How Feet of Fury Helped Kick Extended Life into the Dreamcast in 2003

Independent efforts to bring brand new games to old video games systems such as the NES and SEGA Genesis are commonplace now. However, it was a bold time for the SEGA Dreamcast in the early aughts, as it seemed a handful of developers didn’t get the memo the system was discontinued by the company in 2001 – even in 2005 I was able to walk into my college game shop spot and pick up a commercial copy of Triangle Service’s Trizeal for Dreamcast.

Tucked firmly in between 2001 and 2005, there was a notable independent Dreamcast release that filled in a genre hole for U.S. Dreamcasts and kicked off a publishing label that would offer a handful of brand-new games for the system until 2009.

Feet of Fury by Cryptic Allusion was this first title branded under the publishing label GOAT Store Publishing. This dancing-themed rhythm game has just reached its 20th release date anniversary, and I think it has a significant independent development history that is definitely worth sharing. It’s a labor of love that came into fruition in a physical game product because an independent game development community came together in a perfect storm of events.

Crafting the Tools to Open Up the Dreamcast

Dan Potter of Cryptic Allusion is at the root of the Feet of Fury project, but to understand how this game became a reality, one needs to recognize there is a history of homebrew efforts that allowed developers to work their magic on the SEGA Dreamcast without access to SEGA’s official tools.

Events such as the Consumer Electronics Show (CES) and Electronic Entertainment Expo (E3) have become household names for video game fans, but if you live in the Midwest like I do, there is a big event held each year that sort of serves as the “de facto” video gaming event for the region: The Midwest Gaming Classic. We will actually touch on this event a few times during this article for a variety of reasons.

(If you want to see a GemuBaka video from the Midwest Gaming Classic, you can check that out just below, or you can learn more about indie games showcased at the event from that same year.)

Portions of the Cryptic Allusion web page that have been captured via the Wayback Machine/Internet Archives share a flyer titled “Dreamcast Homebrew History,” distributed by Dan Potter at the 2002 Midwest Gaming Classic event (the flyer can be viewed at the end of this section).

This flier credits Hitmen Console Dev with crafting the first non-SEGA software that could run on the Dreamcast. This was named the A.G.E. demo from April 2000, and this was shown at Mekka & Symposium 2000.

Before looking into this information, I must admit I’d never heard of the MS event, but a YouTube video by zilouge has an archived video of the invitation to the event: a four-day demo scene party organized at Easter starting in 1997 to “meet similarly-minded people, exchange ideas and participate in competitions in which individual people and groups show off their talent with regards to a traditional form of electronic art called Demos.” This event was held in Fallingbostel in Northern Germany and its primary attraction was development competitions for Amiga, PC and Commodore 64, and a variety of music performances and competitions on music and graphics. From the information in English I could find, it appears the Mekka & Symposium event was held up until 2002.

The homebrew history flyer states Hitmen was mostly known for their work on the PlayStation, and the MS2000 event did showcase a PlayStation demo competition. It was noted a mailing list run by Hitmen, “dcdev,” was gaining popularity, and further advancements for the Dreamcast started to develop.

This included a serial boot loader and examples for 2D video and serial ports by Marcus Comstedt, as well as Dan Potter’s Libdream among several projects to create a free development kit for the Dreamcast.

“With the advent of Libdream, it became easier for others to get in and create things without having to go through the extensive boostrapping process of writing their own libraries,” the flyer reads. “Combining Libdream and the further exploratory work of Marcus Comstedt, Dan produced the ‘Stars’ demo, which is the first publicly released non-Sega demo for the DC.”

As the development community grew in size, emulators for other systems such as the NES and Super Nintendo quickly made the scene. According to the flyer, this was because the Dreamcast’s PC-style design made direct ports very easy to accomplish. However, a roadblock remained in place for developers who wanted to get to the heart of creating for the console – the Dreamcast’s 3D chip.

This resulted in the community putting its minds together and finally producing a working 3D example in late 2000. The “tatest” only moved some images around the screen, but this put a scratch on the armor that was then shattered open with further developments.

Other utilities came into play during this time, including a DC-load tool by AndrewK, but the real breakthrough came with the release of KallistiOS (KOS) by Dan Potter and Jordan DeLong. This tool provided developers with a Dreamcast operating system (OS).

This brought the Dreamcast development scene to a new height in 2001, with the “DC Tonic” CD. This was a collaboration effort between development groups Cryptic Allusion, Ganksoft, Moving Target and ADK/NPM and assembled 140 megs of game demos, a remake of the game “Ghetto Pong,” source codes and a set of GNU compiler tools and a copy of KOS 1.0.0 – the system used to produce the CD. This CD was released May 19, 2001, and distributed at that year’s E3 event.

“Each disc was burned on a red, orange, or violet CD and was covered with a custom-printed label,” reads information archived from Crytpic Allusion’s former web site. “The disc was bootable on any Dreamcast(tm) capable of booting non-GD media and contained not only the games and demos mentioned above, but all of their source code under free software licenses! To take this a step even further, Cryptic Allusion included the source code for the current version of the compiler tools used to build the whole thing. A homebrew development kit in a box.”

Coincidentally, an unlockable art file in Feet of Fury references this flyer. The information names the mascot drawing at the top as “DC Man.”

“Paul Boese asked me if I could help him make a flyer for the Midwest Classic in 2002, so I went a little overboard and drew this funny guy to go at the top,” the note in the game reads. “Took only about 30 minutes drawing him, so he’s not terribly impressive.”

The GOAT

Now, to understand how this independent Dreamcast development led to the commercial release of Feet of Fury, we must briefly talk about … the Atari Jaguar?

The Feet of Fury game actually has a very impressive on-disc instructions feature, and it gives credit to Gary Heil and Dan Loosen of The GOAT Store, LLC. Taken from this information, Gary Heil began programming at age 10 graduated from college in the field of information technology. Dan Loosen also started programming at age 10 on Apple II computers and introduced the hobby to Gary Heil. Dan Loosen then went to college in an information resources program.

“On June 30, 1999, the GOAT Store web site opened as a way for Gary Heil and Dan Loosen to sell a few of their old video games and sell hardware developments for classic systems online,” the information in-game reads.

The wiki site Indie Dreams states this effort began as the duo was part of subsidiary of a former Jaguar and Lynx developer and was setting up a shop to design and sell products for those systems. However, the company then pulled back its offer to financially back the effort.

As a result, Gary Heil and Dan Loosen set up the GOAT Store and these efforts provided a storefront to sell the Jaguar JAMMA Joystick they had developed among other products. In early 2001, GOAT Store, LLC was officially established, as the effort grew beyond a hobby.

The GOAT Store exists to this day. GOAT is short of “Games of All Types,” and, very coincidentally, the goat mascot that is also featured in the Feet of Fury game for the company is named Copper, and he was a pet of Jeff Minter of Llamasoft, with Jeff Minter known for developing games such as the Atari Jaguar hit Tempest 2000. The goat voice that plays during the company splash for GOAT Store in Feet of Fury is an actual audio recording of Copper.

I actually shop at the website every now and again, and I suppose I’ll give up my secret – being in the United States, it’s a pretty good source of very fairly priced Super Famicom cartridges!

The duo also leaned into the Atari Jaguar by starting an event known as JagFest 2K1, held June 30, 2001, in Milwaukee. There are still a few online reports of this event, but I found one on JagCube, which is an absolute slice of 1990s internet. There is a series of photos and information on running VR headsets, a demo of a game called Dark Guardian and even photos of people playing the canceled fighting game Thea Realm Fighters!

This event quickly evolved over the years and still exists today, although it is now called the Midwest Gaming Classic.

The Publishing Announcement

The publishing arm of the GOAT Store then came into play in 2003.

“On April 12, 2003, the GOAT Store, LLC announced a new division to produce, market and distribute new games for systems that are no longer supported by their manufacturer. The name of the new division was GOAT Store Publishing,” states Feet of Fury in-game information for GOAT Store.

“The goal of GOAT Store Publishing is to ensure that homebrew developers have a viable way to sell their best creations. Many homebrew developers do not have the time, money or distribution methods to sell their projects. GOAT Store Publishing will provide those resources for developers.”

Then on an announcement made on Cryptic Allusion’s web site May 26, 2003, it was shared that the developer and GOAT Store had reached a publishing deal, making Feet of Fury for the Dreamcast the first project published under GOAT Store Publishing.

“We are excited to team up with The GOAT Store,” says Dan Potter, co-owner and principal developer for Cryptic Allusion. “It’s great to see that someone is interested in stepping up to the plate to help keep these discontinued consoles alive.”

Pre-orders for the game started when this announcement was made, and the release date was set – June 7, 2003, live at that year’s Midwest Classic (this was the final year under this name before rebranding to the Midwest Gaming Classic). According to a post made by Dan Potter on the developer’s web site at the time, he and Roddy Toomim, the other co-owner of Cryptic Allusion, were flying in for the event to sign CDs and host a Feet of Fury tournament with a full arcade-style setup.

Having the support of GOAT Store, Feet of Fury received a fully featured product release with a professionally pressed CD and a booklet. The product was designed with most of the same specifications as a product released during the console’s lifespan, and it booted in the Dreamcast as a standard (non-GD) CD as a Music Interactive Live (MIL) CD – a technology developed by SEGA itself for the console to create multimedia functions for music CDs played in the Dreamcast.

This rarely used technology was present in the SEGA Dreamcast up until the end of its support by SEGA, meaning consoles manufactured up until October 2000. This technology is said to be how programs such as the Bleemcast PlayStation emulator was able to function on the Dreamcast.

There were two DanceDanceRevolution mixes that released only in Japan – DDR 2ndMix and Club Ver. – so Feet of Fury allowed fans of rhythm games outside of that territory to enjoy a game of that style and get more use out of a couple of peripherals they might have for the system.

Feet of Fury could be played with a standard controller, but it was also developed so it could be used with a DanceDanceRevolution dancing mat for the Dreamcast, or a mat released for the PlayStation if the owner had a controller convertor. The other big hook for the game was in its “Typing of Fury” mode – this didn’t change the general approach of hitting targets in rhythm, but these targets were changed into letters that needed to be typed out on the Dreamcast’s keyboard accessory.

A practice mode lets players do their own thing, but the intent of the game was to highlight player-versus-player battles. Konami briefly toyed with such a concept in off games such as Disney Mix, but it was never a main feature of the DDR series. As such, Feet of Fury was among a rare group of rhythm game titles at the time where players could interfere with each other’s performances.

Feet of Fury included 13 music tracks from the get-go, but players earn unlock points, and nine more music tracks could be unlocked along with a lineup of other features. The game also featured a “swap CD” mode, that let owners of the game create their own append disc. The main game was still needed for the mode to function, but those in the know could develop their own steps and introduce their own music into the Feet of Fury gameplay.

As a fan of the SEGA Dreamcast and DanceDanceRevolution, the release of Feet of Fury absolutely caught my eye, but I was still at the age where I didn’t find myself ordering products from websites. I wasn’t able to get a copy of the game until 2009 (thanks J2Games!).

It’s unlikely any real sales figures will ever surface for Feet of Fury, but the nature of a Dreamcast game publishing nearly two years after SEGA gave up on the console probably caught some decent attention at the time. In notes on the company on the GOAT Store website, it is said the game was “quite successful.” Furthermore, when Dan Loosen was interviewed by Diehard GameFAN at the time of Irides’ release in 2009, it was said “(Feet of Fury) was by far our biggest seller of any game that we’ve done.”

In a piece originally posted to Gamasutra (now on Game Developer.com), Dan Loosen spoke about GOAT Store Publishing, speaking on how the makeup of development on the Dreamcast allowed for a viable commercial marketplace on the system years after the console’s “death.” This gave another insight on how Feet of Fury performed sales-wise.

“The release of Feet of Fury created a lot of things – it showed the development community that we could handle a high-quality release with complete production values and a pretty decent distribution network,” Dan Loosen wrote. “It was also released at the height of the DDR craze, and while it was a game which stood on its own unique merits, the fact that the world wanted more dancing games helped it sell a lot of units.”

In the marketplace at that moment in time, Dan Loosen said it was still possible to sell more than 1,000 copies of a new SEGA Dreamcast product. This seems to suggest sales of Feet of Fury was likely to have at least sold a four-figure amount.

However, in that same article, Dan Loosen made note of upcoming technologies, such as the XBox LIVE Marketplace, stating this was likely to cut into the opportunities provided by what the company had in place with the Dreamcast – smaller developers were starting to have more opportunities to viably enter the marketplace.

As such, GOAT Store Publishing continued support for independent Dreamcast developers with Maquipai and Inhabitants in 2005 and Cool Herders in 2006, before seemingly closing up the program in 2009 with the release of Irides: Master of Blocks. No further games have since been released through the label, but the GOAT Store still maintains a stock of each of these games – pick up Feet of Fury brand new for $10!

There were certainly plans for more Dreamcast releases, with an announcement made at the 2006 Midwest Gaming Classic that 10 new games were set to be published by GOAT Store Publishing. This curiously included Feet of Fury II, suggesting the original game could have actually done well for the developer and publisher. Out of these 10 games, Blocks2: Master of Blocks was the only to actually see a release by the publisher, which was renamed to Irides when it launched.

Work did indeed begin on Feet of Fury II, but it is unknown whether the game got past the stages of planning. GOAT Store was on tap to help boost the graphics and music of the sequel, but the game ultimately never materialized.

Dan and Rod Fill in Some Details

I was coincidentally able to interview Dan Potter and Roddy Toomim about Feet of Fury back in 2009. This resulted in a lot of information that filled in some of the details on how Cryptic Allusion arrived to a fully featured product that released following the demise of the SEGA Dreamcast console.

At the time I did the interview, not only had Cryptic Allusion released the DC Tonic compilation and Feet of Fury, but the company had also released a tunnel shooter titled Tryptonite for the Dreamcast and the game Marbol on the Mac computer format – all using the KallistiOS toolkit. Among the 10 games announced by GOAT Store Publishing in 2006, not only was Cryptic Allusion slated to work on a Feet of Fury sequel, but the company was also said to be developing a remake of Donk!: Samurai Duck for the SEGA Dreamcast. The original Donk! was developed by The Hidden for the Amiga CD32.

Roddy Toomim, under the DJ Geki name featured in Feet of Fury, has a YouTube channel that featured a preview of Donk! Digging around the YouTube channel also shows a video made during the grand opening of Arcade UFO and items from the 2015 EVO fighting game tournament!

Dan Potter said Cryptic Allusion actually started as a Doing Business As (DBA) name for web work in 1995, and this name was reused for the eventual group work on independent Dreamcast development. When it was believed Feet of Fury was at the point of being a viable product, the company then became an official LLC.

“I had wanted to write games since I was a little kid,” Dan Potter said. “I started programming when I was about 6 or 7 with a TI 99/4A. I loved all the old games like Parsec and wanted to write some myself.”

Dan Potter said he and friends in high school made attempts to have games published. He said there were a few instances where they came close with PC shareware publishers, but no deals surfaced from these developments.

“When I got myself a Dreamcast for the first time, I was blown away by how some of the games were just not that crazy and over-developed, yet were still very fun,” Dan Potter said. “The tech was good, but more importantly, the games had flair and style, and they were fun to play – things like Project Justice and Evolution. I wanted to make my own. When I heard about Marcus Comstedt’s work in loading code onto the machine, I was hooked.”

Roddy Toomim said he was introduced to Dan Potter by a mutual friend while at the University of Texas. With his background in music, he had a desire to compose music for video games while he was in high school.

“I wasn’t so much a founding member of Cryptic Allusion as I was the odd inspiration for Feet of Fury,” Roddy Toomim said. “I had written … no, ‘slapped together,’ some samples that came with a demo copy of some software off the front cover CD of what would become an extremely influential magazine for me: Computer Music.”

Roddy Toomim recalled the samples included in the Future-published magazine in the United Kingdom, noting there were breaks in the music every 30 seconds due to the software being a demo copy.

“Granted, this was all back in 1997, if I remember correctly, and DanceDanceRevolution fever had not yet exploded in the U.S.,” he said. “So, for a while there, my ‘song’ was just a twinkle in Dan’s eye … I didn’t think I had the propensity to write, but I hope I’m getting better as I continue to create horrible songs. I just save them off to a folder to be forgotten, then occasionally come back to fix them up.”

DanceDanceRevolution was an obvious inspiration for the game, but in forging the competitive aspect of Feet of Fury, the developers pulled ideas from another arcade-based favorite.

“Basically, our friend group found ourselves down at the arcade playing DDR quite frequently, and we wanted to put Roddy’s music into it. I had been working on this indie development kit for the Dreamcast, so I said … why not?” Dan Potter recalled. “I made a prototype, and it was obvious we could actually make this thing work, so we started working on it. There was really no business sense behind it, we just thought it would be fun.

“The other half of the equation is that, while we found DDR fun, we found it ultimately unsatisfying in some ways,” Dan Potter continued. “You could go for higher and higher difficulties, but after a while that just turned into a twitch-fest. You could memorize the steps and start choreographing your own dance routine to the game, but that was not so much fun unless you got really good at it and could do it in front of a crowd at the arcade … We spent a lot of time playing (Super) Puzzle Fighter (II Turbo), and it seemed like the next logical evolution for the rhythm game genre was in competitive gameplay. I’m not sure we really achieved it, but we made a good shot and others have refined our ideas for their own projects that went on to become commercially successful.”

Dan Potter said the company had a main goal in place to not use any official tools in developing for the Dreamcast, explaining they were not legal for non-signed developers to use. As a result, the KOS toolkit and other open-source tools such as Xiph’s Ogg Vorbis music codec came into play.

“As far as consoles go, especially indie development on consoles, the Dreamcast was very good for its time,” Dan Potter said. “With KOS you could dive right in very close to the hardware and get some very good performance once you knew what you were doing … I actually received some anonymous comments from development kit developers inside SEGA that thought KOS was very nice, which was probably the best compliment I could hope for.”

However, Dan Potter further explained KOS is not just a set of libraries, but a fully embedded operating system complete with memory management, threading and a file system. As a result, the developer had to go back with fixes any time a bug or missing aspect was found.

“So, as we were building each of our major projects, we had to go back and fill in what was missing and gut and replace what simply didn’t work,” he said. “I remember having to completely redo large swathes of the thread synchronization code to make it efficient enough to handle 3D rendering, audio decoding and other things at once with no frame or audio drops.”

The project leaned on the audio experience of Roddy Toomim, but he acknowledged it took some assistance to be able to feature 22 music tracks in Feet of Fury.

“This wasn’t so much a process, as it was a looming presence I knew we needed to overcome: I couldn’t possibly produce all of the music myself, and even if I had, the whole soundtrack would have been very similar,” Roddy Toomim said. “I didn’t have the know-how to dive into different genres successfully. When I listen to Feet of Fury today, I want to go back and remaster the tracks I did! They sound so amateurish, it makes me want to fill my ears with cement, so I’ll never do it again.”

Roddy Toomim said that assistance came from Aaron Marks, a veteran of the game audio industry who has written and contributed to multiple books on the matter such as “The Complete Guide to Game Audio.” Even in the past handful of years, Aaron Marks has contributed with field recordings, such as supplying race car audio for NASCAR Heat 4 and gunfire audio for multiple shooting games.

Roddy Toomim said Cryptic Allusion was able to locate musicians, and other tracks were licensed for Feet of Fury.

“Aaron was especially gracious after the game had shipped, listening to some of my own tracks and giving feedback here and there,” Roddy Toomim said.

Promotions for Feet of Fury really touted the Typing of Fury mode, utilizing the Dreamcast keyboard accessory. Dan Potter said a “simple and really lame player-vs-player gameplay” was initially set up, but more brainstorming led to other ideas over time.

“We were trying to get things hammered down and brainstorming all over the place for ideas, and this crazy thing popped up,” he said. “I don’t remember who suggested it now – but SEGA has this long tradition of ‘Typing’ games. Typing of the Dead is one of the more prominent ones that made it here. We said, ‘Why not a ‘typing of’ in time to a music game? It actually turned out to be sort of fun, if not difficult.”

Dan Potter admitted the original player-vs-player concept borrowed the setup in Super Puzzle Fighter II Turbo, merely adding more arrows to the opposing player’s side.

“Someone else during that same brainstorming session said, ‘Why not make that just one attack among many?'” he said.

Dan Potter said the connection with GOAT Store come by chance, and the timing occurred just after getting a non-response from submitting Feet of Fury to another source.

“We wrote the game for ourselves originally. Then we realized maybe we could make it into something, so we submitted it to the IGF (The IGDA Independent Games Festival). That got us nowhere,” he said, stating the game was “pretty much completely ignored” with the IGF submission.

“But we were contacted out of the blue by The GOAT Store, because they were interested in getting involved in Dreamcast indie publishing,” Dan Potter continued. “They had wanted to do their own development and publishing for the Atari Jaguar way back when, but it didn’t work out. So, yeah, we hammered out some details and went to work trying to polish it up into a real ‘retail-able’ item. We polished and polished and polished until we were doing crazy things like 3D real-time music oscilloscopes in the background during gameplay.

“We really wanted to set the bar high for Dreamcast indie games, and I think we did. That goal just happened to coincide very well with getting it out there and sold,” Dan Potter added.

Finally, while it never materialized, Feet of Fury II was briefly touched on by both Dan Potter and Roddy Toomim.

“We had strongly considered it, and there was some interest,” Dan Potter said. “I basically had told the GOAT Store guys that we were willing to work on it if they could take care of the problematic assets for us – music and graphics.”

While there is very little information on the game available online, it is alleged part of this arrangement would see songs from artists who had previously had music featured in Konami’s BEMANI line of rhythm video games. However, no official confirmation of that has ever surfaced from the companies involved.

“They said they’d work on it, and they had some things lined up, but none of it ended up coming through,” Dan Potter said. “They had pseudo-announced (Feet of Fury II) by that time, but it didn’t really go anywhere. I wouldn’t expect to see it at this point, though I’ve learned never to say never.”

“Right. As much as I’d love to get another FoF out there, it was a lot of work during a time that I had time,” Roddy Toomim said.

At the time of the interview, Roddy Toomim said his personal life at that time kept him busy. However, he was able to do guest lectures in Austin, Texas, and was able to dabble in more music composition and game development during summers.

“I’m not out of the industry, and I’m certainly not giving up on doing music and sound effects for my livelihood, so don’t discount the possibility,” he said of a potential future project.

Other development notes

Once a player completes the unlock process in Feet of Fury, they can then view a number of concept images. While a lot of these are behind-the-scenes looks at items implemented into the final game, a couple of them detail concepts that were not.

One of these images details “Beat Fighter,” which is labeled as a rhythm game concept that came before Feet of Fury. This Beat Fighter program was a prototype for the code eventually used in Feet of Fury and evolved into what would handle the timing system and main arrow graphics.

Also, a couple of mentions are made to having the characters featured on screen during gameplay. Taking the inspiration from Super Puzzle Fighter II Turbo, one of the gameplay layout design documents is set up under the assumption the game would feature fully animated characters in the gameplay background. As such, this concept art has a generic “character portraits” label on the main game playfield.

The animated characters are again discussed for a separate game mode that ultimately didn’t make the cut: “Fury Battle.” This was planned to make the gameplay more like a traditional fighting game, but there isn’t a whole lot of elaboration on the concept. The game’s notes state it was decided to stick to the core gameplay, with Fury Battle to be considered for a possible sequel.

Roddy Toomim brushed on these concepts in an interview with Dreamcast Scene, conducted by Mickey McMurray for Dream On Magazine, released in 2004. He said plans were in place for animated characters fighting mid-screen and mentioned a “charge up” mode that was likely the Fury Battle mentioned in the game. Unfortunately, the team would have needed more time to program this mode and he mentioned its intuitive nature would have completely removed Feet of Fury from its DanceDanceRevolution inspiration.

This is just my personal guess, but in adding two and two together with the concept art and Roddy Toomim referring to charging up, I imagine this alternate versus mode would have players hitting the dance commands to build up their furiosity meter, and then somehow cashing that meter in to do direct attacks to the opponent and deplete their health meter.

Dan Potter was also interviewed by this same source, noting there was some positive response to the game from fans of DanceDanceRevolution. He said a company did testing of the game with notable players, and, while they were hesitant on the idea at first, they grew to like it. He further expressed a desire to produce Feet of Fury arcade machines at the time of its development, noting it would have provided an alternative for dance game players at the arcade.

Dan Potter also again touched on wishing the animated characters were included during gameplay, noting he would have liked to have seen voice acting and an animated intro sequence. At the top of his wish list for Feet of Fury looking back, he said he would have liked to have seen the game receive more play testing. He mentioned the Typing of Fury mode did receive a few rounds of tester feedback, and, as a result, he said he was happier with this mode compared to the Item Battle mode.

So, there you have some of the backstory behind this fascinating product. I quite enjoy revisiting Feet of Fury, so hopefully this will give the game a little bit of attention so others will try it out for themselves. I wanted to type all of this out to satisfy my own curiosity, but I didn’t expect to get so much detail out of the development of Feet of Fury. It honestly was a project that got a lot of attention at the time, so it’s great to see some of that information is still readily available online.

The vast majority of the information for Feet of Fury on GemuBaka is taken directly from the game’s materials, Internet Archive/Wayback Machine archives of official sites and my own previous work. It took a little bit of footwork to connect some of the dots I had using information still available online. As always, though, if you were involved in the Feet of Fury project and want to add any information, please reach out to me through the comments or GemuBaka email address (see the “About GemuBaka” section).