Virtua Fighter 3 FAQ ® 1996 by Stephen Hamilton
First version: July 3, 1996: v .9
Current version: March 5, 1997: v 1.6
By: Dodee (Steve Hamilton)
steveh@ime.net -=or=- dodee@vfhome.com
(NOTE: Lots of this information is compiled from postings on the
rec.games.video.arcade newsgroup, as well as other sources on the Internet.
Some material is drawn from text, while others are inferred from pictures.)
Table of Contents:
INTRODUCTION
I)Basic Gameplay
a)conventions of this FAQ
b)control layout
c)changes from VF2
d)general moves
II) Characters
a)Akira
b)Pai
c)Lau
d)Wolf
e)Jeffry
f)Kage
g)Sarah
h)Jacky
i)Shun
j)Lion
k)Aoi
l)Takaarashi
m)Dural
III) Stages
IV) Miscellaneous Stuff
a)where to get new versions of this FAQ
b)version history
c)acknowledgements
d)legal crap
INTRODUCTION
This started out as a compilation of news posted about the game on
r.g.v.a and has grown. Hopefully it'll live up to the standards set by Chia
Jin Ngee, author of the VF2 FAQ. Hopefully in the future, each character's
section will be written by a master of that character, most likely the author
of that characters individual FAQ.
The model three boardset is what powers VF3 (see specs below). It
has the capability to do thousands more polygons per second than the model
2, and that means better, more realistic looking characters. One major
example of the power of the Model 3 is its ability to make different types
of cloth move in different manners. For instance, Aoi's first outfit is made
of silk. In the game it will move EXACTLY like silk would in the real world.
And Jacky's leather jacket will move like leather would. One more, less
interesting tidbit is that in Aoi's stage it is snowing. These snowflakes are
just like real ones, no two are alike. I assume they did this through the use
of fractals. Here are the specs:
GRAPHICS
Geometrizer; 1 million polygons per second. Renderer; 60 million pixels per
second. 16 million colored textures. Trilinear Interpolation Micro Texture.
SHADING
High Specular Gouraud shading. Fix Shading. Flat Shading. Texture and edge
Multi-Layered Anti Aliasing
OTHERS
Main CPU: Power PC 603e. Resolution 496x384~640x480
SPECIAL EFFECTS
Zoning-fog. 32 Levels of Translucency
I)Basic Gameplay
a)conventions used in this FAQ
G=Gaurd
P=Punch
K=Kick
E=Escape
f, b, u, d=Tap forward, backward, up, down
x/y=tap diagonally, i.e. d/f means tap diagonally between down and
forward.
F, B, U, D=Hold forward, backward, up, down
b)control layout
Scince it is finally out, there is no use whining about the less
than optimal control configuration. Adapt or die I guess...
P K E
G
c)changes from VF2
* Jump motion: In VF2 it was simply (u), now it is (d,u).
* Throws: all throws vs. standing opponents end in (P+G), and that
all throws vs. crouching opponents end in (P+K+G). Does this mean
that every high throw is escapable? We are yet to see.
* Pouncing: to big pounce on a downed enemy you now must do (d,U+P).
* Dashing: dashing can be accomplished by two procedures. The first
is the same as in VF2, f,F. The new method is F+E. Forward can be
exchanged for backward in both examples.
* New animation: missed throw and missed reversal animation. No
more cheesy "auto-select" crap.
d)general moves
E or u+E Dodge into screen
d+E Dodge out of screen
F or B Step forward or backward
D/F or D/B Crouch Step
f, f or f+E Forward Dash
b, b or b+E Back Dash
f, F or F+E Run
d/b, d/b Dash from Crouch (Not crouch dash)
d, u Small Jump
d, U Big Jump
u+P Small Pounce
d, U+P Big Pounce
II)Characters
KEY:
Outfit 1: Player 1 costume.
Outfit 2: Player 2 costume.
Moves: A list of that character's moves, duh. ;) Explination is as follows:
Name
Control Damage Frame Rates [(Exe-Ht-Rec) see below]
Level Reverse Level Notes
Exe-Ht-Rec: the number of frames the move takes to execute (Exe), Hit (Ht),
and Recover (Rec) to a ready stance. The Exe number is from the
time you finish the control motion to the time the move begins
to hit. The Ht number is how long it takes for the moveto hit
ONCE IT HAS STARTED HITTING. Note that attacks like straight
punches have a very short Ht rating, while throws have rather
long ones. The Rec number is how long it takes to get to a ready
stance after the hit animation is done. For an example look at
Akira's Dashing Elbow: 10 2 24. This means that it takes 10
frames before it hits, 2 frames to hit, and 24 frames to recover.
A total of 3 6 frames. Based on the 60 frames per second frame
rate of VF3, this means it t akes slightly over half a second to
execute, hit, and recover from.
TA: Turn Away. This move, after completion, leaves your character's back facing
the opponent.
TT: Turn Towards. This move can only be done if your back is facing the
opponent. After the move is completed, you are now facing the opponent.
b,f,d,u: *tap* back, forward, down or up.
B,F,D,U: *hold* back forward, down or up.
d/f,u/f,d/b,u/b: tap diagonally between down and forward, up and
forward, down and back, or up and back.
D/F,U/F,D/B,U/B: hold diagonally between down and forward, up and
forward, down and back, or up and back.
+: do the thing before the sign and after it at the same time. Ex:
"d+P " means "tap down and hit P at the same time."
,: indicates individual taps or presses or a combonation thereof. Ex:
"f,f+K" means "tap forward, then tap forward and press K at the same
time."
*: from crouch. If the asterisk is *before* the controller motions it
means that you have to be crouching before you can do the move. If
it is after the motion, it can be done from either a standing or
crouching position.
a>b: roll from position a to position b, downward. Ex: "b>f" means
"roll the joystick from back to down/back to down to
down/forward to forward."
a|b: alternative motion. This means that the motion "a" does the same
thing as motion "b".
~: ranged damage. This means that the closer you are to someone when
you do the move, the more damage it does. Ex: Akira's backcheck.
[]: long range version of an attack.
{}: different damage for throws versus takaarashi.
---
|L: Low
Reversal |M: Medium
|H: High
|P: Punch
|K: Kick
|C: Crescent (sweep)
|K-Flip: Kickflip
|R: to reverse a reversal
---
---
|T: High throw
|L: Low throw
|S: Side throw
|B: Back throw
Throws |W: Wall throw
|G: Ground throw
|C: Catch throw
|TT: Combo throw
---
---
|Exe-Ht-Rec: the number of frames the move takes to execute (Exe),
| Hit (Ht), and Recover (Rec) to a ready stance. The Exe
| number is from the time you finish the control motion
| to the time the move begins to hit. The Ht number is
| how long it takes for the move to hit ONCE IT HAS
| STARTED HITTING. Note that attacks like straight
| punches have a very short Ht rating, while throws have
| rather long ones. The Rec number is how long it takes
| to get to a ready Frame stance after the hit animation
| Rate is done. For example look at Akira's Dashing
| Elbow: 10 2 24. This means that it takes 10 frames
| before it hits, Info 2 frames to hit, and 24 frames to
| recover. A total of 36 frames. Based on the 60 frames
| per second frame rate of VF3, this means it takes
| slightly over half a second to execute, hit, and
| recover from.
---
----
|/: In recovery time, a slash separates miss and hit recovery times
| if they are different
|(): Parenthesis indicate a different recovery time when an attack is
| blocked(stop animation), or when a catch or gro und throw
| whiffs (groping animation)
|{}: Curly braces indicate different animation frame rates for throws
| against Taka.
---
---
|+nDP: causes Shun to take a drink, giving him "n" druken points.
|-nDP: causes Shun to lose "n" druken points if he is hit by it.
|need nDP: Shun must have "n" druken points to perform this move.
|ground: the attacker end up on the ground after performing this move.
|crouch: this attack forces the opponent to crouch if it hits.
Notes
|G-half: if defender is crouching and guarding, this move only does
| half damage.
|G-full: if defender is crouching and guarding, it causes no damage
| and follows a different hit stun formula than normal attacks.
| G-full at tacks usually have special animation for
| hitting crouching defenders.
|TA: cause the opponent to turn so that their back or side is facing
| the attacker, if it hits.
---
a)Akira Yuki
Outfit 1: Dark Blue Gi, same as VF2
Outfit 2: Black Gi, Similar to VF1
Moves:
low punch
d+P 11 16-1-14
L Rvs:L-P
low punch
D+P 9 10-1-14
L Rvs:L-P
low backfist (LBF)
df+P+K 25 25-2-24
L Rvs:L-P
low kick
d+K 10 14-1-22
L Rvs:L-K
yoho uppercut
df,df+P 35 17-3-29
M Rvs:H-P
double palm (DbPm)
D,b,f+P 30~70 11-5-33
M Rvs:--
single palm (SgPm)
D,f+P 20~65 11-2-28(26)
M Rvs:H-P
elbow
f+P 19 11-1-28
M Rvs:M-P
dashing elbow (DE)
f,f+P 20~40 10-2-24(26)
M Rvs:M-P
super dashing elbow (SDE)
f,f,f+P 20~40 10-2-24(35)
M Rvs:M-P
trip and triple punch
P+G 10+20+10 = 40 20-84-1
T Rvs:--
surprise exchange (SE)
db+P+G 0 1-43-1
T Rvs:--
grasping mind
db,f+P+G 60{65} 20-89-1
T Rvs:--
inverted bodycheck
df+P+G 20+30 = 50 16-64-1
T Rvs:--
stumbling trip (ST)
b,d+P+G 10 20-50-1
T Rvs:--
reverse bodycheck (RBC)
b,df+P+G 40 20-7-48
T Rvs:--
close in ram
b,f+P+G 20+15+25 = 60 20-81-1
T Rvs:--
elbow rush
P+G 40 15-51-1
T-S Rvs:--
big finish push down
P+G 55 20-85-1(40)
T-B-C Rvs:--
wall bodycheck
df+P+G 80 57-63-1
T-W Rvs:--
b)Pai Chan
Outfit 1: White sleeveless top (flowers) w/tail and pajama-like pants
Outfit 2: Single peice pink dress, low cut top, high cut skirt.
Moves:
low punch
d+P 11 16-1-14
L Rvs:L-P
low blue fist (LBF)
df+P 12 19-2-26
L Rvs:L-P
low blue fist-punch
df+PP 12+8 = 20 11-2-18
LH Rvs:H-P
low blue fist-punch-upper
df+PPf+P 12+8+25 = 45 16-5-24
LHM Rvs:H-P
back drop
b+P+G 50 20-79{58}-1
T Rvs:-- Notes: ground
stumbling trip (ST)
b,d+P+G 10 20-40-1
T Rvs:--
face grab
b,f+P+G 60{70} 20-145{112}-1
T Rvs:--
reaping throw
P+G 50{60} 20-80-1
T-B Rvs:--
DDT
P+G 40 15-97-1
T-S Rvs:--
off the wall overhead cannon
f+P+G 60 78{14}-42{143}-1
T-W Rvs:--
back drop wall slam
b+P+G 60 78-92-1
T-W Rvs:--
backflip
d,ub 1-49-1
Move Rvs:--
d)Wolf Hawkfield
Outfit 1: Orange/red spandex, chains as a belt. No shirt.
Outfit 2: "New Cowboy Wolf" cowboy hat, leather, streamers, the whole nine
yards. All he is missing is chaps and a horse...
Moves:
-- WOLF --
low punch
d+P 11 16-1-14
L Rvs:L-P
low punch
D+P 9 10-1-14
L Rvs:L-P
grizzly lariat
df+P+K 20 18-4-33
L Rvs:L-P
low kick
d+K 17 16-1-28
L Rvs:L-K
low drop kick
f,d+K 20 16-1-49
L Rvs:L-K
low kick (built in G-cancel)
d+K+G 17 16-1-28
L Rvs:L-K
hook punch
db+P 19 12-1-27
M Rvs:M-P
uppercut
df+P 24 14[18]-2-25[29]
M Rvs:H-P
two fisted upper
D>f+P 30 14-3-39
M Rvs:--
lifting upper
DF+P 22 14-2-23
M Rvs:H-P
body blow
f+P 14 15-2-24
M Rvs:H-P
body blow-overhead dragon fish blow
f+PP 14+20 = 34 18-2-37
MH Rvs:H-P
screw shot
f>b+P 20 12-2-31
M Rvs:M-P
screw lariat
f>b+PP 20+20 = 40 23-2-25
MH Rvs:--
shoulder ram
b,f+P 20~70 19-5-35
M Rvs:--
tomahawk chop
uf+P 15 18-2-17
M Rvs:-- Notes: -1DP
ten foot toss-izuna drop
b+P+Gu+P+G 60{70} 107{45}-71{80}-1
T-Combo Rvs:--
low sliding attack
running+K 30 18-6-36
L Rvs:--
backflip
d,ub 1-43-1
Move Rvs:--
cartwheel
b+E 1-45-1
Move Rvs:--
g)Sarah Bryant
Outfit 1: Black, low slung tight pants, high heeled boots, shirt with
many revealing holes. Oh-la-la! ;)
Outfit 2: Shorts, high black boots, red top, hair is down
Moves:
first dan throw-style I
f>b+P+G 30 10-64-77
T Rvs:--
first dan throw-style II
b>f+P+G 20 20-46-70
T Rvs:--
second dan throw-style I
f>b+P+G,f|b,d+P+G 30+20 = 50 1-45-60
T-Combo Rvs:--
second dan throw-style II
f>b+P+G,f|b,u+P+G 30+35 = 65 10-90-1
T-Combo Rvs:--
second dan throw-style III
b>f+P+G,f|b,d+P+G 20+20 = 40 1-45-60
T-Combo Rvs:--
second dan throw-style IV
b>f+P+G,f|b,u+P+G 20+35 = 55 10-90-1
T-Combo Rvs:--
third dan throw-style I
f>b+P+G,f|b,d+P+G,d,u+P+G 30+20+25 = 75 1-94-1
T-Combo Rvs:--
third dan throw-style II
f>b+P+G,f|b,d+P+G,u,d+P+G 30+20+26 = 76 10-137-1
T-Combo Rvs:--
third dan throw-style III
b>f+P+G,f|b,d+P+G,d,u+P+G 20+20+25 = 65 1-94-1
T-Combo Rvs:--
third dan throw-style IV
b>f+P+G,f|b,d+P+G,u,d+P+G 20+20+26 = 66 10-137-1
T-Combo Rvs:--
l)Takaarashi (or Taka Arashi, not sure...)
Outfit 1: Blue sumo diaper-thing
Outfit 2: Larger blue and white sumo diaper-thing, with a blue sash.
Moves:
running thrust
running+P+K 20~70 10-7-24(44)
M Rvs:--
m)Dural
Outfit 1: T1000-ish liquid metal, silver.
Outfit 2: T1000-ish liquid metal, gold. (BIG FREAKING SUPRISE!)
Moves: ? (Unknown if she is playable)
III) Stages (no particular order)
* some stages have ring outs, others will not(walls).
* some stages have uneven ground. This means that there will
be hills and bumps, which will effect attacks. For instance, if player "A"
is on a small mound, and player "B" is below him/her A's high attack could
totally miss B, and B's low attack could hit the ground, and miss A. But
A's low and mid-level attacks could hit B, and B's mid and high-level
attacks could hit A. Confused yet? ;)
Skyscraper Stage:
The main characteristic of this stage is the feeling of great
height. The glass like floor and the perfectly scaled vanishing points really
give you that vertigo feeling. Various scaled buildings both near and far
give the impression of large open empty nothingness. And as one who used to
work at the top of high buildings I can say that it's incredibly realistic.
These two features counter the otherwise typically flat, square fighting area.
Although the fighting area is bounded on 2 sides with side railings the
other two are unprotected and if a character rings out here the camera pans
out as far as possible and as fast as possible leaving the remaining
character much smaller on the screen while the other plummets to his/her
death. This is furthest pan-out I've seen for VF3 and although the speed is
lightning fast the buildings' scaling is beautifully smooth. The attention
to detail for the scenery is incredible. The distant buildings just have
yellow squares for windows, the slightly closer ones have some sort of shape
to them but you can't quite make out what it is, however the nearest ones
are very clear and you can see desk lights, furniture and other office
equipment inside. It's difficult to tell because of the blur but it
sometimes looks like people are occasionally moving behind the windows.
South Sea Island Stage:
This has to be the best stage of all. There are so many things
moving around you it feels like the whole stage is alive. In general, you're
on a tiny sand bar just a few meters or so away from a small island or
peninsular. There are a few clouds in the sky but the sun is shining
brightly and it's light sparkles on the sea surface with gently undulating
aves. Because the sand bar is NOT flat but curved in an egg-like
hemispherical curve s the sea's current washes up/down against the tiny sand
bar the sea level rises/lowers and the playing area slowly gets
smaller/larger with the current. The ripple of the water rolling across the
sand is perfect and as the water subsides it leaves a little ring of lightly
darker wet sand. But in the hot sun this quickly dries so it gradually fades
back to a light yellow again until the water comes back. Around the fighting
area are a number of seagulls, sometimes a few, sometimes a lot. They
usually swoop and soar in the sky but occasionally dive into the water to
catch fish. The motion of the birds is very accurate with their wings
folding back as they dive but with the birds flapping like mad to get
airborne again. Those lazing around hover in the air, their wings stretched
ut wide to catch the hot air current. And they're not only in the distance
they fly towards and away from the camera a little as well. But it's not
just a pretty picture, your characters can interact with scenery. As you
walk a little bit of sand is kicked up and falling on the floor send sand
scattering as well. Also your fighting area is not limited to the dry sand
rea you can go splashing into the water and if you are knocked over you send
water flying. If you stand on the edge not moving the sea comes in around
your feet with a little ripple effect.
Japanese Castle Stage:
This looks like one of old fortresses that used to be all over Japan
in the Shogunate Era. Even though it's very old it's still in excellent
condition. The fighting area is set inside the fortress close to one of the
main outer walls and the main fortified entrance. The portcullis is down so
there's no obvious escape. This area has a number of graded areas with the
height changing depending where you are. There are a number of large steps
towards the entrance, a long inclined area (but not steep) and a long drop
to one side where the floor drops to a lower fortress level. The stone walls
floor slabs all have a weathered appearance with moss growing on the wall
and weeds growing between the slabs. It's probably Autumn because there are
plenty of leaves on the floor. There's no wind but these leaves a easily
disturbed. Merely walking on them causes them to shift position a little. A
fast kick or turning action lifts them off the floor and they spin around.
These leaves are 3D. Someone falling sends all the leaves around him flying
in all directions. Once again the attention to detail is amazing with the
leaves quickly rising off the ground but slowly floating down with a little
zig-zag movement. And if there's another strong or fast character movement
before they land they carry off again from where they are so, two
continuously fast moving characters are always surrounded in moving leaves.
Great Wall of China:
This stage has the most impressive scenery of all the stages. The
magnificent view of the Chinese wall stretching into the distance with
mountains in the background and the sharp drop of the hillside running
alongside the wall gives a great impression of grandeur. Every guard post
fortification on the wall has a giant banner fluttering in the wind. The
movement is unbelievably accurate with the ripple effect changing slightly
with the strength of wind occasionally. Each banner going into the distance
ripples slightly out of phase to the others. In the distance the sun looks
like it is rising above the land but has a slight blur due to the horizon.
Between the hills and mountains a mist still lingers. Probably a crisp early
morning. The wall goes up and down following the curve of the hills. You can
go up and down the steps on the wall using them for tactical advantage. You
can also use the small walls at either side of top to trap your opponent.
Because the fighting area is long and narrow, occasionally the camera angle
will put the wall in the way so you so can't see your character. However,
the game realizes this and fades the wall to an opaque see-through wall if
the viewing distance is far but as the camera eye gets closer and the
wall begins to fill the screen it fades away leaving a clear screen. Wow!
Chinese Restaurant Roof Stage:
This is the stage they're using for all the official screen
pictures. Apparently the fighting area is on top of a slanted wooden board
roof of a shop. There are a lot of Chinese signs around so it could be a
shopping area. The curved roof gives a great feeling of depth and as the
camera angle swings you can see all the other shops and houses and the
streets below. In the distance are only more houses so you really get the
impression that you're right in the center of a built-up town area. There's
a iron bar fence to one side preventing you from falling off there and the
slope of roof becomes steeper on one side making it look like you couldn't
get up it if you tried, however, it is possible to fall of other side.
Waterfall Stage:
Another excellently crafted stage, this time set in a small rock
gully at the base of two small waterfalls. It's snowing and there's a small
layer of snow on the floor and the gully walls are frozen with bits of ice
and snow clinging to the crags. The whole area gives an amazingly chilly
effect to this stage, in complete contrast to the Caribbean stage. The
playing area is a little uneven with an irregularly shaped floor caused by
the weathering of the mountain stream and a slightly sunk pool and a few
streams of water flowing between the rocks. Once again the rock floor is
smoothed off and dips into the water with a curved arc as opposed to a sharp
drop. The snow isn't small white drops falling in front of the screen. It's
3D! This means that the snow in the distance is smaller than the snow in
front of the screen and as the camera angle swings so does all the snow. The
snow will disappear if it goes behind a character and reappear again if the
character moves or it falls past the body part obscuring it. All the snow
flakes are different sizes so occasionally you get one of those big ones
falling. The falling path of the snow is at a slight angle and as the camera
angle changes the snow fall effect alters accordingly. In addition when the
camera pans out away from the characters there's a slight misting effect (to
simulate a lot of snow falling which would naturally obscure one's vision)
which changes in intensity (strong-weak) depending on the distance. The
waterfalls have a great downward flowing effect and at the bottom of the
waterfall where it hits the water there's a realistic splash effect with
white foam bubbling up and drifting away from the waterfall but slowly
fading with distance. The ripples on surface of the water for the pool and
streams flows with the current away from the waterfall. On this level also
walking, jumping or falling in the water sends water splashing in all
directions. Similar to other stages if the gully wall gets in the way the
computer fades it out and then removes it immediate. No ugly polygon
clipping here.
Cave Stage:
At first this stage looks a little simplistic and a bit of a let
down after some of the other stages but in reality it has some of the best
effects of all. Set inside either the back of a giant cave or in deep
underground cavern the only light comes from a large log fire in the
distance. The fire crackles and spits with little cinders occasionally
flying off. The flames twist and change with that characteristic roaring
effect of a big fire. As the flames twist and dance the light on the walls
flickers also. Sometimes bright, sometimes dim the shadows fade or darken
accordingly. The brightness is good enough to pick up the detail of the rock
strata and one can see some mold growing and the occasional mark where water
has run down the wall side. Nothing is flat. The walls curve and bend around
like a real cavern, there are stalagmites and stalactites in the distance
and the floor is uneven, rising and falling in places. The fighting area has
a few rock floor tiers rising on one side with a gentle slope running from
one side to the other but rising away from the front towards the fire. At
one-side of the stage there's large hole in the floor running away under
the wall revealing another dimly-lit cavern filled with stalagmites and
stalactites. All in all, despite the lack of immediately obvious graphical
tricks it has a disturbing claustrophobic feel to it which needs to be seen
to be believed.
Mountain Sumo Ring Stage:
Set up high on the cliff-side at the top of a mountain with a steep
drop to one side is a traditional Japanese shrine with the typical red
wooden entrance arch so typical of Japan. A long narrow stepped path cut
into the rock leads down from the Shrine underneath the arch and up to the
fighting area, a huge circular rock Sumo ring. In the distance, on one side,
one can see a cliff side path bending it's way around the mountainside and
going over a small red bridge that straddles a tiny waterfall. On the other
side you are looking away from the mountain and over the surrounding land
with a beautiful skyline and impressive scenery. Anyone who's climbed
Mt.Fuji will definitely come away with memories after playing this stage.
All though high up it can't be too high because there a variety of hardy
alpine plants growing. Especially that small, strong green bush that looks
like bracken and hugs the rock face in all the niches. All though the
fighting area level is basically flat the circular Sumo ring gives an
unusual visual effect and there's a sharp put not too far drop to a lower
ledge on the side away from the Shrine. One has to be careful of positioning
when fighting on this level because the tightness of the Sumo ring is hidden
by the deceptive wide open scenery. Once again as the fight progresses and
the camera angle changes you can't fail to notice the eye-catching
surroundings.
Subway Stage:
Set in an apparently disused underground subway station (the exits
all have metal grills blocking them) the two main features of note are the
passing of a subway train and the steps leading to an exit. The subway train
is very fast and smooth and appears behind the moving characters with no
problems whatsoever. No speed loss or poor polygon clipping. There are about
4 or 5 steps available (the rest are blocked by a metal grill) on one side
of the station for the character to use for strategic affect. The extra
height can be used to jump over your opponent or allow for easier head blows
with a kick attack. On a technical note, I saw Wolf knocked down while he
was standing on the stairs and his shadow was drawn perfectly on the steps
below him and it takes an incredibly difficult piece of programming to
accomplish that! Although the station looks a little plain at the moment
there are some superbly drawn billboard signs around to brighten the stage
up. Look out for the car commercial in particular. Whether or not you can
fall off the platform edge and be hit by a subway train isn't known yet but
it's certainly possible. What a way to go!
Desert Stage:
This is another stage that looks deceptively simple but contains
absolutely stunning visual effects. The entire stage is set in a vast desert
which stretches as far as the eye can see (which is to the horizon). In the
distance is a blazing sun beginning to set and it's just started to dip
below the dunes. The bottom part of it is slightly distorted by the heat
(haze effect). At the moment it's a still just a background picture but the
Model 3 board could easily produce that effect in real-time if they wanted
to program it in. The sand dunes are just out of Arabian Nights with huge
arcs and curved tips. There's a strong breeze blowing and when it catches
the edge of a dune it blows up a gust of sand which is blown over the edge
of the sand dune. The effect is truly amazing. It's not a 2D sprite trick in
the background but full 3D. The modeling of the air dynamics as the sand
billows and dissipates into the air is beyond belief. And it's not just in
the background either; occasionally the sand is blown across the characters'
fighting area and straight towards the camera. Wow! Another great effect is
on the surface of the sand. Just like the sand-bar in Jeffry's stage sand is
kicked up and sent scattering when the players land on the sand or try to
kick. However, because the sand is slightly darker here you can see all the
marks in the sand. For example, walking leaves foot steps, dragging your
feet leaves a line and falling over leaves an appropriately sized mark in
the sand. Of course the wind is still blowing so if you watch carefully the
marks gradually begin to fade away until they're all gone. So you have to
make some more. Incredible and this stage isn't even finished yet! The
actual stage area is a little difficult to determine and I never saw anyone
ring out on this stage so whether or not you can be pushed off the edge and
be sent rolling down the side of a giant sand dune is yet to be known.
However, they have to put some kind of ring-out in don't they or else you
could go on fighting for miles in the desert with out food and water and
die of dehydration or exhaustion.
Library Stage:
The best part to this stage is at the beginning of a new round when
the camera zooms across the great hall. It starts high up near the ceiling
and then swoops down low before then fixing on the characters. Although I
couldn't see any moving visual effects in the scenery the background is very
impressive. Huge pillars and marble arches hold up walkways around the side
of walls. Detailed patterns are found both in the wall design and stone
flooring. The side walls have giant windows running for most of their length
and there's a huge glass domed ceiling. The main arena is a raised dias in
the center of the library. However, you can come of here and fight around
the immediate area also. The steps are a lush velvet and all the railings
are a glittering gold color. However, the size of the library is what really
catches your attention. While the other levels, like the mountain and beach
areas, are visually bigger in appearance, the fact is that the backgrounds
are just pictures drawn to give the impression of distance. In the library
everything is constructed from polygons so the true scale of the model 3
board's capabilities are clearly shown.
IV) Miscellaneous Stuff
a)where to get new versions of this FAQ
The Home of Virtua Fighter:
http://www.vfhome.com/
there is also a non-frames version of The Home of Virtua Fighter:
http://www.vfhome.com/indexnf.htm
You may be able to get it other places too, depending on if it catches on,
and it will be posted when there is a new version on the
rec.games.video.arcade USENET newsgroup.
b)version history
v .9: the first version. This was posted on r.g.v.a upon the
request of "Aoki". It was the compilation of all available information at
the time.
v 1.0: this version added a "retained moves" section for each
character, in an attempt to allow players to decide if they will stay with
there old favorite characters from VF2, or seek new ones due to changes.
Most of the stuff in that section is speculative, taken from postings or
pictures from the AOU and E3 demos. It also added some new entries where
question marks were in the "Characters and their Stages" section. This
version also fixed my mistake about calling Shun's (P+K) move the
Hopping Spin Kick, when it is really the Two-hand push. This version
also had another bonus, I spel checked it!
/^\
HA! GET IT?!---|
v 1.1: added some stuff about differences from VF2 to VF3. I also
decided to protect it legally. That's it, so deal with it. :)
v 1.2: added lion's stage info, and "shadow" move stuff.
v 1.3: LOTS of new stuff. Move lists, stage info, etc. Became the
real FAQ. Retained moves bit the dust...
v 1.4: lots of new character and stage stuff. Hit levels, moves,
combo's, etc.
v 1.5: now includes the gamest mook listings for all but Lion and Taka,
which includes hit levels, damage ratings, motions, and frame
rates for attacks.
v 1.6: now uses a much nicer, more thorough move list, courtesy of
Firestarter. I also added explinations for the movelists
(also courtesy of Firestarter).
c)acknowledgements
Sega for having the good sense to allow Yu Suzuki to keep
making these astounding games.
Firestarter and Yupa for the use of their movelists, and all their hard
work.
Jirawat Uttayaya, for all his translation work
r.g.v.a for recieving my FAQ, especially the true VF'ers (those who
have posted great game info)
Chia Jin Ngee for writing such a great VF2 FAQ
Lars Holst Soerenson for allowing me to take [art in The Home of Virtua
Fighter.
Everyone that has bothered to come to #vfhome on IRC EFNet servers,
such as Akira_S, oneko, mukura, VFeug, ESMaggot, MetroX, Haoh, Larshs,
JAB, CreeD, Moby, SuprDoug, Aoki and everyone else who
got really bored. =)
And finally YOU THE READER! (how clichÚ...)
d)legal crap
VF3 FAQ ® 1996-1997 by Stephen Hamilton (I apologize for this, but
thereare quite a few weenies out there in I'net-land taking liberities with
this here FAQ, and I rekon I don't take that much too kindly [in a bad Ozarks
accent]).
Virtua Fighter is a trademark of Sega Co. I don't take any
responsibility for anything caused by this FAQ, unless it is something
good (refer to me for clarification). Model 3 is probably a trademark or
something of Sega Co. All information contained within this FAQ is subject
to change without notice, and if anything is wrong such as typos and the
like, sue me (I'll get over it, really). Blah blah blah, ho-hum,
yackaddy-shmackady, blah. This FAQ is a free service for the entire VF
community, I own it (because I wrote it, duh) so if you want to re-print
it, tough. Unless, of course, you ask nicely, or get written permission
by me or something. Bah, never mind. Go ahead and re-print it. Free
advertising, right? BUT, if you do re-print it, do so IN IT'S ENTIRETY
(that means the whole thing, no snipping out parts OR EDITING). I took my
time to compile this information, as well as write parts of it, so please
don't abuse it. Also, if you do re-print it, and receive money for it, gimme
some, or I'll sue you or something. I am not responsible for slurs or insults
regarding race, color, creed (pardon the pun, ya know who I'm talking
about...), religion, sex, hair length, sexual orientation, attitude, etc. In
other words, if I insult you or others like you, tough, you must've brought
it about yourself somehow, and you read this voluntarily, so na-na-na-na-na
(in an annoying, mocking tone :P).
