[Interview] "Double Dragon Revival" Is a Loving Tribute to Its Predecessors
Note: the original Japanese article can be found at:
https://www.4gamer.net/games/817/G081741/20251106051/
Writer: Shingo Yagimoto | 2025/11/10 03:00 (UTC)
The latest installment in the legendary belt-scroll action series, “Double Dragon,” titled “Double Dragon Rebirth” (PC / PS5 / Xbox Series X|S / Switch / PS4 / Xbox One), was released on October 23, 2025.
In this title, the brothers Jimmy and Billy battle gang factions alongside allies such as Marian and Rando. Key elements include arcade-style belt-scroll action gameplay and stage utilization reminiscent of previous entries in the series. Notably, stage usage stands out significantly from other games in the genre—offering bold, comedic twists like spinning enemies on a giant casino roulette wheel or launching them into basketball hoops.
We spoke with the game’s producer Tatsunori Ishikawa, executive director Hiroshi Nagoki, and creative director Kaito Gyoem about the development journey, challenges faced, and future outlook for this title.
Official “Double Dragon Rebirth” Website
A Title That Re-Examines What Makes Double Dragon “Double Dragon”
4Gamer:
Today we’re grateful to have you here. This is the newest entry in the Double Dragon series. What memories do each of you have about the original Double Dragon?
Producer Tatsunori Ishikawa Thumbnail image No.021 / [Interview] “Double Dragon Rebirth” incorporates as many homages to past games as possible with deep respect
Ishikawa:
My first encounter with the series was on the Famicom. I remember struggling to clear it due to its difficulty. Later, I really dug into “Double Dragon Advance.”
Nagoki:
Although I didn’t play the original in a game center, I’ve played all the entries since then. The way early games featured cooperative gameplay ending with a final showdown surprised me at the time—especially given how rare that was back then. I also remember being impressed by stages resembling athletic courses and other rich content. It felt like an IP pioneering the belt-scroll action genre itself.
Kaito:
As a child, I played Double Dragon series titles and always thought of them as heavily influenced by pop culture. Despite hardware limitations, scenes evoking action movies—like fighting inside a helicopter where doors open and you feel sucked out—seemed incredibly advanced to me at the time. Featuring gimmick stages prominently in this game felt like a natural evolution of our design philosophy.
4Gamer:
What prompted the start of “Double Dragon Rebirth,” and why did you choose 3D graphics?
Ishikawa:
It started after we released “Double Dragon IV” in 2017. While fans appreciated its retro pixel art style, many also said it didn’t feel sufficiently evolved. From there, we spent years experimenting to create a game that modern players would enjoy.
4Gamer:
What aspects did you focus on when making the title more modern?
Ishikawa:
We aimed to keep the core charm of accessible belt-scroll action while updating the controls for today’s standards. Initially, we built a 3D prototype—but because the control mechanics remained retro in feel, we had to rebuild it entirely. Around that time, we began working with Yuke’s, and they took over actual development work. The collaboration spanned about two to three years after their involvement.
4Gamer:
What was the 3D prototype like?
Ishikawa:
The visuals were in 3D, but gameplay centered almost entirely on horizontal movement. Depth wasn’t used much—so the 3D aspect ended up feeling unnecessary.
4Gamer:
Indeed, classic belt-scroll action games typically only featured side-facing character sprites with no depth-based attacks. The use of 3D felt unnatural in that context.
Ishikawa:
From there, we focused on making character movement feel smoother and more satisfying by modern standards. We also introduced new elements—like launching enemies into the distance or toward the foreground to crash into gimmick stages—making this a more action-oriented, truly 3D experience.
Executive Director Hiroshi Nagoki Thumbnail image No.020 / [Interview] “Double Dragon Rebirth” incorporates as many homages to past games as possible with deep respect
Nagoki:
We preserved the classic belt-scroll action structure while updating it for modern times.
4Gamer:
The final product is a faithful, straightforward belt-scroll action game that fully captures the genre’s strengths. But during prototyping, weren’t there alternative design concepts or systems tested?
Ishikawa:
Yes—there was an idea inspired by “Souls-like” games: reading enemy attack patterns to dodge or disrupt their core stance. However, such mechanics tend to slow down gameplay, making them incompatible with the casual, fast-paced nature of belt-scroll action. So we ultimately scrapped it.
Double Dragon had always been enjoyable even if you just mashed buttons. Since this is a game under the Double Dragon name, being able to enjoy it in short bursts was essential. Adding complex mechanics like depleting stamina bars or breaking guards would have made things too heavy and deviated from what fans expect from past entries.
4Gamer:
After playing, I noticed the absence of features like seamless combos from recovery items or standard attacks into throws—this is a strong testament to how deeply Double Dragon authenticity was pursued.
Ishikawa:
While aiming for a game that would satisfy fans even as a standalone modern action title, we revisited earlier entries like the original and “Double Dragon Advance” to re-evaluate what truly makes something “Double Dragon.” What stood out was that the stages in Double Dragon are unique compared to other belt-scroll games—featuring steep elevation changes, numerous damaging gimmicks. These elements are core characteristics of Double Dragon and felt essential to carry forward into a modern format.
Nagoki:
It’s not so much about extracting specific Double Dragon traits—it’s more accurate to say this is the latest action game that became Double Dragon.
4Gamer:
What did you feel was necessary to make a modern action game satisfying?
Nagoki:
While various approaches exist, our team believes it comes down to three things: smooth, intuitive gameplay; high polish ensuring players don’t get stuck in odd places; and distinctive personality.
Ishikawa:
Our top priority was the tactile feel of character controls. Arc System Works has long been a developer of fighting games—myself included, having directed “BLAZBLUE,” and Director Nagoki has worked on battle design for both “BLAZBLUE” and “GUILTY GEAR.” We brought that expertise here: fine-tuning hit stops when attacks land, determining how much input buffering feels satisfying—all those nuances from fighting game development were integrated into this title.
4Gamer:
Can you explain what makes “play feel” better in language terms?
Ishikawa:
Some aspects are widely understood but not yet formalized. When we do articulate them, they become fundamental principles. Still, even with these basics followed, the final result often doesn’t turn out as expected—so this is actually one of our long-standing strengths.
Building a Foundation to Sustain the Series
4Gamer:
This time, collaboration with Yuke’s was involved. Was there any memorable episode from that experience?
Ishikawa:
Yes—we noticed cultural differences in how we approach character movement. Yuke’s specializes in realistic wrestling games and excels at procedural actions: grabbing an enemy and slamming them into a wall, for example.
In contrast, our team tends to use manga-style expression—cutting corners in motion to emphasize speed or showing enemies cut down instantly after swinging a sword—using omissions and exaggeration for impact.
For instance, creating one kick animation would be very detailed with Yuke’s: proper stance, body twist, the kick itself, then follow-through back to original position—a highly realistic approach. But our goal was always maximizing touch-feel by minimizing time between button press and full-body motion.
4Gamer:
Ah, so there were different goals—realistic combat expression versus manga-style presentation.
Nagoki:
For Yuke’s and us, the rules for “what makes it better” differed—they’re like using different languages. So even at the most basic level—creating core player actions—we had to repeatedly align our visions. But as development progressed, we developed a natural synergy.
Creative Director Kaito Gyoem Thumbnail image No.022 / [Interview] “Double Dragon Rebirth” incorporates as many homages to past games as possible with deep respect
Kaito:
We even fine-tuned motions down to the frame level—like “shorten this motion by a few frames.”
4Gamer:
The gimmick stages were particularly striking—shooting enemies into basketball hoops, impaling them on spinning casino roulette wheels. When did these ideas emerge?
Ishikawa:
Right in the early development phase. While we discussed adding progression elements, our focus shifted toward enhancing action intensity. We decided to increase player choice during combat: “Make it a game where players think about what’s most efficient.”
Combining that direction with Double Dragon-style stage utilization felt like creating its true successor. So from initial concept stages, we always included gimmick stages in our design.
Thumbnail image No.009 / [Interview] “Double Dragon Rebirth” incorporates as many homages to past games as possible with deep respect Thumbnail image No.010 / [Interview] “Double Dragon Rebirth” incorporates as many homages to past games as possible with deep respect
Nagoki:
Since the art style leaned toward realism, we avoided extreme visuals like characters catching fire and burning.
Kaito:
When discussing tempo for gimmick stages, 1980–1990s kung fu movies served as references. For example, Jackie Chan films often featured spontaneous use of everyday objects as weapons or parkour-like movement through environments—inspiration we consciously drew from to generate these ideas.
4Gamer:
How do you define “Double Dragon-ness”?
Kaito:
It depends on which entry someone first experienced. Internationally, Double Dragon became a social phenomenon beyond arcades—through film and anime adaptations. For example, older American cartoons portrayed the Lee brothers fighting with swords in magical worlds. There were also inconsistencies, like periods when Jimmy and Billy swapped roles.
Ishikawa:
Such issues arise because different creators have worked on the series over decades. With so many interpretations, it became hard to define what “Double Dragon-ness” truly is—making future IP expansion challenging.
4Gamer:
Indeed, international entries vary widely: “Double Dragon Neon” spotlighted music, while “Double Dragon Advance: Rise of the Dragon” added recovery items and roguelike elements not present in the original. The scope varies significantly.
Ishikawa:
Fan preferences differ by generation and region. In Japan, the original is popular; overseas, fans favor “Double Dragon Neon” or “Super Double Dragon (Return of Double Dragon).” So regional perceptions of what Double Dragon “should be” vary widely.
Kaito:
Someone who grew up watching the American anime might wonder, “Why aren’t the Lee brothers wielding swords in this new game?” That’s why we made it a core goal to organize past lore and build a solid foundation for future series development. The word “Rebirth” in the title reflects that intent.
Since fans each have their own idea of what makes Double Dragon special, there can never be one world view everyone agrees on. So creating a new setting was like walking a tightrope. Rebuilding an established universe is deeply intimidating—so we made every effort to honor past entries through homages and respect in our design.
Ishikawa:
We also structured the story so it could naturally lead into sequels or expansions. For example, new characters have rich backstories built-in.
4Gamer:
Enemy character backstories are revealed through short stories unlocked after completing Extra Mode—clearly well-crafted. Any production challenges you’d like to share?
Kaito:
We wanted the story and character backstories to be engaging, so we made them as detailed as possible. However, since this is an arcade-style belt-scroll action game, there’s limited space for storytelling in-game.
Nagoki:
Enemy characters’ backstories and personalities are reflected even in their combat animations—creating a unified feel. For instance, Williams was previously just a standout regular enemy. This time, we reimagined him: “Since he stands out, why not make him one of the gang’s Four Heavenly Kings? Or even the right hand of boss Willie?”—giving his background depth.
Of course, these details are reflected in-game—for example, when Willie entrusts Williams with tasks, it shows a sense of trust and intimacy. Players discover backstories only after completing Extra Mode—but revisiting cutscenes afterward reveals new layers.
Thumbnail image No.012 / [Interview] “Double Dragon Rebirth” incorporates as many homages to past games as possible with deep respect Thumbnail image No.013 / [Interview] “Double Dragon Rebirth” incorporates as many homages to past games as possible with deep respect
Kaito:
Double Dragon has always emphasized enemy characters—from regular foes to bosses—so we went deep on both visual and internal design.
Nagoki:
Enemy characters elevate the player’s action. If enemies just walk straight at you, there’s little need for varied attacks. To encourage players to use as many actions as possible—and make those meaningful—we designed a complementary relationship between player and enemy characters. You can’t just create enemy designs on a whim.
4Gamer:
Enemy skills are incredibly diverse—even regular foes use techniques like low sweeps or charging tackles, which was surprising. It definitely heightened tension during gameplay.
Nagoki:
We applied our fighting game expertise to both enemy and player attacks. Each move has attributes that determine effective counters. For example, aerial enemies can be best countered with the player’s anti-air attacks—these moves are specially designed to intercept airborne strikes, just like in our own fighting games.
When characters like Ran (a female enemy) use ground-level attacks such as sweeping kicks, or when the final boss performs handstand kicks, different responses are required. These techniques have attributes that allow them to bypass high attacks—so using low sweeps is an effective counter.
The tutorial teaches beginners: “When enemies use special moves, countering with your own special move works well.” But in reality, you can respond not only with specials but also with a variety of moves tailored to the opponent’s techniques.
4Gamer:
Ah yes—while still being a belt-scroll action game, it integrates fighting game mechanics into attack hit detection and interaction. How were player characters developed?
Nagoki:
We started by clearly differentiating each character: Billy as standard type, Jimmy as power-type, Marian as speed-type, and Rando (a ninja) favoring long-range attacks. Our experience in making fighting games helped here—especially with Rando, whose unique mechanics like using a sword or disappearing into smoke during evasion made development particularly challenging.
Kaito:
For Billy and Jimmy, we also built unique motivations and story arcs to make them truly independent characters.
4Gamer:
I was surprised that Marian—killed by enemies in the original game—is now a playable character.
Ishikawa:
We discussed making Marian playable early on. Rather than just being rescued or killed, fans would likely appreciate seeing her portrayed as an independent woman.
But “Marian disappears and the Lee brothers go to save her” is a long-standing Double Dragon trope. So in this game, we reimagined it: “Marian voluntarily infiltrates enemy territory.” This honors past entries while introducing Marian as a fighter.
4Gamer:
What’s the difference in approach between designing player and enemy characters?
Nagoki:
Player characters are superheroes; regular enemies are grounded, realistic people. We used motion capture data directly for enemy animations but hand-adjusted all player character motions.
4Gamer:
Even though both involve movement animation, there’s a big difference between the two.
Ishikawa:
At Arc System Works, we normally create fighting game animations frame by frame without motion capture. It’s unconventional—but even small details like a cape fluttering are meticulously crafted to look as visually striking as possible.
Nagoki:
For motion capture, we relied heavily on Yuke’s expertise. We asked performers to move in unnatural “game-like” ways—sometimes asking for the impossible. The most challenging were An and Min, a female duo using Chinese martial arts. Their movements and walk styles were so distinctive that it required extreme effort from our actors.
4Gamer:
So this game embodies an unusual fusion of belt-scroll action identity, fighting game know-how, motion capture techniques, and meticulous attention to visual polish—almost like cultural synthesis. Finally, any message for readers?
Nagoki:
We put great care into the narrative elements. Completing Extra Mode unlocks enemy character backstories—so please take your time enjoying them.
Kaito:
The music is another highlight—we commissioned composers with deep ties to past Double Dragon entries. From remixed classics to original tracks, we preserved a strong sense of musical unity throughout the game. Please definitely listen and enjoy it.
Ishikawa:
We designed everything so that the more you play, the smoother and more efficient your gameplay becomes. It might feel slightly difficult at first—but using weapons or gimmick stages helps charge up super moves faster, making gameplay much more fun. So don’t hesitate to experiment with those gimmicks!
Double Dragon isn’t ending here—we want to keep expanding this series. There are even talks about future updates that could make boss characters playable. If you have requests like “I’d love to play as this character” or “Bring back a favorite from an old game,” we’d be thrilled.
4Gamer:
Thank you very much.