo’s logo sound and was involved in producing the sound driver for the Hyper Neo Geo 64. As the first English interview with an ex-SNK musician, this feature gives a special insight into one of most incredible sound teams to have ever existed. Yamada gives special insight into creating game audio for SNK’s fighting games, giving emphasis to the importance of sound design and programming. He goes on to discuss his current work, including game music, techno units, and television commercials. Many thanks to Tetsuya Shibata, who made this entire interview possible. Interview Credits Interview Subject: Yasumasa Yamada Interviewer: Chris Greening Translation & Localisation: Tetsuya Shibata, Gerardo Iuliani Editor: Chris Greening Coordination: Tetsuya Shibata Support: Don Kotowski http://www.vgmonline.net/yasumasayamadainterview/ Interview Content Chris: Yasumasa Yamada, it is an honour to talk to you today. First of all, could you tell us about what led you to become a game sound creator? What is your musical background, education, and influences? Yasumasa Yamada: I initially had a job related to interior design, as it was pretty rare to have a job as a game music creator back then. But upon hearing they were taking applicants for the SNK sound team from a friend, I took the chance during a day off work to go to an interview and send them a demo tape. After all, I had enjoyed computer games and making sounds through synthesizers ever since I was child. If I hadn’t had that day off from work, most likely I wouldn’t be who I am now. As for the music that influenced me up to that point, it would be techno and dance tracks, as well as movie soundtracks. Everything I know about music was self-taught, so I actually didn’t know how to read scores or develop chords when I first entered the SNK sound team. Chris: To our knowledge, your first works at SNK were Burning Fight and Robo Army. How did you approach these early beat ‘em ups musically? How did you overcome the technological limitations of arcade sound boards of the day? Yasumasa Yamada: I initially made the sound for Arcade and Famicom games that were released long ago. Back then, we needed simple programming knowledge in order to make the BGM data, so it wasn’t musical at all: we had to input by hand hexadecimal values such as $0A, $08 and $0C, as well as some assembly code. I had to greatly imagine the timing and pitching of the individual sounds and then input their data as hexadecimal numbers. So to make sound effects and music was always through numeric figures. From the time of the Neo Geo onwards, it became much more enjoyable to make game sound. This system enabled sampling for the creation of sound effects, as well as data conversions for the BGM. But we still had very few channels available, so we had to use them the best we could in order to make the BGM as colourful and expressive as possible. For example, if there was silence at some point in the bass track, we would use place drum sounds in another track and join them to better convey the rhythm of the song; and we would copy a melody track into another track, slide it away in timing, and reduce its volume in order to make a delay effect. Since it was necessary to rely on such tricks to use these few channels effectively, when it finally came the time to input the data as hexadecimal numbers, we needed to tune it very carefully, so it was also necessary to have knowledge on FM sound sources for making synthesizer patches. I think these were the most basic skills that the members of the sound team needed back then. Chris: Following the success of Fatal Fury, SNK made a line of highly successful fighting games. Could you discuss how your approach to creating character-based stage themes? Which of the character themes you created are your favourites? Yasumasa Yamada: When I made the songs for the characters, I ended making them from the sound I imagined for them from their profiles (e.g. if they were pro-wrestlers or ninjas) and from the background of their stages (e.g. if it was a city or the natural environment of Bali Island). And like I explained in the previous answer, I also needed to keep in mind the limited number of sounds I had at my disposal. My favorite character theme would be the one I made for Ryo Sakazaki from Art of Fighting. Chris: As the lead composer of the Art of Fighting franchise, you innovated with the rhythmically-focused compositions on Art of Fighting and jazz variations on Art of Fighting 3. Could you elaborate on how you approached the soundtracks for this franchise Would you agree that you rejected the typical melodic rock sounds of SNK’s other fighters in favour of more individual approaches on these titles? Yasumasa Yamada: Since I liked techno and ethnic music a lot, I think I embodied everything I liked myself when I made the music for Art of Fighting. We could say that I also had some difficulties, namely searching for a way in which I could make a sound with a specific kind of pressure, and for that I had to research day and night into sampled sounds that would impact listeners. It was also challenging to investigateot how to make data that would produce sounds in low frequencies. And while it’s true I had an approach that tended more toward Jazz and Blues sounds for Art of Fighting 3, I think it was because I had to keep in mind that one of the producers proposed making an arranged album for it, and it was given the green-light shortly later. In other words, I wasn’t the one who had the idea of making these songs as Blues or Jazz pieces. As for the question about why I didn’t take a melodic rock approach, it’s because composing rock pieces isn’t really my forte, so we could say I had to take such a unique approach out of necessity. Chris: You’ve also participated extensively in the Samurai Spirits, including leading the soundtracks for Samurai Shodown IV and Samurai Shodown 64. How did you develop the sound of these franchises musically and technologically? How did you approach the traditional Japanese stylings of these scores? Yasumasa Yamada: For Samurai Spirits, I inherited the thorough world setting that Yasuo Yamate (alias TATE-NORIO) had made for the series up to that point, so I thought I should take a new approach for it. For the sequels of the series on the Neo Geo, I had to go in with the mindset of a sound programmer on how to play the sounds effectively. I researched the Japanese traditional instruments, and added the effects that would set the environment for the stages, such as the multiple wind sounds and bird chirps. For Samurai Spirits 64, we started working with a new piece of hardware [Editors’ Note: The Hyper Neo Geo 64 Arcade Machine], which also increased a lot the sound specs I had at my disposal. I was actually related with the development of the sound chip for this particular hardware for the manufacturer. It was about this time that we could add in an excellent sound font library for traditional Japanese instruments, so I finally could enjoy the luxury of adding long phrase samplings of sounds like shamisen and taiko drums. This allowed me to play the environment sounds together with the music in stereo, which allowed the sound to be more expressive than before. Chris: You were also part of the soundtracks for second to fourth instalments of The King of Fighters franchise. What was it like to be part of major collaborative efforts such as these? What were your personal responsibilities? Yasumasa Yamada: As the King of Fighters was a franchise in which the characters of several SNK games appeared together, the lead sound directors for each of these games made the themes for the characters of the games they worked in. As the SNK sound team often had many composers and sound designers working on a single game, and I constantly worked on several things related to sound design, the number of composers and creators involved in the King of Fighters didn’t feel at all different from the other projects in which I’ve worked. For the second game, I helped several of the members of the staff with the creation of the sound effects. It was at this time that I began cultivating myself as a sound effect director. As for work in relation to the series I was involved in, I remember I was involved with the composition work for the themes of the characters from Art of Fighting, and I also made the vocal music for the character Athena for an arranged album. Chris: During your time at SNK, you extensively worked alongside other internal composers, including Yasuo Yamate (aka TATE-NORIO), Masahiko Hataya (aka Papaya), Hideki Asanaka (aka SHA-V), and Toshio Shimizu (aka SHIMIZM). Is it correct to assume there was a lot of cooperation and friendship within the SNK sound team? Yasumasa Yamada: Something all the members of the SNK sound team had in common was that they worked both as BGM composers and sound effects creators, in addition to having some simple programming knowledge. Therefore, the lead sound director would assemble a team depending on the game, and the team would then go on to work together on the sounds. We all loved music, so it’s natural that we would encourage each other and work together in our projects. There were even times in which project team members would be asked to help with another project right as the deadline for the work they were originally assigned to was about to come up! Chris: Have the team kept in touch since the collapse of SNK? Yasumasa Yamada: Yes, I still continue keeping in contact with the staff members from back then. We even go out and eat together every now and then. Chris: SNK developed an extremely impressive discography during your time there. How closely were you and the rest of the team involved in the soundtracks, arranged albums, and live performances of SNK’s music? Yasumasa Yamada: This was how the sound team prepared soundtrack albums: Right as we were finishing development in a game, we took the most fundamental BGMs, the sound effects, and the voice collections, and sent them to the label. They were recorded in the media we had available at the time, which back then was DAT tapes. Aboutarranged albums, generally the same person who was in charge of composing the original pieces rearranged their own work and wrote a new version as a sheet music score. They had to be present at the recording studio from when the professional musicians played the new version of the piece up to the point in which the sound engineer made the final mix. However, there had also been times in which we had to outsource the arrangements because of circumstances that came up, for example during the making of some orchestral and remix albums. As for the live performances, I just arranged the pieces for the professional musicians and gave them the scores for them to play. Chris: You personally contributed music for the arranged albums to the Art of Fighting, Fatal Fury, and Samurai Shodown series. What was it like to rearrange your work without the usual technological and other limitations? Which arrangements are you most proud of? Yasumasa Yamada: As we all were able to better express our music when we worked in arranged albums, I think we all enjoyed it a lot. As I don’t get tired from listening to a song over and over, my style of making music for arranged albums is listening to the original song a lot in order to introduce new developments and think up of parts in which I could replace the instruments. The genres I personally like the most are techno and house, as I enjoy the pounding sounds made by the synthesizers a lot. I’ve taken part in the making of many arranged albums, but the one I liked the most was the first one in which I was involved, Art of Fighting 2, as well as Samurai Spirits 64. Chris: Did being credited under pseudonyms (e.g. YAMAPY-1) or collectives (e.g. Shinsekai Gakkyoku Zatsugidan) ever prevent you from receiving individual recognition? Yasumasa Yamada: This occurred because, while the members of the SNK sound staff were artists, they are also employees of SNK. Some of us still did the best we could in order to get exposure from the work we made creating sounds for game development. Chris: Shortly before the collapse of SNK, you led the soundtrack for the often-underlooked rhythm game Cool Cool Toon. After years of focusing on fighting games, what was it like to work on a title where music drove the gameplay? How did you approach writing the compositions and integrating them into the game? Yasumasa Yamada: As Cool Cool Toon was a rhythm game, different from the fighting games SNK had made thus far, it was an extremely fresh project to me. This time, I based the tempo on the music that was used by motion-capture movies made at the time. I made some original pieces of music by following the timeline that marked the development of the melodies and the decisive accents. But since the button presses and the music had to work together to control the movements of the characters (for example, the phrases of the music would get cheerier if you pulled of several dance combos in a row, while they would become sad if you failed a lot), I had work alongside the programmers to get the right approach for the game. However, I couldn’t offer more than four songs for this project. The work on it and its direction were mostly left up to the younger and most skilled members of the staff. The ideas for the initial gameplay scheme, as well as the concept of its sound, were thought up in a rather business-oriented manner. Chris: You left SNK shortly before it collapsed at the start of the new millennium. Could you share this experience? How did you bounce back and become independent through the studio Ayanehonpo? Yasumasa Yamada: When I left SNK, it coincided with the departures of several other staff members from the company. I was the first one, but several other members of the sound team also left SNK. I don’t really know what the other members of the staff thought when they made that decision. But for me personally, I had already worked for eleven long years for SNK, and I was a little tired of it. I didn’t particularly think out what I’d do next, though I wanted to travel abroad, go fishing everyday, or start up a band to make the kind of music that I actually liked. And thus, I spent a peaceful year like this. I don’t think I’ve ever had such a long time off in my entire life. But it was about that time that other ex-SNK staff members made their own company and began getting some game makers within their ranks, and thanks to my connections with them, I managed work again as a game sound creator. However, I also began working creating sounds for television commercials, thanks to several people I met during my time off, and thanks to that it was that I could make Ayanehonpo Studio. While this all might have happened because of my time off, I was very lucky that these new encounters happened and the next guidepost in my life appeared. Chris: As you say, you’ve also increasingly moved into original and non-game projects. Could you tell us more about what Vegesta and Hoshiageru are? Yasumasa Yamada: Vegesta provides education about nutritious and local Japanese produce to parents and children. It is a collaboration between creators such as myself with professionals that work in the food industry. For this production, I worked as a sound creator and producer, in addition to mixing sound effects that would be heard during live events. As a matter of fact, the producer of Vegesta was actually the game director from Samurai Spirits back when I worked in SNK. I don’t think I’m exaggerating when I say we’ve worked on a lot of projects together. Hoshiageru on the other hand, was a project in which I worked alongside a CG creator, who was friend of mine. We projected CG movies during the live events, for example children’s festivals. Once again, I worked as a sound creator and producer on it. Chris: In other musical activities, you have also created the unit Denshi Teishoku. Could you tell us more about this project and how it ties in with Pocketful? Yasumasa Yamada: About Denshi Teishoku, it is a personal music project I started in order to make and perform techno music with another musician [Editor’s Note: Akira Yamasaki]. We have already performed at a live event and have also released an album on the iTunes Store. You can hear samples below: Pocketful is a band from Sweden, but they once requested that they remix songs I made for Denshi Teishoku for this album. As they are a band with awesome vocals, I discussed about taking this collaboration further together with another composer friend of mine. Thanks to that, we got to show Japan their vocals by getting them to sing in a television commercial. It was thanks to the Internet that I could collaborate with foreign artists in this way. Chris: Since going independent, you have focused your attention on to sound design both for hit video games (e.g. Steel Battalion, SpikeOut: Battle Street, God Hand) and pachinko machines. Could you tell us more about how you approach sound design for video games and pachinko machines alike these days? Yasumasa Yamada: After I left SNK and became a freelancer, the first game sound work which I did was the sound design for Capcom’s Steel Battalion. As I like science-fiction mechas and robots, this project was very fun and stimulating for me, and working on it also made me develop my interest in sound design. Chris: Could you tell us more about your philosophy on creating sound design? Yasumasa Yamada: In general, I don’t make much distinction in the creative process of making music versus sound design. When I principally composed music, every time I wrote a song, I decided the tones for each part and expanded the image of the theme accordingly. Over time, the tones of the instruments and the space they affect became extremely important to me. At a point, even making these tones felt just the same a making sound effects; after all, both processes just felt like making a space of sounds to me. One thing I enjoyed doing was combining, with the help of synthesizers, the abstract images of sound effects with more pop-like sounds like those from the cartoons. There are similarities to the way in which electro music is made in this regard. I think that I gained an interest on sound design precisely because I like synthesizers so much. Chris: You also reunited with SNK Playmore on several new projects, namely SNK vs. Capcom: SVC Chaos, NeoGeo Battle Coliseum, and The King of Fighters 2003. Could you tell us about your involvement in these works? Yasumasa Yamada: It was similar to how it was when I worked in the SNK sound team. For the first of these, SNK vs Capcom: SVC Chaos, I was invited to working the sound effects by Yasuo Yamate (aka TATE-NORIO). [Editor’s Note: He also worked on The King of Fighters 2003 in a similar context]. Chris: While you have principally worked as a sound designer in recent years, you have continued to compose some background music. In particular, could you share your experiences on Picross 3D and Half-Minute Hero? Yasumasa Yamada: For Picross 3D, since it turned out to be such a great puzzle game, I worked on making all the sounds for it. It was a very fresh project because I had to make both the music and the sound effects for it, but that allowed me face a new challenge head-on. As for Half-Minute Hero, I was invited to work on it from a game director that once worked for SNK, and I was among the many game sound creators who wrote background music for that game. While I had began working as sound designer soon after I left SNK, making this game felt different from all the other ones in which I worked before; noticing how completely different everything was when it came to sound technologies and my own skills made this a very precious and interesting experience to me. Chris: Finally, in the last month, it has been announced that you have formed a partnership with Tetsuya Shibata’s Unique Note. What is the background to this relationship? Are you primarily working on pachinko projects together or full-scale video games too? Yasumasa Yamada: While I was working on a certain project, I had the chance to meet Mr. Shibata from Unique Note. Having been started by him, Unique Note has gathered a lot of extremely talented and wonderful members, so being able to work on a project with them was extremely encouraging. I think the reason this opportunity happened was because of how much I work in sound design. Right now, we’re working together on a lot of pachinko-related works, but I think we’ll make all sorts of collaborative projects that aren’t limited just to that at some point. Chris: Many thanks for your time today, Yasumasa Yamada. Is there anything else you’d like to say about your works past and present? In addition, do you have any messages to say for your fans and SNK aficionados around the world? Yasumasa Yamada: I had so many important experiences back when I worked for the SNK sound team. All of it was thanks to the fans of SNK games around the world. It’s been over ten years already since I left SNK, but I’m really glad I had the chance of answering the questions for this interview. I’m sure that the fact I had these experiences is what will let me continue making sounds for all sorts of things, beginning with those of games. Thank you very much! And I hope we might continue to count on each other from now onwards! Posted on June 19, 2014 by Chris Greening. Last modified on June 19, 2014. Tags: Art of Fighting, Fatal Fury, Fighting, Half-Minute Hero, King of Fighters, Samurai Shodown, SNK, Steel Battalion, Unique Note, Yasumasa Yamada About the Author Chris Greening I've contributed to websites related to game audio since 2002. In this time, I've reviewed over a thousand albums and interviewed hundreds of musicians across the world. As the founder and webmaster of VGMO -Video Game Music Online-, I hope to create a cutting-edge, journalistic resource for all those soundtrack enthusiasts out there. In the process, I would love to further cultivate my passion for music, writing, and generally building things. Please enjoy the site and don't hesitate to say hello! Anthony... 2 Quote Share this post Link to post Share on other sites
Steven Pendleton #23677 Posted September 9, 2020 (edited) 9 hours ago, CZroe said: A couple years ago I helped someone diagnose a faulty Fatal Fury cartridge that would cause jailbar-like stuff on that same billboard in Fatal Fury. Jump to 4:28: It was on the scaled-down Fatal Fury or Garou Densetsu logo. It would also cause occasional specs and vertical lines on character sprites. It was much worse in some consoles than others. Is it the white background of the billboard or the scaled sprite where you see jailbars? It's on the billboard, primarily on the right side of the screen. It also shows up in the blue sky right after the Neo Geo startup screen. I took some pictures, but it doesn't really show up that well... it's quite obvious in person, though. As you can probably not see, the jailbars extend all the way down the billboard on the right side but only are at the top on the left side. Jailbars show up in a few other places, as well, like the intros to KOF '98 (on my real cart for this one, as I have not tested the Darksoft cart for any of the games that I own) and '03 when the screen is white for both games (extremely visible during Iori's part of the intro in '98). I don't remember which one it is, but on one of them, it's only on the right side of the screen again, which is why I'm thinking that it's something to do with how I cut the traces on the motherboard. Edited September 9, 2020 by Steven Pendleton 1 Quote Share this post Link to post Share on other sites
Steven Pendleton #23678 Posted September 9, 2020 Okay, I just tested my CD controller again and the up direction is the one that's not working properly, not the up-right diagonal since that obviously depends on the up input. Anyway, I just looked at the disassembly procedures for this thing and it seems to be a mess. I don't have the courage to mess with this thing at the moment even though I already took it apart, so for now I'll just put it back together until I figure out how to fix it. 1 Quote Share this post Link to post Share on other sites
fdurso224 #23679 Posted September 9, 2020 22 hours ago, Steven Pendleton said: Eh, I try. My inspiration is of course a mix of Game Sack + my own curiosity, and having that same strange sense of humour that Joe does helps, which results in me testing stuff that nobody else would think about, like what Joe did with the Retro Duo: Personally Steve, I would think your channel of YouTube would be fun to watch and listen in on. Seeing you have plenty to say on the forums, and your reviews are top notch to say the least. So I would certainly subscribe to your channel and watch your content every time you share your content. Anthony.. Quote Share this post Link to post Share on other sites
Steven Pendleton #23680 Posted September 9, 2020 (edited) More issues with Darksoft cart: It isn't saving my DIP switch settings even though I changed it to MVS mode. The monitor test tool doesn't seem to show up in my games list for some reason. Shock Troopers doesn't seem to change regions properly and is always in Japanese, whether I set it to European MVS or US MVS with English as the language, and I would not be surprised if other games have this problem. Yeah, so if anyone is interested in this cart, just know that it has A LOT of problems, and this is the second one that I've had. Normally I'd tell you to avoid this cart and get a Terraonion cart instead, but as I have no personal experience with their Neo Geo carts, I can't actually do that. Except for the graphical glitches, this Darksoft AES cart seems to work just fine if you want the AES experience (although I have not tested it in USA or Europe AES modes yet), but if you want the MVS experience, I find it lacking unless you like the default DIP switch settings. Best thing you can do is to just put in AES mode, since at least that will let you choose difficulty settings in game. Seems others are reporting similar issues over in its official thread as well, and I will probably go make an account over there and talk to Darksoft about it. Will definitely consider getting the NeoSD Pro when it's available again, so I will probably sell the Darksoft cart at that time if anyone is interested. That will likely be next year, though, so for now I'm stuck with this semi-functional thing instead, but at least AES mode seems to work perfectly. I have not tried a new PSU or older firmware yet, so I will maybe try an older firmware later. It is entirely possible that it is something to do with my Neo Geo, as well, so I will keep looking to see if I can figure it out. Edited September 9, 2020 by Steven Pendleton Quote Share this post Link to post Share on other sites
fdurso224 #23681 Posted September 9, 2020 2 minutes ago, Steven Pendleton said: More issues with Darksoft cart: It isn't saving my DIP switch settings even though I changed it to MVS mode. The monitor test tool doesn't seem to show up in my games list for some reason. Shock Troopers doesn't seem to change regions properly and is always in Japanese, whether I set it to European MVS or US MVS with English as the language, and I would not be surprised if other games have this problem. Yeah, so if anyone is interested in this cart, just know that it has A LOT of problems, and this is the second one that I've had. Normally I'd tell you to avoid this cart and get a Terraonion cart instead, but as I have no personal experience with their Neo Geo carts, I can't actually do that. Except for the graphical glitches, this Darksoft AES cart seems to work just fine if you want the AES experience (although I have not tested it in USA or Europe AES modes yet), but if you want the MVS experience, I find it lacking unless you like the default DIP switch settings. Best thing you can do is to just put in AES mode, since at least that will let you choose difficulty settings in game. Seems others are reporting similar issues over in its official thread as well, and I will probably go make an account over there and talk to Darksoft about it. Will definitely consider getting the NeoSD Pro when it's available again, so I will probably sell the Darksoft cart at that time if anyone is interested. That will likely be next year, though, so for now I'm stuck with this semi-functional thing instead, but at least AES mode seems to work perfectly. I have not tried a new PSU or older firmware yet, so I will maybe try an older firmware later. It is entirely possible that it is something to do with my Neo Geo, as well, so I will keep looking to see if I can figure it out. Oh man. That stinks Steve. Now I'm in a spot since I have mostly Japanese units to play on. So know I don't know if I should go the distance and purchase it at this point. 8^( Anthony.. Quote Share this post Link to post Share on other sites
Steven Pendleton #23682 Posted September 9, 2020 36 minutes ago, fdurso224 said: Personally Steve, I would think your channel of YouTube would be fun to watch and listen in on. Seeing you have plenty to say on the forums, and your reviews are top notch to say the least. So I would certainly subscribe to your channel and watch your content every time you share your content. Anthony.. If you say so! I'd honestly probably end up as something like a Game Sack clone, I think, and since I'm not a very creative type, I wonder how well I could do. 30 minutes ago, fdurso224 said: Oh man. That stinks Steve. Now I'm in a spot since I have mostly Japanese units to play on. So know I don't know if I should go the distance and purchase it at this point. 8^( Anthony.. Yeah, I'm not sure about this cart. I tested Shock Troopers again just now in USA AES mode and although it shows the parental warning in the beginning that is only present in the US and European versions but not the Japanese version, the how to play text is still all in Japanese for some reason. I just removed and reseated both the SD card and the cart itself. I doubt something that simple will fix it, but maybe it will! I only have my Japanese AES, but if you have a US or European AES, maybe it would work differently with the language in Shock Troopers. I'll try some other stuff to see what happens, but I'm honestly having too much fun playing Neo Turf Masters to really get much testing done! 1 Quote Share this post Link to post Share on other sites
fdurso224 #23683 Posted September 9, 2020 22 minutes ago, Steven Pendleton said: If you say so! I'd honestly probably end up as something like a Game Sack clone, I think, and since I'm not a very creative type, I wonder how well I could do. Yeah, I'm not sure about this cart. I tested Shock Troopers again just now in USA AES mode and although it shows the parental warning in the beginning that is only present in the US and European versions but not the Japanese version, the how to play text is still all in Japanese for some reason. I just removed and reseated both the SD card and the cart itself. I doubt something that simple will fix it, but maybe it will! I only have my Japanese AES, but if you have a US or European AES, maybe it would work differently with the language in Shock Troopers. I'll try some other stuff to see what happens, but I'm honestly having too much fun playing Neo Turf Masters to really get much testing done! I say pretty good Steve. If anything, we as members would try to help you as much as possible. Good to know. I have American units in the collection as well. I don't use them that often since my Japanese models are the main source of playing on the AES. I like to keep them original and don't mod them. But the Japanese version i do since most are moderately high serial numbers that are easy to purchase off the internet. Anthony.. Quote Share this post Link to post Share on other sites
fdurso224 #23684 Posted September 9, 2020 (edited) Hi guys, SNK GLOBAL@SNKPofficial 21h Announcement: We are supporting this online tournament via our e-sports support program! #SNK #SAMURAISHODOWN #sundayshodown https://smash.gg/tournament/sunday-shodown-september… Anthony.. Edited September 9, 2020 by fdurso224 1 Quote Share this post Link to post Share on other sites
fdurso224 #23685 Posted September 9, 2020 Hi guys, SNK GLOBAL@SNKPofficial 4h Starting September 8th (PDT), Prime Gaming is offering eight more popular SNK games for free! Six of SNK's fighters feature online multiplayer functions! #SNK #NEOGEO #PrimeGaming https://snk-corp.co.jp/us/press/2020/090901/… Prime Gaming URL https://gaming.amazon.com Anthony.. Quote Share this post Link to post Share on other sites
fdurso224 #23686 Posted September 9, 2020 Hi guys, SNKオンラインショップ公式@snk_onlineshop 1h 【新商品】「NEOGEO LABEL オックスフォード半袖シャツ」が販売開始！ ワンポイントのNEOGEOマーク刺繍が憎い！ シンプルなデザインなので普段使いはもちろんのこと、 職場でもサラリと着れる使い勝手のいいシャツです♪ https://snk-onlineshop.com/item/4580015698431.html… #SNK #NEOGEO Anthony.. Quote Share this post Link to post Share on other sites
fdurso224 #23687 Posted September 9, 2020 Hi guys, Back with Brian Allen with more of what he does best. This time we see him playing Magician Lord. Enjoy. Anthony.. Quote Share this post Link to post Share on other sites
Steven Pendleton #23688 Posted September 9, 2020 1 hour ago, fdurso224 said: I say pretty good Steve. If anything, we as members would try to help you as much as possible. Good to know. I have American units in the collection as well. I don't use them that often since my Japanese models are the main source of playing on the AES. I like to keep them original and don't mod them. But the Japanese version i do since most are moderately high serial numbers that are easy to purchase off the internet. Anthony.. Well, only certain games seem to behave like this. Neo Turf Masters actually changes to Big Tournament Golf and is entirely in English/Japanese as appropriate. Not sure what is up with Shock Troopers. 1 Quote Share this post Link to post Share on other sites
CZroe #23689 Posted September 9, 2020 Regarding the SoftDIPs for MVS: With Universe BIOS you can't save settings without a memory card or Neo Bios Mastah installed. Perhaps you need a memory card to save SoftDIPs with the DarkSoft cart as well. 1 Quote Share this post Link to post Share on other sites
fdurso224 #23690 Posted September 9, 2020 Hi guys, Cheap Ass Gamer@videogamedeals Sep 3 ACA NEOGEO KING OF THE MONSTERS (S) $3.99 via eShop. http://ow.ly/XEnZ30r7YQz Anthony.. Quote Share this post Link to post Share on other sites
fdurso224 #23691 Posted September 9, 2020 Hi guys, Cheap Ass Gamer@videogamedeals Sep 3 ACA NEOGEO SENGOKU (S) $3.99 via eShop. http://ow.ly/QmdY30r7YVt Anthony.. Quote Share this post Link to post Share on other sites
fdurso224 #23692 Posted September 9, 2020 Hi guys, Cheap Ass Gamer@videogamedeals Sep 3 ACA NEOGEO Titles $3.99 via eShop. https://nintendo.com/games/game-guide/#filter/:q=aca%20neogeo&dFR[generalFilters][0]=Deals… Anthony.. Quote Share this post Link to post Share on other sites
fdurso224 #23693 Posted September 9, 2020 Hi guys, Cheap Ass Gamer@videogamedeals Aug 30 ACA NEOGEO Games (PS4) $3.99 Each via PSN. KING OF THE MONSTERS: http://ow.ly/ZBEP30r77RL POWER SPIKES II: http://ow.ly/1Fat30r77S9 SENGOKU: http://ow.ly/tILR30r77Si WORLD HEROES 2: http://ow.ly/WTk430r77Sm ZED BLADE: http://ow.ly/ebZi30r77Sw Anthony.. Quote Share this post Link to post Share on other sites
fdurso224 #23694 Posted September 10, 2020 Hi guys, Back with Johnny Liu. Let's see what creative tech does he have for us this time shall we? Anthony.. Quote Share this post Link to post Share on other sites
Steven Pendleton #23695 Posted September 10, 2020 (edited) 8 hours ago, CZroe said: Regarding the SoftDIPs for MVS: With Universe BIOS you can't save settings without a memory card or Neo Bios Mastah installed. Perhaps you need a memory card to save SoftDIPs with the DarkSoft cart as well. EDIT: okay, lol I misread what you're saying, and now I understand! Anyway, yeah, I've had a memory card in my Neo Geo since either the day that I bought it or the next day when I got KOF '98. I don't think it should be full... I think. I do want to get the NeoSaveMasta if possible, but I heard that it basically insta-sells out every year, so I hope I can get one. Edited September 10, 2020 by Steven Pendleton 1 Quote Share this post Link to post Share on other sites
fdurso224 #23696 Posted September 10, 2020 Hi guys, SNK GLOBAL@SNKPofficial 4h Experience unique mechanics and ultra smooth movements of THE PATH OF THE WARRIOR ART OF FIGHTING 3 or take on the Ptolemaic Army in METAL SLUG 5! https://snk-corp.co.jp/us/neogeoarcadestickpro/upgrade/… With that, there are now twenty unlockable titles. Pick up the NEOGEO Arcade Stick PRO today! #SNK #NEOGEO Anthony... 1 Quote Share this post Link to post Share on other sites
fdurso224 #23697 Posted September 10, 2020 Hi guys, メタルスラッグアタック公式(MSA) @MetalSlugAttack 【MSA お知らせ】 本日より9月15日まで新イベント「LONELY MATE」を開催中！ ステージをクリアして「ShootingRay Ver.Forest」や「キャロライン近衛兵」をゲット！ #MSA #メタルスラッグアタック https://game.snk-corp.co.jp/official/metalslug_attack/news/20200909_01qt3q8.html… Translated from Japanese by [MSA Notice] A new event "LONELY MATE" is being held from today to September 15th! Clear the stage and get "Shooting Ray Ver. Forest" and "Caroline Guards"! #MSA#メタルスラッグアタック https://game.snk-corp.co.jp/official/metalslug_attack/news/20200909_01qt3q8.html… 1:00 AM · Sep 9, 2020 Anthony.. Quote Share this post Link to post Share on other sites
fdurso224 #23698 Posted September 10, 2020 Hi guys, SNKエンタテインメント公式 @snk_enter 「SAMURAI SPIRITS オリジナルサウンドトラック -音劇第弐巻-」はもう手に入れましたか？ 楽曲の素晴らしさは今更私から語れることもないので、今回は特典のギターピックの紹介をば… 黒地に金の洗練されたデザイン…書き切れないので是非お手に取ってみてください！ https://snk-onlineshop.com/item/4580015699094A.html?utm_source=twitter&utm_medium=sns&utm_campaign=20200909_santra… Translated from Japanese by Have you already got "SAMURAI SPIRITS Original Soundtrack -Sound Play Vol.2-"? I can't tell you the wonderfulness of the song anymore, so this time I would like to introduce the special guitar pick... Sophisticated design of gold on a black background... It's unfinished, so please take it! https://snk-onlineshop.com/item/4580015699094A.html?utm_source=twitter&utm_medium=sns&utm_campaign=20200909_santra… 2:49 AM · Sep 9, 2020· Anthony.. 1 Quote Share this post Link to post Share on other sites
fdurso224 #23699 Posted September 10, 2020 Hi guys, SNKオンラインショップ公式 @snk_onlineshop 【新商品】サムライスピリッツからナコルルとリムルルがデフォルメぬいぐるみになって登場！ 遊びに行くときも、寝るときも一緒に過ごせます！ ★ナコルルはコチラ★ https://snk-onlineshop.com/item/4580015698707.html… ★リムルルはコチラ★ https://snk-onlineshop.com/item/4580015698714.html… #SNK #サムスピ #ナコルル #リムルル Translated from Japanese by [New Item] Nakoruru and Limururu from the Samurai Spirits are now available as deformed plush toys! You can spend time together when you go out and sleep! ★ Click here for Nakoruru ★ https://snk-onlineshop.com/item/4580015698707.html… ★ Click here for Rimuru ★ https://snk-onlineshop.com/item/4580015698714.html… #SNK#サムスピ#ナコルル#リムルル 1:30 AM · Sep 10, 2020 Anthony.. Quote Share this post Link to post Share on other sites
fdurso224 #23700 Posted September 10, 2020 Hi guys, This morning, we are with Riot Retro Gaming. Here we see three gents having fun playing Neo-Geo tiles. Enjoy. Anthony... Quote Share this post Link to post Share on other sites
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