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Appendix:Glossary of fighting games – Wiktionary

The terms listed below are used when referring to versus fighting games. In this context, moving the control joint forward refers to moving it in the focus that the fictional character is facing, and moving it back refers to moving it in the inverse management. many particular terms that are being searched for may be grouped into broader/similar categories to allow for a more connect & universalize understand of key mechanics and/or concepts across multiple fighting games. certain keywords are highlighted near the top of their corresponding sections in bold or bold italics to help users distinguish between more important fundamental terminology .

2-1 Combo [edit ]

See: Combo 2-1 jazz band [ an abbreviation for two-in-one jazz band ] — besides known as a 2-in-1 cancel or a special cancel ( can be used synonymously with “ cushion ; ” sometimes called an “ interrupt jazz band ” ) — is a natural jazz band which takes advantage of the fact that after executing a normal approach in certain games, the player is able to immediately cancel or freely interrupt the animation of the normal to execute a limited fire, sometimes without necessarily having to wait for the normal to wholly finish. A childlike way to explain this concept is “ cancelling or jazz band ’ ing a be active or string into a limited travel. ”

1980 [edit ]

A term originating from the Capcom vs. SNK 2 scene that refers to a phenomenon in 3v3 team fighters, when the opposition has 3 characters left while the musician merely has one, and the player calm manages to comeback & get the better of said opponent .

360 [edit ]

A circular joystick gesture, normally from forward to down to back to up. The 360, along with the alike 720, is much used for mighty command grabs given to grapplers ( i.e. Tizoc ’ mho “ Justice Hurricane ” from Garou: Mark of the Wolves ). Although documented as a 360° extra move, Zangief ‘s Spinning Piledriver — the first fight bet on 360 — can be realized with a 270° rotation. The rotation can be started either clockwise from forth to up, or counter-clockwise from back to improving. many early games allow exchangeable input signal indulgence, including Potemkin ’ s namesake Potemkin Buster & Vasuraga ’ mho “ Great Scythe Grymoth ” dominate grab ( normally a 632146+Punch input ) deoxyadenosine monophosphate well as other blue-ribbon 360 catch ( i.e. Ladiva ’ s “ Jewel Resort Screwdriver ” confuse in Granblue Fantasy Versus ) .
A kind of confusion, that forces the defending player to guess their blocking between two options ( i.e. low/mid or low/overhead depending on the game ) which are impossible to react to, frankincense giving the attacker a 50 % prospect to successfully land a hit. A well-executed cross-up is one of many kinds of 50/50, as is strike-throw mix .

Abare [edit ]

From japanese verb abareru, meaning “ to run amok ” or “ to rage violently, ” abare is a term that represents the concept of players attacking when they are at negative skeletal system advantage ( i.e. “ mashing on the adversary ’ sulfur plus frames ” ). normally refers to trying to land pokes when pressured, during a wakeup, and in-between the opposition ‘s attacks, risking getting hit in hopes of poking through a hole in their offense & landing a electric potential counterhit for bigger damage and/or hitstun ( if not confirming into a wax jazz band ) .

Absolute Block [edit ]

A type of blocking scheme in a crusade game where once a player blocks a string of hits that combo together, letting move of the block/back button will not make them stop blocking until the hits no longer combo or otherwise give an orifice for retaliation. This allows players a bigger window to input a reversal affect and/or guard natural. Vampire Savior ( arsenic well as early games in the Darkstalkers franchise ) can serve as a flower example of fighting games that have absolute stuff .

active [edit ]

See : Startup frames See : recovery frames The clock time ( in frames ) after a character ’ randomness travel has exited its startup liveliness that the hitbox on that move is actively able to hit an adversary before it goes into its “ recovery ” frames ( the stage of animation in which the attack is done strike and the quality is reverting to their achromatic submit ) .

Advanced Blocking [edit ]

An advanced block system is one that is made to improve on convention blocking in context-sensitive definitions. This kind of blocking broadly has a number of advantages over normal stuff, with the electric potential tradeoff of being either more unmanageable to execute or having some sort of resource price related to it. The first game to use this concept was SNK ‘s World Heroes 2, which allowed the defender to reflect projectiles back at their opposition automatically if blocked at the stopping point possible second. noteworthy other variants of “ advanced blocks ” include the Thrust Block from WeaponLord and the late Parry from the Street Fighter III series ( which would go on to evolve into a major defensive cock found in many other fighting game franchises ), a well as Guard Impact from the Soulcalibur series ( which went on to popularize the “ repel/deflect ” concept that may have besides evolved from WeaponLord ’ s mechanics ), and most coarse in respective fighters nowadays, the push blocking system such as Faultless Defense from Guilty Gear. The key exemplify of an advance block machinist that took inspiration from World Heroes 2, however— the one that truly expands on the core fundamental freeze system— is “ perfect blocking ” or normally referred to across numerous games as a Just Guard, where the defender must perfectly time their engine block immediately as the opposition ’ s attack hits them ( much like a merely skeletal system ), and in doing so gains a number of extra benefits besides merely guarding the move & debar damage. The Just Defend from Garou: Mark of the Wolves is possibly the earliest serious execution of such a mechanic— when the defender blocks an assail at precisely the right meter, they will flash blasphemous and be granted several benefits : blockstun reduced by 2 frames allowing for faster convalescence, no guard meter depletion, and the ability to input a guard natural move out of blockstun. Just Defend was unique in two other pivotal ways, the first being that the defender would actually gain a small share of animation back, and second allowing one to instantly block in the publicize during a regular chute ( since normal air-blocking is not an option in this game as it is in other fast-paced 2D games such zanzibar copal or team fighters ). This mechanic was followed in spirit by the celebrated Instant Block joyride of Guilty Gear, inaugural introduced in Guilty Gear X ; when executed by rights the defender will briefly flash white and a message saying “ just ! ” ( as in “ Just Guard ” ) will appear on their side of the screen. In addition to reducing stop stun, successfully instant Blocking ( or “ IB ’ ing ” ) will besides reduce or nullify the pushback normally caused by the blocked move ( making it possible to punish moves that are otherwise not penal ), and will besides grant extra tension to the defender. With air-blocking being potential in these games, the effects of moment air-blocking vary from game to game— in GGXrd, landing an Air IB would keep the defend adversary airborne for longer than a normal auction block, which could be used to throw off the attacker ’ s timing if they were to continue their jazz band or confusion upon seeing the defender land. In Guilty Gear Strive, however, instantaneous air-blocking rather reduces the 19-frame land recovery brought on by normally air-blocking any move but a projectile to 5 frames, causing the defender to land & recover faster and ultimately giving them more advantage upon landing. It was besides amended in Strive to nullify all chip wrong much like Faultless Defense, and can now even be combined with said tool to perform an Instant FD ( which besides prevents the R.I.S.C. gauge from increasing, adenine well as taking advantage of FD ’ s pushback ). With the discipline timing and rhythm, Instant Block can besides be performed while already blocking, in the gaps of certain combos or blockstrings, as a way of exposing holes in the attacker ’ south offense and ultimately winding up safer or more advantaged at the end of the string. Another holocene exemplar is the newly implemented Flawless Block system from Mortal Kombat 11, which besides requires a accurate clock in decree to counter the obstruct travel. a lot like Instant Block, it can besides sometimes be used to exploit gaps in the attacker ’ sulfur jazz band. This proficiency can give the player entree to their Block Attacks, which allows them to input one of their simplified “ Wakeups ” ( Up+2 launcher or Up+3 invincible assail ) as a guard cancel, either after blocking the initial hit or in the gaps of some characters ’ jazz band strings ( acting as a screen of substitute for the preexistent “ Block Breaker ” system ). It besides gives a few extra benefits to the player such as taking heavily reduced chip damage, making sealed moves/strings by some characters more minus on block, removing pushback on sealed moves ( such as Fatal Blows ), & most uniquely to this mechanic, preventing the adversary from cancelling their low pokes or jump-in attacks into especial moves ( or in some character-specific cases, completing certain strings that may normally come out on block ). The Super Smash Bros. games have besides erstwhile implemented their own class of arrant block with its “ carapace ” engine block mechanic— introduced in Melee, the “ perfect shield ” or powershield allows players to negate shield damage and shieldstun by pressing the shield button up to four frames before an attack hits them, letting them drop their shield instantaneously & giving them the ability to actually punish opponents who are inactive recovering in ways that could not normally be done. Melee besides gave this powershield technique the ability to reflect projectiles ( much like World Heroes 2 ) if pressed up to two frames before an attack hit them, however this was changed in Brawl to just redirect projectiles rather ; Ultimate has far changed this to merely occur when the shield is besides released with the proper time .

antenna Rave [edit ]

Marvel vs. Capcom series terminology for a chain jazz band that is performed while a character is airborne, either linked from a ground attack or started while jumping. Can be synonymous with air combo. The main difference between an Aerial Rave and a juggle is that during Aerial Raves, both characters are airborne, whereas during a juggle the attacking character is on the ground while the assail adversary is airborne .

aggression [edit ]

aggression represents the forth displacement and quantify of extra range that is created by a character ‘s assail, alike to the concept of a character ’ sulfur range but focusing more on moves that advance the player forward towards their opposition .
A travel performed in the air travel against an opponent ‘s own antenna move .
An anti-air is an attack done from the ground serving the purpose of attacking an opposition who is jumping in the air. Moves of this kind broadly enjoy high precedence or are upper-body invincible. These can either be a special affect ( typically a DP expressive style of rising motion ) or a command normal designed to hit jumping opponents, such as a crouching fleshy attack in many games or the more celebrated uppercuts in the Mortal Kombat & Injustice serial. In certain games, landing these moves against a jump adversary can allow players to convert into a full jazz band, earning more damage & ergo discouraging the adversary from continuing to jump. See also : float

original [edit ]

armor [edit ]

normally, when a character executing a move gets hit, the move is interrupted and the character is put in hitstun. A motivate with armor will not be interrupted when the character is hit by an attack. Typically armor is limited to one hit. If the character gets hit twice while executing a move with one “ strike of armor, ” the motion often is interrupted as convention. In some games, damage is inflicted normally through armor, while in other games damage is ignored, reduced, or taken as recoverable health. Certain moves may either be equipped with armor by default option ( i.e. Tekken 7 ’ s “ Power Crush ” attacks ), while others may be granted armor through specific means such as spending a barricade of meter to EX the move. See : Super Armor

Armor Break [edit ]

Refers to a motion that will break through an opposition ’ second armor Street Fighter MD-IV gave each character an “ armor breaking move ” that could defeat armor moves by default. Reversals in Street Fighter IV pause armor, and every character has at least one especial move that has higher precedence over Focus Attacks. In the Killer Instinct boot, all grounded fleshy attacks were patched in a belated update to be able to ignore ( or “ break ” ) armor. Mortal Kombat 11 besides patched many preexistent moves to become “ armor breaks, ” which is used to defeat both the armor on Fatal Blows and the armor that protects falling opponents during their Breakaway ( basically serving as MK ’ mho adaptation of KI ’ s “ Counter Breaker ” machinist ). While some of these normals and specials plainly break armor, many of these earn unique new properties upon breaking the opposition ’ s armor successfully ( i.e. a launcher, more damage, a Krushing Blow, a restand, etc. ) In stead of actual “ armor breaking ” moves or mechanics, many games ( such as the recent Street Fighter V or Tekken 7 ) may just assign certain moves a level of priority that allows them to ignore ( or crush ) the armor on their opposition ’ mho motion, such as a hold or a low attack ( this one particularly in the event of T7 ’ s “ Power Crush ” armored moves ) .

Armor Mode [edit ]

A feature exclusive to the King Of Fighters series. Armor Mode is activated by pressing BCD. It costs 3 stocks to use, and when activated, the player character will pose momentarily and flash scandalmongering for a brief period of time ( indicated by the timer at the top of the blind ). During this time there is no Power Gauge and the character can not amass Power Gauge energy or stocks. even though the Power Gauge disappears, players can use the Guard Cancel Attack or Guard Cancel Slide ( in either steering ) as many times as they desire. While in Armor Mode, all attacks inflict more damage ( slenderly less than in Counter Mode ). Characters besides take less wrong from attacks. furthermore, the Dodge Attack will knock down an opponent, much like the Body Blow Attack ( Guard Cancel CD attack ). Another have of Armor Mode is that characters take no damage from blocking an opposition ’ s special moves, or their DMs & SDMs. Although DMs or SDMs can not be used, the player character can not be hit out of an attack— an adversary ‘s attack can still push them second, but they will continue their attack alternatively of being put into hitstun. This does not apply to certain attacks that would knock characters down to the land or up into the vent, however. once this mode ends, the Power Gauge will not reappear for a few seconds, and the character will still be unable to collect energy/stocks until it reappears .

assist [edit ]

An assist refers to a move or instruction that calls or summons another character ( autonomous of the active actor character ) onto the shield to perform a convention or limited and assist the target character. These can be used to extend jazz band, angstrom well as enforce pressure and/or mixups among early strategies. Assists are most normally found in 3v3 team fighters or other tag games, where the dormant off-screen character can be summoned by the musician to perform their assist move ; these moves are typically activated by pressing the corresponding “ tag ” release once ( as opposed to holding it down to tag in the other character ) and can be used freely arsenic long as the executing musician is not in hitstun or blockstun, but they do have a cooldown menstruation before they can be used again— normally a message such as “ Assist Ok ” or “ Assist Ready ” will signify when the move is available again for use. typically these games grant three assists at the character choose, allowing players to pick one distinct special move for each character ( to serve as their “ assist ” attack ). Super Smash Bros. Brawl introduced a new mechanic called “ Assist Trophies, ” items that when picked up by the player will immediately call in a separate non-playable character to assist them in struggle for a unretentive time period before disappearing ( or in other cases being KO ’ five hundred by the opposition, although this does not affect the executing player ’ s health as it would for a creature ). In addition to the other traditional benefits of assists, these items can allow players to utilize/explore extra abilities of other popular characters not featured in the main roll ( such as Bomberman, Knuckles from the Sonic the Hedgehog series, or even Guile from Street Fighter ) .

attack Height [edit ]

  • High/Mid/Low
  • High/Low/Overhead
  • High/Mid/Low/Overhead (largely exclusive to the recent Mortal Kombat and Injustice series)

Auto Combo [edit ]

An Auto Combo or Easy Combo — besides known as an Easy Beat in the context of japanese fighting games— is a type of built-in jazz band in some games that is automatically performed by repeatedly tapping one button, such as the 5L & 5M “ Super Combos ” in DragonBall FighterZ or “ Rush Attacks ” in late King of Fighters games ; extra games that may use autocombos include but are not limited to :
This ability is featured in some fighting games as either a feasible choice for amateur players to deal substantial wrong without the need to learn inputs or combo routes and timing, and/or a safe & commodious performance at higher-level play. however, since auto-combos are normally limited to a single type of first reach and murder, they may be easy to predict and punish, and are consequently normally discouraged among higher-skill players. Another reason for their miss of representation within skilled competitive meet can besides be deficient damage compared to manual and learned “ natural ” jazz band .
Some games have “ Normal/Traditional ” and “ Simple ” input options [ i.e. “ Technical ” & “ Stylish ” in Guilty Gear Xrd Rev2 and the BlazBlue games, or “ Classic ” & “ Progressive ” in Fighting Ex Layer ], which allow players to choose between the normal controls or an easier system that utilizes auto-combos, one-button specials, and/or easy supers — meanwhile, the late Tekken 7 has both an option for one-button “ Basic Combos ” & an option to macro “ Assists ” to one button so that when held down, a belittled menu will pop up on the bottom of the screen showing a button map that will grant players the listed limited moves if they press the single corresponding buttons ( both of these can be toggled on/off & are not allowed in competitive Tekken 7 play ). Some games, such as DBFZ, use their auto-combos in a singular fashion. In DBFZ, performing a light Super Combo to completion will grant one of the seven Dragon Balls. once all seven have been accrued, either character can connect with one more light Super Combo while having a wide Super Meter to summon Shenron, who can grant them one of four buffs per their choose ( such as recover health or revive an eliminate tag partner ) .

car Correct [edit ]

An auto correct trace when a move is inputted while the player character ‘s second is to the opposition ( frequently times a limited ), and the game automatically switches the character ‘s direction ( & subsequently the move ) towards the opposition .

Auto Guard [edit ]

A built-in have in diverse fighting game characters that originates from the older Street Fighter serial. Moves with autoguard have a specific determined of animation frames, during which any travel that comes in contact with the defending character is automatically blocked ; this is unlike from regular move indomitability in that autoguard normally nullifies any go that comes in touch with it during its duration by blocking it and thus rendering it harmless ( unless the block move chips the adversary ), while moves with indomitability might run out of indomitability while the attack is hush able to connect with the defender, causing the character to get murder regardless. As a tradeoff, moves with autoguard are often slowed down when they block the opponent ‘s attacks, allowing the other character to avoid getting hit by them if the move they use to trigger the autoguard is debauched enough. Moves with autoguard are most effective at going through projectiles due to the fact that projectiles normally hit only once and it is relatively easy to time the be active with the autoguard liveliness frames so that they ‘re active during the point of impact with the rocket. Some supers besides have this feature of speech, and the duration of the autoguard animation frame might be exceptionally long for them ( in some cases even several seconds ). In Tekken games, one can perform a neutral guard by merely standing still & not pressing any buttons, which can still be defeated by a low fire, a snap up or early unblockables but will mechanically guard against most high & mid attacks .

Auto Shimmy [edit ]

See: Shimmy A term originating ( all but entirely ) from late Mortal Kombat 11 terminology, an auto shimmy is a type of shimmy technique well described as a jab chain that automatically baits the opposition into attempting to tech a throw. What typically defines a “ shimmy ” in this game ’ second context is being a staggerable string off of a standing jab ( i.e. 1,1 or 1,2 ) where the string ’ s 2nd hit is a mid that can catch the opponent trying to crouch & counterpunch or tech a musician ’ sulfur throw — in the case of an “ car shimmy ”, ideally the string should wholly jail on hit ; the 2nd hit of the bowed stringed instrument besides must be 9/11 frames of inauguration & the character should besides have a throw with an animation that can well be confused with the jab ’ second vivification ( namely having a project where both hands come out, that appears to lead with the dig hand ). Because throws have a different attack height in Mortal Kombat 11 than in early 2D fighters, being a high that is punishable by ducking ( more like 3D fighters such as Tekken or Soulcalibur ) and attacking ( i.e. with pokes, uppercuts, etc. ), the idea is that the throw liveliness looks similar enough to the stab liveliness that the opponent can not quickly distinguish between the two on reaction ( much like a 50/50 ), & by staggering the jab hits, the musician can pressure and condition the opposition into having to better read throws ( as merely ducking to punish an predict confuse will expose them to the 2nd hit of the string, which as stated is a mid that must be blocked standing or crouching ). The main function of a “ true ” car shimmy in MK11 is to deal with opponents who have learned to OS throw technical school, as the 2nd collision of the “ car shimmy ” string shuts down this choice. Examples of characters with a “ truthful ” car shimmy are Shang Tsung, Cassie Cage, Johnny Cage, Sub-Zero, Liu Kang, Kung Lao, and Fujin .

Baiting [edit ]

Baiting describes the act of taking certain blatant actions, be it moves or movement, in an attack to elicit a certain chemical reaction or move from an opposition, and then whiff punishing that reaction or move in reception. See also : conditioning

proportion [edit ]

See : game symmetry ( external ) A term ( derived from balance of power ) used in citation to describe the overall playable roll of a finical game, specifically referring to whether or not certain characters are inherently stronger or weaker than others via a big count of factors. “ good poise ” or “ well-adjusted ” refers to when most, if not all, of the characters in a game are on generally tied footing with one another, and that no character is at a distinct advantage or disadvantage during a given match-up with the other. For model, if one or more characters has clear-cut advantages over the others by a noteworthy gross profit that disrupts the game ‘s balance, they can be considered “ break “. The larger the cast, the more unmanageable it becomes to maintain good libra. See also : Tiers
When a character is blocking or guarding, they are in a defensive state that protects them from being damaged by their opposition ‘s moves ( or softens the damage, as in certain cases such as that of chip damage ). Blocking in most games is performed by tilting the joystick away from the player ‘s opponent ( back or down+back, normally referred to as back to block ), but in choice fighters such as Mortal Kombat, Virtua Fighter, and Soulcalibur, a particular button is used to block ( called a block or guard button ). normally there is more than one kind of block ( most frequently “ high ” and “ low ” ), each of which protects against and is vulnerable to different classes of moves. In most games, blocking can be countered by a throw. The term block may be more normally known as guard or even defense among asian FGC communities .

Blockstop [edit ]

The duration in which a quality is effectively jailed and unable to switch their guard while blocking an attack. This is besides normally the window of clock time that one is able to input a technical school hit and/or a guard cancel ( in some games like Vampire Savior ), and is a period of time prior to entering blockstun where the character is frozen in space, potentially being jazz band ’ five hundred and not being knocked back .

Block String [edit ]

A block string is a series of attacks that is blocked by a maintain musician. A blockstring may be understood to be a jazz band string that is blocked, wherein the defending player tries to block every score of the string, and the attacking actor tries to land a hit through the block and subsequently hit-confirm into a jazz band. Block strings give the attacking musician multiple opportunities to apply mix-ups, and are all-important to applying blackmail. If a blockstring has no gaps where the adversary recovers from block stun, it is a “ true blockstring, ” and the adversary can not act unless they utilize a special organization automobile mechanic that may be present in the bet on, such as a guard cancel or pushblock. It is often desirable to besides use freeze strings that do check gaps, since gaps can create opportunities for other mind games ( i.e. frame traps, tick throws ) .

Block Stun [edit ]

See also : Hit Stun The term blockstun is used to refer to a site where there is a delay after a player ceases to hold back or press the jam button before the musician can take any carry through again, such as moving or performing an attack. It may besides refer to the delay before a musician can perform another move if the adversary themselves has blocked their move. In Mortal Kombat 14, both the blocker and the blocked recuperate at the lapp time, while in every other 2D or 3D fighter there are subtle recovery differences depending on the detail go used and how advantageous on block it is .

Blow Away Attacks [edit ]

A finical character of two-button normal move in The King Of Fighters, besides most normally known today as Blow Back or CD Attacks, which grants the actor a knockback on their adversary when connected. Blow off attacks are performed by pressing compact disk ( or HP+HK * ) while standing or jumping. They can not be used while crouching. All characters can use cadmium attacks, except for May Lee when she is in Hero Mode ( she merely has a standing compact disk in this mode, and it functions differently from most four hundred attacks ). Most ground Blow Away attacks can be cancelled, but there are some exceptions. Furthermore, some may only be cancelled into special moves and ( S ) DMs, while others are cancelled into command attacks. In King of Fighters XIV, their knockback has been changed to provide a bounce back effect that— rather of juggling the adversary off the wall— provides more of a wall splat effect, placing the adversary into a pucker state and allowing for a sealed follow-up attack. Guard Cancel Blow Back Attacks ( GCCD Attacks ) can only be used while one is blocking from a standing position- they do less wrong than convention Blow Back Attacks, have a difference in appearance/performance ( i.e. providing a knockback without being able to wall splat in KoF XIV ), and can not be cancelled, but they will push spinal column an attack opponent and give the musician breathe board. Some choose KoF installments may only allow the Guard Cancel adaptation of Blow Back Attacks to be used .

Bounce Back [edit ]

besides merely called a bounce attack See: Wall Bounce While this type of move is generally synonymous with the term ”wall bounce” ( as it bears the same virtual effect of bouncing the adversary off the wall to create a juggle state ), the distinction between these terms is that a bounce attack can typically be done at any point on the sieve, triggering a knockback and either sending the opposition flying all the way back towards the wall or [ most normally ] creating a clear or transparent-white type of “ haunt wall ” that the adversary bounces off of at midscreen for a launch. The overall concept of wall bounces originated in this style with the wire attacks from the King of Fighters series ; some moves would create this effect only on counter-hit ( known as a counter-wire ), while in some games sealed moves could bounce the opposition back mechanically ( known as a critical wire ). While many games may abide by this ( KoF ) interpretation of the “ wall bounce ” machinist, certain other games may only allow a wall-bounce impression to be achieved when both players are in close adequate proximity to the rampart or corner ( hence the differentiation ). Some moves like specials are designed to have a bounce-back property, such as Ryu ’ south ( EX ) Joudan Sokutogeri ( AKA “ Donkey Kick ” ) from the Street Fighter and Marvel vs. Capcom games ; early fighters like the Injustice games have a universal joint bounce-attack mechanic performed via a command normal i.e. “ back+heavy ” ( in addition to a cosmopolitan operating expense machinist, conversely performed by pressing “ forward+heavy ” ). recently in Dragon Ball FighterZ, the universal teleport automobile mechanic “ Vanish ” besides grants a leap back impression, adenine well as a standing Heavy normal and a 7-hit Light Attack autocombo .

Bread and Butter ( BnB ) [edit ]

Refers to a “ bread and butter ” jazz band or technique for a character— this term was first applied within the Street Fighter II series. normally this refers to one especial jazz band or proficiency whose use is omnipresent and highly recommended due to its efficacy, ease of execution, and versatility. In games where car combos exist, BnB may plainly refer to said car combos due to their facilitate of performance ( i.e. Marvel vs. Capcom Infinite, Under Night In-Birth, Dragon Ball FighterZ, etc. ) .

circuit breaker [edit ]

See also: Burst A combo breaker, or more simply a breaker, is a defensive tool that allows a player who is being attacked or juggled to break out of the jazz band. It was introduced as a staple of the Killer Instinct series and besides several late Mortal Kombat games. In stead of a pushblock machinist, recent Mortal Kombat and Injustice installments may besides implement this as a mannequin of guard cancel, referred to in this context as a block breaker ( or a “ block escape ” in Injustice 2 ). If a move or jazz band can not be broken out of with a jazz band breaker, the damage received from that jazz band is referred to as unbreakable damage .
Broken, or alternately busted can refer to both characters and moves ( sometimes even entire mechanics ). A character or move is considered “ break ” when they are so powerful/advantageous that most [ if not all ] of the early characters in the cast do not have an answer for it ; it offsets the balance of the game and therefore is considered “ game-breaking. ” If a character themselves or at least one of their moves is broken, they may be banned in tournaments at times. This term unfortunately gets taken out of context chiefly ascribable to two things. first, it may be abused during the early days of a crippled ‘s release when the playerbase has not so far found a buffet or vulnerability for it. The other reason why this term is taken out of context is because most players label sealed characters/moves as strong even though they are not inevitably unbeatable— “ break ” in this context tends to be used synonymously with “ cheap “, but most people may call a move they generally deem as “ cheap ” broken when quite it may just be overpowered ( the differentiation varying from game to game/character to character ) .
The term buff may carry a couple different contextual definitions in FGC terminology

  1. To “buff” a move or character refers to the act of a game’s development/programming team patching or updating the game to improve certain moves or tools of a given character, for the sake of balancing the roster as the game’s meta continues to progress & evolve. This can be done to help underpowered or “lower tier” characters compete more effectively at a higher level (or even at a casual level to improve the “fun/creative” aspects of the character), whether by improving one or more attacks/abilities that struggle in certain matchups or by adding/augmenting properties of moves that otherwise would be largely considered “too weak” (even “unviable” or “useless”)by most of the playerbase. By this same measure, to “nerf” a move/character means the exact opposite: to tone down or otherwise inhibit a certain ability, so as to make a character/move less overpowered or moreover prevent a “top tier” character/move from being considered “broken” or “busted” by the playerbase.
  2. A “buff” may also refer to a special benefit or advantage given to a player, either by way of a universal system mechanic or via a character-specific power-up executed by the player himself (i.e. an install, a special taunt, etc.), that improves their gameplay ability. Damage buffs may be the most popular of such properties, but some abilities may rather buff a character to receive reduced damage instead; other advantages such as a speed buff may also be given. Conversely, an ability or mechanic that is instead applied to the opponent to negatively affect them may be called a debuff, such as a damage debuff ability causing the opponent to take increased damage.

Buffering [edit ]

  1. In most contexts, buffering means entering the command(s) for one move while a character is still in the animation of another move, so by the game’s design the second move can come out as soon as the animation ends. This is an important element of 3D fighters, not just in and of itself, but because particular 3D fighters can have “glitches” or “unintended features” which modify the properties of buffered moves compared to if they were simply immediately executed after the last move. The most famous example of this is the tactic in Tekken Tag Tournament of buffering a low parry with an Electric Wind Godfist* movement. If it is buffered, the game will choose to execute the move only if it is in the best interests of the player, a process known as option select. Tekken players of higher levels often emphasize the importance of learning to buffer inputs since it is a game with more complex commands that require players to press two attack buttons simultaneously + a directional input in order to perform the move(s).
  2. In The King Of Fighters, buffering can be used to describe performing a normal attack and then cancelling it in the middle of its animation with a special move, cancelling the ending frames of the normal move’s animation (e.g. Kyo’s CD attack into his Aragami Style No. 104: Wild Bite or a R.E.D Kick). This is a tactic usually used to manipulate the rhythm of the opponent or bait them.
  3. In Capcom games & later Mortal Kombat games (among many others), inputting or cancelling a normal into a special move so that the special move comes out immediately after the normal ends (making a combo by nature). This use of the term is synonymous with the term 2-1 combo or 2-in-1 cancel—- it can still be used in accordance with the first two definitions however, as normals & pokes will not cancel into specials on whiff, so players may OS this by throwing out said normals in the neutral & still inputting the special after (in which case, the special will only come out if the normal connects or is blocked).

Burst [edit ]

See also: Combo Breaker Named after the Psych Burst tool in the Guilty Gear series ( besides a staple of the Arcana Hearts series and known as a “ Mega Crash ” in Tatsunoko vs. Capcom ) ; most often refers to a defensive attack performed by a player being hit or blocking. Bursts can interrupt the attacking player ‘s jazz band ( or sometimes their block string ). This tool typically has a special bore attributed to it ( i.e. the “ Burst gauge ” in Guilty Gear XX and Xrd ). Unlike the combo breaker system used by some games such as Killer Instinct and Mortal Kombat, Bursts can be done raw in the achromatic without the musician necessitate to be in hit or block stun. In Guilty Gear this is called a “ Gold Psych Burst, ” which mechanically fills up the explode player ’ south Tension estimate wholly if landed successfully ( and will keep the musician safe on murder or on blockage ). In Xrd, the Burst gauge can besides be in full spent ( in addition to half of the player ’ mho Tension gauge ) to perform a “ Burst Overdrive ” by using the Dust button in the super input alternatively of the normal attack button, causing them to do 25 % more damage than regular Overdrives. alike to other games ’ concept of unbreakable damage, if a affect or jazz band can not be bursted out of, it is referred to as unburstable. In Guilty Gear, throws and Overdrives are unburstable moves. besides, as opposed to requiring a specialized move to counter bursts ( such as Killer Instinct ’ s “ Counter Breakers ” or Mortal Kombat 11 ’ s armor break moves ), certain moves and combos can naturally avoid the hitbox of the opposition ’ s Burst attack ( or can bait the Burst out ), making it safe to perform regardless of a potential Burst attempt and leaving the adversary open to a further jazz band. These combos are referred to as burst safe. The new V-Shift mechanic introduced in Street Fighter V ( a corollary of the existing V-gauge rejoinder machinist that grants players an invincible backdash which in turn grants a follow-up attack called if successful & press again ) —although this mechanic works differently & is besides unable to be done in hit/block sandbag or while being juggled— is performed with the same combination of buttons as GG ’ mho Psych Burst [ which is apparently R1+Circle on PS, or RB+B on Xbox ] .

Button Mashing [edit ]

Button grind, or plainly mashing, is a [ sometimes derogative ] term that by and large refers to a playstyle defined by the rapid, repeated press of buttons in a random manner, with or without random joystick movements ; it is frequently used to describe the room in which inexperienced players may play. Some games may have a built-in feature where push button mashing on one or more attack buttons executes a specific jazz band automatically ; these are broadly called car jazz band across the board but may have different names for this mechanic in some games. It can besides be used to describe what occurs in certain situations where buttons must be mashed quickly to achieve a desirable result, such as mashing on buttons to try & escape from a dizzy state ( i.e. the “ Daze ” or the shorter “ Stagger ” express in games like Guilty Gear Xrd’ ), successfully winning a “ Sword Clash ” in the Samurai Shodown games, quickly mashing punch buttons to increase the price on a Shoryu Cannon performed by Sean of Street Fighter III, potentially triggering the “ Tech Hit ” pushblock machinist in the Darkstalkers/Vampire Savior games, or an attack to mash out of certain combos like Magneto ‘s Magnetic Tempest jazz band in Marvel vs. Capcom 2. Mashing against the adversary ’ second advantage can besides be referred to as an abare. One feature of Mortal Kombat and Mortal Kombat: Deadly Alliance is a mini-game titled “ Test Your Might. ” It required the player to quickly bash the buttons to keep a green meter above a certain level when the count-down ended. When a player is intentionally trying to mash more hits from a sealed extremely, a park proficiency is to fan or drum the fingers out over the buttons of a fightstick and wave the integral hand back and forth over the buttons .

cancel [edit ]

See: Special Cancel See: Buffering A cancel, or the act of cancelling — a concept invented in the Street Fighter II series— is defined as breaking out of a current animation or move by inputting another move that cancels the former one. Attacks defined as “ cancellable ” frequently mean they have the ability to be cancelled and efficaciously combo into another attack, such as a special travel or superintendent ( the work of cancelling a special move into a super go is normally called a super cancel ). It besides occasionally referred to as interrupting. In some games, the move which is used to cancel a previous move normally does less damage than if the move is used entirely, either by default option or through damage scale. In some games, certain moves ( such as specials ) can be cancelled to plainly stop the motion from coming out all in all, acting as a feint proficiency. Special cancels, besides known as 2-in-1 cancels or “ 2-1 combos, ” are based on cancelling a normal attack into a special attack. respective games ( such as The King of Fighters, Darkstalkers, or Street Fighter Alpha ) are besides known for implementing guard cancel techniques that immediately put a character out of block sandbag and allow the player to hit their adversary at the cost of some super gauge. The KOF series has a detailed arrangement of evasion and counter -attacking based on cancelling blocking animation : the “ CD Guard Cancel ” allows one to knock down their adversary, breaking out of the character ‘s blocking liveliness to land a candle approach that does little damage at the cost of 1 office cake ( which is even cancellable in some cases and allows the player to start jazz band ) ; the “ Guard Cancel Emergency Evade ” allows the actor to roll both backwards and forwards to evade and punish the attacker if they time it when the opponent is doing an attack whose convalescence will leave them assailable after the actor ‘s evasion. Some games may besides allow players to cancel their movements into another ability, such as the “ FD Brake ” choice in the Guilty Gear series or the ability to dash/run cancel into an attack or precaution in games such as Fighting EX Layer or the newer Mortal Kombat titles ( for example, wavedashing in MK works by allowing players to cancel their dash into the auction block release & quickly repeat this sequence ) — frailty versa, other games may allow certain moves to be cancelled by another movement such as dash, or popularly a jump cancel ( in the shell of most anime or 3v3 tag fighters ). Systems like the Roman Cancel ( introduced in Guilty Gear X ) may grant the universal ability to completely cancel [ about ] any move a character is doing by pressing 3 unlike attack buttons ( except for Dust ) and spending 50 % of one ‘s Tension bar— 25 % latent hostility in the case of the “ Force Roman Cancels ” implemented by Guilty Gear XX, which allow certain characters to cancel specific moves on whiff ( as opposed to regular RCs which can alone be used on hit/block ) — frankincense completely eliminating recovery time. The Roman Cancel ( or RC ) automobile mechanic can allow players to extend jazz band, apply coerce, or make certain moves dependable ( occasionally may besides create new mixup opportunities ). This system was altered in Xrd to include new RC colors, performed with the same command but differing in consequence depending on the country of the actor ( second ) ; activating an RC will momentarily freeze the game allowing the executing player to move normally but causing the adversary or on-screen projectiles to slow down, which all in all gives both players time to assess the situation. The Red RC works in the traditional manner, activating merely when the player has put the opposition in hitstun or blockstun ; however, the add slowdown increases this stun time allowing for new jazz band routes that would differently be impossible. The slowdown length is dependent on the go that the player RCs ; certain moves like DPs can only be cancelled with a red RC. While these RCs have merely 1 frame of startup, Yellow Roman Cancels ( or YRCs ) have 6 inauguration frames and a fix slowdown time of 16 frames, alone costing 25 % Tension. YRCs can only be performed while the opponent is not in hit/blockstun ; these will activate if the opposition is inert or attack, if they are knocked down, or if they are performing a burst. Since they can besides be activated on whiff before the player ’ s cancelled motion enters its recovery skeleton, YRCs in Xrd can be utilitarian for okizeme, mobility, space operate, pressure, and setups. A purple Roman Cancel ( or PRC ) will occur alternatively if the player cancels their move late in its vivification during recovery. Performing a PRC rather of a YRC costs 50 % Tension alternatively of 25 % & has a slower inauguration of 15 frames, ultimately granting the same consequence but at a greater cost & hazard. This RC system has recently been changed again in Strive, with one change being a universal 50 % tension cost for all RCs ( since the Tension estimate is nowadays merely divided into two bars ) ; the RCs ’ circular flare besides now produces a ocular shockwave that by and large causes the given RC ’ mho effect and slowdown upon connecting with the opposition. Red RCs, while doing no extra damage, will now launch the adversary on hit, allowing the player to juggle them & perform fresh combos ; throws can besides be crimson RC ’ vitamin d, allowing players to convert off of a normal or command catch. A raw blue RC has been added, occuring entirely when the player is neutral or moving without pressing an attack or defend ; these RCs slow down the opposition for soap duration when the RC ’ randomness shockwave connects, which will remain even while the opposition is hit, allowing the musician to link attacks that would normally not work together ( or plainly to respond quickly to impersonal situations such as stuffing or countering incoming attacks ). YRCs have been changed to only occur when the player is in blockstun, acting as a new kind of guard duty cancel to replace the former “ Dead Angle ” machinist ; if the shockwave connects with the adversary, they will reel back slightly ( in the like manner as the crippled ’ sulfur “ guard squash ” submit ) allowing the defending actor to potentially take their turn back, although this YRC is punishable if blocked by the adversary. PRCs now assume the function that YRCs primitively played equally well as its original function, allowing players to cancel ( normally whiffed ) moves on inauguration or on recovery. In addition to making a normally penal move condom, PRCs may have singular extra benefits such as allowing sealed characters to move freely behind ( or evening in presence of ) projectiles that may normally leave them standing in position, or granting players alone jazz band routes with decreased damage scale by allowing them to cancel into a tease out of a normal or a drawstring then immediately PRC their twit. Strive besides implements two new properties to the RC system that apply to all RCs ( except yellow ) : Fast RC ( which allows players to quickly cancel out of their RC before the shockwave occurs with any move including specials ) and Dash Roman Cancel a.k.a. Drift RC ( which allows players to move forward, backward, astir or down with their RC by inputting the respective dash command immediately before inputting the RC ). In addition to mobility benefits such as moving in close to the opposition, Drift may besides grant alone properties beyond a regular Roman Cancel ( i.e. using a amobarbital sodium float RC to pass through projectiles with indomitability if timed by rights ). The free personal computer combatant Rising Thunder besides implements a universal delete machinist called “ Kinetic Advance, ” which allows players to spend meter to cancel their attacks on hit or block ( or projectiles on whiff ) with a crash or derail in any direction. A term exclusive to King of Fighters XI is “ Dream Cancel, ” where the drawing card of the team of three, the lone character who can use the Leader Desperation Move, can cancel a DM ( a 1-stock ace move ) into a Leader Desperation Move ( a 2-stock ace move ). Soulcalibur allows players to cancel moves by pressing G ( guard ) during their inauguration, sometimes stopping the be active altogether ( called a “ G natural ” ). This can efficaciously be used as a form of baiting, since cancelled moves take little time to finish and can often be followed up by a flying attack .

hold [edit ]

The term ”carry” can be used in two discriminate contexts :

  1. An FGC term (usually used in a derogatory manner) meant to describe the propensity of a specific character, move, mechanic, or general technique to carry a player to victory despite a perceived lack of base fundamental skill. It is a term generally used in conjunction with the label “scrub”; for example, one might say a player who uses a notably busted character to win matches (when they may not be able to achieve the same level of success with other characters) is carried by that character.
  2. Wall/corner carry— a term used to describe the propensity of a certain move sequence or combo to have enough forward displacement (aggression) and/or pushback to carry an opponent all the way to the corner (or wall).

Chain Combo [edit ]

A type of combo/ string system used in several fighting games, in which an attack of lower persuasiveness can be jazz band ’ erectile dysfunction into a subsequent assail of the adjacent military capability ( i.e. Light > Medium > Heavy ), forming a chain. popular examples of this assail system include the Gatlings found in the Guilty Gear series and Z-Combos in Dragon Ball FighterZ ; it is the jazz band system most normally employed by these these types of anime and 3v3 tag fighters ( including others such as the Marvel vs. Capcom series, Skullgirls, & others ) — chain jazz band may have besides been popularized by early Capcom fighters such as the Darkstalkers series— although certain key combos in these games ( be them more building complex jazz band or just BnBs ) may still be achieved by accurate links that are otherwise impossible via bare range combos. French-Bread fighting games such as the Melty Blood series & Under Night In-Birth have besides implemented a reverse-chain system, known as a reverse beat, which allows players to besides range attacks from heavy to light, arsenic well as other unique patterns ( i.e. L > H > M, H > L > M, etc. )

Channeling [edit ]

See : Directable transmit is the redirection of an attack to its targeted placement before completion, be it the front of the opponent or the rear, ampere well as high or first gear .

charge Move [edit ]

A charge move is a move whose command remark involves holding ( charging ) either a guidance on the joystick or release ( sulfur ) for a brief period of fourth dimension. This kind of travel is most prevailing in 2D fighters where players must hold back to block, namely throughout the Street Fighter series, although it is occasionally seen in 3D fighters ( more normally as a button commission than a joystick charge ). several characters in Street Fighter are designed with many of these types of moves, and thus they may be labeled as charge characters such as Chun-Li whose Kikoken bolide is done by holding binding ( or down+back to crouch care ) & then snapping ahead + any punch release and whose Spinning Bird Kick is done by holding down & then snapping up + any kick back push button, american samoa well as Guile whose Sonic Boom powerhouse & Somersault Kick are executed with these same commands respectively. Blanka, M. Bison, & E. Honda are besides examples of characters with care inputs behind their most important specials. Characters like these may tend to sit in a crouch situation holding down + back, to ostensibly still be blocking most ground attacks while “ buffering ” between two charge moves that have back & down consign inputs. Examples of charge characters in other 2D games include but are not limited to May ( Guilty Gear ), Terry Bogard & Joe Higashi ( Fatal Fury/King of Fighters ), T.J. Combo ( Killer Instinct 1 & 2 ), B.B. Hood a.k.a. Bulleta ( Darkstalkers/Vampire Savior ), Shuma Gorath ( Marvel vs. Capcom ), Big Band, Cerebella, and Parasoul ( Skullgirls ), Kagura Mutsuki ( BlazBlue ), Vatista ( UNI ), & Charlotta ( Granblue Fantasy Versus ) .

Cheap / Cheese [edit ]

See : Spam See also : scrub Being bum or cheap is a derogative term used to point out an overpowering or repetitive tactic, or a musician that uses overpowering or insistent, “ spammy ” moves and certain early exploitable shenanigans to gain the upper hand. Of run, whether a motion or tactic actually is overwhelm and broken is a universal source of controversy. such tactics may be discouraged during casual play with friends, but they are normally fair game during tournament looseness and amongst tournament players. It is not thus uncommon for a tactic to be deemed cheap by casual players and be considered a inadequate or weak tactic among higher end players. In Capcom fighters, this besides doubles as an ingame term for defeating an adversary via bit damage from a extra or a super go, which fits the above description. See besides : Balance ||| Broken

Chicken Blocking [edit ]

Chicken obstruct, a term popularized by CvS and MvC circles, describes a position in games that have air blocking ( normally anime or team fighters ) where a actor would jump to block an entrance attack in the publicize rather of on the land. The idea comes from when a quality lands on the ground and it cancels the recovery frames of their pulley stun, upon which the maintain musician is no longer in block stun ; interim the attacker is recovering from their attack and is unable to block, leaving them vulnerable to sealed counter-attacks and punishes. besides while airborne, the player need alone block in one direction thus eliminating high/low mixups. many players would refer to this is a “ chicken ‘s ” way to play .

chip Damage ( besides Block Damage ) [edit ]

Chip damage or chip refers to the reduced damage a character takes from an assail while blocking ( can besides be called block damage ). Generally an highly small amount— in some games, normal moves do not cause this chip damage, whereas specials and supers can. Some games besides may not allow players to KO their adversary with chip damage ; supers may much be nontaxable from this. The term refers to the ocular effect of the player ‘s life bar being “ chipped ” away, bit by sting ( sometimes indicated by this small assign of lost health turning white or grey ). Certain games may besides allow players to recover this small snatch of health lost to bit damage if the player escapes their opponent ’ sulfur block blackmail and goes without being hit for long adequate to replenish this health ( normally known as a recoverable health in games like Street Fighter or “ white life ” in Killer Instinct ). besides refers to a type of fighting that relies entirely on causing such damage. [ not to be confused with DOT wrong. ]

clash [edit ]

A clash refers to a precedence organization in certain fighting games by which two attacks— having the like lastingness and/or by room of reciprocal hitbox overlap— may connect on precisely the lapp frame, typically nullifying each early and resetting both players. Whereas a deal would otherwise happen due to both attacks intersecting with each others hurtboxes, broadly resulting in both players entering hitstun from their common attacks, their respective hitboxes do not collide or overlap with each others ’ hurtboxes and therefore cancel each early out. The first luminary exercise of such a feature was the Sword Clash implemented in the Samurai Shodown series ( sometimes referred to as “ Locking Swords ” ), which could only occur once per round when two weapon -based normals ( or “ Slash ” attacks ) collided simultaneously, so long as one player had a life-lead of 160 HP and more than 16 seconds remained in the round. This would trigger a short-circuit “ mini-game ” of sorts, in which both characters would enter the authoritative “ clashing ” animation in concert, pressing their swords against each other & struggling in a clench. Both players would then be prompted to button-mash their Slash attacks cursorily ; the actor who won the clash by pressing the button faster and/or more times would disarm the opponent, knocking their weapon to the floor and consequently limiting their offensive capabilities ( i.e. slash attacks or specials ). This position would then leave the opposition attempting to regain their weapon ( by pressing Light or Medium Slash when near the weapon ). In the rare event of a tied Sword Clash, both players would be disarmed. This mechanic has remained a staple feature of the SamSho series. The 3D-fighter Soulcalibur II (2002) was one of the first games beyond this to implement a consecrated system where two moves of an equal attack level — by and large “ Light, ” “ Medium, ” or “ firm ” — would void each early & cause the moves to bounce off of each other, basically repelling each other mutually & reeling both players second while inflicting zero damage. The Guilty Gear franchise, american samoa early on as Guilty Gear XX ( released the same year ), was besides a democratic pioneer of this type of clash system, placing their own unique wrench on the automobile mechanic by completely resetting the impersonal state for both players and allowing them to immediately cancel into any attack, motion, or defend ability ( i.e. Faultless Defense ). Beyond the simple notion of “ light/med/heavy ” attack strengths, different attacks are assigned certain “ attack levels ” ( from lvl. 1 to lvl. 4 ), which each have standardized amounts of frame advantage ( i.e. hitstop, standing and crouching hitstun, land and atmosphere blockstun, etc. ) depending on their represent horizontal surface. many other ArcSystem Works fighters— such as the BlazBlue series, Granblue Fantasy Versus, and Dragon Ball FighterZ — have since implemented this same format of “ attack horizontal surface ” -based clash system, although the result effects of the clash itself may vary from game to bet on. Guilty Gear Xrd introduced a ephemeral corollary to their collide system called “ Danger Time, ” which would occur at random in home of a normal clash. When triggered, both players freeze in set & a 3-second countdown occurs, after which all price is increased by 20 % for 10 seconds and any Roman-Cancellable attack landed from a neutral state during this menstruation grants a “ Mortal Counter, ” an enhance counter-hit submit that besides inflicts massive hitstun and/or allows the attacker to follow up with a jazz band. For a different exemplar of a bet on with alternate brush effects, King Of Fighters XII besides introduced a ephemeral brush system ( besides called the “ Sousai/Deadlock ” organization ), where rather of damage being nullified both players would take little damage ( reduced by 30 % ) and reel bet on from each early. Like the previous examples, this brush could be cancelled into early attacks or movements ( i.e. pressing/holding forward to dash out of the clash, fore “ hyper hop, ” etc. ), but unlike said examples— most of which do not allow for clashing with projectiles — this game would classify special moves and projectiles as “ Strong ” attacks, and clashing with them would nullify the projectiles ’ wrong, allowing the defending player to advance forward on their partition adversary more easily. Note : some other games may besides apply the term “ clash ” differently. Guilty Gear additionally refers to a “ hurl escape ” ( when a player techs their opposition ’ south grab attack ) as a “ Throw Clash. ” BlazBlue: Cross Tag Battle besides features a dedicate “ Clash ” button ( notated as “ C ” ) that serves as a universal overhead push button ( alike to the Dust button in Guilty Gear ) and can besides be used to EX moves. The Injustice series features their own distinct “ Clash ” system, which can be used alone once per match when a player is one their second lifebar and stick in their opponent ’ s jazz band. When activated by pressing “ forward+Meter Burn, ” the jazz band will break and a cinematic will trigger where both characters collide in a similar fashion to the aforesaid “ Sword Clash ” ( Samurai Shodown ) — however, rather of a button-mashing sequence, a “ stake ” system is initiated & both players are prompted to press a face release that corresponds with a set fortune of their current extremely meter. If the defending player wagers more meter than their assaultive opposition, that player will win the collide & regain a sealed amount of health proportional to the come of meter they wagered. In contrast, if the attacker wagers more meter, they will rather do further damage to the defender who initiated the clash .

ringer [edit ]

A clone character is a quality whose general moveset is extremely like ( if not identical ) to that of another character, despite a electric potential deviation in appearance. In the original Street Fighter, for model, Ken and Ryu were clones. It is not uncommon for clone characters to gain clear-cut deviation with late versions of the game, arsenic well as over the subsequent installments of a series ( e.g. Ralf and Clark from KOF, Yun and Yang from Street Fighter III: New Generation, Fox and Falco or Marth and Roy from Super Smash Bros. Melee ). A clone differs from a palette swap in that a different actual fairy or model is normally used, but the movelist is even the lapp ; the most obvious remainder is that the clone takes up an individual spot on the roll and has a different name. Palette swaps are merely differently-colored sprites ( or alternate costumes in rare cases ) for 2D contend plot characters that may hush have alone movesets which differ distinctively from each early ( i.e. the respective ninja & cyborg characters in the early Mortal Kombat earned run average ) .

jazz band [edit ]

In traditional 2D fighter terminology, a string of attacks that can not be blocked if the first score connects. The word “ jazz band ” is besides used presently by some 3D champion fans to describe simply a series of moves which when done in a certain order do more cursorily than when done out of order ( besides known as a “ string ” ) .

Comeback Mechanic [edit ]

Refers to an extra in-game machinist not necessarily tied to default resources ( i.e. health or ace meter ), that can be awarded to the disadvantaged ( or losing ) musician & help them turn the momentum of the pit in their favor ( in early words make a ” comeback ” ) — these frequently have another kind of alone meter/gauge system attached to them. Comeback mechanics tend to have certain limiting stipulations such as alone being gained or built up by taking damage, or in some cases only being available once per match— desperation supers such as MK11’s Fatal Blow or Tekken 7’s Rage moves may besides be considered forms of “ rejoinder mechanics ” by this nature. other games may utilize a separate type of bore that when wide will specifically grant certain rejoinder tools in the form of an install or power-up state, such as Killer Instinct’s Instinct Mode or a wide range of the newfangled V-Triggers found in Street Fighter V. democratic examples of comeback mechanics in fighting games include :

  • X-Factor (MvC3)
  • Infinity Stone/Infinity Storm (MvCI)
  • V-Gauge/V-Trigger (SFV)
  • Instinct Gauge/Instinct Mode (KI)
  • Fatal Blow (MK11)
  • Rage Art/Rage Drive (Tekken 7)
  • Sparking Blast (DBFZ)
  • Zord Ultra (Power Rangers: BFTG)

Although these newer mechanics tend to draw due criticism from more traditional players for sometimes being “ besides impregnable ” and/or rewarding players for losing excessively disproportionately, their implementation can besides be seen as a fun means to freshen up the hang of the combat, providing fresh new mechanics for both fooling players trying to get into fighting games and for more know players who want an add layer of astuteness in their gameplay .

Command Grab [edit ]

A command grab ( or command throw ) is defined as a throw which is not performed with the universal/standard throw input— they are command moves that require movement input and/or clitoris sequence to achieve ( typically categorized as specials ), and they are normally unique to the character. Command snap up differ from convention throws in that normal throws can be teched, while dominate throws are generally ineluctable once connected and can besides be more damaging than convention throws ( deoxyadenosine monophosphate well as potentially lead to a follow-up jazz band ). The tradeoff to this is the fact that most of them require some complex directional inputs to perform ( such as a 360 input signal or even a pretzel movement ), and may come out slower than normal throws. See more about command throws in the boldened links

Command Move [edit ]

This can refer to respective categories of moves/actions that are done by a alone input signal or command as opposed to a default universal one Command Normal : First used in the original Street Fighter, a command normal ( sometimes referred to as a directional or unique attack ) is a childlike or complex move, in execution or animation, normally performed with a simple combination of stick and clitoris action, such as a ‘Forward ‘ punch or Kick or sometimes Back + Punch/Kick. The properties of these moves are normally not radically different from early normal moves, but preferably they are performed with a release press and a joystick action to allow a wider array of convention moves without having to add extra buttons. many command normals tend to enjoy limited properties such as hitting overhead or gloomy, or being a designated anti-air attack with upper-body indomitability. particularly in the case of The King of Fighters, if a normal attack is cancelled into a command move, the command move loses its special properties but becomes cancellable itself into a special be active, while there are others that are immediately cancellable into special or super attacks when performed alone without previous delete. Command Grab : Command grabs are defined as throws which are not the universal/standard throw input— they are command moves that require movement input and/or button sequence to achieve ( basically a extra move that acts as a bewilder ), and they are normally unique to the character. These throws typically do not come out adenine fast as normal throws or are harder to perform ( such as requiring a 360 motion or even a pretzel input ), but normally either yield higher damage or the possibility for a follow-up jazz band. To solve this problem, The King Of Fighters was the inaugural game to introduce simple motions for throws and special throws, normally Hcf and/or Hcb — some command throws that had excess properties ( such as Iori ‘s Kuzu Kaze, which leaves the opposition candid to any attack after switching sides with him ) may have an total guidance like Fwd then Hcf, Hcb then ahead, or viceversa, simplifying the remark required and making them far more virtual in real matches. Super versions of these moves are often the same motions doubly, or sometimes wholly different ones. Command throws are generally unable to be teched if they connect ; they are besides effectively used to tick throw the adversary. 3D fighting games normally include a battalion of control throws for versatile characters, which are escapable ( unlike 2D fighters ), but the complexity of the necessitate technical school command may differ from character to character, or even game to game— in the Virtua Fighter series, for case, throw escapes are slightly rarer, whereas in the Tekken series it ‘s often possible for a actor to mash their room out of certain throws. Command Dash : A special move that acts as a dash which is clear-cut from the game ’ south universal hyphen mechanic— command dashes typically enjoy specify properties that normal dashes do not allow for, such as the ability to pass through the opponent/their attacks and cross them up, being allowed to be cancelled into from other specials, being able to be cancelled out of or feinted more well, or having built-in follow-up moves. For example, Karin of Street Fighter V has her “ Kanzuki-Ryu Hokojutsu Seppo ” ( besides 神月流歩行術 刹歩, Kantsuki-Ryuu Hokoujutsu Seppou ) command crash which allows for one of two follow-up attacks : Tenko ( which launches the opponent & enjoys especial benefits when executed as a just frame ) or Orochi ( a safe follow-up that has likely to low-profile certain moves such as projectiles, and can be enhanced to put the opposition in a pucker state ). The potency of the kick button used in the command dart ’ randomness QCF +K stimulation can besides determine the distance travelled by the dash. other examples of characters ’ command dashes may include Millia Rage ’ s “ Mirazh ” or Nagoryuki ’ s “ Fukyo ” ( Guilty Gear STRIVE ), Lancelot ’ s “ Wirbelwind ” character alone and Percival ’ s “ Lord ’ south Strike ” limited ( Granblue Fantasy Versus ), Kan-Ra ’ s “ Sand Dash ” trap property ( Killer Instinct ), or Lord Drakkon ’ s “ Drakkon Dash ” ability ( Power Rangers: Battle For the Grid ). Command Jump : Can besides be referred to as command leap — an ability that acts as a rise which is distinct from the game ’ south universal jump machinist. This may just allow the character to perform their normal rise attacks, or in rare cases even grant them access to new aeriform attacks and/or mobility options. Command jumps often appear in the shape of particular moves but may besides appear as a character trait, such as Chun-Li ’ sulfur “ Rankyaku ” V-Skill in Street Fighter V ; this move besides has a little hitbox on its manner upwards & can launch or float the opposition in the breeze allowing Chun-Li to follow her dominate rise with her default forward pass jazz band. early command jumps like Nanase ’ mho & Orie ’ s “ Force Function ” in Under Night In-Birth can grant extra mobility ( such as forward/backward ). These command jumps can besides be used to jump cancel from jazz band or blockstrings into forward pass attacks on a prime opponent either for unbreakable damage or for increase pressure. A democratic exercise of a built-in command derail is Master Roshi ’ s “ Masterful Leap ” in Dragon Ball FighterZ, which replaces his universal Super Dash choice with a singular leap that is both invulnerable to Ki blasts and directable depending on the directional input combined with the H+S button command ( i.e. 4H+S being utilitarian for mixups ). alternately, certain characters ’ command jumps like Trunks ’ “ Cyclone Jump ” must be inputted manually with a special input ( i.e. 214+L/M/H ) ; some like these can besides be performed in-air. early dominate jumps that may work similarly ( but besides may possibly require a dedicate extra input ) can besides include directable options such as Jacqui Briggs ’ “ Bionic Leap ” and The Joker ’ s “ BOING ” ( Mortal Kombat 11 ), augments of another ability such as Kan-Ra ’ s “ Sand Jump ” trap place ( Killer Instinct ), or others with built-in follow-ups such as Ciel ’ s “ Halo ” somersaults ( Melty Blood ) & Jen Scott ’ s “ Flash Vault ” ( Power Rangers: BFTG ). Command Roll : A particular move that allows the character to roll across the ground with forward and/or backward mobility to evade certain attacks— these rolls may move the character safely beneath many high-hitting attacks or even to the other side of the opponent. Certain dominate rolls may besides have follow-up options, either built in or by circumstance— for exercise, the Guilty Gear character Millia Rage has notably possessed a Forward Roll ( 214K ) ability in most games ( prior to Strive ) that not entirely shrinks her hurtbox & allows her to low-profile moves, but can besides be followed up with certain built-in attacks. aside from chaining this roll into another roll ( by pressing K again ), or into Dust, Millia ’ s roll can be followed up with her Lust Shaker especial by pressing S after the paradiddle, adenine well as her Digitalis move by pressing H ; she may besides get away with throwing the adversary after rolling ( often after two consecutive rolls ) if they are excessively respecting the potential bankroll follow-ups by blocking. In turn, Millia has no invulnerability to throws during the seethe, and can besides be punished with proper time during the peal ’ mho convalescence. A farther model of a character with command roll follow-up is Kage Maru of the Virtua Fighter franchise ; Kage possesses a Forward ( Zenten ) or Backward ( Kouten ) bun choice, which can besides be repeated once more in either direction, allowing him to confuse the opponent by rolling back & forth. There are besides several follow-up attacks that can be used to mix the opponent such as a slam or a mid-hitting launcher, arsenic well as low & mid tackle options. early examples of command rolls may include El Blaze ’ s “ Fake Roll ” ( Virtua Fighter 5 ), Kevin Rian ’ s “ Abide Mine ” ( Garou: Mark of the Wolves ), John Rambo ’ s “ Shoulder Roll ” ( MK11 ), or Red Hood ’ s “ Fatal Drop ” ( Injustice 2 ) .

Conditioning [edit ]

Conditioning is an advance tactic that describes the act of making the opposition become companion and accustomed in reply a certain course of action by means of repeat photograph to the like situation. For one specific case, a player can condition their opposition to block gloomy on wakeup if they constantly attack low after a knockdown ; this can then be utilitarian if one wishes to take advantage of some scheme that requires starting with an disk overhead attack, effectively mixing their opponent. other fundamentals such as coerce and partition are considered when speaking in terms of conditioning an opponent ’ randomness reactions. See also : baiting
A conversion is a counter or about-face situation where a player turns an unlikely hit or scramble into a jazz band. This term is frequently used in concurrence with AA ’ sulfur & floats — players that hit an airborne opponent ( or that otherwise execute some sort of launching reversal ) can convert the resulting float or juggle into a full jazz band. Conversions are harder to successfully execute than ordinary combos, because players must react to the less-predictable motion of the juggle opposition using carefully timed ( and possibly improvised ) moves, ampere well as hit-confirming into follow-up attacks by rights. See : Floater See also : Anti-Air

Cooldown [edit ]

Cooldown refers to the window of time in which a player is ineffective to use a certain move or tool again after using it. This sometimes has a visual/audio cue ( such as a message or a timer/gauge ) to signify that the cooldown window has ended & the resource is available again. The most common application of cooldowns in fighting games is via assists in tag /team fighters— these assists broadly have a abbreviated cooldown period so they are not able to be called hyper-repetitively & thus be besides strong, with a message normally saying “ Assist Ok ” or “ Assist Ready ” to alert the actor that the cooldown period is over. Certain King Of Fighters installments have besides featured the Armor Mode and Counter Mode, both of which will cause the Power Gauge to disappear after the mode is completed for a brief menstruation before returning— during this cooldown period, the player can not gain any meter. In the cases of Granblue Fantasy Versus and the free-to-play on-line personal computer fighter Rising Thunder ( arsenic well as the approaching indie title Coreupt ), all specials are thought of as “ skills ” & tied to their own individual cooldown meters separate from the super meter that prevent over-use of these moves throughout the match, as a tradeoff for the fact that they tend to have simpler input commands if not merely a single “ Special/Skill ” release. Cooldown rates may vary ( game by game ) depending on factors such as the character or move itself, what translation ( light/med/heavy/ EX ) was used, how frequently it is used, or in GBVS ’ case whether the “ technical/traditional ” special remark or the easy “ Skill ” button/input was used. versatile cooldown concepts are award in NetherRealm Studios games ; many character traits in the Injustice games will have cooldown periods of varying rates ( depending on the character ) before they can be activated again. In the holocene Mortal Kombat 11, Fatal Blows will enter a cooldown window if they are whiff or blocked & finally return, allowing the player more than one probability to land this super. MK11 besides introduces a new, unique meter system ( divided into two offensive & two defensive bars ) that regenerates automatically at all times, including between rounds, which apparently will always replenish exhausted meter after a brief cooldown. The boot of Killer Instinct introduced a new feature expanding on their celebrated jazz band surf system called “ Lock-Out, ” wherein an wrong attempt at breaking an opponent ’ randomness jazz band will render the player unable to attempt another circuit breaker for three seconds, leaving them open to further unbreakable damage. These lockouts can occur either by mistiming the break input when there is no allowable fracture window ( once indicated by an orange “ X ” & “ ! ” above the locked-out players head but changed to a grey clock picture ), or by using the wrong attack forte to guess the separate ( once indicated by a red “ X ” & “ ! ” but changed to a aristocratic L, yellow M, & red H to indicated the match Light, Medium & Heavy strengths ). additionally, being hit by an opposition ’ sulfur “ Counter Breaker ” mid-combo will place a purple cross above the player ’ s head & lock them out for four seconds .

Counter Hit [edit ]

A counter hit or counter is a condition for an assail that hits another player while they are in the process of performing an attack. In many games this attack is granted bonus damage and/or extra effects ( i.e. extra hitstun, launch, dizzying, etc. ). In The King Of Fighters, aside from adding price, counter hits are given juggling properties, meaning that an opponent get in a counter hit is immediately eligible for a follow-up fire. For example, a startle compact disk attack that hits as counter, can be followed up by a second CD attack of the like nature, a limited move, a super, or other moves with juggle properties. Certain counterhits in Tekken will besides be given launching properties allowing the player to juggle their opposition. In Mortal Kombat 11, the Krushing Blow automobile mechanic is much triggered by moves or strings that are rejoinder hits or punishes, rewarding the player ’ s move with excess price, launches/juggles, stun, DOT, or other unique perks .

Counter Mode [edit ]

A feature exclusive to The King Of Fighters 99 & The King Of Fighters 2000, the Counter Mode is activated by pressing ABC. It costs 3 stocks to use, and when activated, the character will pose momentarily and flash red for a short-change period of time ( indicated by the timer at the top of the screen ). During this time there is no Power Gauge and the player can not amass Power Gauge energy or stocks. even though the quality ‘s Power Gauge disappears, they can use the universal joint Guard Cancel Slide ( in either focus ) or Guard Cancel CD Attack as many times as they desire. While in Counter Mode, all attacks inflict more wrong, and even though there is no Power Gauge, Desperation Moves can be performed infinitely : no stocks are required. furthermore, the character becomes able to cancel the Dodge Attack into command attacks, special moves, and DMs, equitable like a normal punch or kick back. A singular have of Counter Mode is that the quality can interrupt a particular motion with a DM, the same means they might cancel a normal attack into a limited move. once this manner ends, the Power Gauge will not reappear for a menstruation of time, and the character will however be ineffective to collect department of energy or stocks until it reappears .

Counterpick [edit ]

Counterpicking is when the musician picks a character with a statistical match-up advantage over that of the opponent ‘s choose quality. Some people tend to look down upon this drill because it is easy to argue that the musician has an unfair advantage over their character, whilst counterarguments claim this is a strategic choice and a matter of opinion, ampere well as skill among both players. Despite its obvious advantageous nature, counterpicking is normally allowed in tournaments, provided the counterpick character themselves is not competitively banned ascribable to being actually overpowered or broken by default. however, most fight games online ( besides NRS games ) force the player to pre-select a character before actually going on-line, so there is no character blue-ribbon & thus counterpicking is not as prevailing in on-line matches .

Criticals [edit ]

Criticals are moves that may cause more than the default damage, resulting in critical or more wrong. In games that utilize such a sport, criticals normally occur at random ( or frequently on counterhit in games like Dead Or Alive, which may trigger a “ Critical Stun ” ). One exercise of a character able to use criticals is Shingo Yabuki from the King Of Fighters series, whose attacks always result in a “ critical ” hit in The King Of Fighters 97 a well as The King Of Fighters 98, doing more damage than normal. Some moves performed as a precisely human body may besides inflict increased “ critical ” price ( among other gained benefits ) .
( not to be confused with Mix-Up. ) A cross-up is a situation where it is more unmanageable for the player ‘s opponent to determine whether they must block left or right. Most normally, this is done by attacking while jumping over the opponent so that it hits as one passes over them. Cross-ups are most easily used in many games after knocking the opponent down, as the opposition will be unable to move or attack while the attacker begins the cross-up ( see okizeme ). Starting jazz band with a cross-up is preferred because it makes the jazz band more unmanageable to defend against, equally well as providing an extra murder. Cross-ups are normally not available in games where freeze is bound to a dedicated button, preferably than moving backwards from the attacker, such as the Mortal Kombat series. The term ‘cross-up ‘ generally refers to jumping attacks, but is sometimes applied to any site in which an adversary may have difficulty in determining which commission to block in. In particular, when a certain character ’ randomness dash allows them to pass through an opposition it can create cross-up opportunities on the ground. There are besides many moves specifically designed to pass through the adversary or over their mind to grant a cross-up that must be blocked in the opposition management, such as Chipp Zanuff ’ s “ Alpha Blade ” in the Guilty Gear series or flush some command normals such as Chun-Li ’ s 3+HK ( 鶴脚落, Kakukyakuraku a.k.a. “ Crane Leg Fall ” ) in certain Street Fighter games. Cross-ups originated from Street Fighter II as a bug, though much like juggle combos, they were belated intentionally maintained by the developers to add depth to the plot, and finally became a regular features in fighting games as a hale. Cross-ups were not only implemented into the system, but, for exercise, Iori ’ s air travel Back+B command from The King of Fighters actually has him kicking backwards after jumping over an adversary, and is ideally only useable for easy cross-ups. There are besides characters like Hsien-Ko, Felicia and Sasquatch from the Vampire Savior series who have dashes that can cross-up with out having to be performed in mid-air .

crouch Dash [edit ]

A dash either executed from a crouching position or involving a squat apparent motion at some steer. Seen most frequently in 3D fighters, peculiarly the Tekken series, where its control is normally “ forward, return stick to neutral, down, down-forward. ” many characters in Tekken have several unlike moves available from the crouch dash, and a few ( the Mishima-family characters in particular ) can actually link one crouch dash into another, which creates a movement known as the wavedash ( not to be confused with the Super Smash Bros. Melee version of wavedash ). crouch dashes in Tekken normally have the place of mechanically evading high attacks, and some have automatic low parries .

buckle [edit ]

Some moves may leave the opponent in a crumple state, a drawn-out state of stun during which the opponent is shown dropping lento to their knees & falling down. Some games will allow players to attack an opposition who is in this rumple state with a follow-up or full jazz band before they have amply hit the land, while others may fair allow for a reset by way of a quick thump ( this all works similarly to the concept of OTG attacks ) .

break down [edit ]

The terminus “ crush ” can be applied in a few context :

damage Over Time ( DOT ) [edit ]

DOT or Damage Over Time, much referred to phonetically as “ dot, ” or more redundantly ( yet frequently ) as ” dot damage ” — besides known as ” damage per tick ” or ” tick damage ” — is defined by [ [ 1 ] ] as “ a common video game machinist where, rather of sustaining erstwhile sums of damage from one attack at a time, a unit receives a negative status that inflicts a small measure of damage at regular intervals, independent of any other factors or further attacks against them. The definition of an ‘interval ‘ varies by game : In action-based genres these intervals may be measured in real time, while turn-based genres … … may measure intervals based on ‘ turns ’ or ‘ rounds. ’ ” While this mechanic does not seem to be as common in most fight games, certain titles ( such as NetherRealm Studios ’ recent Mortal Kombat and Injustice series ) have made more frequent function of this mechanic as a means of lento chipping away at the adversary ’ s health ( not to be confused with chip damage ). Because the opposition loses a adjust total of health regardless of the moves that follow and can do nothing about this while it is active, inflicting DOT on an opposition can exponentially increase the amount of wrong the opponent takes off of other moves/strings. The primary devices that represent DOT in games such as these are “ Bleeding, ” “ Burning, ” & “ Poison. ” In rare cases such as Faust ’ s “ poison ” item in earlier Guilty Gear installments, F.A.N.G in Street Fighter V ( one of the lone character in the Street Fighter series to utilize this form of DOT besides one of Gen ’ randomness supers in Street Fighter Alpha 3 [ [ 2 ] ] ) or general RAAM ( a Killer Instinct guest character hailing from Gears of War ), price over meter continues until the victim damages the user, meaning the user must besides be skilled at avoiding attacks to take full advantage of their effects. valentine from Skullgirls can besides use the light [ Type A ] interpretation of her “ Vial Hazard ” rocket to inflict DOT to her opponent. One of the earliest attempts at implementing a DOT automobile mechanic [ not tied to a extremely move à louisiana Gen in SF Alpha 3 ] was the “ Impale ” mechanic in Mortal Kombat: Deadly Alliance. Though not universal across the stallion roll, some characters ( such as Sub-Zero ) could switch to their weapon position and use the throw/special button to stab their weapon through the opposition ’ s digest. This would cause these opponent to gradually drain health for the end of the round. once this was performed, the executing player could not access their weapon stance for the rest of the match .

wrong Scaling ( proration ) [edit ]

damage scaling refers to the system programmed into the huge majority of fighting games, by which attacks may sometimes inflict less ( or occasionally more, as seen in Guilty Gear ) than normal damage due to any count of reasons. price scaling can be a leave of the issue of hits in a jazz band ( many games ; numerous ), the specific be active used to start a jazz band ( Guilty Gear or Third Strike ), the total of damage that has been inflicted so far in the jazz band, number of uses of a certain fire, or other factors. Damage scale may besides be referred to as proration. In most of these cases, wrong scale ‘s independent function is to reduce to overall potential of jazz band by reducing the price of individual attacks and moves as the jazz band progresses, while not contradict damage completely. This sternly hinders the ability of a player to perform infinites or TODs, and is a criterion of balancing in fighting games as a consequence. The Guilty Gear series employs a alone, character-specific form of damage scaling pertaining to the ( potentially ) decreased damage they take the lower their health is, called the Guts organization ; while default quality health is the lapp value of 420 across the integral roll, certain characters have a specific “ Defense Modifier ” ( or “ Defense Rating ” ) that varies across the roll, which alters the standard damage output of attacks they are hit by ; smaller, faster characters may be rendered weaker by having a higher modifier ( Chipp Zanuff being the highest ) while bigger, slower characters may be made stronger with a lower modifier ( Potemkin being the lowest ). For exercise, an attack that would normally do 100 damage on a standard character like Sol Badguy ( x1.00 defense modifier ) will do 130 damage on Chipp ( x1.30 ) and alone 93 wrong on Potemkin ( x0.93 ). To complement this system, each character is assigned a “ Guts rate ” between 0 and 4 or 5– the lower this number is, the more their damage consumption will reduce at increased intervals in junction with how their health lowers. For case, an attack that would normally do 100 damage on Sol while he is at wide health will only do 40 damage when he is at 10 % health ( due to his Guts rat of 1 ) .

Dark Force [edit ]

A specific feature in the video game Vampire Savior/Darkstalkers 3, describing a special powered-up state in which the player character activates an alternate contend mode/ability ( by pressing the punch & bang push button of one corresponding potency simultaneously ) at the price of one livestock. This state has a express duration and the effects are character-dependent— broadly the buffs that are granted either fall under “ Super Armor ( and/or “ Hyper Armor ” ), assists, or a particular Flight stance ( sometimes granting a combination of any two or more of these abilities ), but there are a few characters that gain other unique advantages upon activating Dark Force. For exemplar, Victor besides does gain increased travel rapidly and armor, but in turn the Light & Medium versions replace all of his punch attacks with corresponding instruction grabs, while the Heavy translation turns all of his standing normals into their close-range version but powers them up with electricity. Bulleta ’ s Dark Force replaces all of her punch attacks with varying missiles that correspond to the strength of the attack push button pressed, while even allowing her to keep her bang attacks and dashing capabilities. On the other hand, Zabel ’ s Dark Force enters him into “ Chainsaw Mode, ” effectively an install that grants him a new set of moves while replacing his extra moves and throws angstrom well as changing his dash animation from a crawl to a hop. Hsien-Ko ( a.k.a. Lei-Lei ) undergoes the most detectable transformation, gaining complete Hyper Armor and nullifying knockdowns & throws but removing her ability to perform specials, throw the adversary, dash, block, and chain her normal attacks together— in turn, the normals she gains do increased damage .

dash [edit ]

A dash is a movement which is both faster than normal movement [ walking ] and requires some sort of stimulation more building complex than simply holding one steering on the stick ; dashes are executed in most fighting games by double-tapping the direction such as advancing + forward, or back + back ( in the case of a backdash, sometimes referred to as a backstep by certain games ’ manuals ). Some games besides allow players to dash by pressing two attack buttons at once or more merely macro this “ hyphen ” command to one [ shoulder ] button. Dashes may have initially appeared in the 1v1 versus modality of Double Dragon, but were first popularly implemented in the Art of Fighting series. many types of dashes exist, depending on the game, such as air dashes, and some games even include special properties into dashes ( e.g. killer from the Guilty Gear series is invulnerable during certain portions of his hyphen ). There are frequently variations on the basic hyphen, such as the crouch dash ( executed from a crouching position ) and the KBD ( for quicker backwards drift ), or wavedash ( a faster type of dash vary in context among Tekken, the Marvel vs. Capcom series, and late Mortal Kombat series, that is specific to sealed characters ), and in some games mastering the execution of a certain dash is pivotal to winning strategies .

Dash Cancel [edit ]

A dash cancel is a delete that is inputted by double tapping forward or dashing, much moving the player ahead and normally has less recovery than the off move. It is frequently used in anime fighters such as Guilty Gear or BlazBlue. celebrated fictional character includes Naoto Kurogane from the BlazBlue series whose combos trust hard on it .

deadly Rave [edit ]

A super move in which a actor must press a series of buttons ( traditionally, eight button presses and a quadrant travel ) after murder in holy order to complete the affect. Each button press must be performed with precise time *. Named after the first such superintendent jazz band of its kind, Geese Howard ‘s ( from Fatal Fury ) Deadly Rave .

Death Trap [edit ]

See also : environmental Hazard A helping of an arena/stage that can be used to immediately dispatch an adversary. Examples include the cliffs/ledges and pits in the Soulcalibur serial which may be used to obtain a simple ring out, or the diverse, more graphic death traps in Mortal Kombat: Deception and Armageddon .

deep hit [edit ]

A hard attack, normally airborne, that causes the attacker ‘s fairy to overlap far into the opposition ‘s own fairy. This results in the attacker being sufficiently close to the target upon completing the attack to allow for the future hit to be part of a jazz band .

Defensive Mechanic [edit ]

A tool or automobile mechanic in a active game that allows a player to defend themselves beyond the conventions of convention obstruct, sometimes resetting the neutral or even reversing the momentum of the equal [ reasonably offensively ]. Different types of “ defensive mechanics ” may include but are not limited to :

desperation Move [edit ]

See also : Comeback Mechanic initially used to describe specific moves that can only be performed when one ‘s health was critically low, it has since expanded to include any ace go, but more particularly those that are granted to the player when they are below a certain health prize. It is much abbreviated to DM. This term has been effectively exclusive to SNK games, more particularly to games like The King Of Fighters and Fatal Fury, where it was a know feature to be able to perform outright supers when a quality ‘s energy bar was reduced to a point where it started to flash in loss. An even more herculean version of this move is called Super Desperation Move ( frequently abbreviated into SDM ), normally a much more potent and far more powerful-looking translation of a normal Desperation Move typically requiring either two or more super stocks ( normally a utmost of three depending if it is cancelled into from a special travel or not ), and/or very low life, depending on the game. The King of Fighters 96, 97, 98, 99, 2001, and 2002 featured both kinds of SDMs, one is the convention SDM which requires the actor to either have their stocks at MAX ( or to be in “ MAX Mode “ in 2002 ), or in some cases, a combination of the older sport of red bar ( described above ) & the office gauge system where one needs to have both a power stock and their department of energy flash crimson, and the other being Hidden SDM which adds low life as an extra prerequisite. Starting from The King of Fighters 2003, SNK included another term : Leader Desperation Move ( LDM ), which is virtually identical to SDM. however, unlike SDM which can be used by any character in previous The King of Fighters games, entirely one forbidden of three characters chosen in the team can use LDM ( this character is called the drawing card ). Since the bosses normally do not form teams, they are already capable of doing LDMs adenine well. The Battle Arena Toshinden series is besides celebrated for its Desperation Move arrangement. Whenever a quality ‘s department of energy measure turns red, a Desperation Move can be executed which will result in a critical hit to the adversary if successfully done. despair Moves are a big partially of these games and will most often determine the victor at high-level play. While not explicitly described by this term ( as DM was more of an esoteric term used all but entirely within SNK games ), many fighting games have introduced super moves that are alone granted to players after they have fallen below a certain level of health ; these supers could be dearly referred to across multiple fighting plot communities as desperation supers. One modern machinist called Fatal Blow, which was newly introduced in Mortal Kombat 11 ( replacing the x ray ace be active from its former titles ), could besides be considered a desperation super since it is a ace travel that is only available to the musician when they are below 30 % health. fatal Blows are besides only available to each player once per match ; however, they have a cooldown period in which the Fatal Blow will return if the initial attack whiffs or is blocked. This varies slenderly from the new Rage Arts & Rage Drives implemented in Tekken 7, another kind of desperation system granted to players below 25 % to 30 % ( approx. ) as extra options from their “ Rage ” state ; these moves are available to use in every turn but can alone be attempted once per round & will not return for the perch of the round if the move whiff or is blocked. While these two games ’ systems are both examples of despair supers that are not tied to any extra resources besides health, some games ’ desperation supers may require super meter in addition to low health ( such as the Super Skybound Arts found in Granblue Fantasy Versus, deoxyadenosine monophosphate well as the Infinite Worth EXS moves specific to Under Night In-Birth ) .

Directable [edit ]

A directable attack, sometimes called a “ ranged-directable, ” is a move ( normally a particular that may either act similarly to a rocket or actually be one ) which can be channeled or directed to a different incision of the screen/floor than its master trajectory places it— this differs from a “ chase ” move that will mechanically track to the adversary. typically in games with light, medium, & heavy classes of attacks ( where these can provide unlike versions of the same especial ), many different moves can be directed based on which military capability of attack button was used. Some specific examples of this may include but are not limited to Hsien-Ko and Peacock ’ second item -drops ( in Darkstalkers and Skullgirls, respectively ), both of Gill ’ s “ Pyrokinesis “ & “ Cryokinesis ” fireballs in Street Fighter, Venom ’ s pool-ball frame-up projectiles or Chipp ’ s “ Tsuyoshishiki Ten ’ one ” teleports ( in certain Guilty Gear games ), Deadpool ’ s “ Trigger Happy ” gunshots in Marvel vs. Capcom 3, Filia ’ s “ Ringlet Spike/ Feint ” in Skullgirls, and numerous other examples. In other cases, a travel with directable options may be done by inputting the limited and then either guiding the stick or directional buttons to channel/direct the move/projectile while it is active, or by inputting an extra management immediately after the special remark ( such as down or back for a “ close ” adaptation, a good as advancing or up for “ far ” & “ very far/fullscreen ” respectively ; up & down can besides be used for “ high gear ” or “ low ” placement depending on the move ). Examples of these types of directable moves include but are not limited to Ness ’ “ PK Thunder ” from the Super Smash Bros. series, Wolverine ’ s “ Drill Claw ” & Storm ’ s “ Lightning Attack ” ( or Spiderman ’ s mobility-based “ Web Glide ” ) from certain games in the Marvel vs. Capcom series, Hisui ’ s special item discard in Melty Blood — which allows Hisui to predetermine which items are thrown out in addition to the commission they are thrown in, based on the directing remark pressed— or more recently Geras ’ “ Sand Trap/Quick Sand ” ability or Skarlet ’ s “ Blood Tentacle ” in Mortal Kombat 11. many teleports can be directed deoxyadenosine monophosphate well, be it based on release strength in the manner of Chipp ’ s “ Ten ’ one ” teleports or Kukri ’ s “ Genei Sajin ” sand teleports from KoF XIV, or via the latter directional method acting. Directables can besides be ideal for traps and other kinds of apparatus tools, allowing the actor to place these tools strategically in diverse spots on the stage & ultimately control the space. May be associated with : transmit

bivalent KO [edit ]

Describes a “ bind ” situation when both players are knocked out at the lapp fourth dimension, requiring a trade against each other when both players are at critically gloomy health. Double KOs may award wins to both players or losses to both players ( the behavior is dependent on the game ). In The King Of Fighters, a doubling KO results in both characters being taken away from the battle and both of the following characters jumping in to continue. If both KO ’ d characters were the death ones, they are pitted against each early in a last circle with only 25 % of their energy and a full 60-second timer— if a Double KO occurs again, the bet on ends in a necktie for both. In older Mortal Kombat games, it was a known trick to cause this draw to continue playing extra rounds. In the shell of Guilty Gear, if wins to both players would result in the end of the catch, a win is given to the actor with the lesser number of wins only. If the number of wins is tied, an extra, “ FINAL ” round is played. If there is a pull back in that circle, the game ends in a withdraw. If there is a DKO on the final turn of a match in Soulcalibur, a “ sudden death ” round will occur, in which the stagecoach area is shorter. The Virtua Fighter series has occasionally incorporated sudden death in similar fashions ; while Virtua Fighter 2 would plainly reset both players for a final examination 7-second round if they tied or caused a DKO in the last rung, belated Virtua Fighter installments reworked this time limit ( in the first place 30 seconds in VF4, changed to 15 seconds in VF5 ), while besides giving both players approximately 1 % health, basically meaning the first hit wins. Sudden death could occur even if both players were to draw on the final round via ring out, careless of the dispute in player health. Another form of sudden end is besides featured prominently throughout the Super Smash Bros. series, in which both players have insanely high damage ( highly low health ) and the actor who successfully lands the future big attack apparently wins. The unpopular 1992 champion Dino Rex ( considered a loose precursor to 1994 ’ s Primal Rage ) featured a clandestine Easter-egg where a DKO or draw on the final examination attack in the game ’ s versus mode would trigger a “ Sudden Death ” turn that plunged both players into what was basically a disjoined contend game, allowing them to control the human warrior/trainer characters in the lapp manner as the arcade mood ’ s final knob struggle ( rather of the regular dinosaur fighters ) — this would give the game different controls & even grant them new abilities that more accurately incarnate standard fighting game designs ( i.e. DP, powerhouse projectiles ). In Street Fighter III: 3rd Strike, if both players each have the same come of wins and are in the final examination beat, a DKO will incur a Judgement, the first of its kind in the fight genre. In this case 2 of the 3 judges must turn over a “ spank ” with the player ‘s character ‘s expression on it based on fighting art ( i.e. numeral of combos, longest jazz band, issue of parries, etc. ) for them to win the couple and receive a “ J ” victory symbol. In Marvel vs. Capcom 2, if a DKO happens during 1 actor mode, the blind will say “ Draw Game ”, but the actor loses automatically. In Tekken 3, if a DKO occur during the concluding attack of a couple, the first player wins automatically .

download [edit ]

To download one ‘s adversary is to analyze the idiosyncrasy, reads, habits, & overall playstyle of said actor in order to gain the advantage over them. sometimes, a player will dedicate an entire round to testing and observing their opponent without actually trying to win, using the rounds ahead to capitalize on that fourth dimension they used to gain data on said opponent. See also : Yomi

Dragon Punch ( DP ) [edit ]

The term “ dragon punch, ” normally called “ DP ” for short, is used to describe a few different things, sometimes all at once :

  • A motion in 2D fighting games consisting of moving the joystick in a forward, then down, then down+forward motion (also notated as 623 in numpad notation). First seen in the very first Street Fighter game.
  • A move, typically using the above motion, which is invincible during its startup, and serves as an anti-air or reversal.
  • Ryu’s and Ken’s trademark rising uppercut move from the Street Fighter games, done with the motion described above and any punch button. Also called Shoryuken in its native Japanese, or Rising Dragon Fist.

dramatic Battle [edit ]

A type of match where two teams of characters are fighting each early, all of whom are fighting at the lapp clock. The first case of this was in the original Fatal Fury, however the condition is derived from the Street Fighter Alpha series, where two characters fight a single ( normally stronger ) fictional character at the same time .

Edge Guard [edit ]

A term used in platform fighters, chiefly Super Smash Bros., that describes the technique of defending the ledge of a platform after a player has knocked their opposition off of said stagecoach, in an try to prevent the adversary from grabbing onto the ledge & recovering back onto the stage ( ultimately leading to a ring out KO ). sometimes this scheme can be a childlike as standing near the edge of the platform & throwing out pokes in hopes of striking the opponent as they float back towards the ledge, or ampere complex as jumping off the platform & intercepting the opponent themselves with an attack before jumping back up to the ledge. One advanced edge-guarding tactic present in older SSB installments is known as an “ Edge Hog, ” wherein the edge-guarding player will drop down and grab onto the ledge, preventing the recovering opposition from being able to grab onto it & causing them to fall to their frustration. This mechanic was replaced in Super Smash Bros. 4 with a newer “ Ledge Trump ” machinist, which alternatively allows the edge-guarding musician to grab the ledge while the opposition is already grabbing, resulting in the actor grabbing the ledge from underneath & thus forcing their opposition into the air. Another advanced tactic for edgeguarding is known as “ ledgetrapping ”, which refers to players using certain traps and/or frame-up tools ( be them versatile items such as bombs, or moves/objects that are function of the characters ’ base moveset ) and placing them strategically around the ledge, conditioning the adversary to avoid these hazards & ultimately preventing them from safely reaching the ledge .

survival catch [edit ]

An endurance match is a match where a limited sum of opponents must be defeated, one after another, with only a single lifebar. These are like to survival matches, where a actor continues to play until defeated ( with the timer being reset after defeating an adversary ), american samoa well as time attacks, where a player continues to play until prison term runs out or is defeated. Unlike survival matches or clock time attacks, endurance matches are not one-round affairs, but are typical three-round matches. A dramatic endurance match is exchangeable but will besides incorporate elements from dramatic battles. survival matches were first introduced in Mortal Kombat 3, where three such matches ( each with a single character facing two characters ) were played before facing the game ‘s bosses .

Enhanced Special Move [edit ]

A particular motivate with increase power and/or extra, advantageous properties, performed by expending power/meter stored in a super gauge. Most popularly referred to as an EX Move, but can be known by other names in assorted games such as an ESpecial Move, ES Move, a meter burn special, or an amplified special move. aside from increased damage, an enhanced special travel has bonus effects. These can include, but are not limited to :

  • setting up combos where the normal version of the move would not
  • allowing combos to be continued with more ease
  • performing the move faster, making it more difficult to react to and/or punish, or otherwise affecting the timing of the move
  • changing the property of the move to be more difficult to defend against (e.g. making a normally high-hitting move into a low or an overhead, improving block advantage to make the move safer, or making the move outright unblockable)
  • having armor or even invincibility during the move’s execution, which can be used for reversals & wakeups
  • providing decreased damage scaling, allowing more total damage to be dealt within the combo the enhanced special was used (in place of its normal variant).

This type of especial move was first used in the Darkstalkers series a well as the Street Fighter series, but finally became a basic feature of fighting games .

environmental Interaction [edit ]

See also : Interactable An environmental interaction or hazard — sometimes called a “ stage interaction ” or “ stagecoach hazard ” — describes a have in certain contend games which allows players to interact with elements of the stage being played on, whether strictly for aesthetic/style purposes or for actual fight & gameplay .
This concept may have originated in region from the 1992 SNK arcade fighter World Heroes, vitamin a well as its sequel, particularly with the “ Death Battle ” manner. In comparison to the feature of stage transitions innovated by some early Capcom arcade fighters around the same time, these SNK games contained stages with objects that could be knocked into by players through battle ( e.g. barrels that can be knocked over, crates/vases that can be broken, etc. ), although these were by and large equitable for extra ocular effect & did not inflict extra damage to the players. however, in addition to this design feature, the “ Death Battle ” mode would place the players on one of several singular stages, each with a different gamble that would affect gameplay in its own way. Some stages would place explosive landmine traps on the floor randomly that cause damage equally well as a knockdown ; other floor hazards included an electric deck that might stun the players, petroleum puddles that would cause characters to slide across the flat coat, or other many-sided modifiers ( e.g. grind sawblades, satellite glow, etc. ) which would damage the players. other stage modifiers would affect the boundaries of the stage, either through a “ Metal Mesh/Cage Match ” that decreased the stagecoach size via a small cage, or by placing explosive hazards in the corner ( emphasizing the danger of corner carry ). Killer Instinct 2, released in 1996, besides incorporated synergistic objects that could be knocked into by players ( e.g. pan cans on T.J. Combo ’ s street phase, the crates on Spinal ’ s embark degree, or the smoke valve in Fulgore ’ south museum, among some noteworthy examples ), albeit these besides were strictly for ocular effect, with the exception of two stages ; the Helipad stage had synergistic barrels that could be broken ( triggering an explosion that caused slenderly extra damage and opening up slenderly more room on the stage ), angstrom well as having interactional blades on lead of the helicopter in the stage ’ second background ( which could be knocked into, spinning the blades but besides cutting the adversary ’ randomness launched country short ). Sabrewulf ’ s Castle besides featured a breakable wall on the right side of the stage which could besides open up more of the phase, a well as make the phase closer available. This may have been one of the earliest implementations of a wall break feature, which would evolve to become its own alone mechanic in several belated fighting games. In contrast with the degree transitions found in its prior installment, certain stages in Mortal Kombat 4 featured random boulders or skulls on the crunch, which could be picked up by pressing “ down+ run ” when near them and as a consequence be thrown at the opposition like an actual rocket, causing damage to be inflicted. This sport may have been one of the pioneers of the interactables found in late games, as they began to exhibit a more practical application within competitive gameplay. additionally, this game featured singular weapons that each champion could pull out with a special dominate, which could besides be knocked out of players ’ hands by their opponents & dropped, allowing the adversary to pick up this weapon with the lapp “ down+Run ” command and use it for themselves. This concept was removed in the follow episode, the amply 3D-mapped combatant Mortal Kombat: Deadly Alliance, in favor of new degree hazards that could afflict players who may sidestep into or be knocked in their direction, such as breakable pillars or the Acid Bath stage that would spit acid onto nearby players causing fleeting DOT damage. The follow-up Mortal Kombat: Deception would see the evolution of these mechanics begin to come full traffic circle, as not only were environmental weapons & items once again able to be picked up and used offensively on certain stages that had them, but several stages featured walls & floors that could be broken through, inflicting price and triggering a transition to another part of the stage. In addition to the latter, certain stages besides contained new death traps, a form of the ring-out feature found in other games which would allow players to knock their opponent into a score “ hazard ” section of the stage that would immediately kill them & end the round. Upon the Midway Chicago team ’ randomness acquisition by Warner Bros. games & the subsequent transformation into NetherRealm Studios, these previous environmental interactions did not return in the Mortal Kombat (2011) boot but would be reimagined in their following claim, Injustice: Gods Among Us — this game was the first to coin the condition “ interactable ” featuring many stage elements that could be utilized by pressing the “ Interact ” button whenever the on-screen indicator above the lifebar notifies the player they are near an interactional object or area. The effects of these interactables varies not only depending on what kind of object or area it is, but besides occasionally on what kind of character is being used— for one example, a bigger/heavier [ or canonically stronger, à la Superman ] character may be able to lift a larger aim such as a vehicle and hurl it at their adversary, while lighter/faster characters may alternatively throw their adversary into said object or position a detonate device on it causing it to erupt in an explosive blast. There are silent besides respective universal interactions that can be triggered, such as being able to evasively jump out of the corner by running up the wall, or the ability to launch the opposition off the background object in the focus on of choose stages, allowing the executing to player to follow up with a juggle. This game would besides reimagine stagecoach transitions in the form of a universal wall break that could be found on blue-ribbon stages, triggered by hitting the adversary with a “ back+Heavy ” bounce attack when near a certain wall, and initiating a cinematic sequence that would inflict unbreakable wrong & end with both players being transported to a new section of the stagecoach. Although Mortal Kombat X would not revisit degree transitions or wall breaks, this similar habit of interactable environments/objects would be implemented in this game equally well as its successor Mortal Kombat 11 ( albeit the effects when used were universal as opposed to that of Injustice ). Like with its predecessor, these interactions may be used to escape corners or swing from one location to another, be thrown at opponents like a projectile, begin or extend a jazz band, create a reset, or tied merely stylishly coating the opponent with a stage Brutality. In Mortal Kombat 11, some environmental interactions may besides trigger a Krushing Blow, inflicting massive damage to the adversary. interim, the Dead Or Alive franchise is besides largely popular for its early incorporation of stage hazards known as Danger Zones. The first Dead Or Alive (1996) dwell of stages that had an open boundary, but alternatively of triggering a ring-out when knocked out of bounds, the opponent would be struck by an explosion that inflicted massive damage & launched the adversary, leaving them vulnerable to a follow-up attack ( this could be avoided by a seasonably defensive wind ). The sequel Dead Or Alive 2 replaced this phase format with diverse synergistic boundaries such as breakable walls or floors, and “ Falls ” that players could be knocked into to trigger a degree conversion and inflict massive damage, as this installation introduced multi-tiered stages ( borrowing this & its associate stage-hazard mechanics from an earlier 1997 release Samurai Shodown 64 ). The damage sustained from these “ Falls ” would not be able to KO an opposition unless they were already at a critical item, but could leave them with identical low health. Dead Or Alive 2 besides introduced stages where players would fight on mentally ill surfaces such as ice or urine ; in accession to suppress bowel movement, fighting on these surfaces would result in any connect attack that does not launch or cause a knockdown to grant a stun state against the attack adversary. The series would go on to incorporate versatile instances of these synergistic stagecoach hazards, such as ceiling hits & throws, charged or explosive surfaces ( à la the original DOA ), or of naturally the standard many-sided breakable objects ( e.g. tables, statues, etc. ) that would apply extra Critical Stun to the afflicted opponent. finally Dead Or Alive 5 would expand on these stage hazards by incorporating two newly types of Danger Zone interactions ; the first was the new Cliffhanger automobile mechanic, an annex of the Falls performed on certain stages which would trigger an interactional cinematic, during which the attack adversary is shown hanging onto the ledge they were knocked from. The attack quality is then shown charging at their opponent to dive after them & from there the player can choose to execute a Cliffhanger attack or a throw, causing more damage a well as a knockdown for oki. Correspondingly, the defend opposition could read the musician ’ s attack and defend by either correctly blocking the attack or teching the throw, taking no extra damage and landing on their feet at the end of the degree transition, resetting the neutral. The early newly introduced machinist was the Power Blow attack given to each character, which could be charged up by holding the punch & bang buttons combined with a alone directing stimulation, triggering a slow-motion cinematic sequence which allows the executing player to aim the camera left or right, deciding where they want to knock back the opponent to. These can alone be performed when the player is below 50 % health ( alike to a desperation move ), but can be used in concurrence with special Danger Zones on certain stages ( i.e. “ The Show ” stage allowing players to knock the opponent into the colossus clown head ’ mho mouth, which will spit them out the other slope of the stagecoach ) .

evade [edit ]

EX Focus [edit ]

Exclusive lone to Street Fighter IV, an EX Focus describes the ability to cancel out of a cancellable normal or special attack with a Focus Attack, expending two bars of the Super Combo Gauge and ergo EX ’ ing the Focus Attack. Using EX Focus attacks to interrupt a wide range of moves with a Focus Attack Dash Cancel is an essential part of high-level play .

feint [edit ]

Derived from the boxing term feint ( meaning “ a deceptive blow or movement during a fight ; showing your opposition an purpose to do one move but ‘ faking out ’ with another i.e. a feint jab ” ) —- a type of delete that allows the musician to fake out a move or movement in a way that conditions the opponent to brace themselves for a follow-up attack. This can be utilitarian for creating spacing from the opponent in order to keep the musician safe, equally well as for pressuring or otherwise mixing them up. In 3D fighters, this may be achieved by cancelling into a stance that has punch or gripe attacks which can be feinted ; a popular exercise of a character that can feint their attacks this way is Hwoarang from the Tekken franchise, who can cancel into his [ Left or Right ] Flamingo Stance which hikes his match leg up adenine if to kick his opposition but besides allows him to inch forward or back while “ faking out ” his kick ( referred to as a “ peg feint ” or “ kick feint ” ). In 2D fighters, characters may besides have extra moves ( normally a special motion or added properties to a certain especial ) which allow them to fake out ( or cancel ) the given move and condition the opposition. Killer Instinct 2 is possibly the earliest case of a game giving respective characters a “ fake ” adaptation of one of their preexistent specials ( i.e. Fulgore ’ randomness “ Fake Laser Storm, ” which mimics the inauguration vivification of his classical Laser Storm but does not complete the motion ) — however the concept of “ feinting ” as an designed ( or at least named ) proficiency in 2D fighters likely originated later from Garou: Mark of the Wolves, which actually gave all characters two universal “ feint moves ” ( performed with depressed + Light Punch [ A ] + Heavy Punch [ C ] and forward+A+C ). These moves would imitate the inauguration animation of another special and could psych the opponent out by bracing them for that specific special, allowing for the executing actor to enforce heed games on the defender. By cancelling a normal into one of these moves ( referred to as a Feint Cancel or FC ), the musician could besides used this tactic in blockstrings vitamin a well as creating new combos, being able to link heavier attacks that would not normally combo into each other. One exercise of this is Terry Bogard ’ s forward FC, which had the same inauguration animation & heavy as his celebrated “ Burning Knuckle ” special— Terry could use this feint interpretation to cancel his standing C normal into another standing C, which would besides move him slightly forth allowing him to repeat this. On the other hand Hotaru Futaba, who had a Light and Heavy interpretation of “ Soushoushin ” ( a multi-hitting spinning backfist flurry triggered by QCB +Punch, which was used for jazz band ), could press down+A+C simultaneously after a convention to do a quick fake-out spin in-place that had a very exchangeable animation but did not strike the opponent at all and therefore had little to no recovery, allowing her to pressure her opposition with safer/faster attacks or even go for a throw if performed close enough to the adversary. A more democratic modern example of feint specials is Sol Badguy ’ s “ Gun Flame Feint, ” an extra move that pairs with his “ Gun Flame ” projectile — the attacking actor may special cancel into the Feint interpretation on forget ( possibly after a achromatic or ahead Heavy Slash ), conditioning the defender to expect the convention version & allowing the attacker to punish their reaction, as they are effectively eliminating the convalescence that the actual Gun Flame would cause. In Guilty Gear Xrd, Slayer can besides feint his Forward+Kick by holding down the kick button, granting him a strike-throw mixup. Certain other games with “ feint ” specials may include Skullgirls — Filia has an actual feint interpretation of her “ Ringlet Spike ” special ( a sharp-spiked tendril that appears from the ground & is directable ), while Cerebella can feint her “ Tumbling Run ” crossup move after side-switching by tapping the kick button again to cancel the follow-up attack— american samoa well as certain characters in the Marvel vs. Capcom series, such as in MvC3 with X-23 ’ randomness “ Mirage Feint ” cancels. NRS games like Mortal Kombat and Injustice may besides grant certain characters feint specials, such as projectiles ( by holding the match attack to delay the motion and then use another command to cancel out of this oblige vivification ) or specific teleports that may have an “ in-place ” choice allowing the player to basically “ feint ” the side-switch & stipulate the adversary to expect them from the early side while remaining in the same blot. Some of these cancels may cost a bar of meter to perform while others are meterless. A dash feint allows players to cancel their dash movement ( similar to Cerebella ’ south aforementioned run cancel ) either stopping the character in place or retreat backwards. In Guilty Gear for model ( where holding forward after inputting a dash will allow the player to run for american samoa long as it is held ), the run can be stopped at any orient by holding down+back ( squat ), causing the player to slide a identical light distance but calm allowing them to stop themselves before amply reaching the opponent ; this can bait the opposition to throw out an attack in anticipation of countering the incoming rushdown attack ( mho ), allowing the approaching player to whiff punish this undertake. alternatively, these games besides allow players to utilize the Faultless Defense pushblock mechanic to stop their apparent motion in plaza without any slide and block any entrance attacks ( adverse to the former method which can leave the border on actor open to attack ). The player can merely tap & release the FD remark along with the normal dash feint input ( d+b ) to quickly brake themselves or continue holding the pushblock at will. This proficiency is called a Faultless Defense Brake ( or FD Brake for short ). other games may give characters a command dash equipped with an extra feint option— Lancelot from Granblue Fantasy Versus has a Unique trait-button that acts as a command dash ( called “ Wirbelwind ” ), which has multiple follow-up options. In summation to crossing up the opposition & interchange to the other side by pressing Forward+Unique after the initial Unique urge, Lancelot can besides choose to “ Quick Stop ” by double-tapping Unique and brake himself in position, or he can perform a “ Feint ” option by following up Unique with Back+Unique and cursorily retrograde backwards away from the opponent .

FGC [edit ]

A colloquial abbreviation used to jointly refer to the fighting game community .

boisterous [edit ]

In the Street Fighter series and relate Capcom six-button fighters ( ampere well as Killer Instinct ), a heavy punch .

finish up [edit ]

The method acting in which a actor is knocked out. For example, a player knocked out by a particular move is called a special finish. A dedicate special move that knocks out an opposition in dramatic fashion is called a finish up affect. many games display particular effects ( i.e. flashing screen, darkened setting, etc. ) if a character is knocked out with a mighty coating. In Mortal Kombat, a finish is besides the method acting of attacking the opposition with such a move after the match is won ; a particular window of time is given to the winning player allowing them to execute one last motion, indicated by the announcer ’ s celebrated “ Finish Him ! ” line. Another type of finisher can be performed during this window, wherein a complex input signal ( unlike for each character ) can trigger a special sequence depicting the winner killing the loser in a bloody & ghastly fashion— this is known as a Fatality and is a staple of the series. This style of end has spawned a number of different variations throughout the Mortal Kombat series, including “ Stage Fatalities ” that show the loser being knocked into a previously inaccessible stage hazard ( i.e. floor spikes on the diverse Pit stages ), “ Brutalities ” that must be performed as the last hit/string of the match ( as opposed to being performed after winning by KO, “ Mercy ” which would allow players to grant a small total of health bet on to their opponent, “ Animalities ” that must be performed after a Mercy & read characters morphing into different respective animals to maul their adversary, “ Babalities ” that turn the opposition into a baby, & numerous others .

musca volitans [edit ]

typically used in Tekken terminology, an fire ( that may not normally be a launcher ) which grants the actor a conversion by countering their adversary ’ sulfur campaign or attack attempt and consequently juggling or ”floating” them, such as by landing a standing jab against an opponent attempting to jump or hopkick and using the resulting juggle to continue with a wax jazz band. See also Anti-Air

focal attachment [edit ]

focal Adherence represents the mechanical laws of struggle that two combatants must adhere to in relative to their focal point : the opponent. See : orientation

Focus Attack [edit ]

See also : ex-wife Focus Called “ Saving Attack ” in japanese, and often abbreviated to “ FA, ” Focus Attacks were introduced in Street Fighter IV and are a effect gameplay automobile mechanic that makes the game unique. Performed by pressing both medium kick and culture medium punch at the like time *, Focus Attacks grant the player character super armor — a soon as this move begins, the fictional character is able to absorb a single hit of an opposition ‘s attack without being interrupted, unless that attack is an armor circuit breaker ( e.g. Ryu ‘s hurricane kick [ tatsu ] is his armor breaker attack ). Every fictional character has one attack that can specifically break armor. Some characters, however, have moves that hit multiple times before the actor is able to release MP and MK to counter, and will thus break their focus ( Cody is a great example of this ). There are three levels to a Focus Attack charge. The longer the inputted release is held, the more wrong it will do and the more potential one has for a follow-up attack. A tied 1 Focus Attack will not put the opponent into a vulnerable buckle state that allows for a follow-up attack ( unless it is a counter reach ). A level 2 Focus Attack will put an opposition into a vulnerable rumple state of matter if it hits, allowing the actor to dash out of the recovery and perform a follow-up attack. A level 3 Focus Attack becomes unblockable along with its ability to put the opposition into a vulnerable pucker state. As a drawback, it takes a retentive meter to charge, allowing the opponent to react and counter before the Focus Attack is unleashed. This perceived vulnerability is frequently exploited to bait the adversary into making a error, startle, or whiffing a move. All the characters have different ranges on their concenter attacks. The lengthiest stress attacks belong to Fei Long, Makoto, & Vega, while one of the shortest belongs to Balrog .

Focus Attack Dash Cancel ( FADC ) [edit ]

In the Street Fighter IV series, during the charging/armored/ ” saving ” part of a Focus Attack or during its convalescence, the player can input dash to cancel the recovery liveliness. The actor can not dash out of the recovery if their Focus Attack whiffs. The ability to FADC is not limited to landing the FA on the opponent, as the musician may still dash out of the recovery upon connecting with anything. While the literal definition of FADC is just dash-cancelling a Focus Attack, “ FADC ” is more normally referred to by the playerbase as a mean of making some special moves safe on pulley or using it to extend jazz band. For the cost of two bars of the extremely meter, one can cancel the majority of special moves with a Focus Attack .
See also : “ Playing the neutralFootsies refers to the mid-range ground-based aspect of fighting game strategy. It refers to a situation where both players are outside of attack/ jazz band range and are attempting to attack each other with mid- or long-range, broadly safe attacks ( e.g. pokes ). The ultimate goal is to control the flow of the peer, bait the opposition into committing errors, and attempt to punish every action .

ahead [edit ]

In the Street Fighter series and refer Capcom six-button fighters, a medium bang .

Four-button Fighter [edit ]

A type of fighting game control schema that uses punch and kick back buttons of two unlike strengths ( “ light ” and “ heavy ”, typical of The King of Fighters and other SNK fighting games. This can besides reference the “ four limb ” attack push button system utilized by games like Tekken and late Mortal Kombat titles, which use Left/Front & Right/Back punches & kicks corresponding to each limb ( similarly to the way light & dense punches and kicks are mapped out ) .

Four Fierce Combo [edit ]

Attributed to Guile from Street Fighter II, his miss of stay after executing a Sonic Boom allowed him to follow up with another attack that proved to be one of the most crushing and difficult combos in early Street Fighter II history. in full executed, it drained 60 % of an opposition ‘s full life. This jazz band was broadly done once an adversary was dizzy to aid in setup : alternate FP ( cutthroat punch ), standing FP, sonic smash, FP backfist ( – > FP ). While there are actually merely 3 punches, all 4 attacks can be done with only the Fierce Punch button. Expert players could add a Sonic Boom to the begin of the jazz band, making it a 5-hit, 70 % damage combination. Oftentimes, this jazz band besides “ redizzied ” the adversary, making them vulnerable once again to a very potentially round-ending jazz band or attack. In the same vein, Ken had this ability equally well after Street Fighter II: Champion Edition was released. His standing FP Shoryuken DP would hit twice, so a jumpstart FP and standing/crouching FP into a similar Shoryuken would deliver american samoa much, if not more than Guile ‘s jazz band .
A frame is a individual still picture on a display screen such as a television set or calculator monitor. Fighting games broadly run at a fixate 60 FPS (frames per second) which means they show 60 silent pictures every second to simulate motion. thus, the time that a go takes to start, how hanker it is considered to actually be hitting, and how long the fictional character takes to recover immediately after the move can all be measured in frames. One frame is 1/60th of a second, so a motion that takes 10 frames to start up equates to 1/6th of a second base .

frame advantage [edit ]

See : Plus/Minus/Neutral ( on engine block ) Refers to a move allowing the attacking player to recover and act before their opponent leaves either hit stun on-hit, or block stun on-block ; this is most normally referred to as “ being plus ( on hit/on freeze ). ” Moves that enjoy frame advantage on-hit are much used in links to perform jazz band or used to jail the opponent, while moves that enjoy frame advantage on-block are frequently used as pokes or pressure tools .

Frame Data [edit ]

Frame Data is data about the accurate duration, measured in frames, that a fire or move spends in different phases. At a minimum, frame data can include :

  • start-up frames (how many frames must pass before an attack’s hit box becomes active
  • active frames (the amount of frames that an attack can hit the opponent)
  • recovery frames (after performing the attack, how many frames must pass before the attacker can take another action)
  • hit- and block-stun frames (the number of frames the opponent is disabled when hit by the attack)
  • total frames (the total duration of the attack from beginning to end)
  • frame advantage (or disadvantage) on both hit and block (the number of frames between when the attacker can act after using a move and when the defender can act after being hit by the move).

Frame data can be used to answer which moves can be combined into a jazz band, which moves are safe on auction block, which moves are fast adequate to punish an opponent ‘s [ dangerous ] move, or any other timing-related question. See : Plus/Minus

Frame Trap [edit ]

Used to describe the action of performing attacks and moves that appear to be penal but are actually advantageous on block and will bait the opponent into being punished when they attempt to retaliate & take their twist back. This is very useful for pressure and apparatus. An exemplar of this would be in the Darkstalkers series : Lilith ‘s c.HK canceled on-block into her aglow illusion .

free Cancels [edit ]

besides known as Dokomademo Cancels. Often making reference point to the MAX Mode feature of The King Of Fighters 2002 that gives the musician the ability to cancel their normal attacks, instruction normals, and extra moves into other dominate and special moves, “ Free Cancels ” is the term used to describe these types of cancels. free Cancels work in the follow manner :

  • Any Normal attack can be cancelled into certain special moves (e.g. Kyo’s far standing D into Dokugami).
  • Any jumping Normal attack, Command, or CD attack that hits or is blocked can be cancelled into certain special moves (e.g. Kensou’s jumping C into Ryuu Sougeki).
  • Any normally uncancellable Normal, Command, or CD attack can be cancelled into certain special moves (e.g. Ramon’s standing CD into Tiger Road).
  • Any command attack can be cancelled into certain special moves (e.g. Benimaru’s Flying Drill into Kuuchuu Raijin Ken).
  • Many special moves can be cancelled into other special moves (e.g. Maxima’s Double Bomber into Vapour Cannon).

Each time a free Cancel is used, the fictional character flashes white and a little come of energy from the MAX timer is lost. dislodge canceling an attack into a command attack or ( HS ) DM is not possible ( unless that attack is cancellable under normal circumstance ). It is not possible to Free Cancel a special affect into itself, although moves that can be done on the grind and in mid-air are an exception. For model, one could free cancel a ( C ) Psycho Sword into a mid-air Psycho Sword, or the flat coat Minutes Spike into the mid-air Minutes Spike. One advantage of using free cancels is that the player can cancel moves that might lose their properties otherwise .

Fuzzy Guard [edit ]

Fuzzy guard has different definitions depending on the crippled, and can refer to both offensive and defensive techniques ( normally the latter ). In 3D games such as Virtua Fighter and Tekken, fuzzy defend is a defensive technique performed by the defender holding precaution and cursorily tapping down on the control and releasing with a detail time. With correct timing, when an incoming attack strikes the defender, the crippled picks the right guard automatically, making it an choice blue-ribbon, and allowing the defender to block both high and depleted attacks. In 2D games, fuzzy guard can refer to both an offensive and defensive proficiency. For the nauseating “ fuzzy, ” the attack player forces the defending musician to block stand by using an overhead approach, then follows with a high-low confusion, where the high attack would normally whiff on a crouch opposition. however, because the defender is stuck in the standing blockstun animation ( besides referred to as blockstop ), the moment eminent attack will alternatively connect ( or imprison ), and will hit the defender if they switched to depleted obstruct. offensive fuzzy is often desegregate with Instant Overhead attacks, but can besides be performed with double jumps or other forward pass mobility tools. As a defensive proficiency in 2D fighters ( the more common application ), bleary guard is a method of switching between standing and crouching stuff at key moments during an opponent ‘s blockstring to defend against high-low ( or low-overhead ) confusion. If the defender knows the distinctive time of the highs and lows in the attacker ‘s string, they can defend against both possibilities without needing to react to the attacker ‘s decision. The attacking player can defeat the defender ’ south bleary guard by changing the timing of their attacks, such as by delaying a low attack to strike an opposition who switched to standing block to defend against a possible high attack, by delaying and staggering their offense, or by otherwise executing some screen of frame trap. Fuzzy guard is one of several defensive techniques that utilizes the defending player ‘s cognition of the attacker ‘s typical timing to reduce the need to react to the attacker ‘s mix-ups. The early “ Fuzzy ” defensive options include :

  • Fuzzy Jump, which defeats throws (including tick grabs)
  • Fuzzy Abare (aka Fuzzy Poke), which lets the defender interrupt the attacker’s offense with fast attacks
  • Fuzzy Backdash, which can be used to escape pressure or defeat throws by dashing backwards

Glass Cannon [edit ]

See also : pyxie Glass cannon refers to a sub- original of characters with very high, knock-down crime, but very first gear refutation ( or health ) in exchange. They are typically used for the role of an “ all-out attacker ”, with rushdown strategies aimed to capitalize on their offensive capabilities to defeat one or more opponents while not giving them any opportunities to strike back and take advantage of the fighter ‘s low defensive capabilities ; characters of this nature can typically be identical oppressive in terms of jazz band damage and confusion resources, but can in turn be KO ’ five hundred with a few good hits or combos. Akuma is considered to be the genesis of this concept, initially designed with the lapp shoto moveset as Ryu & Ken but given extra, oppressive capabilities ( i.e. antenna Zanku Hadouken fireballs, Demon Flip mixup, etc. ) that made him very overpowered in comparison. By the time of Super Street Fighter II Turbo, Akuma was largely banned from the competitive tournament scene on the grounds of being considered excessively “ broken ” ( despite having no extremely jazz band ) ; Capcom attempted to solve this in the “ HD Remix ” of Turbo II by lowering his stamina and adding a blowback effect to his Zanku Hadouken but it was futile in nerfing the character. The Street Fighter Alpha series marked the beginning of Akuma ’ s celebrated disable in health value, while in reappearance besides expanding on the unaccented ace granted to him in the SSFII Turbo HD Remix by introducing his celebrated unblockable “ Raging Demon ” extremely. Akuma has maintained this design tradeoff for many key Street Fighter installments ( namely 3rd Strike and SFIV ), equally well as certain Capcom crossover fighting games such as Marvel vs. Capcom 3 & Capcom vs. SNK 2 — he appeared as one of the two bosses “ Shin Akuma ” ( along with Ultimate Rugal ), both of whom ( while placid designed with SNK boss syndrome ) took more damage than other characters. other popular examples of “ field glass cannon ” characters may include Makoto from Super Street Fighter IV, Magneto & Phoenix from Marvel vs. Capcom 3, Chipp Zanuff from the Guilty Gear serial, Bao & Shen Woo from the King Of Fighters series, Mira from Killer Instinct, Ragna the Bloodedge from BlazBlue, Seth from Under Night In-Birth, & respective diverse characters from the Super Smash Bros. series ( i.e. Jigglypuff, Mewtwo, Pichu, Little Mac, etc. )

grapnel [edit ]

Grapplers are characters designed around throwing the opposition to open up their defense, typically defined by their strong command throws and overall strike-throw mix. Characters of this original are typically large, less-mobile, have higher health, and can have hard-hitting moves with well reach. Grapplers may much have movesets that are comprised of 360 or 720 motions on the stick, such as Zangief of Street Fighter with his SPD snap up, and normally have moves with armor. early examples of traditional grapplers include King from Tekken, Potemkin from Guilty Gear, Bane from Injustice, Haggar from late Marvel vs. Capcom games, Android 16 from Dragon Ball FighterZ, Goro Daimon from The King of Fighters, Tizoc from Garou: Mark of the Wolves, Iron Tager from BlazBlue, Cerebella from Skullgirls, Tina & Bass of Dead Or Alive, Ladiva of Granblue Fantasy Versus, Waldstein of Under Night In-Birth, & Darun of Fighting EX Layer .

Guard Break [edit ]

See : Guard Meter besides popularly known as a guard crush ; describes a organization found in some crusade games where a player ’ s guard can be broken through or crushed by a certain fire ( or series of attacks ), resulting in the block actor being opened up. This normally occurs in a game with a guard meter when a character blocks or turtles for excessively long & receives besides many attacks from a defensive stead, frankincense losing the guard status and being left open to far attacks. The first known example of guard break in this manner was in the original Samurai Shodown, where continual forget can actually cause the defender ‘s weapon to break. It has remained a staple sport of the series, and has been similarly implemented by other games such as Soulcalibur. See also : Stun ( typically a pivotal inverse to this machinist, affecting an opponent more on collision rather than on block ) Some games may besides feature attacks that are specifically designed to cause this effect ( exchangeable to an unblockable but slenderly different ), although the guard-broken opponent may even block again afterwards, typically as their only option. Whether it is a character-specific be active ( e.g. Sol Badguy ’ s “ Fafnir ” or Potemkin ’ s “ Garuda ” in Guilty Gear Strive ) or a universal joint machinist ( such as Crush Trigger from the BlazBlue series ), these moves will break open the adversary ’ s guard and effectively jail them, allowing the guard-broken adversary only to block again or burst — or in the case of Crush Triggers, may cause the adversary to enter a delay pucker state .

  • This is also the name of a common exploit in Marvel vs. Capcom 2 in which a character is rendered unable to block in mid-air. In the game, when a character is considered to be in a “normal jump” state (either a standard normal jump or coming into the screen after another character was defeated), the character can only block once— this blocking action will expire after a certain amount of time passes without blocking any attacks. Therefore, any attack executed after the character is no longer blocking cannot be blocked.

Cable is specially ill-famed for this strategy and combining it with his Air Hyper Viper Beam ( AHVB ), however all characters are capable of exploiting the phenomenon ( if not with the like comfort or to the same extent ) .

  • A variant of this exploit (in terms of dealing with airborne/jumping opponents) also existed in Vampire Savior, where a player who read that their opponent would attempt a chicken guard could perform an extensive aerial combo to keep them airborne whilst landing, and upon landing, hit the still-aerial opponent with a grounded normal (which can not be blocked in-air in this or other Darkstalkers games as well).

Guard Cancel [edit ]

A guard cancel is the defensive legal action of cancelling out of obstruct stun with another travel to counterattack, sometimes inflicting little wrong but largely fair resetting the neutral either by knocking the adversary away or merely pushing them back. A democratic case of this machinist ’ sulfur presence is in the King Of Fighters serial, where many types of guard delete techniques exist that immediately put the defender out of blockstun and allow them to hit the attacker at the cost of some super estimate. The “ CD Guard Cancel ” allows the defender to knock their opposition down acting out of a blocking liveliness to land a four hundred attack that does little wrong at the cost of 1 baron bar ( which is even cancellable in some cases, and allows the defender to start jazz band ), while the “ Guard Cancel Emergency Evade ” allows the defender to roll either backwards or forward to evade and/or punish the attacker if timed when the attacker is performing a move whose recovery will leave them loose after the defender ‘s evasion. In the Darkstalkers/Vampire Savior games, certain base extra moves are specifically designed to act as the character ’ s “ Guard Cancel move ” and be inputted while even in blockstun, as opposed to waiting until the first possible ensnare after stuff sandbag like a normal reversal— because these games have absolute blocking which allow players to continue guarding after letting go of “ back, ” the defender has more prison term to input this special and break the attacker ’ s blockstring. Some moves in these games may only be available for use while in block stun, whereas others are barely convention specials otherwise. In some other SNK games, deoxyadenosine monophosphate well as other Capcom games ( like sealed Street Fighter titles ), the attacker can break out of their defense in a reversal fashion using specials, supers, Alpha Counters, and like moves. recently Street Fighter V besides allows players to spend 1 bar of their V-Gauge to perform a type of dedicate guard cancel attack called a V-Reversal. Another recent crippled that has utilized its rejoinder ( or “ retaliation ” ) gauge to grant players a guard cancel is the 3v3 combatant Power Rangers: Battle For the Grid, which allows the defender to use a cake of their “ Megazord ” gauge to perform a alone Zord Counter, a defend cancel that covers the entire screen & can be performed out of block from any point on the screen. Systems like Guilty Gear XX ( ampere well as the follow game Guilty Gear Xrd ) feature Dead Angle attacks, in which the obstruct character presses forward and two attack buttons ( besides Dust ) to move out of blockstun and knock back the opponent ( though a dead Angle is blockable itself, and costs 50 % tension ). In the Rival Schools series, these are known as “ belated counters. ” Mortal Kombat X and Injustice 2 both respectively brand guard duty cancels as “ block breakers ” and block escape, which can by and large be performed after any hit in the string that is being blocked and are not blockable. Dragon Ball FighterZ allows players to use 1 ace stock to execute a guard duty natural either by tagging in one of their aid characters or by using Sparking Blast * ; one can besides guard cancel out of the blockstun from projectiles such as Ki blasts by using Z-Reflect or super Dash. In some niche cases, this term can quite describe the action of an attacking player to instantaneously stop the approach while it is in progress by using the guard release ( i.e. G Cancel in the Soulcalibur series ). This can be used many times to instantly conversion into other attacks without recovery .

Guard Meter [edit ]

A guard meter is a type of gauge ( normally found either below the lifebar or otherwise combined with it ) that corresponds with the amount of blocking being done by the defending player. The most common style of this is a gauge that drains as a player blocks attacks. When it completely drains, the player is guard crushed, and is wholly vulnerable for a short period of time. In some games, the length of the guard meter may shrink after repeated guard crushes to the decimal point where a character can not block at all. Like low and operating expense attacks, the guard meter serves as one of many countermeasures to prevent turtle. In early games, such as Guilty Gear, a guard duty meter ( called the “ RISC gauge ” ) fills up as a player blocks attacks, and the higher it gets the more damage ( including bit damage ) the player receives from all attacks. When the opposition ’ sulfur RISC estimate is full & dart, the attacking player ’ randomness future motivate will grant an automatic pistol counterhit and all of the damage scaling will be removed from their consecutive attacks .

Half Circle Backward ( HCB ) [edit ]

The act of moving the joystick from the forward put to the down side, then to the back position, creating a half-circle gesticulate. See also : Qcb

Half Circle Forward ( HCF ) [edit ]

The act of moving the joystick from the back position to the down status, then to the advancing placement, creating a half-circle motion. See also : Qcf

glad birthday [edit ]

The act of catching both the adversary and their assist ( s ) with an attack in tag games such as Marvel vs. Capcom. A happy Birthday is an opportunity to deal damage to more than one character simultaneously, and is seen as an error by the player who summoned the help .

Hit Box [edit ]

See also : Hurtbox Behind the aesthetic of the sprites in fighting games lies the actual gull. This includes hit boxes or hitboxes. Hit boxes are named as such because the windows for the virtual outer space that comprise individual attacks, equally well as zones of musician collision detecting a hit are actually boxes. For exemplify, when a character performs a short advancing jab, the actual attack zone is a short rectangle in the approximate localization of that character ‘s branch. When one alternatively performs a low sweeping kick, the hitbox would be a tight-fitting, low and long to the grind rectangle. The actor ‘s themselves have hitboxes. For an attack to hit, it has to make touch with the opposition ‘s hurtbox. It is noteworthy that performing any approach ( or movement ) changes your character ‘s hitbox. Hitbox datum is another brawny sketch cock in summation to frame data. Hitbox data shows ocular images depicting the reach boxes of person attacks, deoxyadenosine monophosphate well as how a character ‘s hurtbox is affected by a particular fire .

Hit Confirm [edit ]

A hit confirm, or the act of hit-confirming, is the act of waiting to see if an approach lands, then reacting by continuing into a special ( via a 2-in-1 cancel ) or another type of jazz band. Hit-confirming may besides refer to using a condom attack to see if one is able to continue a jazz band or not. This is normally done by hitting the opponent with light attacks ( e.g. jab ) and other pokes. If the approach connects then the attacker may carry on into their jazz band. If it is blocked then the attacker can end their attack string safely. The reason why the attacker would hit confirm is therefore that they do not put themselves in dangerous situations when attempting combos, namely being dangerous on auction block .

Hit Stun [edit ]

See also : Block Stun Hitstun refers to the measure of clock ( in frame ) it takes to recover after being successfully hit by a certain assail. This, combined with convalescence time, is what determines whether or not an attacker will have enough frame advantage after an attack to either execute a link, or jail their opponent ( depending on the game ). Not to be confused with : sandbag

Homing [edit ]

See : track In Tekken terminology, a homing go is an attack that is specifically designed to track a hedge adversary as part of its special property .

Hood Flawless/Hood Perfect [edit ]

Winning a meet having only received chip price .

Hunter Chain [edit ]

See : chain jazz band This is a type of chain jazz band where :

  • any punch can combo into a kick of the same strength, and
  • an attack of lower strength can be comboed into the subsequent attack of the next strength forming a chain.

The list is obtained from Night Warriors: Darkstalkers’ Revenge ( Vampire Hunter: Darkstalkers’ Revenge in Japan ). This is sometimes known as “ the chain jazz band ”, and variations of this exist in many other games, the most common being a two-chain ( where alone the beginning applies ), three-chain ( where merely the irregular applies ), and the five-chain ( where one can not combo a punch of the highest military capability to a kick of the highest persuasiveness ). It ‘s a most common feature of speech in the crossover voter series of X-Men vs Street Fighter and Marvel vs Street Fighter .

Hurtbox [edit ]

See : Hitbox basically the peer diametric to a hitbox, describing the area on a character that is hit by an opposition ’ second hitbox .

ice rink [edit ]

FGC slang meaning “ to stall between matches in club to throw off an opponent ‘s hot-streak. ”

impingement frame [edit ]

A terminus particular to 3D fighters like Tekken ( sometimes used in Super Smash Bros. terminology ) that describes the impact performance frames of a move in a way that apparently combines inauguration and active frames into one unit of measurement of frame measurement, excluding the clock time taken by remark execution. For exemplar, if a Tekken character ’ second jab has 9 inauguration frames and the first base active frame of the motion hits on the tenth frame of reference, the move will be labeled as ”i10” to describe how fast the motion actually impacts the opponent .

Input Read [edit ]

An AI opponent reading the players inputs and acting consequently. While all AI opponents do this to some extent, the term is generally considered a negative one, used when remark read is obvious and makes the musician feel like they are fighting an AI adversary incapable of homo error. Most frequently seen in bossfights. See : Rubberband AI

infinite [edit ]

An infinite is a jazz band that can be continued indefinitely, typically by looping the same sequence of attacks by jazz band ’ ing into the fire that started the sequence. Infinites are generally impossible to escape or break when executed correctly, and require a defensive automobile mechanic like Guilty Gear’ s “ Burst “ to break the jazz band. Infinites are synonymous with Touches of Death, but are explicitly insistent and near-exclusively the result of developer oversight .

install [edit ]

An install super, dragon install, or plainly install, is a be active ( often a superintendent ) wherein a character enters a powered-up state that can change the properties of their moves, a well as possibly grant them new moves, improve the accelerate of their bowel movement, and/or increase their damage. Installs are attached to a timer, after which the character will return to normal ( & potentially enter a cooldown country ). The most luminary install is Sol Badguy ’ s “ Dragon Install ” Overdrive from the Guilty Gear series, which is where the terminus originates. other popular examples include Dante ’ s “ Devil Trigger ” Lvl. 3 Hyper Combo in the Marvel vs. Capcom games, Painwheel ’ s “ Hatred Install ” in Skullgirls, and Frieza ’ s Meteor Attack in Dragon Ball FighterZ that allows him to transform into Golden Frieza once per match. other games utilize certain rejoinder mechanics, which are not tied to super meter, that grant an “ install-like ” power-up such as Instinct Mode ( and corresponding Instinct bore ) featured in Killer Instinct, the X-Factor automobile mechanic featured in Marvel vs. Capcom 3, or some characters ’ V-Triggers in Street Fighter V .

Instant Air [edit ]

When you use a tool or move immediately after jumping. This might give the tool more usage, or make it come out quicker, but the main advantage is being much lower to the ground when doing therefore. May be related : tiger Knee

Instant Air Dash [edit ]

In games where dashing in the air is possible, such as Guilty Gear, it is possible to use an up-forward, neutral, forth motion to breeze dash identical close to the grind, which is called an Instant Air Dash (IAD). It can normally besides be done in rearward, for an blink of an eye vent back dash. IAD is combined with other movement options to maneuver around the screen .

Instant Air Fireball [edit ]

Refers to using a fireball or another aeriform projectile immediately after jumping or hopping. Some games may require the executing player to TK the input while others are more lenient with allowing players to cancel the full jump animation with aerial specials. Characters that can perform an IAFB may include Akuma and Kage from Street Fighter, or Liu Kang from Mortal Kombat .

Instant Kill [edit ]

A rare feature in some games that is intentionally designed to KO the opposition instantly & amply deplete their lifebar regardless of how a lot remaining health they may have .
This concept was first implemented by Barbarian: The Ultimate Warrior (1987), which featured crimson & bloodstained finishers years before Mortal Kombat (1992) — players were given a particular “ decapitate ” be active that had a dense & reactable startup but, if timed correctly at the opposition ’ randomness head/neck, would immediately kill them and end the match. Two exchangeable mechanics called a “ Death Move ” and a “ Super Death Move ” ( performed by pressing every attack clitoris simultaneously ) would late be implemented by the weapon-based fight game Time Killers (1992), angstrom well as its spiritual successor BloodStorm (1994). The most popular model of this type of automobile mechanic is the eponymous “ Instant Kill ” move found in the Guilty Gear series. This move was introduced in the original installment ( once referred to as “ Destroy ” attacks ), allowing players to trigger a particular “ Sakkai ” country simply by simultaneously pressing punch ( P ) & kick back ( K ) — if the attack connected, the shield would turn crimson for a few seconds and give the executing attacker a brief window to input “ qcf + any attack button ( i.e. Heavy Slash ) ” which would perform a super-powerful move that instantaneously ended the stallion catch regardless of remaining rounds. Defending players would have the prospect to escape this attack by inputting the face-to-face direction “ qcb + attack ( HS ) ” at the proper reverse time. Guarding or countering certain attacks at the right field moment may besides trigger these Destroy attacks. This automobile mechanic was late reworked ( and renamed ) in the follow installments as an ultra-powerful superintendent with more specific requirements & stipulations. Players could press all attack buttons ( except Dust ) in concert at once to activate their “ Instant Kill Mode, ” during which the Tension gauge would turn loss & begin gradually depleting either until the mode is deactivated with the same instruction or until the actor performs an Instant Kill attack ; if the gauge depleted completely before the mode had been deactivated, the player ’ sulfur lifebar would begin to deplete equally well. During this period, all moves that utilize Tension meter are disabled, such as overdrive supers and Roman Cancels. once in this state, players could activate their Instant Kill by and large with a “ double-qcf + HS ” input— this move was entirely available once per match. Whether the motion connected or missed, the executing player would lose access to their tension for the remainder of that round off. Upon successful murder, the attack would immediately end ( as opposed to the entire equal, per the stipulations of the first bet on ). As of the most holocene installment Guilty Gear -Strive-, Instant Kills are nobelium longer present. A like mechanic called “ Astral Heat ” is present in most of the chief BlazBlue games ( sometimes called an “ Astral Finish ” ) ; it is available on the one-third round where both opponents are tied. The executing musician must have 100 SP meter ( a.k.a. “ Heat ” ) while the opponent has under 30 % health. once available— indicated by the actor ’ s character portrait flashing white— the actor will be able to input a singular ace command & perform their Astral Heat, which will instantaneously win the match if landed successfully. alternatively in BlazBlue: Cross Tag Battle, Astral Heats are available when the opponent has no chase partner left and the player has both Resonance Blaze ( lvl. 4 ) active agent & 9 Skill Gauges at the consequence of activation. Persona 4 Arena besides implements Instant Kill attacks similarly to Astral Heats, requiring the player to be tied at couple indicate with the opposition & to have 100 SP meter, although there is no health prerequisite & the dominate input is universally “ 222+C+D ” across the entire roll. Some characters may besides have singular abilities that can IK the opponent— in summation to Naoto ’ s IK that sets target traps which are unblockable, she besides has a character alone machinist called the “ Fate Counter, ” a numbered-counter which consists of 13 skulls beneath the opponent ’ south lifebar. Certain moves, such as the respective traps she sets, will lower the skull antagonistic ( typically by about 3 skulls ), finally reaching 0. When the Fate Counter hits 0, Naoto gains the ability to use certain supers to immediately kill the opposition ( independent of her default IK ). “ Critical Edge ” supers were replaced briefly in Soulcalibur IV by a newfangled machinist called “ Critical Finish, ” a coating blow that can be triggered when the adversary is put into a “ Soul Crush ” submit ( basically a precaution oppress that affects the Soul Gauge rather than having its own freestanding meter ) — when the gauge begins blinking red, the future one or few attacks ( normally heavier attacks ) will break the adversary ’ s guard ; blocking the adversary ’ s heavy attack or repelling it with a Guard Impact will besides bear these effects. Once the opponent reels second from this, a bolshevik flash will appear & indicate that a critical ending can be used by pressing the left bumper ( L1 ) or all four face buttons. This window of opportunity only lasts for a cleave second & basically works like a barely frame, but is potent enough to defeat the opposition immediately. critical finish was reverted to the Critical Edge automobile mechanic in Soulcalibur V and has not returned to the series since. The respective ring outs found throughout the Soulcalibur franchise, ampere well as the death traps in the 3D Mortal Kombat games, could besides be considered “ moment kill ” mechanics as they immediately end the round once they are performed. Android 16 from Dragon Ball FighterZ has a Lvl. 3 super that can immediately KO one of his opponents— it is a command catch equipped with super armor, although it has a reasonably dull startup and can only be used once per match. In identical rare instances, some games might develop their entire combat system around the notion of a “ one-hit kill, ” indeed as to simulate the hazardous & spontaneous circumstances of realistic combat ( i.e. swordfighting/fencing ). Games like this may include Bushido Blade and the approaching Hellish Quart. The comedy/parody fighting game Divekick, which features only two running buttons ( “ dive ” & “ kick ” ), presents a lifebar for both players at the exceed of the shield merely as a joke and/or for stylistic purposes, as the round is won immediately after the first strike .

indomitability [edit ]

certain attacks have invincibility frames ( sometimes referred to as i-frames ) during a certain window of the attack ( such as on startup ), if not for the duration of the assail. During these frames, the musician is considered invincible ( or invulnerable ), and any attack will merely go through the player without doing wrong or inducing hitstun. Moves with indomitability on startup are ideal for reversals and wakeups. indomitability differs from superintendent armor in that the attack is not registered as connecting at all, as opposed to connecting and being absorbed accordingly. Depending of the crippled, an attack hitting an invincible foe might still be considered as having hit for the determination of cancelling. For model, in the Injustice serial, a normal can be cancelled into a special move, but lone if it is a hit or it is blocked ( in other words, it can not be cancelled on whiff ). however, if a normal makes contact during invincible frames, it can hush be cancelled into a special move even though it did not rightfully hit the adversary .
See also : environmental interaction An item refers to a random aim that is picked up or thrown out by a actor. Some of these may behave similarly to a projectile, but besides tend to have differing effects ( depending on the game, the detail used, etc. ) The most popular execution of this concept has historically been featured in the Super Smash Bros. franchise ; introduced in the identical first installment, these games feature respective items that spawn at random from the sky onto the stage, which can then be picked up by any player and use in different, unique ways. Some items may be used as a weapon for melee and/or zoning purposes ( e.g. homerun bat, beam sword, beam accelerator, star perch, etc. ), while other items like the heart or Maximum Tomato may simply be used to restore the player ’ second animation. other popular items & their uses may include but are not limited to :

  • Motion-sensor bomb— can be placed as a trap to control the space, detonating upon contact & sending whoever activated it flying
  • Poké Ball- an object (which can also be thrown as a projectile to attack the opponent) that summons a random Pokémon with a unique (usually offensive) ability
  • Hammer- grants invincibility to the player and automatically rocks them back & forth swinging the hammer, dealing heavy damage & usually triggering an automatic KO
  • Barrel/Crate/Capsule/Egg- objects that can be broken to reveal one or more items
  • Assist Trophies- an item that acts as an assist, bringing an otherwise non-playable character to aid the player with unique attacks & abilities

The concept of interactable stage objects ( that were already part of the degree itself ) may have began with Survival Arts, an obscure japanese clone of the popular american series Mortal Kombat that was met with much criticism but may have preceded these later Mortal Kombat games in terms of its weapon implementation— in addition to some characters possessing sealed weapon abilities in their regular movesets ( such as Gunner & Mongo, whose grease-gun abilities besides predate that of Mortal Kombat 3 character Stryker ), stages would besides typically feature one to three weapons on the background which would glow green, indicating that they could be picked up & utilized by players ( by holding down near the weapon & pressing punch ). While this excluded Mongo & Tasha who were disabled from picking up items, the remainder of the roll could hold onto the weapons, which included a sword, a bat, & a mace ( all of which replaced the heavy punch with a massively damaging weapon swing ), equally well as a pistol that could fire single bullets at a short distance before running out of ammunition. These weapons could besides be used as the concluding hit of a match to finish the adversary in a gory fashion, à la the Mortal Kombat series. by and by Mortal Kombat games would begin to broadly adopt these concepts, starting with Mortal Kombat 4, which featured choice stages that would have an object ( e.g. a boulder or a skull ) randomly placed on the footing at the players ’ feet. Players could pick up & hurl this object at the adversary by crouching near it & pressing the Run button. The lapp command could be used to pick up a weapon dropped by either player. Mortal Kombat: Deception, in addition to featuring degree transitions, would besides feature special weapons on some stages that players could pick up to replace their weapon position, allowing them to wield the stage weapon indefinitely. The latest Mortal Kombat games, a good as the Injustice series, would finally reintroduce & expand on the concept of interactable phase items that could be thrown at opponents or strike them at a sterilize roll, dealing vary levels wrong and possibly having early effects ( i.e. knockdown, launch, sandbag, etc. ) — certain interactables may besides trigger a “ degree Brutality, ” evocative of the aforesaid Survival Arts weapon finishers .

quality Items [edit ]

blue-ribbon characters in certain games may possess the ability to throw out or summon a randomly occurring token, all or most of which may vary in its available utility program and/or its impression caused to the opposition. As stated, these items are by and large randomized and can not be consciously selected, but may still be efficiently utilized on a notion in setplay. The first noteworthy character with such a special was Hsien-Ko ( a.k.a. Lei-Lei ) of the Darkstalkers franchise. Hsien-Ko was first gear introduced in Night Warriors: Darkstalkers Revenge with the alone “ Anki Hou ” special, which allowed her to summon random objects to throw at her adversary. These objects were directable depending on the force of the punch button used in the command stimulation ; the light interpretation would throw the object straight in their direction at a moderate range, the medium version would throw the object far across the screen door at an up arc ( desirable for hitting jumping opponents ), and the clayey interpretation would throw the aim up at a identical close but high gear image ( hitting as an overhead ). While the light translation would merely throw “ light ” objects that inflict meek wrong ( i.e. shuriken, boomerangs, daggers, axes, spiked balls, and what appear to be Vega ’ s claw ), the average and heavy versions had a luck to randomly toss a “ heavier ” aim ( i.e. boulders, hammers, bonsai trees, etc. ), which would knock down the opponent on hit and immediately stand them up in a temp dizzy submit. In the come installation Vampire Savior/Darkstalkers 3, Hsien-Ko would be given extra new items, ranging from light ( i.e. kunai or statues ) to heavy objects ( namely the “ star ” detail ). furthermore, the EX interpretation of this travel was besides changed from entirely throwing three larged spiked balls straight ahead, dealing a greater amount of price with each hitting rocket, to besides being able to randomly throw a newfangled “ bomb calorimeter ” aim towards the opponent— this object would display a six-second timekeeper next to it upon being thrown, after which the fail would detonate, inflicting damage and sending the opposition flying upwards before falling. When Hsien-Ko was added as a DLC character in Marvel vs. Capcom 3, this turkey was added to Hsien-Ko ’ s regular item set, & was besides able to be knocked around by the actor. originally at launch, this fail was one of merely 5 items that could be spawned— however by the prison term of the Ultimate update, her detail tilt had been greatly expanded, american samoa well as no longer being dependant on button lastingness and thus allowing the actor to amply utilize the uncoiled Light version. The fail now had three, six, and nine-second versions, allowing for varied detonation times ; connecting a fail on an opposition would grant a hard knockdown vitamin a well as OTG. The “ light ” Anki Hou items ( those that did not cause a sandbag ) were largely expanded to merely include more respective random items such as Chun-Li ’ sulfur bracelets, the yashichi catherine wheel emblem, a barrel ( that actually could push the opposition towards the attacker rather of away ), a big cat mascot, or tied a man of kernel. however, early added items could produce variants of the stun effect caused by the “ heavy ” objects, such as the Stun Rod ’ sulfur shock/stagger effect or the Snowman ’ s “ freeze ” ability. Upon far exploration, it was discovered that players could control which follow-up detail would come out after a first detail chuck, depending on how long after the initial item toss the command was inputted. If the proper ( corresponding ) sum of time had elapsed from the first token flip, players could loop the instruction at perfectly regular intervals and receive the lapp follow item every clock time. This allowed dizzy-inducing items to be looped with precise time ( likely a 1-or-2-frame connect ), creating an infinite. Faust of the Guilty Gear series is one of the more outstanding examples of an token fictional character in fighting games. Reintroduced in Guilty Gear X ( once appearing as Dr. Baldhead in the original Guilty Gear game ), Faust was given the “ What Could This Be ? ” particular, which has become a staple tool of his moveset. This move allows Faust to summon one of numerous random items, some of which may besides be utilized by the opponent ( e.g. the turkey or the doughnut ) ; these items all vary greatly in their effects & may change from game to plot ( despite certain objects recurring across all games ). Faust normally besides has an overdrive version of this ability which allows him to quickly mobilize multiple varying items at once. Faust ’ s array of random objects in these games can include but is not limited to :

  • Bomb- a bomb that may launch the opponent; can hurt both players; has been changed in Guilty Gear -Strive- so that players can move the bomb’s location by attacking it
  • Hammer- causes high stun, hits both on the way up & down (à la Hsien-Ko’s hammer)
  • Meteor- a descending projectile that inflicts fire damage
  • Donut- an item that grants a small portion of health back to the player who touches it first
  • 100 Ton Weight- knocks down grounded opponents and can also hit airborne opponents
  • Small Faust- a creature assist summon that appears as a miniature version of Faust that tracks the opponent, slowly advancing towards them before attacking when in close enough proximity; some games may allow Faust to knock Small Faust into the opponent with certain attacks, such as Faust’s Dust attack
  • Poison- an object that can control the space and inflict damage over time if touched (continues for short duration or until Faust is hit)

Faust ’ s alone item-based property that can be accessed intentionally without a random item mobilize is his holocene “ Afro state ” in Strive, which is normally caused by his Afro ( an item that gives the affected character a large afro & acts as a greatly expanded hurtbox on their head ) — this state can besides be activated against the opponent with Faust ’ s command catch. Another mod model of an item character may be Peacock of Skullgirls, who can use her “ Shadow of Impending Doom ” ability to summon a random object that drops from the sky, hitting the adversary overhead. This move is besides slightly directable, with the attack ’ mho placement depending on the potency of punch release used in the QCB input— the light version drops the object directly in front of her at a fixed location, whereas the medium and heavy versions are homing attacks that will follow the adversary ( at close and far range, respectively ). The punch button used in this dominate can be held to increase the size of the object ; the sizes come in “ Small ” or “ Level 1 ” ( i.e. bowling ball, horseshoe, bottle, pot, etc. ) which does minimal damage & occurs immediately or if held less than two seconds, “ Medium ” or “ Level 2 ” ( i.e. incus, safe, television receiver, etc. ) which deals doubly arsenic much wrong & is achieved after holding for at least two seconds, and “ Large ” or “ Level 3 ” ( i.e. piano, elephant, electric refrigerator, etc. ) which deals doubly ampere much price as Level 2 & is achieved after holding for five seconds. While the correspond attack release is being held, the actor can freely move approximately, attack, or block the opponent ’ randomness moves. Peacock besides has a rare Level 3 item that can be achieved by executing her twit and then performing a in full charged “ Shadow of Impending Doom ” at any point ; this will replace the following Level 3 token dismiss with a “ Tenrai Ha ” ( evocative of the Hsien-Ko Hyper Combo in MvC3 ), wherein Peacock drops an anvil promptly followed by a barrage of spike balls onto the adversary, knocking them down and inflicting heavy damage .

dig [edit ]

In the Street Fighter series and associate Capcom six-button fighters, a abstemious punch. ( Can besides be associated with any light or front/left punch attack, typically the fastest of any given fictional character ’ second moves )

Jailing [edit ]

Jailing, or to jail — a terminus more popularly used within the NetherRealm & Bandai Namco communities, whose respective games function reasonably differently from the linking system found in most other fighters— describes a method acting by which two moves connect, when one move is followed up by another move whose inauguration frames are less than [ or equal to ] the sum of the foremost act ’ mho hit advantage frames. The term refers to the adversary being “ in jail ” since they are stuck in hitstun, meaning they can not react to the next move with anything other than blocking. For example if a quality has a thump with a hit advantage of 14 & a stand dig with 7 startup frames, a player can jail their opponent with this poke— this means because the opponent is in hitstun for 14 frames, if by rights timed the player ’ s 7 human body move will connect before the adversary can duck, rise, or attack .

juggle [edit ]

A juggle describes the express during a jazz band in which the victim is hit multiple times while they are in mid-air ( typically by a ground adversary in this context ). The move used to start the juggle is called a launcher ( or in some cases a floater ). This was the second type of jazz band to always appear in a fight plot, and first appeared unintentionally in Mortal Kombat ( and late Killer Instinct ) as a bug where players could perform certain moves after each other with accurate time ( such as an uppercut followed by a rocket ) and inexplicably keep the adversary afloat in mid-air for a short duration. It has since become a staple feature of this franchise and of fighting games as a solid, serving as the key part of most games ’ jazz band structures .

Jump Cancel [edit ]

A jump cancel describes the action of cancelling the convalescence of an attack with a startle stimulation. This mechanic/technique is largely only found in team or anime fighters where there is an emphasis on fast-paced combat with drawn-out combos, and by extension, a focus on aeriform jazz band ( e.g. “ antenna Raves from the Marvel vs. Capcom games ). It is typically used to initiate an antenna jazz band, either where both players are airborne or where the jump musician is jazz band ’ ing a standing opposition while calm in-air. Jump cancel may alone be permitted after certain normals and/or specials, such as a launcher or a medium/heavy attack ( e.g. a flog attack in the Guilty Gear games ) .

Jump Installing [edit ]

Jump installing is a Guilty Gear term referring to an aspect of the engine that was originally a bug, but late became a feature. The theme is to input a leap during a jump-cancellable move, but then cancel the attack into another approach alternatively of allowing the startle to occur. This “ tricks ” the engine into believing the player is in an airborne-state. At the end of the fire string, if the player ends up in the air via an attack that would not normally allow them to do anything before they land, they will have all the options available that would normally be from a startle, such as air dashing or double-jumping .

barely ensnare [edit ]

A just frame refers to a motivate with an input signal that must be executed precisely on one specific frame in order to be performed. This technique is normally attached to a preexistent move or ability as a way to alter ( and typically improve ) its overall properties. The most popular modern example of a good inning in this context is the Electric Wind God Fist, which was first introduced in Tekken 3 as a “ hide motion ” variant of the preexistent Wind God Fist attack assigned to the “ Mishima ” family-type characters * ; the “ Electric ” translation was primitively entirely assigned to Jin Kazama but was extended to Heihachi in Tekken Tag Tournament, and finally all Mishima characters in Tekken 4. To perform this technique, the musician must perform a Wind God Fist ( inputted as forward, neutral, down, d/f+2 ) but input the down/forward and Right Punch ( 2 ) simultaneously on the accurate lapp frame— when executed correctly, the character will be imbued with blue sky electric sparks ( along with a alone song discriminative stimulus ) and the Electric translation will be performed. In summation to the preexistent launch properties of the move, the EWGF has several extra benefits compared to the even Wind God Fist such as becoming condom on block & having extra pushback, reduced convalescence frame, a slenderly expanded hitbox that reduced its chances of puff, and early traits that may change from game to plot ( e.g. damage, counter properties, changing from a high attack to a mid, etc. ) The Soulcalibur series besides normally implements equitable frame, causing the musician ’ s fictional character to flash blue when executed correctly, although the benefits typically only extended to a damage buff and/or increased hitstun. While games such as this & Tekken typically employ these just-frames as a room to merely enhance the basal move it is attached to, such as Mitsurugi ’ s “ Feint L ” or Taki ’ s “ Shadow Shrine ” ( both of which have quick “ chute ” inputs that may flush be confused with just-frames themselves ), ampere good as Maxi ’ s “ Fury ” drawstring, other characters may have entirely separate, unique moves that can lone be performed with a just-frame input ; these games may frequently design characters in this manner to make room for extra abilities that would otherwise conflict with another move, or just to make sealed attacks/follow-ups command more skill and time to perform. One of example of a move that must be executed as a just-frame in order to be performed is Mitsurugi ’ s “ Triple Steel, ” an ender of his “ Steel Slicer ” move that can launch the adversary higher than “ Steel Slicer ” allowing for a juggle, a well as being able to cause a guard jam — another case includes Ivy ’ s “ Howling Spirits, ” an propagation of the “ Mistress ’ Justice ” string lone available in her Serpent ’ s Embrace stance that adds more hits to the string and transforms it into a Break Attack. Setsuka is known to have some of the most just-frames in her moveset, with many moves requiring just-frame time to be performed, making her one of the most technical and execution-based characters in the franchise. While possibly not quite as normally or openly as in 3D fighters, some moves in 2D fighters may besides utilize just-frames. In Guilty Gear Xrd Rev 2, Ramlethal Valentine ’ s DP -style motion “ Dauro ” ( 623P ) could be enhanced by hitting the down/forward ( 3 ) direction and Punch ( P ) button on precisely the same frame, allowing the act to launch higher and deal more damage. The recent Street Fighter V has given these same benefits to Karin ’ s “ Seppo ” ( Qcf +K ) command dash follow-up attack called “ Tenko ” ( performed by pressing a punch push button after the dash ), in addition to making the be active faster and slenderly less insecure. SFV besides gives Cody two just-frame abilities as part of his V-Trigger * II— this singular ability gives Cody a pipe weapon that changes his moves arsenic well as accord him modern specials. The “ Toss & Smash ” command grab, normally causing a knockdown that merely resets the neutral, can be executed with perfective timing to bounce the opposition back, resulting in a closer knockdown that greatly improves Cody ’ s okizeme allowing him to pressure a rising opponent with moves like his V-Trigger-specific Bean Ball. additionally, this Bean Ball can be followed up with “ Present Delivery ”, a swing performed by hitting the V-trigger control again to swing the shriek at the rock, turning it into a projectile. Timing the swing absolutely causes the rock to fly in a straight bow directly at the opponent at a faster speed, a well as hitting three times & causing extra damage. absolutely timing this move besides prevents the projectile from being reflected back at the player. perfect block ( appropriately labeled as a just guard ) can besides be thought of as just-frame obstruct, as it requires players to press the block input within a stern clock window, normally on the accurate frame that the opposition ’ south attack would connect .

Kara Cancel [edit ]

A Kara ( japanese for “ empty ” ) Cancel is a limited type of cancelling that exists in games such as Street Fighter III, Street Fighter IV, Guilty Gear, and BlazBlue. In a typical cancel, the animation of the move is interrupted after it hits the opponent, thereby allowing a subsequent act to follow up the cancelled move in a jazz band. however, when a be active is kara cancelled, it is interrupted while hush in its start-up frames before it even hits the opposition. Often, kara cancel is used to increase the effective scope of a certain subsequent move, such as a throw. In this encase, the initial move to be kara cancelled is typically a convention that causes the character to move toward the adversary during the motion ‘s initial start-up frames ( i.e. moves with forward aggression ). The throw command is then promptly inputted, correct when the appropriate start-up frames have lapsed. By kara cancelling the convention move into a throw, the normal ‘s initial start-up frames are utilized to move the character close toward the adversary before the throw comes out. A throw executed in this manner is called a “ kara throw “. Kara delete might besides alter the properties of the subsequent be active ( a bewilder, in this case ). One popular example of a character with a kara throw is Tsubaki in BlazBlue: Central Fiction ; her 6C normal moves her forward & can be cancelled during its inauguration, being used as a joyride to close the distance between her & the opposition and allowing her to cursorily cancel into a throw. Another newer example would be Potemkin from the Guilty Gear series, who recently in Guilty Gear Strive was granted the ability to kara cancel his 6K shoulder blame into his celebrated “ Potemkin Buster ” instruction catch. In most games with kara cancel, only normal moves or command moves can be kara cancelled. Because the kara-cancelled affect must be interrupted during its initial start-up frames, the subsequent affect must be inputted extremely quickly. The timing is normally significantly more demanding than a conventional normal cancel .

Knockback [edit ]

Describes a site or state in which a musician is knocked back a bonny distance ( sometimes fully screen ) by a certain move ( frequently a herculean or heavy attack ). Moves of this invention tend to besides mechanically cause a knockdown by proxy, but may besides be instrumental in carrying opponents to the wall or corner angstrom well as far “ wall hit ” techniques ( e.g. wall splat or leap ). besides normally referred to as blowback ( i.e. Blow Back attacks ). There are besides certain defensive mechanics — such as guard cancels, jazz band breakers or bursts — which typically grant some kind of knockback ( or just pushback ) that may not cause damage, as means of getting the attacking opposition off of oneself and resetting the inert.

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Knockdown [edit ]

A knockdown ( occasionally abbreviated as KD ) describes a country caused by sealed moves in which a musician is knocked off their feet and onto the grind. It is among the most park phenomenon in fighting games, being the end result of most knock-down attacks ( e.g. throws, sweeps, launchers, etc. ), and it creates the foundation for the “ wakeup/ okizeme ” crippled that is fundamental across the genre. generally speaking, a combatant who has been knocked down is invulnerable to all attacks ( except for in the case of games that employ an OTG system ). From this position, the knocked down player has a few options to wakeup ; the safest option may merely be to block the entrance attacks ( such as meaty buttons or setups ). however, the most democratic option for a rising actor to execute is to perform a wakeup attack ; while some 3D fighters like Tekken or Soulcalibur ( and on rare occasions some 2D fighters such as Mortal Kombat 11 ) may feature built-in “ outfit attacks, ” most games typically go about this by urging players to input a reversal special, which with the proper timing allows a special move to come out on the first frame of the musician ’ mho wakeup. While this can theoretically be done with any special ( ideally fast EX specials, moves with armor, etc. ), many games will assign one or two moves that are invincible on startup which serve as the ideal travel ( s ) to wakeup with, whether it is a super move or a especial such as the celebrated DP — depending on the bet on, this may either be a raw, meter -less especial or may require at least 1 prevention of ace. Players may besides choose to delay their wakeup in many games, typically by holding down ( or another designated button ) for a certain duration after being knocked devour. This allows the player to extend the total of clock time they are grounded, and thus control the time of their wakeup, albeit typically at the expense of being able to perform other wakeup options. alternatively, the knocked down musician can recover the clamant they hit the land ( most normally called a “ ukemi ” or “ teching a knockdown ” ), the method of which may vary from crippled to game— some games may require players to press “ down ” or “ spinal column ” deoxyadenosine monophosphate soon as they touch the reason to recover straight-upwards or roll backwards ( respectively ), while some games may simply allow any assail button to be pressed. Some 2D games may besides have built-in “ wakeup roll ” options ( e.g. “ forth ” or “ backward ” rolls ), such as Mortal Kombat 11 or versatile BlazBlue games, which may have a certain invulnerability window & will allow the executing musician to evade incoming attacks from the adversary on wakeup. By contrast, these built-in evasive rolls are quite common in 3D fighters that allow knocked down players to stay grounded for an extensive period of time ( sometimes indefinitely ), typically besides allowing them to roll into the foreground or background ( à louisiana sidestepping ) for a certain duration until they choose to getup. however, these rolls are not invulnerable and can be hit by grounded/OTG attacks from the adversary until the defending player rises from the ground. A hard knockdown ( often abbreviated by the FGC as HKD ) describes a property assigned to certain moves in some games that knocks the opposition down for the utmost window of time and disables certain wakeup options from being performed by them while rising ( namely the aforesaid “ ukemi/recovery ” option, american samoa well as the “ check ” option since the knockdown duration of a HKD may be peer to the check windowpane timing by default ). For exercise, all sweeps in the Street Fighter games cause this type of untechable knockdown .

Knockout [edit ]

A hard (KO) occurs when a player ‘s animation is depleted and the actor ‘s character is “ knocked out. ” sometimes compared to Finish or Ring Out .

korean Backdash [edit ]

A give voice specific to Tekken terminology ( name after the competitive korean players who discovered this proficiency in Tekken Tag Tournament ; frequently abbreviated to KBD ) that describes the act of cancelling a backdash into another backdash input signal repeatedly, allowing for faster backwards apparent motion than would normally be allowed. Because the Tekken games allow players to cancel a backdash into any motion or movement/ defend, players can input “ down+back [ crouch ], neutral, spinal column ” after their first backdash and reprise this input in rapid succession to continue chaining backdashes together. The idea here is that the “ down+back ” input signal cancels the backdash with a crouch, and the follow “ back ” remark counts as the first “ back ” stimulation for the adjacent backdash ( which is universally performed with a “ back, back ” stimulation in about every fight game ). It can be regarded as the backdash equivalent of crouch dashing or wavedashing. KBDs are identical technically complex to execute but are normally regarded among the competitive Tekken community as a crucial milestone in progressing to higher-level play, as the faster movement can be very pivotal in navigating the stage & playing the neutral against one ’ south opponent .

Krushing Blow [edit ]

See also : Lethal Hit A unique mechanic to Mortal Kombat 11, Krushing Blows ( or KBs for short circuit ) are enhanced versions of certain moves that trigger via a specific “ prerequisite, ” resulting in the camera zoom in on the adversary to show the move inflicting graphic [ typically internal ] damage, such as broken bones/impalement/crushed organs/etc. ( like to the “ x ray ” visuals in previous Mortal Kombat titles ). There are Krushing Blows attached to several different types of moves in the game such as normal attacks, jazz band strings, special moves, throws & more. Many of the KBs share a necessity stating that the corresponding move must be a counter or punish, as a mean of rewarding the player for such ; however certain moves have different, more specific trigger requirements, including but not circumscribed to “ Must hit 2x in a row, ” “ Must miss 2x in a rowing, ” “ only the last motivate in the string must hit, ” “ Must connect at soap roll, ” “ Must hit while opposition is stand blocking, ” & many more ). There are a total of assorted benefits to triggering a Krushing Blow ; while most of them simply reward the musician ’ s motion with extra damage and/or an extra hit, other rewards include popups, restands or sandbag that avail players start or continue combos, DOT, & more. Some characters are rewarded with much higher price than others off of their KBs and can actually win entire rounds or matches simply by strategically budgeting their KBs ( or landing them by probability ). This affects the meta of the plot greatly, although Krushing Blows are not necessarily all-important or required to understand or succeed in the game. Every character has a differing phone number of Krushing Blows, vitamin a well as differ requirements for each one, with only the uppercut KB being mutually shared by every character ( triggers by countering or punishing a high attack ). respective characters have a KB attached to one or both of their throws, with the necessity being that the KB will trigger on the next throw if the adversary incorrectly techs the previous throw. much like with a “ counterpunch ” or “ punish, ” the screen will display “ Escape Failed ” when this occurs, which notifies the musician that they have their Krushing Blow loaded. The KB is reset if the opponent manages to tech the KB throw successfully. Characters with a Krushing Blow on both throws can only use 1 per match. An option called “ Krushing Blow Held Check ” is available to toggle on/off, which requires the musician to hold down the death [ attack ] button of the triggering move in order for the Krushing Blow to successfully trigger. A higher horizontal surface player may select this choice to have more control over how they budget their KBs ; for exercise, if they have a move with a Krushing Blow prerequisite of “ countering/punishing an attack, ” this option allows them to save their KB as opposed to wasting it mechanically when an opponently incorrectly hits a button or whiffs a move ( i.e. at the end of a round where the musician still has sufficient health left & does not need the Krushing Blow ) .

catapult [edit ]

A move that launches the opponent airborne into a juggle state, after which they can continue juggling their opposition with a jazz band to yield more damage. normally penal on block with a slower inauguration .

Layers [edit ]

Describes a prospect of playing in-depth mind games with a character ’ s mix-ups which allows for the attacker to force their atmospheric pressure onto the adversary if they know how to deal with the original confusion. For case, you might delay your low attack if you know your opposition is outhouse to fuzzy guard .

Lethal Hit [edit ]

See also : Krushing Blow The Lethal Hit system is a alone machinist introduced in Soulcalibur 6 that is evolved from the traditional “ Counter ” system employed by this and most other games, where enhance versions of certain choice moves will trigger via a specific “ necessity ” and slow down the adversary ’ mho movements, potentially allowing for even deadlier combos than usual. In summation to plainly countering or punishing moves with the corresponding attack, some trigger requirements may include hitting a crouch opposition, punishing a hedge eminent assail, hitting a backturned or side-facing opposition, landing the like approach a specific act of times, hitting the oppponent directly up-close, landing an approach on an opponent who missed a Guard Impact, and many others of varying specificity. There are Lethal Hits attached to several different types of moves in the game such as normal attacks, jazz band strings, particular moves, throws & more. Every character has a differing number of Lethal Hits, arsenic well as disagree requirements for each one, although some Lethal Hits may be universal ( such as successfully landing a Break Attack against a Guard Impact or a Reversal Edge ). The rewards given to a certain move for executing it as a Lethal Hit may vary from increase damage to granting a launch property, to increased sandbag time ( sometimes causing a rumple state ), to even destroying the adversary ’ south armor *. Landing a Lethal Hit will besides increase the actor ’ mho Soul Gauge as a bonus, with more difficult Lethal Hits respectively granting more meter .

life [edit ]

Most normally referred to as health ( sometimes called “ energy ” or “ vitality ” ), a character ‘s life represents how much [ more ] damage they can receive from their opposition and other sources. It is represented by a browning automatic rifle at the top of the screen, with the bar consume inwards in most cases ( Darkstalkers 3 being a noteworthy exception ). When a fictional character ‘s life bar is wholly drained, the round is lost. Some games like Samurai Shodown, Art of Fighting and Real Bout Fatal Fury, Killer Instinct, Vampire Savior, and Injustice have a total life barroom that is composed by two bars, one which is the authoritative lifebar color [ green/yellow/white/etc. ], and a crimson one below it. This sport may be used to implement certain super gauge systems and early strategic details. The player who has the “ life-lead ” is the player who has well more health than their opponent & is consequently at an advantage .

connection [edit ]

See : jazz band Linking moves is the dissemble of performing a affect with agile startup immediately after a move with quick recovery has connected while the adversary is still in hitstun, frankincense linking both attacks together into a jazz band that can not be blocked or interrupted by the adversary. In general, a jazz band can be formed either by cancelling one move into another move, or by linking one be active into another move. The difference is that in cancel, the animation of the earlier move is typically interrupted, whereas in linking, the animation/recovery of the earlier go is not interrupted .

low fire [edit ]

quite merely, a low attack or low is an attack that must be blocked crouching. They are an integral part of mind games when baffled with senior high school and viewgraph attacks .

Low Profile [edit ]

Low profiling describes the phenomenon of a certain motivate lowering the player character ’ south hurtbox down far enough to avoid and/or farce an adversary ’ south incoming attack that may hit higher up on the torso, potentially countering or punishing the attack. This can be very coarse with low -hitting pokes and sealed skid specials, but some games ( such as Tekken ) may design certain attacks to automatically crush any entrance low attacks. Games like these or Netherrealm Studios titles like Mortal Kombat and Injustice, which cause high attacks to whiff wholly by being crouched under, may besides make it much easier to low-profile these highs with anchor low moves .
Can be exchangeable with MP ( Medium Punch ) + MK ( Medium Kick ), or HP + HK for Heavy attacks respectively. This section refers to a somewhat-universal stimulation across several different fighters that differs between each bet on, wherein the 2 & 4 attack buttons [ western notation ] are pressed simultaneously. The reason behind naming this section “ M+H ” is that the “ Medium ” & “ Heavy ” attack buttons ( deoxyadenosine monophosphate well as MP & MK, or HP & HK ) typically all share this button configuration of 2 + 4 ( PS : Triangle + Circle///Xbox : Y+B ) This button combination can have varying effects/utilities depending on the game, such as :

  • UOH (3rd Strike, Granblue Fantasy Versus, Fighting EX Layer)
  • Blow Back/CD (King of Fighters)
  • Blitz Shield (Guilty Gear Xrd)
  • Unique trait commands (V-Skill in Street Fighter V) (Force Function in Under Night In-Birth)
  • Vanish (Dragon Ball FighterZ)
  • easy Lvl. 1 Hyper Combo (Marvel vs. Capcom Infinite)
  • Throws (BlazBlue, Power Rangers: Battle For The Grid, also some throws in Tekken; notated as 2+4)

Magic 4 [edit ]

Refers to sealed Tekken characters ’ Right Kicks ( universally performed with a standing/neutral 4 input ) which launch the opponent on counter-hit & allow the player to convert into a full jazz band .

Magic Pixel [edit ]

When one character ‘s health is so depleted that a one score ( possibly even if it is blocked, depending on the game ) could knock them out, yet they manage to defeat their adversary despite that .

match-up [edit ]

A matchup ( often abbreviated by the FGC to just MU ) refers to fighting stats as they pertain to two characters who are facing off against each other in a fight. Matchups can be determined either as good or bad depending on a assortment of factors, including but not limited to character amphetamine, force, jazz band likely, and/or whether or not that quality has a hard time getting finale to the early character [ or “ getting in ” ]. Matchup data is often the underlie basis for tier lists ; MU charts show how each character fares against the other characters of the game. A high-tier or “ top-tier ” character has matchups largely in their favor, while a low-tier character has by and large bad MUs .

MAX Mode [edit ]

MAX Mode is a feature stage in The King Of Fighters 2002, it is a modality which the player can “ enter into ” or activate. MAX mode costs one level of world power bore to activate ( by pressing BC ). When the musician does this, the character will do a start perplex, then start to flash. During this time, a blue gauge appears above the Power Gauge and begins to slowly drain. Once it is empty, MAX mode ends. When it is activated, it becomes potential to cancel moves from convention, command, and special moves into extra moves, and even some Command Attacks. Hence, it is possible to cancel normally uncancelable moves into safe moves, Uppercut moves, and many other types of moves to surprise the adversary, attacking or defending oneself, or to create complex sequences of attacks. As for jazz band, it is besides used to create combinations that otherwise would n’t be possible, such as repeating one special motivate into another and canceling into the same former act again to create a semi-infinite ( which is prevented and limited by the cake that depletes from itself a certain quantity of bar energy whenever a move is cancelled ). Certain attacks can alone be canceled from initially and not into when in the middle of a jazz band or string of attacks. besides, to allow the player to activate MAX Mode dynamically, there is a feature called the Quick MAX Mode Activation, performed by pressing BC when one of their attacks hits or is blocked. Quick MAX Mode energizing costs 2 levels to use. Quick MAX Activate offers the advantage of canceling instantaneously the animation of any Normal or Command attack, and eliminates its own MAX Mode inauguration liveliness. When the current approach is canceled, the actor can immediately attack their opposition after pressing BC, having the absolute exemption of continuing movements and taking any action desired, from running forward to continue the jazz band, to jumping, to evading, etc. While in MAX modality, the musician quality ‘s attack baron decreases. only DMs do a normal amount of damage. furthermore, Power Gauge department of energy can not be gained while in MAX mode. One can perform a DM without losing any levels from the Power Gauge. They can besides perform an SDM, which will only cost one level to use. If their Life Gauge is very depleted ( to be demand, below 1/3rd of the sum gauge length ), they can use HSDMs ampere well, which have the lapp requirements as SDMs. In all of these cases, performing the ( HS ) DM will immediately end MAX manner .

meaty [edit ]

Meaty is a condition first used in Street Fighter II to describe the act of attacking the opponent as they are standing up in such a way that merely the latest active voice frames of the motion hit the adversary. Since active frames after the frame that connects with the adversary are effectively recovery frames, and because the adversary experiences the same come of blockstun or hitstun, hitting with later active frames increases the attacker ‘s frame advantage. A meaty fire can besides be performed with aggressive attacks that move ahead, since hitting at the conclusion of the forward movement will often besides be hitting with later active voice frames ; or by juggling an opponent so that they fall into the later active frames of an attack. “ Meaty “ besides equally refers to hitting an adversary on the first frame possible of their wake-up, normally with an attack with many active frames ( your “ meaty ” push button ) & ideally in the manner described in the previous paragraph. A seasonably meaty on oki is meant to shut down most of the opposition ’ s wakeup options & leave the attacker at utmost advantage .

mercifulness [edit ]

An honest-to-god courtesy tactic that appeared back when Street Fighter II became democratic. When fighting person in a 2-player game, the winner of the first round lets the other musician win the irregular round off. This “ mercifulness ” round not only gave players who were clearly outclassed the opportunity to play a little longer, but to besides practice moves, determine jazz band, etc. The term “ mercifulness ” was first officially coined in Mortal Kombat 3, which actually implemented a legitimate “ Mercy ” option where rather of finishing an opposition off, players were able to give their opponent a small fortune of life spinal column – executed by holding the “ Run ” push button, pressing “ Down ” four times and then releasing the Run button. Mercy in this crippled was much seen as a form of humiliation, given that the executing actor often performed it for subterranean purposes such as landing the originally desired final move or finisher ( for exemplar, an animality could only be performed after a Mercy ). Nowadays, Mercy is no long practiced as much under normal play, In fact, committing mercifulness is explicitly discouraged at tournaments ; Mercy is classified as “ intentional underperformance ”, informally called “ sandbag ”, and may be penal by disqualification. Mortal Kombat 11, on the other handwriting, reintroduced their old Mercy mechanic, this time changing the input signal from holding the Run button to the stance-switch button & pressing down three times rather of four. The lapp original rule of only being available once per match however applies, but it can now be done deoxyadenosine monophosphate soon as the player wins ( as opposed to having to wait until the third round ). much like how the Animalities worked in MK3, certain Brutalities ( which besides returned in Mortal Kombat X ) can alone be performed after executing a Mercy. Unlike the previously explained context of “ mercy rounds, ” there is no rule in the tournament scene against performing a Mercy in competitive bid, and doing so can actually create a substantial sum of hype among spectators, as the lose actor has a gamble to make an improbable comeback & score an upset victory against the player with a life-lead .
An FGC term ( inadequate for “ meta-game ” ) used to describe the state of a plot ’ s general strategy, battle system, & overall gameplay ( in simple terms, “ the way a game plays ” ). A plot ’ sulfur meta is realistically determined by the mindstate & general tendencies/techniques of the game ’ s playerbase just vitamin a much as it is by the game itself ( i.e. mechanics, roll, character balance, etc. ) It is an acronym stand for, “ Most effective Tactic Available. ”

Meter ( Gauge ) [edit ]

normally referred to as Super Meter, or more plainly barely Meter and/or Super. Refers to a estimate secondary coil to the lifebar that increases over the course of a game, either from inflicting damage, receiving wrong ( e.g. rage gauge ), a combination of both, or even over time and under especial conditions ( some games may reward meter just for advancing forward towards the adversary, or for absolutely timing blocks ). It is normally located at the bottomland of the screen, and unlike games have different systems vitamin a well as different names. Some examples of fighting crippled series that utilize meter are Marvel Vs. Capcom ( Hyper Level ), Street Fighter ( Combo/Critical Bar from SF3 forth ), Guilty Gear ( Tension Gauge— besides shared by Skullgirls as “ Dramatic Tension ” ), and Mortal Kombat ( Super Meter from MK9 ahead ). Most normally, this meter is used to execute supers, powerful moves that take up some [ or normally all ] of the executing musician ‘s meter. many fighting games besides use the meter for “ EX ” or “ meter Burn ” moves, sometimes normal but most much especial moves that take up less meter than supers but make the fictional character ‘s move more mighty. early uses can include diverse cancels or even defensive maneuvers like jazz band breakers, depending on the game. See also : bar of Meter

Meter Gain [edit ]

Refers to how much meter is gained from executing an attack. How much meter is gained normally depends on whether the move is normal or special, and whether the attack lands or is blocked .

Mid Attack [edit ]

A term referring to when one uses an attack at mid-range from the adversary. It is used as a safe strategy to test the opponent ‘s defense, while not being in a disadvantageous side. Can be used as a synonym for poke .

mind Games [edit ]

judgment games are described as the function of psychology to maximize one ‘s chances of winning. A big part of mind games is archetyping, dissecting the room an opponent plays and then immediately preparing oneself to ready an effective rejoinder strategy, vitamin a well as a great deal of early tactics that take advantage of the sum of predictability confront within an opponent. mind games broadly used within fighting games can include :

  • Conditioning an opponent into doing a certain move in response to something, then baiting that response to punish.
  • Putting forward an incredible rushdown game and then suddenly shifting gears at the least expected moment, and viceversa.

Mirror Match [edit ]

A match in which both players use the like fictional character .
See also : 50/50s and Vortex A mix-up, or plainly mix, refers to a scheme or technique of making one ‘s attacks more unmanageable to predict or react to. In 2D fighters such as Street Fighter or The King Of Fighters, it typically involves using depleted attacks, overhead attacks, throws, and generally any categorization of attacks which require different responses from the adversary in order to defend against them. confusion become more effective as the kind and complexity of the ask defenses increases, and as the come of time available to react decreases. When used in a pressure string, mix-ups can allow a player to open their opposition up & connect a jazz band or inflict a knockdown to continue the imperativeness if their opponent fails to correctly guess what to do ( how to evade or counterattack, where to block, etc. ) Certain mix-ups are so effective that they are frequently considered impossible to defend against except by luck or cognition of the opponent ‘s tactics ; in this font, they are sometimes called “ 50/50s, ” as the two ( or more ) options that constitute the confusion are considered impossible to react between, therefore there is a “ 50 % probability of guessing correctly. ” “ Mixing an opponent up ” can besides refer to more meta strategies of bait and conditioning the adversary such as making certain movements ( i.e. shimmy or feint ), equally well as entering certain taunts, poses, or even stances ( which have multiple moves with different attack properties available to them, such as Lei Wulong who can switch between a huge number of stances on dominate ). ( not to be confused with Cross-Up. )

Movelist [edit ]

The list of moves a character can perform. besides referred to as the “ control list. ”

negative edge [edit ]

Use of button release in place of release press within a command stimulation sequence ; most Capcom fighting games allow special and extremely moves to be performed with this method. A phone number of them besides allow throws to be performed this way .

neutral Game [edit ]

See also : Footsies The neutral game, normally referred to as “ playing the impersonal, ” describes the situation where neither actor is presently attacking or defending, or when both players are moving/attacking and trying to find an opening ( for model at the starting signal of the game ). normally, it emphasizes that no player has an advantage over the other, thus the situation is called ‘neutral ‘. Often, the inert crippled consists of each player trying to achieve advantageous spacing or finding a find to apply press .

convention Move [edit ]

A normal move or normal attack ( often merely called a normal ) is any attack performed using a single button wardrobe, without moving the stick and normally without being in midair. They are the most basic form of offense proficiency in fighting games, normally dealing the lowest damage of a character ‘s move specify, and executing fairly cursorily and from close-range. As the basis of all offense and jazz band, normal moves benefit from features such as release cancel, Hunter chains, and 50/50s. In many games a normal attack button pressed with one unique directing input will grant a command normal .

notation [edit ]

Notation refers to how the command inputs for a fight game ( which are universal across all versions of that game careless of the operate method or layout used by the player ) are expressed among players throughout the FGC. While some bowel movement note can often be abbreviated the same from game to game ( i.e. “ barn ” for backwards movement & “ f ” for forwards bowel movement, or “ j. ” for jumpstart ), note can besides vary significantly from game to game in terms of both drift and approach buttons. For exercise, single-button attack note in most Capcom games ( namely the Street Fighter serial, which are six-button fighters ) consists of LP ( light punch ), MP ( culture medium punch ), HP ( heavy punch ) and LK ( light bang ), MK ( medium kick ) & HK ( heavy kick ), whereas in the Tekken series & recent Mortal Kombat installments ( examples of four-button fighters that use a respective limb system as opposed to “ light ” & “ fleshy ” attack strengths ), the attack button notation consists of 1 ( left/front punch ), 2 ( right/back punch ), 3 ( left/front kick ) and 4 ( right/back complain ) .

westerly [edit ]

These three aforementioned games gained big popularity in the West ( namely the US & Europe ) and developed firm active communities both in arcades and late in on-line console table play. As a resultant role of this, since English is the dominant linguistic process in these territories and the Internet had not so far allowed for communication with Eastern players that have their own hardening notations, these communities developed their own ergonomic notations for their respective games in a way that was easy for english speakers to understand. Each plot goes about this in a slenderly different way— while Mortal Kombat and Tekken both use the number-limb arrangement & preset/dial-in jazz band strings ( as opposed to a connect or a chain organization ) and refer to forward, backward, & crouching movements as “ F, B, and D ( down ) ” respectively, the way certain moves are inputted silent differs based on the way the core bet on is played. Mortal Kombat has identical simplistic directional inputs but uses a more traditional impression of specials ( such as projectiles ), & in turn a more traditional system of 2-in-1 cancel moves/strings into these specials, so a move such as Scorpion ’ s Spear ( back, fore, movement punch ) would be simply notated as “ BF1 ” wholly, & a jazz band that special cancels into spear might read as “ B14 – > BF1 ” or “ B1, 4, BF1 amp – > 212 ” for a longer example. On the other hand, Tekken relies more heavily on respective command normals, strings, and even throws that utilize diagonal directions as well, so they may separate their directions and fire buttons with more comma & plus signs for better clearness, and notate a solidus remark with a slash such as “ down+forward ” being notated as “ d/f ” ( to avoid confusion with DF as “ down, ahead ” ). Tekken in particular may have more particular & esoteric abbreviations to describe certain inputs and actions, such as “ WS ” for “ While Standing/Rising ” or “ N ” for “ Neutral ( returning the stick to a neutral position ). A BnB jazz band from Kazuya might look like “ ff+3, d/f+3, Electric Wind God Fist ( “ farad, N, vitamin d, d/f+2 ) – > b21. ” Street Fighter notation is very different from both of these formers, as it uses a stern yoke system for its jazz band & has reasonably more complex directional inputs ( such as quadrant or half-circle, as opposed to something like a simple “ down, forward ” ). Although the Capcom community still normally uses English-oriented note, they tend to use slightly different abbreviations such as labeling crouching as “ cr. ” ( as opposed to “ vitamin d ” for “ down ” ), and “ s. ” or “ st. ” for “ standing ” respectively ( can besides be “ n. ” for “ neutral ” ) — limited inputs are generally listed as abbreviations of the corresponding movement inputs, which most normally consist of QCB or QCF ( for quadrant backwards & forwards respectively ), HCB or HCF ( for half-circle inputs ), and DP ( short for “ Dragon Punch, ” an remark normally used for anti-air and/or reversal moves that is frequently bewilderingly displayed as a “ Z ” or “ < “ stimulation but is performed as “ ahead, toss off, down+forward ” ). typically the links are expressed with arrows ( > or – > ) ; especial cancels may much be expressed with “ xx. ” A BnB for Ryu in some games might look like “ s.MP > chromium. HP xx Tatsu EX ( or QCB+Kick ), ” or possibly another jazz band ending in a superintendent delete might look like “ cr.LP > st.LP > st.LK xx qcb+LK xx qcf, qcf+Punch. ” due to Street Fighter ’ south equivalent popularity in its native state of Japan and the game ’ sulfur use of joystick-oriented inputs, players can besides refer to these games ’ inputs in numpad notation .

Numpad ( Eastern ) [edit ]

While choice franchises gained a great cope of popularity in the Western Hemisphere, the East ( namely Japan & Korea ) was largely the cardinal hub for FGC bodily process & growth, sporting fanbases of several democratic SNK franchises ( i.e. King of Fighters and Samurai Shodown ) a good as a count of anime-style fighters. With these fighters having such a well smaller following in the West, people had to follow these easterly players to learn strategies & techniques that pertained to the meta of those games. Because these games and the aforesaid games more popular in the West ( equally well as the entirety of arcade culture ) were all established either before or during the early years of the Internet ’ second invention, there was not very much communication or interaction able to be maintained between the Asian FGC communities and the European/American scenes. This is what conditioned the western communities to adopt their own alone note, a lot of which is catered to English abbreviations & shorthand. As English is not the dominant allele linguistic process in the eastern territories, many abbreviations such as “ farad ( forth ) ” & “ b-complex vitamin ( back ) ”, or “ qcf ( one-fourth circle forward ) ” do not translate the same and therefore are not as universally understood by many asian players. In contrast, the Eastern communities & their represent games broadly use numpad notation ( as in “ numeral pad ” ). In numpad note, the stick directions are modeled after the number pad on a computer keyboard, with 5 representing a neutral or standing position, 6 representing “ forward, ” 4 representing “ rear, ” and 2 representing “ down/crouch. ” Since “ quarter, ” “ encircle, ” and “ forward ” are not the like words/spelling in japanese as they are in English, the QCF abbreviation would not be as easy to identify & understand across all countries/languages universally. Notating a QCF as “ 236 ” alternatively, however, can be understood by all players who are familiar with the number-pad layout. This can besides be utilitarian in shortening the notation of aslant inputs as “ 1 ” or “ 3 ” are much childlike to promptly transcribe than “ d+b ” ( “ d/b ” ) & “ d+f ” ( “ d/f ” ). On the other hand, some certain Japanese/anime games such as Guilty Gear have besides evolved to include choose english abbreviations/initials as a way of notating more specific details, most normally “ conclude ” ( c. or chlorine. ) & “ army for the liberation of rwanda ” ( f. ) distances, as these are preferably hard to accurately convey with simple numbers. similarly to Street Fighter note, these numbers will be notated with whatever attack buttons the game uses ( i.e. in Guilty Gear “ Punch = P ”, “ K = Kick ”, “ S ” = Slash, “ HS ” = Heavy Slash, “ D ” = Dust, and so forth ). A common Sol Badguy BnB may be notated as “ 5K > 2D > Bandit Revolver ( 236K ) ” or besides “ c.S > 2S > 2HS > 236K. ” many characters ’ Overdrives have a more particular input than the standard double-QCF, namely “ HCB, F+punch/kick ” ; this is made easier to write or type to other players universally by notating this input signal as “ 632146+P ” or “ 632146+K ” ( respectively ). Although numpad note may be more common in 2D fighters, Soulcalibur ( which uses 3 attack priorities — horizontal or A, upright or B, & kick back or K ) besides utilize numpad note, in contrast with Tekken ’ s limb system .

OCV ( besides Straight ) [edit ]

abbreviation for “ One Character Victory ”. It is used to refer when a person wins a catch in a team-based active game by only using one character on their team ( like in The King Of Fighters, or tag games like Tekken Tag Tournament or Marvel vs Capcom ). Since the one character does n’t necessarily regain all or any of their energy after defeating an opposition, and has been able to defeat the whole team of the other player by themselves, this character of victory indicates a very decisive win .

Off the Ground ( OTG ) [edit ]

A state of matter in which the adversary has been knocked down to the ground/is soon grounded— An OTG attack is an attack that hits an opposition who is in this ground express. This can be used to extend jazz band and/or stuff the adversary ’ mho wakeups. Moves that can hit a anchor opposition are more park in 3D fighters such as Tekken, but some team/anime style fighters can besides employ the OTG automobile mechanic as a way to extend jazz band, typically by way of Supers ( Hyper Combo in Marvel vs Capcom or Super/Meteor Attacks in Dragon Ball FighterZ), or even to restand the opponent ( in the subject of games like Skullgirls ). The “ OTG ” acronym can stand for either “ Off the grind ” or “ On the grind ”, depending on the game and its use in context. In either case, it refers to an attack that can hit an adversary even while they ‘re knocked down. The differentiation between “ Off the ground ” is that it can typically bounce the opposition back into the air out for an extend jazz band while “ On the Ground ” may require the opposition to remain down .
Okizeme ( a portmanteau for “ waking attack “ in japanese ), or normally referred to as Oki for short, is the art of putting pressure on a rising or ground adversary. This is frequently done by putting an opposition in a situation in which they must immediately block, often with a new string of attacks & mixups, a meaty, a projectile or trap/setup cock, a throw, or early unsavory techniques. This term and the technique ‘s potency is most prevailing in the global of 3D fighters, which generally allow characters to attack devour opponents, something slenderly less common in 2D fighters— in 2D games an adversary by and large can not be attacked while knocked down, and can rise [ theoretically ] counter or block any move immediately, making okizeme more of a psychological concept, known as the wake-up game. This is not constantly true of 2D fighting games, however ; for case, in the Blazblue series, which allows characters who have been knocked down to roll away in multiple directions, pressuring a character as they stand up ( a well as trying to predict which steering they will roll in ) can have a profound effect on the result of the match .

option Select ( OS ) [edit ]

Option select describes a position in a crusade game where the action of the actor is ambiguous, and the game ‘s programming itself will determine the result based on the situation. generally speaking, the leave choose is the one that is best for the acting actor. For model, in Virtua Fighter 3 it was possible to do an action for both a block and a throw, and if the throw would have successfully captured the opposition, it would do that, otherwise it would do a engine block. In SNK vs. Capcom: Chaos, attempting an air out throw will result in a inner light attack if there is no opposition within throw crop. In Street Fighter II, a Negative Edge throw will throw the opposition if they are throwable, and do nothing if they are not, allowing a safe throw attempt that can not be punished. option choose is sometimes the result of a flaw or overlook feature within the bet on. Related: Buffering (definition #1)

orientation [edit ]

Orientation is one of the laws of Focal Adherence that forces all attacks, defense, and movement to relate specifically to the localization of the opposition while dictating the direction each character faces. This jurisprudence prevents a character on the left slope of the riddle from turning and moving Forward in the management of the screen door when the player presses left. If characters switch sides, orientation course forces both characters to turn and face each other, be it automatically, or upon farther legal action from the quality ( s ). This law defines the remainder between the game ‘s acknowledgment of Left/Right and Back/Forward with respect to all character actions. While most fight games are structured upon this law, some games such as Super Smash Bros. Melee are not .

overhead attack [edit ]

See also : Universal Overhead Hit An overhead attack ( derived from the name of “ high gear ” or normal attacks and “ broken ” attacks ), beginning used in Street Fighter II, is an attack ( normally a command move ) that hits players who are crouching and blocking, and must be blocked resist, in mastermind constrast to low attacks that serve the opposite affair. It is generally a basic of mixups & among one of many countermeasures to deter turtle. Because of the nature of the assail, many attacks done from the vent are operating expense attacks by default. consequently, this term is normally used within the context of a reason attack. Examples of overhead attacks include Kyo Kusanagi ‘s Ge Shiki : Gou Fu You ( foreign expressive style : thunder Axe Positive ), Ryu ‘s Sakotsu Wari ( Collarbone Breaker ), Guy ‘s Neck Breaker or his streak Command into Neck Flip, Ky Kiske ‘s Greed Sever, and Terry Bogard ‘s Hammer Punch. Games that use the conventionality of “ mid-level attack ” or “ middle attack ” [ normally called a mid ] in place of overheads to mean an attack that hits crouch-blocking opponents include the Tekken & Soul Calibur series, angstrom well as the JoJo’s Bizarre Adventure fighting games and recently Street Fighter. In some games, these attacks are cancellable and combo-able into particular or ace moves, or even cancellable into especial features of the gameplay system, like The King Of Fighters 2002′ s MAX Mode, which can be used to cancel the liveliness of these moves a soon as they hit to run and start a normal jazz band into anything. In the Mortal Kombat and Injustice series, several characters have normals / directional attacks or hits in the in-between or end of their strings that are overheads, which can be staggered, cancelled into specials/supers, or potentially be used to create mixups between lows ( see 50/50s ) .

panic move [edit ]

A move that ‘s normally done when being pressured or when in negative frames. Has some screen of evasive property or is invulnerable .

parry [edit ]

A parry is a technique introduced in the Street Fighter MD-III series as a means of evading an incoming attack without receiving damage or obstruct. The technique is achieved by timing a toward or down accountant movement ( when on the ground ) at the claim moment an opponents fire is about to hit. A successful hedge broadly leaves the opponent vulnerable to a counterattack. It is besides possible to parry in mid-air by tapping the restrainer down while airborne. Parrying works against regular, special, and super moves. To parry a fully special or super move, the actor must perform individual parries against every damage frame of the entrance attack. Tekken besides grants all characters the ability to parry lows mechanically by pressing down+forward precisely when the depleted connects, which can put the parry victim in a certain grounded-yet-elevated position that leaves them open to OTG attacks and wax jazz band. In JoJo’s Bizarre Adventure: All Star Battle the parry proficiency takes the form of fashionable Dodging, requiring the defender to guard ( backwards stick gesticulate ) a soon as an attack lands to instantly slither to the attacker ‘s side unscathed .

elf [edit ]

See also: Glass carom A pixie fighter refers to a sub- original of rushdown character that has greatly exaggerated speed/mobility and confusion options, in exchange for highly low health /defense and minuscule damage output. popular examples of pyxie characters include Chipp Zanuff from Guilty Gear, Twelve from SFIII: 3rd Strike, Strider Hiryu from the Marvel vs. Capcom series, Filia from Skullgirls, Tianhuo from Them’s Fightin’ Herds, and Sonic from recent Super Smash Bros. games .

Plinking ( or Piano-ing ) [edit ]

Priority linking, popularly referred to as plinking for shortstop, is a fundamental proficiency in which two or more buttons are pressed in rapid succession, allowing for easier input commands and overall better execution. This technique was popularized in Super Street Fighter MD-IV, when 2 players utilized it to execute more difficult jazz band .
See : inning advantage In an attacker-defender kinship, an attacker ‘s go ‘s ability to be punished or merely string from against a defender ‘s auction block is described as being “ plus ”, “ minus ”, or “ neutral ”. If a be active is “ summation ” or “ positive ” on-block, then the amount of frames it takes for the attacker to recover from executing the travel is less than the total of frames it takes for the defender to recover from obstruct sandbag ; the attacker has the advantage and can act first, which allows a pulley string to continue among other benefits. If a move is “ subtraction ” or “ negative ” on-block, then the amount of frames it takes for the attacker to recover from executing the be active is more than the amount of frames it takes for the defender to recover from block stun ; the defender has the advantage and can act first, which can result in the attacker being punished. If a motion, be it convention or command, is “ neutral ” on-block, then both the attacker and defender will recover from the motion and blocking sandbag respectively in the demand same amount of frames, giving no direct advantage or disadvantage to either. These terms, while normally used in mention to blocking, can besides be used to refer to the attacker ‘s human body advantage upon a successful hit, such as rare scenarios where an attack or motivate might be minus on-hit .

jab [edit ]

A poke is generally a flying normal attack that is done to hit an opponent from precisely about the maximum range that specific move will allow, by and large done as a single attack to accomplish any of the pursuit things ( sometimes more than one ) :

  • to stuff an opponent’s current attack, even one of their own pokes
  • to create distance & spacing between the two players
  • to deal “safe”, unpunishable damage
  • to hit confirm and/or special cancel into a full combo.

A poke can broadly refer to any single normal or instruction normal that is pressed once for any or all of these effects, but frequently times players may use this term just to refer to a character ’ sulfur crouching punches or kicks ( i.e. “ mid pokes ” & “ broken pokes ” ) .
A mode in most fight games that allows players to learn the game/characters & hone their skills. dearly referred to as the lab, thus practicing in training manner by doing things like recording AI actions to defend/counter against or studying frame data is referred to by the crusade plot community as “ labbing. ”

pressure [edit ]

Pressure involves using a sequence of attacks to keep an adversary on the defensive and often involves fundamental concepts like plus frames, pokes and staggers, okizeme, and other confusion tactics. The aim of imperativeness is to condition an foe & keep them from efficaciously attacking rear until they make a err, normally allowing for a damaging instruction be active or jazz band to be performed .

Pretzel Motion [edit ]

The “ Pretzel Motion ” is a apparent motion introduced in Fatal Fury Special, which was used under serial ‘ adversary “ fathead Howard ” as his Raging Storm Desperation Move. It is luminary for being difficult to pull off, as the motion is done by doing a down-back, Half Circle Back ( HCB ), then down-forward movement. The name derives from these three motions executed together in sequence. It is besides used by Hazama in the BlazBlue series as his Astral Heat .

precedence [edit ]

A descriptive quantify of an attack ‘s tendency to strike the adversary when that opposition is besides attacking. In general, higher priority attacks always interrupt lower priority attacks. ideally speaking, a medium attack would beat a light attack, a heavy attack would beat a medium attack, etc …… however it is important to note that “ priority ” is normally plainly a term of appliance – very few games actually have an internal mechanism that governs the resoluteness of attacks via precedence. rather, priority arises as a consequence of the characters ‘ hitbox properties during a move. typically, hitbox properties can define attack priority in two ways. First, during the move, the quality ‘s attacking hitbox can extend far beyond their prey hurtbox such that they can hit the adversary without being hit themselves. second base, precedence can arise when a move allows the character to attack another character while being invincible for a certain duration of the move ( where such indomitability is normally the consequence of the complete absence of a target hurtbox ). An example of a senior high school priority travel is Ken ‘s Shoryuken in the Street Fighter II series, a move which had across-the-board indomitability # Frame ( s ) frames during its startup. In late renditions of Street Fighter II, the sum of indomitability frames was reduced, but even when not invincible, the attacking hitbox remained a great manage larger than the target hurtbox for a relatively long duration of the move .

projectile [edit ]

A projectile — frequently merely called a fireball or beam in some cases, depending on the course of projectile adenine well as the input— is a move ( typically a extra ) with a hitbox that is not attached to a character ’ south hurtbox ( sometimes called ”disjointed” ) & travels independently of the fictional character for a certain distance ( sometimes full-screen ). Projectiles are normally performed with a “ QCF /down, fore ” input or a “ Back-forward ” ( sometimes a more complex care ) remark. These moves are staples of zoning/keepaway playstyles and distance manipulate, adenine well as setplay .

Punish [edit ]

A punish refers to attacking an opponent who is recovering from performing a be active. It is easier to “ punish ” whiff attacks, arsenic well as attacks that have long convalescence time or attacks that are identical minus on block. In contrast with condom attacks, moves that are punishable are referred to as “ unsafe. ”

Puppet Fighter [edit ]

A Puppet Fighter, puppet character, or plainly puppet, is an original of character who has the ability to actively control two divide persons or entities simultaneously. One person acts as the independent quality, while the other acts as an extra joyride that can be summoned ( aka the puppet ). These types of characters are normally considered to be amongst some of the most unmanageable characters to play. If played correctly, the player can control most of the filmdom. These types of characters normally tend to be one of the best characters in their specific game. The puppet playstyle was introduced in the JoJo’s Bizarre Adventure fight game made by Capcom with the fictional character Devo and his Ebony Devil. The playstyle would late be adopted by early fighting games. Some examples of puppet fighters include Zato-1/Eddie of the Guilty Gear series, Ice Climbers from Super Smash Bros. Melee, Carl/Nirvana and Relius of the BlazBlue series, Rosalina & Luma from Super Smash Bros. 4 and Ultimate, Ms. Fortune from Skullgirls, Viola from Soulcalibur V, and Pom or the trap fictional character Oleander ( with her “ Fred ” creature ), both from Them’s Fightin’ Herds .

Pursuit Attack [edit ]

Although this could be done in Street Fighter II, by some characters, it was not by rights implemented until Night Warriors: Darkstalkers Revenge. It is an attack that hits a quality who is lying down on the land. A jazz band that contains, but does not end with, a avocation attack is known as an off-the-ground combo, or simply OTG .

Pushback [edit ]

When the opposing musician ‘s situation is moved far away from the opposition as a consequence of being hit by or blocking an attack .

Push Block [edit ]

A defensive proficiency added to normal block, that pushes aside an attacker that is using a jazz band string against the defender. Often featured in “ anime ” or “ team ” style fighting games where one must hold back to block & may flush be able to block in the atmosphere, it is typically performed by pressing two attack buttons ( or sometimes a smash macro button ) while holding back—- upon successfully guarding the first hit ( mho ), pressing these buttons will push the attacker further back than normal and potentially throw off their spacing/pressure, which can affect their followups. It is featured in games such as the Marvel vs. Capcom series, Skullgirls and Power Rangers: Battle For The Grid. The name of the pushblock machinist can vary game to crippled ( i.e. Advancing Guard in Marvel vs. Capcom or “ Reaction Shot ” in Skullgirls ) ; some games can besides provide more advanced traits to these mechanics, such as a absolutely timed pushblock that resembles a Just Guard ( for example Marvel vs. Capcom Infinite has an summation to their pushblock system called a Perfect Advancing Guard, where the defender can actually reflect incoming projectiles upon absolutely timing their pushblock ). While in most games like these pushblock may not cost meter because it is very fair & universalize in such fast-paced & moral force games, other games have more promote forms of the pushblock automobile mechanic that can offer extra benefits & frankincense require meter to use, such as Faultless Defense from the Guilty Gear series and Barrier Block from the BlazBlue series. other games like the Injustice 2 & Mortal Kombat X use a form of guard delete in a stead of an actual pushblocking mechanic, referred to in these games as a Block Escape & Block Breaker [ respectively ] —- these mechanics basically re-appropriate their existing “ Combo Breaker /Breakaway ” system ( sulfur ) into a defensive cock that can alternatively be used while blocking by burning two bars of super meter [ and/or stamina in MKX ’ s case ], pushing the opposition back & resetting the neutral .

quarter Circle Back ( QCB ) [edit ]

The act of moving the joystick from the downward position to the focus that makes the character move backwards, forming a 90 degree slant, or quarter circle. sometimes called a “ Tatsu ” ( short for Tatsumaki Senpuukyaku [ Hurricane Kick ] ), or “ overrule powerhouse ” motion. See also : Hcb

quarter Circle Forward ( QCF ) [edit ]

The dissemble of moving the joystick from the downward position to the management that makes the character move forward, forming a 90 academic degree slant, or stern circle. sometimes referred to as a “ Fireball gesture ”, as it is normally used to perform a character ‘s rocket attack. See also : Hcf

Quick Recover [edit ]

Called ukemi ( 受身 ) in japanese. A quick recover describes an moment wakeup recovery & is when a character gets back on their feet quickly after being knocked down. This is performed differently from game to game, however it is normally performed by pressing down, back, jumpstart, or a certain attack button the moment the character hits the floor. In more holocene years, this action is just refer to as “ teching ” a knockdown ; not to be confused with teching a throw. Both actions have some commonalities, involving a timely button press, directional input, or both at once to prevent the character from entering a disadvantageous state .

rage gauge [edit ]

The rage gauge is a type of extremely move bore where the only way to gain energy and fill the gauge is to receive wrong entirely. It was introduced, and most normally used, in the Samurai Shodown series of games. Because of the room office in the bore is obtained, the ramp gauge typically gives many bonuses when wholly filled up. For example, characters typically deal significantly more damage when the fury gauge is full moon. however, this gauge often has drawbacks : it is not rare for the gauge automatically empty after a certain period of meter ( when the fad starts to “ cools off ” ), or at the start of every round. The rage gauge was in the first place designed as a variation of a superintendent move gauge : the first Samurai Shodown bet on did not have extremely moves, but did allow a player to deal substantially more wrong when their “ rage gauge ” was high. besides featured in Capcom v. SNK 2 as the K-Groove gauge, and in Street Fighter IV as the method acting for executing Ultra Combos. A variant of this mechanic entitled “ ramp Mode ” or “ Kombat Rage ” was besides utilized in Mortal Kombat vs. DC Universe, where the rage gauge would fill when the musician received/inflicted damage, had their attacks blocked, and/or had special moves inflicted on them. When filled, players could activate their Rage by pressing both triggers ; they could besides spend 1 of the 2 rage gauge bars on a jazz band breaker. Upon activating “ Rage Mode, ” the musician ’ randomness moves would become unblockable angstrom well as inflicting double price. There is besides a Rage automobile mechanic in Bandai-Namco ‘s Tekken 7 that acts as a sort of 2-in-1 despair move/super, wherein players enter a “ Rage ” state of matter when their health drops below a certain sum ( approx. 25 % remaining ) — the player then gains a price buffet ( which actually slightly increases as the player gets closer to 0 health ) arsenic well as access to two extra moves : “ Rage Drive ” & “ rage art ”. A musician may only choose one of these two options when using the Rage machinist :

  • “Rage Drives” (also loosely called “blue stuff”; the character is enveloped by a blue aura for a brief moment during the attack) are desperation moves that can do as much damage as Rage Art & potentially allow for a follow-up attack. These moves have no cinematic startup animation like Rage Arts (or Supers in most fighting games) so they can sometimes be unseeable. However it can be interrupted by an opponent’s attack if the positioning and choice of attack is appropriate, or if the opponent is looking out for the move & blocks it correctly.
  • “Rage Arts” are the game’s desperation super that can absorb an opponent’s high & mid attacks with armor during the startup of the move. These deal a great amount of damage & can often finish out the match even at the highest levels of competition.

These Rage moves can merely be attempted once per round & will go away if the travel whiff ; however Rage is available in every rung .

Ranbu Super [edit ]

A terminus for any superintendent move which involves a dash advancing followed by a bias, auto-executing series of rapid hits, traditionally ending with a mighty uppercut or close equivalent. Named after Ryo Sakazaki ‘s super Ryuko Ranbu .
See : Yomi reading is when one understands their adversary ‘s playstyle and patterns so that they have a better idea of being able to correctly predict what the adversary is going to do future in a given situation. When a actor is very effective at reading their adversary, it is colloquially referred to as having downloaded them .

convalescence [edit ]

See : Startup frames See : active frames The meter ( in frame ) it takes for a character to return to a neutral state after the frames in which the attack actually hits have passed. See also : ( Quick ) Recovery/Ukemi

bolshevik Parry [edit ]

exclusive to Street Fighter III: 3rd Strike, a Red Parry is a parry done while in jam sandbag. Because the stay must return to neutral before one can parry again, the time window is much more accurate than a standard counterpunch. The extra benefit given for executing this be active is that it can be executed more safely, since the player starts a Red Parry after blocking an attack. There are many more cases where a Red Parry can be used to effectively punish a predictable adversary than an ordinary parry can offer. however, the nonindulgent time requirement makes execution extremely hazardous. The character flashes a red-orange color alternatively of the standard blue when red parry ( hence the name ) .

Rekka [edit ]

A rekka is a type of special move that can be jazz band ’ erectile dysfunction by repeating its own motion to preform a sequence of attacks ( normally three ), creating a classify of “ special-move chain combo. ” For exercise, QCF +Punch into QCF+P into QCF+P. Named for Fei Long ‘s Rekkaken motion in Street Fighter II. A rekka-type move may besides use a more unique command sequence. For example, Samurai Shodown II’ s Nienhalt Sieger uses QCF+C ( Tigerkopf ) into QCF+B ( Falkennagel ) into HCB+A ( Elefantglied ) for his back surf combination move. early examples like Chipp Zanuff ’ s “ Resshou ” in the Guilty Gear games ( performed by QCF+Slash ) may besides show off rekkas as a room to create ( low/overhead ) mixups against a defend opponent ; he can follow this move up with a gloomy ( “ Rokusai ” ) by inputting another QCF+S, and then follow that low again with an overhead ( “ Senshuu ” ) by inputting QCF+Kick ( alternatively, he can just follow Resshou immediately with Senshuu by inputting the first base QCF+S into QCF+K ). similarly, Freeman from Garou: Mark of the Wolves can use his “ V.O.D. ” rekka ( QCB + LP/HP ) to begin with a light or big newcomer and then mix & match either QCB+LP ( depleted ) or QCB+HP ( overhead ) after either version ; he can input either dominate one more fourth dimension after this second rekka hit to end with a universal hit that knocks down the opposition. A “ rekka character ” is a fictional character whose moveset chiefly involves the practice of rekka-type moves, typically having specials or other attacks that branch out or combo into each early organically under the benefit of free cancelling while their overall movelist may still be limited. In addition to the aforesaid characters, other examples of rekka characters may include EX Kyo Kusanagi & “ Flame ” Iori Yagami from late King of Fighters installments, Yang ’ s “ Mantis Slash ” & Rolento ’ s “ Patriot Circle ” from the Street Fighter series, “ the “ Kobu Jutsu ” variation of Tanya & the “ Tarkatan ” Alien in Mortal Kombat X, Ms. Fortune ’ s “ Cat Scratch ” in Skullgirls, Byakuya and Hyde in Under Night In-Birth, and even Santa Claus in Fight Of Gods. Note : For purposes of simple & promptly move classification, many specials that use single-button follow-ups with this same overall serve may be broadly referred to by players as “ rekkas, ” despite not utilize motion inputs for the follow-up attacks like the aforesaid examples .

Renda Bonus [edit ]

This is a mechanic alone to games like Vampire Savior and Darkstalkers 3. Some characters gain a frame advantage bonus when chaining light attacks into themselves, normally +2-3F advantage bonus over the basal sum of inning advantage. however, this is character specific and does not apply to the whole cast, or to every lightly attack. An model would be Bulleta ‘s far standing LP which is normally +10 on hit, but becomes +13 on murder when chained into itself .
Term used in the Last Blade games, whose command is D or forward/down-forward+D. A repel reverses an opposition ‘s attack and gives the chance to counter with an attack/combo of choice. This way, the musician not alone can avoid getting hit but besides punish the opposition for attacking. besides confront in the Soul Calibur serial. If the player guards as they press forward and an opposing attack connects, the attack will be repelled, forcing the adversary off balance and giving an opportunity to counter .

Reset [edit ]

Reset refers to ending a jazz band in a way that leaves the adversary in a neutral or standing country quite than a knockdown, then immediately attempting a moment jazz band. The first jazz band does less damage than a full knockdown jazz band, but the second jazz band will reset damage scale and do full damage, inflicting more damage overall. Resets can be harder to defend against than okizeme after a knockdown because the opponent receives no access to wakeup attacks for indomitability, and resets make it difficult to guess when the jazz band will end or what kind of vortex position the defender may be placed in. By definition, however ( since they efficaciously end the jazz band ), resets must be escapable, making them fickle to attempt. Another term to describe this concept ( to eliminate confusion ) is “ restand, ” which is basically used the same way to describe ending a jazz band with a travel that “ restands ” the adversary rather of launching ( and/or juggling ) them, or knocking them down. The reason some people prefer this term is because while most moves of this nature tend to reset the inert, some of these moves may even restand the opponent while leaving them in stun which allows the player to continue their jazz band ( as opposed to having to start a newfangled jazz band ). The other chief reason for this eminence is because in sealed games there are specific normals and/or specials that are intentionally designed to “ restand ” the adversary in this way. Killer Instinct brands these restand moves as “ Recaptures ; ” NRS games besides have many characters that make manipulation of restand moves like this to enforce their mixups & 50/50s, or just pressure the opposition with frame traps. While games like these tend to design specific moves with this purpose to be done during a juggle, many games go about resets/restands via techniques that are brought on by the mechanics of the game & the general flow of the combat system works— in certain games ( such as many anime or team fighters that emphasize heavy mobility both on-ground & in-air and drawn-out jazz band ) which have systems implemented to limit the amount of hits ( or fair particular repeating attacks ) before the fictional character falls out of the jazz band, or which allow the adversary to air tech out of gaps in the attacker ’ sulfur jazz band, often times a simple approach such as a standing stab can automatically cause the adversary to flip out of the jazz band, granting an easy reset to the attacker. other games such as Skullgirls may place emphasis on certain characters staggering or completing specific chain jazz band strings OTG after launching & knocking down the opposition, so that those certain hits of said drawstring ( south ) ( & the result animation caused by them ) will efficaciously restand the opponent off the flat coat. A lesser sleep together type of reset is informally called a American Reset — this type of reset is wholly unintentional on the attacker ‘s separate ( “ dropping the jazz band ” ). however, the moves in the jazz band string continue to hit the opponent again anyhow, resulting in the jazz band completing with the add bonus of having the damage scale reset .

respect [edit ]

In the context of fighting games, “ respect ” has a easy definition. however when players use “ respecting your opponent ” in the context of a fight, they are normally referring to an attack/action/move ‘s trace ability to demand that an opposition consider it a terror ; if a move has to be ”respected”, then it must be taken into consideration by an opponent as a viable action/tactic on the musician ‘s part and as a non-negligible tool of the player character ‘s given moveset. The most common think of of “ respecting ” something normally means refusing to challenge it and remaining cautious and defensive in its presence. What moves within a moveset can demand respect is subjective and is tied to the meta of the crippled and equal, equally good as player skill. “ Respect ” can be applied to moves as a form of hierarchy, with higher-respected moves naturally taking the shape of victor, more prioritize utilitarian options that are used frequently since they are more advantageous for the one using them ( e.g. moves that are plus on-block, 50/50s, certain BnBs, and so forth ). besides, a affect that can be considered weak may find itself garnering esteem if used at an opportune moment, when few other options but itself are optimum within the given situation. Vice versa, to not respect ( or “disrespect” ) a be active or carry through is to think it weak, situational, or inferior to other options, probably as a move that can systematically be punished or at least anticipate if used in many situations, or plainly dealing less price in comparison to another move of like functionality, among other less-than-optimal characteristics. high-level players tend to operate on the basis that they will have less options against an action that demands obedience, while random or inopportune use of a less respectable legal action potentially places a disadvantage on the one using it, with a punish being the most common shape. Those that disrespect a move naturally place themselves at more risk around it or attempt to challenge it with one of their own moves, often out of confidence that the move in question will lose out to their own actions. An abare situation can sometimes arise if the actor is “ not respecting ” their opposition ’ randomness plus frames and rather pressing buttons or “ mashing ” against them .

reversal [edit ]

A reversal is a be active ( normally a special ) that generates a certain advantageous situation when done in immediate reaction to an opponent ‘s attack, either punishing the opponent or just “ taking your plow back. ” ( Overlaps with “ Parry ” ) sometimes a reversal is done at what the crippled considers the optimum time necessity to take advantage of either the move ‘s indomitability frames or general priority for the best possible result. The time window for such moves is by and large small. An example of this is salute in Street Fighter, where a move done on the first possible frame of a musician ’ mho wakeup is considered to have reverse timing. The Dragon Punch ( or DP ) is a popular act to use as a reversion, particularly when enhanced. A “ reversal ” can besides be seen ( via on-screen messages ) as a extra motion entered right after blocking an entrance approach. The motion will then mechanically come out on the first frame possible after exiting blockstun, leaving the opponent little to no chance of defending against it. These two rules of reversals by and large apply similarly across all 2D fighters. Reversals can besides refer to moves specifically designed to be used while the adversary is attacking, but do no damage on their own – i, if the opponent attacks during the active frames of the reversal within sufficient scope of the actor ‘s character, an automatic pistol counterattack will be launched. The most outstanding and know example of this is Kyo Kusanagi ‘s Nue Tsumi ( style No. 902 : Clipping Chimera ), another one is Blue Mary ‘s Mary Reverse Facelock and ( for unretentive ) M. Head Buster ( that can even combo into special and/or super moves, as it has juggle capabilities, far expanding on the concept ). An easier way to think of this class of reversal is a throw that only deals price if the adversary attempts to attack while it is active. This kind of transposition act is more common in SNK games and in 3D fighters, where they could besides be known simply as “ counters ”, and this form of reverse differs from parries in that parries do not constantly do damage- they can frequently just fair interrupt an adversary ‘s approach. Some games offer command options for escaping a reversal ( and therefore negating the damage from it ), though the complexity of the get off varies wildly. Certain guard delete mechanics can be seen as “ transposition ” tools that are universal to the hurl ( e.g. “ V-Reversal ” in SFV ) .

Ring Out [edit ]

A victory achieved by sending the adversary out of the gang or fighting stadium ; these are normally only found in 3D fighting games such as the Soulcalibur and the Virtua Fighter series, but some 2D fighters, like Real Bout Fatal Fury, control ring outs as round ending stagecoach hazards once the barriers are broken. Games like Mortal Kombat Deception and Armageddon helped introduce the concept of ring-out victories via ghastly stage hazards in the form of death traps. Ring outs are recognized as apparently the merely way to KO an opposition in the Super Smash Bros. series ( exception being Stamina Mode ) .

Rolling [edit ]

Rolling is a gameplay feature found in some SNK games, and is an authoritative separate of the engine in The King Of Fighters. The integral concept behind Rolling is to evade the attacker either by Rolling forward when the defender knows that the attacker ‘s attack will have a slower recovery time than their bankroll indeed the defender can punish it through inning advantage ( players can besides calculate the time of the peal to reach the adversary ‘s rear before their attack finishes, even if it is an attack that is normally thought to be “ safe ”, anticipating their movements ) or by Rolling backwards to prevent any dangerous attacks from the attacker and neutralize any thump attempts. The Rolling moves ( differently referred to as the “ Emergency Evade ” ) can be used by themselves, or while blocking an attack. The defender is immune to attack as the Roll begins, but can be attacked while recovering from the Roll ( before they have a gamble to block ). In most cases, throws of any kind can grab characters out of a Roll at anytime. A one-third type of seethe was added in The King Of Fighters 2002, the “ Quick Emergency Evade. ” It allows an attacking player to cancel any normal attack, command attack, or Blow Away Attack ( CD Attack ) into a advancing hustle, successfully adding another mind plot that comes in effect when the defending actor tries to knock them down with a Guard Cancel CD Attack. While the defending player spends one power gauge to perform this certificate of deposit attack to knock the attacker out of any sequences or strings of attack they may be doing, the attacker themselves can spend one exponent estimate to evade the defender ‘s Guard Cancel CD Attack by rolling forward, which leaves them open to the attacker ‘s attacks. It can be used even if the assail is not cancelable, or before the attack even hits. Canceling a roll in this manner will cost 1 horizontal surface of Power Gauge, even if the character is in MAX Mode. NRS has implemented Roll Escapes in late games, namely Injustice 2 and Mortal Kombat 11 .

Roll Cancel [edit ]

In Capcom vs. SNK 2, roller cancel was an easily exploitable bug that gave players the ability to cancel the first three startup frames of a peal into a extra assail, super, or twit. This changes the “ roll ” animation into that of the choose assail, but the engine does not re-evaluate the indomitability frame of reference from the roll. This means that for the first 17 frames of a character ‘s extra ( about 1/3rd of a second ), they are wholly invincible. Players who chose to roll cancel into a tease could efficaciously use this tactic to counter and/or punish certain attacks up close that would otherwise plug in ( such as a DP or super ). This option was patched out in by and by releases of the game, but may have been the divine guidance for the “ spot dodge ” automobile mechanic implemented in Super Smash Bros. Melee and onwards, ampere well as the “ kara ” twit concept present in Street Fighter IV .

roll [edit ]

Refers to the choice of playable characters in any given contend game. besides referred to as the cast .

roundhouse [edit ]

In the Street Fighter MD-04 series and related Capcom six-button fighters, a clayey recoil .

Rubber Band AI [edit ]

Rubber Band AI is found in respective fighting television games, most notably in the Soul Calibur Series. The concept refers to a bet on where CPU opponents will retaliate with more effective jazz band after they lose a round of golf reasonably fast or with the human player not taking a certain sum of damage. The CPU will about appear to have increased difficulty. See : remark Read

Run [edit ]

Running [ as it literally means ] is the act of approaching the opponent through continuous motion much like jumping but unlike it, Running lets the 2 players travel along the ground continously—- it should be noted that this automobile mechanic is implemented either to expand upon or to wholly replace the park dash in some games. The game that most prominently established the maneuver of running for the first time was in Samurai Shodown, back in 1993. alternatively of only walking ahead, when the actor could just jump rather for add mobility in Street Fighter, the Run came into picture to complement Jumps, effectively giving a better notion of mobility that contradicts the much forward pass promotion that characterized games of the past. other games then, such as SNK ‘s own The King of Fighters 2021 and late Guilty Gear implemented this feature, as did many of the 3D fighters. Mortal Kombat 3 besides introduced a run automobile mechanic in 1995 in the form of a consecrated “ Run ” button and a “ Run meter ” that would drain when using run & performing jazz band. This differed from the convention approach of holding down the ahead button after a dash or triple-tapping forward at soap range ( such as was used by most of the aforesaid games ). This machinist returned in Mortal Kombat X with slight differences ; the “ Run meter ” ( renamed “ Stamina meter ” ) now would drain only by running, & in place of a “ Run ” button players would simply press/hold the Block release at the end of their hyphen [ F, F+Block ] ( since the Block button besides serves as the “ EX button ” ). Ring of Destruction: Slam Masters II introduced Backwards Running, which can be served as a footing for Namco ‘s Soul series. By Running a musician can :

  • Approach the opponent quickly but sticking to the ground
  • Stop at any moment, with freedom to block or perform an attack (i.e. a low, an overhead, a grab, or any other type of movement (such as Jumping or Rolling to evade, retreat, etc.)—- stopping a run suddenly [in the same manner as a dash cancel may cause players to glide on the ground a little bit before fully stopping in certain games (with the exception of games like MK9 & MK11 that allow players to cancel into any attack/throw/super/block/etc. out of a dash automatically), but in the case of Mortal Kombat X a continuous run can be cancelled at will with any attack, blocking, or the stance-switch button. This run cancel technique is often used to extend combos
  • When timed well, it can be used to anticipate the opponent’s movements by running & attacking (when they attack or try to jump)
  • Accompanied with backsteps, it can be used for zoning or space control.
  • When a player does a Jump, it can actually pass below it, ending behind that player, and the running character can then turn & attack the opponent in the back, successfully punishing them for jumping.

Runback [edit ]

FGC slang for playing against the lapp person ( much times after a bad loss ), asking or challenging them to “ run it rear. ”

Rushdown [edit ]

The dispatch opposite of capsize, a rushdown dash is considered to be wholly dysphemistic ; characters of this original frequently use a huge diverseness of imperativeness tools, mix-ups, and mind games to force an opposition into a suboptimal defensive situation, seeking to create openings and watching for sudden mistakes to capitalize with proper, crushing punishment and full jazz band. Because of its overtly unsavory, brassy nature, rushdown is generally considered to be a very entertaining — if hazardous — dash of fighting. The King Of Fighters is a game acknowledged for having a universal organization of movements that allow an evolve form of rushdowns .

Sabaki [edit ]

A term foremost used in the Virtua Fighter series, a sabaki ( sometimes called a “ Sabaki Parry ” ) is a motivate that mechanically parries an attack during its animation. Sabakis are not necessarily invincible but can absorb, anticipate, parry, or crush /ignore other attacks ; the assail auto-parries the opponent ‘s move allowing the player ‘s sabaki to continue as though it was never interrupted. These moves normally work against specific attacks or specific types of attacks only. If done and an attack is not parried, the Sabaki will normally good run its class as a normal move or special. Examples of a Sabaki are Sarah ‘s FL P+K ( Sabakis low punches ), or ( in Tekken’s lawsuit ) Bruce Irvin ’ mho farad, f+2 ( crushes high left punches ). An model of a character with special-move sabakis could be Spawn in Mortal Kombat 11 ; his “ Unholy Veil ” advancing appoint [ bacillus, f,2 ] has a “ Krushing Blow ” that triggers a launch when Spawn absorbs a rocket during this motion ’ sulfur inauguration animation. Another custom ability of his, “ Blaze of Glory [ vitamin d, b,1 ], ” acts as a low projectile but besides parries moo attacks during its startup animation. The motivate can be delayed by holding Front Punch [ 1 ], & it can be cancelled during this stay with 1 prevention of defensive meter by tapping down. successfully parrying a low triggers its Krushing Blow .

condom [edit ]

Safe describes a move that can not be punished if blocked. normally these moves have a very unretentive recovery time, or they leave the defender in blockstun for a long adequate windowpane that the attacker can block before the defender is able of retaliating. A terminus first coined in the Street Fighter II series .

condom Jump [edit ]

The technique of timing an forward pass approach against a fall opposition in such a means that that if they try a reversion upon wakeup, one can recover and defend against it in time, allowing them to punish it. If no such attack occurs, the attacker ‘s leap assail will hit the defender ‘s block and allow them to continue pressure, frequently with a mixup or tick bewilder, followed by another dependable startle to repeat— in any case, the defender is ultimately left at a disadvantage. This method acting generally works in certain fighting games that have it due to most reversals not actively hitting on their first gear frame .

scramble [edit ]

A tense consequence within a match, where one or both players find themselves forced to make bad and promptly reactions ( often due to unanticipated or unfamiliar factors ) in an undertake to gain the advantage over the other. This is normally a consequence of an fire or defensive decision ( or, as often the case, a bankruptcy to execute ) resulting in neither actor uncertain of their advantage. therefore, it results in a “ scramble ” : an unplanned craze to recapture advantage. The term is derived from a battle scramble, where a group of armed forces rush to respond to a storm attack from an opponent. The rush to react for anything, at a consequence ‘s notice, is the mean that carries over .

scrub [edit ]

A derogative FGC term with a specific mean, but present synonymous with “ loser ” or “ noob. ” Originally, it was entirely used to denote players who would call certain moves “ bum ” and/or “ broken “, or refuse to cultivate their tactics and strategies on principle ( i.e. going into practice/training mood, in modern cases labbing the respective scenarios, studying the frame data, etc. ), thus one could well be a skilled actor and calm be a “ scrub ” restrained by arbitrary barriers. A scrub, therefore, may not play strictly with winning as the end goal but rather “ for honor ” or any early arbitrary value such as. The son has since lost its CD-ROM master meaning, due to its unfold to other genres in the guise of a generic insult. It can now besides by and large refer to players who rely on spam, shenanigans & early overall cheap design exploits to win matches, opting not to adhere to the core meta of a game or learn to play by way of straight fundamentals .

Setplay [edit ]

Describes a playstyle based on setups, which refers to the concept of placing an opposition in a position where they have limited options ( typically after a knockdown ), giving the executing actor enough time to execute a pre-planned strategy that the adversary may then be forced to unfavorably deal with. The most common application of a setup is to pressure or frame trap the adversary on oki and create an opportunity to go for a confusion that is arduous for the opponent to challenge ( if not impossible, in the case of unblockable setups ). While this can be achieved in many ways ( e.g. dependable leap out, ambiguous cross-ups, whiffing an attack on purpose and/or shimmy, etc. ), one of the most noteworthy instances of a apparatus is done by placing a rocket ( much slow-moving ) or otherwise-offensive object on the shield ( either directly above or in front of the knocked-down opposition ), and forcing them to block this attack on wakeup, leaving them susceptible to further mix-ups. A popular example of this is demonstrated by Millia Rage of the Guilty Gear series, who can timely execute the Heavy version of her Tandem Top projectile against the rising opposition, giving her fourth dimension to condition and force them to guess or read a high block ( to defend against her Bad Moon overhead ) or a low obstruct ( to defend against her Iron Savior slide ). other projectiles with a slower startup such as Anji Mito ’ s “ Shitsu ” butterfly may only be considered in truth effective when applied in this manner. Setplay archetypes are heavily designed around this core concept— these characters are much given slow-moving or stationary projectile-type or directable attacks and focus chiefly on strategically controlling the space with these moves to force the opposition into unfavorable, disadvantageous situations. These objects may be placed at versatile locations on the screen, such as Venom ’ s pool balls in Guilty Gear — in accession to being able to place multiple balls on the blind at once in different formations, Venom can besides use certain normals or specials to knock these balls into the opponent at varying speeds/angles/strengths/etc. ( depending on the affect used to hit the ball ). This strategy is effective at pressuring the opposition into blocking and staying locked in one target, a well as rewarding Venom by inflicting nick wrong on the adversary. certain characters that rely on summons or traps, such as Jack-O and Testament, may besides be associated with setplay. For another game ’ second exercise, while Kohaku in the Melty Blood series is more rooted in general setup with her implant summons, Hisui can besides stack cinch blanket/table traps that damage the adversary, in summation to her item toss— sealed games in this series allow the two to be played simultaneously as a sort of chase or “ pseudo- creature ” fictional character, adding to their collective frame-up electric potential. early frame-up tools may be utilitarian in starting or extending combos, such as Cyrax ’ s different directable bombs and drones in the Mortal Kombat series— these will lay dormant momentarily before detonating & launch the adversary if connected, allowing them to be juggled. other popular examples of setplay characters may include but are not limited to Oro & Rose ( Street Fighter ), Answer, Raven & Kum ( Guilty Gear Xrd ), Majin Buu, Nappa, Captain Ginyu and Lord Beerus ( Dragon Ball FighterZ ), Rachel Alucard, Mu-12 & Kokonoe ( BlazBlue ), and many unlike Mortal Kombat and Injustice characters ( i.e. D ’ vorah, Joker, Captain Cold, etc. )

SGGK [edit ]

An option choice found in the Street Fighter III serial that combines a Kara throw and a hedge ; upon executing the OS by rights, the player will perform a high technical school if the opposition is attempting a project. If the adversary is trying to attack, however, it will come out as a parry following the motivate that was used as a kara .

Shenanigans [edit ]

A devious whoremaster or offensive choice that is highly bad but hard to defend against, and therefore can be very rewarding. Can refer to any number of situations where a player use cheap actions to secure a close victory if they are correct about their read. May besides identify complicated scenarios where a player that is on the brink of winning on the spur of the moment loses due to a combination of comeback on the part of the opponent, bad learn, and bad luck due to factors outside of either players ‘ command .

shimmy [edit ]

See: Baiting See: Auto Shimmy A shimmy, or shimmying, is a type of baiting tactic in which a musician relies on a move/string and their movements ( generally moving in & out of hurl rate ) to bait the adversary into attempting to tech a bewilder ( or throwing out a certain travel to counter/punish this bode throw, such as a jab ), leading them to whiff their try which allows the player to punish them. In the case of Mortal Kombat 11, an car shimmy refers to a jab string of this nature that [ by design ] automatically baits the adversary into teching a shed, based on how like the shed animation is to the jab liveliness & besides how fast the 2nd strike in the string is. What typically defines an “ autoshimmy ” string is being a staggerable string off of a standing jab ( i.e. 1,1 or 1,2 ) where the string ’ s 2nd hit is fast adequate to be jailed [ 9-11 frames ] [ ideally the 2nd hit is much a mid that can catch the opponent trying to duck & counter/tech your throw ]. See: Auto Shimmy

short-change [edit ]

In the Street Fighter series and related Capcom six-button fighters, a lightly bang .

short leap [edit ]

A Short Jump or a Small Jump, besides known as a Hop or Short Hop, is a concept characteristic of The King Of Fighters, which was introduced in The King Of Fighters ’96 along with the run and the roll, late included in games such as Real Bout Fatal Fury, Street Fighter III ( in the form of Universal Overheads ), Garou: Mark of the wolves and Guilty Gear. Mortal Kombat 11 has besides recently implemented this automobile mechanic, adding “ Hop Attacks ” that are unique to each fighter. A short Jump, performed by tapping Up thinly and releasing the directing immediately, is obviously a shorter version of a normal Jump, with a lesser degree of aggrandizement and a faster falldown. It is, in every feel, a quicker jump that allows the follow :

  • Elevation from the ground to evade low attacks and ground projectiles
  • Because it falls faster than a normal Jump, when timed right, it can be used not only to evade but also to punish sweeps.
  • Aerial rushdown due to the quicker recovery
  • Faster and more effective mind games of different degrees of rhythm through alternation with Runs, Short Jumps, and normal Jumps
  • More safety in jumping
  • Specialized short jump/hop attacks (i.e. universal overheads)

Shotokan Character/Shoto/Shotoclone [edit ]

In the Street Fighter games, a Shotokan Character ( normally called a Shoto for short ) refers to a character/subset of characters that employ a fight dash introduced with Ryu in the original Street Fighter. Although the term has remained, Ryu and Ken ‘s active style is canonically nameless and was initially described falsely as “ Shotokan ” in the english translation. The quintessential Shotos in the Street Fighter Series are Ryu, Ken, and Akuma. This template is characterized by the use of moves, such as the Shoryuken, Hadouken, and Tatsumaki ( Hurricane Kick ). The term is besides used in a broader reference point to characters that employ altered, but recognizable, “ Shotokan ” styles. This group comprises Dan, Sean, Gouken, Oni, and Sakura. An even broader definition of Shoto ( Shoto Style ) refers to any character or gameplay expressive style that utilizes a rocket motion like to the Hadouken ( normally with a like input ) to keep opponents at a distance, and an anti-air attack similar to the Shoryuken Dragon Punch to counter their jump-ins trying to get over the projectile— frequently besides includes a spinkick like to the Tatsu ( that may be invulnerable to projectiles ). This character of character may besides be called a ”Shoto-clone.” Fighters in other games such as Jago in Killer Instinct, Morrigan in Marvel vs. Capcom, Hyde & Akatsuki in Under Night In-Birth, Gran in Granblue Fantasy Versus, & Kairi in Fighting EX Layer can besides fall under this definition given the similarity of their movesets. The Fatal Fury/King of Fighters games besides sport characters ( i.e. Ryo ) that have this character of moveset, although characters like Terry Bogard are highly debated by players as to whether or not they are a true “ shoto, ” having most of these same tools but besides relying more heavy on charge inputs for certain moves than the standard “ shoto ” character. Per this exemplify, Shoto or “Shoto-like” may be used colloquially by some of the FGC as a shorthand term to describe a “ baseline template ” character, which players can use to learn their specific game ‘s fundamentals— however, this kind of original is better referred to as an “ All-Rounder. ” similarly to Ryu ‘s ubiquity in the Street Fighter, characters like Terry, american samoa well as Sol Badguy from Guilty Gear or Liu Kang from Mortal Kombat, serve as solid baseline examples of their respective games by apparently having “ one of each creature ” or “ a little bit of everything ” needed to understand the plot at a basis level & play functionally ( often having a decent adequate projectile to compete with zoning although they may be geared primarily towards a rushdown playstyle ). In the Tekken games, baseline characters like Kazuya, Heihachi, & Jin Kazama ( i.e. the “ Mishima syndicate types ” ) equally well as others with a similar moveset— most integrally a squat dash or wavedash, and moves like the iconic “ [ Electric ] Wind God Fist ” or the low spin “ Hellsweeps ” — may be referred to as a “ Mishima ” character. similarly, multiple characters in Dragon Ball FighterZ that partake a lot of Goku ’ randomness base moveset, such as most of the “ Saiyan ” characters ( i.e. traditional Ki blasts, Kamehameha projectile beam, etc. ), may thus be referred to as “ Saiyan ” or “ Goku-type ” characters .

sidestep [edit ]

A sidestep or sidewalking in 3D fighting games refers to evasively moving into either the foreground or background of the stage ( towards or away from the camera ) by pressing/double-tapping or holding down or up ( respectively ). Learning and utilizing this movement proficiency in games like Tekken, Soulcalibur, Dead or Alive & Virtua Fighter can be crucial since certain moves can be made to whiff by sidestepping [ sometimes specifically either left or right ] in ways they normally wouldn ’ t puff on a 2D plane .

Six-button Fighter [edit ]

A type of fighting game controls that uses punch and kick fire buttons of three different strengths ( light/medium/heavy ), much like that of Street Fighter .

Snapback [edit ]

A condition originating from the Marvel vs. Capcom mechanic of the same name ; besides can be called a Force Swap or Force Out but can vary by game ( e.g. “ Forced Switch ” in Dragon Ball FighterZ, “ Outtake ” in Skullgirls, and/or the “ Swap Strike ” in Power Rangers: Battle For the Grid ). A snapback is an attack found in tag & 3v3 team fighters that knocks the adversary off-screen & forces them to tag in one of their partners. This can be very effective against an adversary that may have just tried to tag in a partner in order to protect their initial/previous character, who has suffered considerable damage & may be low on health. Vice versa, it can besides be used to forcibly bring in said character with depleted health & try to finish them off. Snapbacks can besides equitable be good for mixing up the order of the opposition ’ mho teammates ( which can possibly rearrange what quality is attached to which Assist button ), american samoa good as mixing up the entrance opposition & going for setups upon their entry. In Skullgirls, it is possible to execute a double snap, or in other words landing a snapback on two characters at once ( the point character and the assist fictional character ) .

SNK Boss Syndrome [edit ]

A terminus habit to describe the abnormal flat of difficulty of the bosses in certain fighting games, specially games made by SNK. Bosses suffering from SNK Boss Syndrome have these characteristics :

  • Their moves have very high priority, very high damage or amount of hits, very wide range (including full-screen) and occasionally special features such as unblockability and auto-guard.
  • They often have great endurance, either because of their unusually longer life bar or their defense (in that they take less damage than normal characters).
  • Their speed, both in movement and in attacks, are usually above every other character in the game. One of the most well known occurrences is during any of the final boss fights with Rugal’s various incarnations in The King of Fighters series.
  • Their AI pattern is usually less advanced than most normal enemies, supposedly to ‘compensate’ their high performance in every other scenario. There are also cases where the boss is programmed to ‘controller-read’, basically knowing ahead of time what the player will do, and already have a counter ready for it. A good example of this was with Igniz from King of Fighters 2001, who would counter projectiles every single time with one of his own.
  • They often do not have a distinct crouching animation, making it hard to tell when they will block low or use a low attack.

King of Fighters XI adds one more symptom to this syndrome :

  • Whenever a fighter hits an opponent, a pointer moves towards the attacking fighter, giving them some sort of advantage point. When a boss hits a player however, the advantage they get is far greater than the advantage taken by normal players/enemies. Since the one with greater advantage points will win upon time out, this makes beating bosses via time out in this game near impossible- moreso since the main boss, Magaki, can rapidly deploy an incredible amount of projectiles, that if not properly avoided, very quickly defeat the player through sheer chip damage.

spam [edit ]

Spam or the act of spamming is, in short, repeatedly throwing out the like move over and over again, regardless of whether or not said motion is necessarily a good matchless. normally though, highly “ spammable ” moves are identical safe and can be unmanageable to counter ( e.g projectiles ). The term is derived from the alternate name for trash electronic mail, and is frequently used in a derogative manner to describe brassy and/or “ scrawny ” maneuver. certain games have mechanics in locate that punish and/or dissuade spamming ; for example, the Super Smash Bros. series uses a shroud “ staling ” organization, reducing the damage and knockback of a given attack based on how many times it appears on an inconspicuous list containing the concluding ten attacks that have connected with an opponent, weakening the attack further the more times it appears on the list. See also : Shenanigans

spatial cognition [edit ]

spatial cognition is concerned with the acquisition, organization, use, and revision of cognition about spatial environments. These capabilities enable humans to manage basic and high-level cognitive tasks in everyday life. In the context of fighting games, this would define how one conducts battle due to the data provided by one ‘s environment, relating to the opposition ‘s position, the opposition ‘s attack, and the environment itself. This would suggest that the player must have a full reason of the different levels of focal adhesiveness presented by the bet on, the limitations of one ‘s character in relative to their position within a fight stage, deoxyadenosine monophosphate well as in relation back to the position of one ‘s opponent .

special Move [edit ]

Whereas a regular move would otherwise simply refer to a fighting attack/technique such as a punch, kick or a throw— each quality normally has many moves, each performed by a different combination of joystick movements and/or button presses ; these moves fall under “ normal moves ” — a special move is a unique, sometimes difficult-to-perform move that frequently has an exaggerated or supernatural effect. physically, these special moves typically require multiple inputs to perform ( or quite a more building complex directional input + button combination ), and for the most part are unique to each character ( clones digression ). The majority of traditional contend games besides include ace moves, which are more knock-down but costly especial moves. These moves normally require a full extremely meter to perform ; moreover, spending 1 bar of this gauge can frequently grant the option to perform an EX special .

Spinning Pile Driver [edit ]

See: Command Grab Abbreviated SPD, One of the key moves for Zangief. This is chiefly used to describe moves with 360 stick inputs that are short-ranged, high-damage grabs like the aforesaid move of Zangief ‘s ( such as Tizoc ’ s “ Justice Hurricane ” from Garou: Mark of the Wolves ), but can besides be applied to any move involving a full-circle input. Potemkin from the Guilty Gear series can perform his “ Potemkin Buster ” command catch with this same remark ( even though the remark is technically HCB, f+P or 632146P in numpad note ) .

stage transition [edit ]

A stage transition can occur in certain fighting games when both players move from the initially selected phase ( or one “ section ” of a multi-layered stage ) to either another plane or tier of that same stage, or to a different stage entirely .
This concept first began in 1994 with X-Men: Children of the Atom and Marvel Super Heroes, later followed by X-Men vs. Street Fighter and Marvel Super Heroes vs. Street Fighter respectively ( all thought to be the genesis of the “ Capcom Vs. ” series ) — these games had certain stages/levels that would transition either by way of a floor break or something more specific such as a bridge crumble, both shifting the players to a “ lower charge ” of the stage. This automobile mechanic was not continued in the Marvel vs. Capcom series, but a subsequently X-Men active game released in 2002 by Activision called X-Men: Next Dimension ( separate of the ”Mutant Academy” series ) would make further habit of these phase transitions by applying price to characters affected by them, adding multiple paths for players to break or fall through, and [ possibly the most park trope to be appropriated by other games ] allowing them to transition into entirely separate stages ( i.e. the “ coach station ” stagecoach ties directly into the “ sewer ” stage if an adversary is knocked into the right spot on the stagecoach ). Mortal Kombat 3 is besides credited for popularizing this machinist, with some stages allowing players to use the signature universal “ uppercut ” in rate to knock their opponent up through the ceiling & crop up improving from the floor of another stagecoach. This complemented their previously introduced “ degree fatalities, ” an expand carry on their fatality system which would allow the actor to input a complex command after KO ’ ing their opposition & uppercut them into a stagecoach gamble that could not be previously accessed during the match ( i.e. falling down into floor spikes or being knocked upwards into ceiling spikes ). Mortal Kombat would not reimagine this concept again until MK: Deception and MK: Armageddon, where they introduced a new ghastly take on “ Ring Outs ” called death traps ; these were alone environmental hazards ( indicated by a slow-flashing loss lineage on the adjacent ground ) that the player could knock their opposition into & immediately win the match, triggering a ghastly finisher cinematic akin to a stage fatality. stage transitions returned here naturally, for even though there were some stages with a death trap on the initial starting area of the stagecoach, sealed death traps could merely be accessed via a stage transition by knocking the opponent to another [ normally lower ] tier of the stadium ; conversely to death traps, these were indicated by a yellow production line near a wall or ledge. Mortal Kombat vs. DC Universe did away with these traps but continued experimenting with two newfangled forms of stagecoach transitions— one was a horizontal transition through the wall that initiated a new rendition of the celebrated “ Test Your Might ” minigame that actually would pit the players against each early this time mashing buttons to either do more damage [ as the attacker ], or to push back against the adversary & possibly reverse the momentum in one ’ randomness own favor [ as the defender ]. The other character of transition was a vertical ledge passage that initiated a machinist called “ Free-Fall Kombat ” — when triggered, a sequence would play wherein the defender would fall to a lower flat and the attacker would jump after them, being prompted with a vertical gauge & a push button map to press attack buttons. If the attacker pressed a expression clitoris during the sequence, they would land a strike & build up the gauge, finally filling it up enough to trigger a super that knocks them all the way into the ground & does maximum damage. however, if the defender pressed an assail clitoris that matched the same button used by the attacker, they would immediately reverse the freefall & wind up on top, being able to utilize any meter/super built up by the former attacker and/or continue striking. Mortal Kombat has since done off with in-match stage transitions, but NetherRealm Studios have implemented them into their Injustice series— when near a wall that flashes a small icon beneath the lifebar, the musician can execute a bounce fire and trigger a cinematic cutscene during which the opponent is shown flying through hazards like walls & buildings, taking heavy & uninterruptible damage. The Dead Or Alive series besides adopted a form of stage transitions angstrom early as 1999, starting with DOA 2 and continuing throughout future installments. This occurs as part of their Danger Zone stage luck automobile mechanic, normally classified under the “ Fall ” category where a player can knock their opposition off a ledge onto a lower plane of the stage, inflicting extra damage—some however can be triggered by knocking the opponent into a breakable surface such as a wall. Dead Or Alive 5 expanded on this automobile mechanic by introducing “ Cliffhangers, ” a new interactional shape of Falling transitions that kept the defender hanging onto the ledge they were knocked from and allowed the attacker to execute either an attack or a confuse against them. The defender could either choose to take the attacker ’ s affect for normal damage, or they could choose to defend against the correct move ( by either guarding the attack or teching the catch ) at the risk of extra damage for guessing incorrectly ; if defend against correctly, both players would land in a digest express & the neutral would be reset. Some games such as Street Fighter X Tekken or recently Tekken 7 may show a cutscene where both players transition to another area of the stage in between rounds, or before the third round. Tekken 6 besides marked the originate of the series incorporating running in-match stage transitions by not only adding wall breaks but besides incorporating balcony breaks ( adenine well as the aforesaid floor breaks ) which not lone knock the adversary to another [ lower ] incision of the degree but besides bounce the opponent off the grind and leave them in a juggle express, allowing the attacker to continue their jazz band. recently, Guilty Gear Strive has besides changed their “ Wall Stick ” mechanic to allow for wall breaks that knock the opposition horizontally into another section of the stage ( angstrom well as grant extra tension to the attacker ) ; this is referred to by the game as an Area Shift. Some characters ’ Overdrives may trigger this wall break if executed close enough to the corner ( & depending on the amount of knockback the motion has ). The game ’ randomness revamped Dust machinist, which by and large allows players to hold down this button & then hold up during the plunge to chase the opponent for an aerial jazz band, has besides been changed to mechanically trigger this Area Shift during the jazz band. Some games like Street Fighter V that do not have actual “ stage transitions ” may rather have cinematic finish sequences where the player is knocked into an off-screen object beyond the wall ( such as a build up, a chest or even a log ) depending on the motivate used to KO the adversary. Dragon Ball FighterZ does besides employ this type of machinist, called a “ Destructive Finish ” ( performed by finishing with a heavy attack or another motion that knocks the opponent back, which triggers a sequence where the opponent flies backwards into a construct, destroying it in style ), but this game does besides still contain transitions for choice stages, which can be triggered by defeating a unmarried opposition with an forward pass knockback ( often times a vanish attack ) & cause the opposition to fly through respective buildings, ending up on an wholly fresh degree & immediately triggering the future “ round ”. DBFZ does, however, have another feature that about combines these two mechanics— because many of the stages in this game are fair “ Destroyed/Past ” versions of early preexistent stages, some characters can actually use a super ( normally a Lvl. 3 ) to trigger a “ Stage Destruction, ” where they finish off a single adversary by blasting a radio beam that can be seen from space, efficaciously destroying the stage & immediately bring in the next opposition. platform fighters such as the Super Smash Bros. games enforce stage transitions uniquely throughout the equal on many stages— since ( as the subgenre ’ south list implies ) the stages in these games are basically comprised of one or multiple platforms that players must stay on to avoid a ringout, some of which switch around sporadically during the match, many stages ( such as F-Zero ’ second “ Big Blue ” or the “ PokeFloats ” stage ) will naturally move around shifting the focal degree of the stage, either taking the players with them automatically or forcing them to jump between moving platforms to stay on the stage. This concept may be referred to as free-floor fighting .

Staggering [edit ]

Not to be confused with : lurch state A term more normally used in late fighters that rely on preset strings and/or the concept of imprison ( typically games such as Mortal Kombat, Injustice, Tekken, SoulCalibur, etc … ) — stagger pressure ( normally shortened to staggers or staggering ) refers to a method of pressuring and conditioning the opponent by not completing a character ’ s full bowed stringed instrument ( second ) but alternatively “ staggering ” the first gear 1 or 2 hits of the string, normally on obstruct, to stop one ’ s pressure & open the opponent up for other attacks such as a snap up or shimmy ( or just to mix them up by switching between staggering & completing the string ). This can besides be done plainly to make a character safe than if they were to complete their full string. Moves that would be considered thoroughly “ staggers ” are relatively flying on startup with full murder [ & normally good block ] advantage— moves with asset frames that are typically good for atmospheric pressure, forward-advancing moves ( i.e. mids/lows, kicks, etc. ), certain pokes, & moves/strings that have commodity mixup options off of them ( such as a chemise drawstring or a string that contains an command processing overhead time ) are seen as the characteristics of a good “ stagger, ” as they can be stopped at will leaving you at a safe advantage. This conditions your opponent to be afraid of your future motivate and allows you to follow up with more atmospheric pressure. Sometimes full moon strings can be staggered depending on their properties, but by and large “ staggers ” refer to a hit or hits that start a drawstring that are intentionally not completed .

position [edit ]

A stance is a move ( or rather a mode or state one can think of as a special stimulation ) that changes the neutral status of a character, or otherwise alters their appearance, and thus grants them access to modern, unique moves & abilities. basically, a position choice changes a quality ’ s fighting style. Often times these fresh moves are exclusive to this stance, and about always replace the fictional character ’ s basis moveset entirely, but occasionally other base normals and specials can be performed from this particular state. They are broadly cancelled into but can besides be inputted natural from the inert place. Depending on the character or game, the stance can sometimes be exited mechanically by means of certain attacks, but in many other cases the stance must be cancelled out of with a specific command to return the character to their normal position or state. Stances are identical commonplace in 3D fighters compared to other fighter subgenres— because many of these games do not typically share the same standard types of “ particular moves ” ( let alone all the same limited move inputs ) that are generally found across about all 2D fighters, games such as Tekken and Virtua Fighter frequently tend to go about the concept of extra cancel and jazz band extension by allowing fighters to cancel into extra stances mid- string ( most times by holding a single directional input such as back or forward ). however, stances can besides be give in 2D fighters, performed as a even especial cancel. A stance character describes an original of character whose primary gameplan is largely pendent on cancelling into & out of their special stance ( s ) to pressure and/or mix up their adversary, sometimes even having more than one stance in their moveset depending on the character or game ( much in 3D fighters where multiple characters who may not be ‘ ’ position characters ’ ’ can hush have a position motivate ). The most democratic model of a full-fledged stance character is Tekken ’ s Lei Wulong, who has 13 different stances he can change between, each of which give him wholly exclusive new moves & tools. early 3D examples of stance characters include Voldo & Tira ( Soulcalibur ), Vanessa Lewis ( Virtua Fighter ), or Honoka ( Dead Or Alive ). In 2D fighting games, Gen from the Street Fighter franchise is the chancellor example of a stance character, debuting in the Alpha serial with two separate stances ( his “ Mantis/Sou ” & “ Crane/Ki ” fighting styles ). other examples of position characters in 2D fighters include Jhun Hoon & May Lee ( King of Fighters ), Phoenix Wright & Amaterasu ( Marvel vs. Capcom 3 ), Nightwing & Wonder Woman ( Injustice ), Hit ( Dragon Ball FighterZ ), Aria & Idle ( Killer Instinct ), Squigly ( Skullgirls ), Narmaya & Yuel ( GBVS ), Yuzuriha ( UNI ), Anubis Kruger ( Power Rangers: BFTG ), Shanty ( Them’s Fightin’ Herds ), & most popularly, Leo Whitefang ( Guilty Gear ) with his celebrated “ Brynhildr ” backturn stance .

early Common Stance Types [edit ]

  • Back-Turn
  • Running
  • Flying
  • Weapon
  • Drunken Fist

startup [edit ]

See : active frames See : recovery frames The meter ( in frames ) that it takes for a quality ’ sulfur go to enter its “ active ” frames ( the stagecoach of animation in which the attack actually hits after leaving its achromatic state ) .
The phrase “strike-throw mix” quite just refers to a style of bewilder mixup where the player makes their opponent guess whether they ‘re going for a throw or strike ( as the name implies ). This is normally done with a normal that has to be blocked ( mid/low/overhead ) that has startup frames alike to that of a throw, which is unblockable. This mixup will make the opposition guess between blocking a normal, or avoiding a throw .

String [edit ]

A sequence of attacks. normally used to refer to strings that are n’t jazz band. This term is used both in 3D fighting games to refer to sequences of attacks that execute much faster consecutive than if done out of sequence, and in 2D fighting games is largely used to describe a sequence of pokes done to force person to continue blocking to create safe distance ( this is better known as a block string ). Some 2D games ( or 2D game players ) misuse the condition when naming chain combos as strings ( generally, precanned strings or canned strings ) .

firm [edit ]

In Street Fighter and related Capcom six-button fighters, a medium punch .

Stuffing [edit ]

Stuffing an adversary ‘s attack refers to the act of using a move to stop or beat an opposition ‘s move, such as beating out an opposition ‘s intrude with a higher priority intrude. This does not necessarily mean using a higher precedence attack ( for model, in The King Of Fighters, the act of using a Weak Attack to trade hits with an anti air move, or in Street Fighter III Chun-Li ‘s Houyokusen Super can be stuffed in the begin by throwing out a identical quick, broken jab, such as a crouching light kick ) .

sandbag [edit ]

Stun refers to a temp freeze state of vulnerability caused to an opponent by certain attacks, which causes them to stay standing erect ( or stand back up after a knockdown ) in a alienated manner and generally guarantees the attacking player a exempt murder, jazz band, or throw. This term may be synonymous with dizzy a well as stagger ( not to be confused with this definition of “ staggers ” ) ; besides called daze in some cases. The concept of dizzying originated in Street Fighter II ; in most games of this franchise, stun is a quantify, inactive value assigned to each character ( indicating how a lot “ sandbag ” they can take before entering a dizzy country ), a well as “ sandbag wrong ” being assigned to every move ( varying in amounts of “ sandbag ” frames ) inflicted by each be active ). If the amount of stun damage taken by a player surpasses their “ stun value ” within a short period of time without being interrupted, they will enter the dizzy express and the jazz band counter will not reset, allowing the adversary to continue the full jazz band. Most of these games do not display the sum of sandbag inflicted & is regarded as a “ concealed ” meter by the game ; however, some of these games ( namely such as Street Fighter III, and most recently in Street Fighter V ) have implemented a “ Stun Gauge ” below the players ’ lifebars that indicates how much stun has been inflicted. Certain games with a guard squash system may besides grant this kind of stun when the opposition ’ s precaution is broken, such as with the “ Guard Break ” attacks found in the Street Fighter EX games. Some SF games have incorporated different levels of stun which cause unlike delay levels : while certain heavier levels of stun— sometimes indicated by birds, bells, or stars circling above the dizzy musician ’ s head— would delay the opponent from escaping the airheaded country at varied intervals ( or prevent them from escaping wholly, indicated by circling “ reapers ” rather ), shorter levels of sandbag ( indicated by circling “ angels ” ) would allow the dazed player to break out of this express preferably quickly. This introduced the concept of breaking out of a dizzy submit either by quickly wiggling the joystick back & forth or grind buttons, which would be implemented in several other fighting game franchises over clock. much referred to as a “ stagger state ” in this context, this feature of speech is normally associated with 3D fighters such as Virtua Fighter equally well as Dead Or Alive ( introduced in DOA2 as “ Critical Stun ”, where sealed moves would count as a “ Critical Hit ” and inflict this stagger state of matter either on counter hit or by nonpayment, one exemplar of which would be Hitomi ’ s 9P * ). Some 2D games may besides implement staggers in this fashion, most notably in the Guilty Gear series ( introduced in XX ). This state can be caused by sealed normals and Overdrives, but are normally caused by specific specials, such as i-No ’ second “ Stroke the Big Tree ” humble fire. The Mortal Kombat series ( a well as the Injustice games ) can besides be popularly associated with introducing particular moves that cause an adversary to be stunned, albeit there is no system to break out of this state. rather, landing these moves on collision will automatically grant the attacking musician a release hit to extend their jazz band, either freezing the opposition in set ( including in mid-air ) or restanding them. respectively, the two most democratic examples of these types of sandbag effects are Sub-Zero ’ s iceball projectile and Scorpion ’ s celebrated Spear move. The term stun can besides apply to :

  • Block stun: a short frozen state after blocking a move or performing a blocked move. The player can usually change their guard during blockstun, but cannot attack until it wears off. A defending player cannot be thrown during block stun.
  • Hit stun: a short frozen state after being hit. In most games, if a second attack hits before the attacked opponent leaves hitstun, the second attack links, starting a combo. A player cannot be thrown during hitstun.

muster [edit ]

A special instruction move that temporarily calls an aim, character, or creature onscreen which may perform a variety of actions ( e.g. dealing more damage to the opposition, absorbing damage for the actor, enforcing shuffle that may be unreactable, creating an unblockable apparatus, restoring health to the quality, etc. ) and is useful in setplay. Character summons often occur in the form of assists, specially in games with tag /team-based mechanics such as the Marvel vs Capcom series or some blue-ribbon King of Fighters games. They are besides heavily central to many SNK games where inactive characters on the player ‘s team can be called in to assist a specify act of times per match. By contrast, “ summon “ is often applied to characters in games with both team and solo character choice, where said characters have another summoned character/object perform an action as contribution of their criterion moveset. offensive creature and object summons can sometimes be thought of in certain cases as projectile-type attacks rather than traditional “ assist ” type summons ( see Peacock & Parasoul from Skullgirls, or Atrocitus from Injustice 2 with his buddy Dex-Starr, Poison Ivy with her “ plant minion ”, & Darkseid with his parademons ). In the case of some puppet characters, the “ puppet ” may be summoned either automatically after certain moves or manually with a special input, such as Zato-1 who can “ summon ” the “ Eddie ” shadow. Characters with summons of this nature may be able to control the actions of the summon object/creature independently of their other attack and/or motion commands, allowing for an advanced level of setplay. Another specific & slightly unlike example of a controllable summon may be Enchantress from Injustice 2, who can use her trait to summon Xibalba, a large devil that mechanically advances on the opposition at a slow tempo and can hit them with an overhead launcher. Xibalba can besides be stopped in place with “ Demonic Guard ”, preventing the opponent from approaching Enchantress without jumping over it, which can be cancelled at any point to let the overhead come out. She can besides cancel out of either of these states with “ Demonic Sacrifice ” to destroy Xibalba with a fire blast, reducing his recovery and leaving her +5 on block. other noteworthy examples of summon characters may include Nappa & Captain Ginyu of Dragon Ball FighterZ, Gargos of Killer Instinct, Rachel Alucard of BlazBlue, Chaos of Under Night In-Birth, Lowain of Granblue Fantasy Versus, the “ Summoner ” variation of Quan Chi in Mortal Kombat X, or assorted Guilty Gear characters such as the trap zoner Testament ( with his EXE Beast, dolls, & pet crow/curse attacks ), Jack-O ( with her “ minions ” ), and Dizzy .

Super Armor [edit ]

See : armor Super armor is a express during which a character may absorb a specific number of hits without entering hitstun ( i.e. taking the attacks without flinching ), possibly escaping dangerous situations such as frame traps. The protective effects of armor may typically last for alone a single strike, but in certain cases ace armor can absorb several hits, and in most cases will wear off after a repair duration ( such as at the end of a move ‘s animation, or the end of a powered-up department of state ), careless of whether or not it was depleted by being hit. By definition, it does not provide invulnerability, nor any decrease in wrong taken, although in some games a separate damage-reduction consequence may coincide with ace armor. In some cases, performing certain moves may grant super armor during the motion ‘s vivification duration ; in other cases, certain characters may have super armor in their default department of state ( typically large, imposing characters ). terminology for some games distinguishes hit sandbag protection that lone lasts for a express issue of hits as “ super armor ”, whereas in contrast, a similar state of matter that will prevent hit stun for unlimited hits ( therefore limited only by duration ) is referred to as “ hyper armor “ alternatively. active ace armor may be shown as a character flashing a unlike color when hit, such as white or chicken .

Super Cancel [edit ]

Super cancelling is the act of cancelling a special travel into a super move, and it is a feature found in Street Fighter III, The King Of Fighters 99, 2000, 2001, 2002, 2003, Neowave, and XI, primitively from Street Fighter EX. This can besides be done in newer games like Street Fighter V and Fighting EX Layer. In The King Of Fighters, the character will flash blank a soon as the natural occurs to provide confirmation of its success. In ordering to perform a super cancel, one must connect a certain particular move & then input the superintendent command while the special approach is still active. This may costs one or all bars of super meter to perform, whether from the act of cancelling or entirely from the monetary value of the super itself— in the character of KoF, a plain level of Power Gauge energy is needed to expend ; this means that ace cancelling into a Desperation Move or Super Desperation Move actually costs two levels of power. It should be noted that one can entirely super natural into moves that hit or are blocked ; a puff assail can not be super cancelled. In The King Of Fighters 2002 some characters can cancel uncancellable moves immediately into ( HS ) DMs. This is not considered superintendent delete, as ( per the exponent gauge stipulations in KoF ) the player alone loses Power Gauge levels for the ( HS ) DM used, and not the act of cancelling. Examples include Kula and K ‘s “ One Inch, ” Maxima ‘s “ mongolian ” and Blue Mary ‘s “ Hammer Arch. ” besides, characters with “ button-press ” ( S ) DMs ( like Mary ‘s “ Dynamite Swing, ” or May Lee ‘s “ Disposition Frog ” ) or even HSDMs, ( like Mai ‘s “ Kubi no Kitsune ” ), can cancel out of any uncancellable normal attack or command attack. For exemplar, one could cancel the 2nd hit of the “ Benitsuru no Mai ” ( which is uncancellable even if cancelled into ) into the “ Kubi no Kitsune ”. The like would apply to Mary ‘s army for the liberation of rwanda standing D cancelled into the “ Dynamite Swing. ” In FEXL where supers cost 1 barricade of meter & perform what is called a ” Super Combo, ” the term “ Super Cancel ” refers to the ability to cancel into another Super Combo after landing a prior special move or super, extending the jazz band & inflicting more damage .

Super Combo and Super Combo Gauge [edit ]

See: Combo ( computer and television games ) See also: Super moves May be used interchangeably with the term Hyper Combo

Super Jump Cancel or High Jump Cancel ( SJC or HJC ) [edit ]

Cancelling the animation of a move with a Super Jump. This ability originates from Capcom ‘s series of fighting games .

Super Move [edit ]

Super moves ( or plainly Supers ) are a class of move that is utmost in the hierarchy of moves, being above especial moves, command moves, and normal moves in terms of damage or authority ( and normally, besides in complexity of remark ). Because they are more potent than special and normal moves, supers much require extra conditions to perform, such as filling a super gauge to a certain amount, or being low in health. In most games they tend to have a complex input ( i.e. a double QCF command ) but some more modern games may simplify these supers to a one-or-two-button press. Supers, in the broad sense, are known under a variety show of unlike particular names & terminology depending on the bet on, such as “ Super Art ” ( Street Fighter III ) or “ Critical Art ” ( Street Fighter V ), “ Hyper Combo ” ( MvC ) or “ Super Combo, ” “ Overdrive ” ( Guilty Gear ), “ roentgenogram ” ( Mortal Kombat 9 & MKX ), or certain “ despair supers ” like “ Desperation Move “ ( King of Fighters ), “ Rage Art ” ( Tekken 7 ), and “ Fatal Blow ” ( MK11 ). In Street Fighter IV, there are two tiers of super moves, one called “ super ” and the other called “ extremist, ” each requiring different conditions to execute, with the extremist being more damage .

Super Stock [edit ]

frequently referred to as a “ bar of meter ; ” a unit of measurement in a super gauge. One or more stocks are used when performing a super move, if not the entirety of the player ’ sulfur meter resources that have been accumulated ( these can be gradually earned back after being spent ). The room these stocks or bars are divided up is dependent on the specific fight game being played & its person combat system. A stock gauge is a estimate where a sometimes ocular, sometimes numeric indicator exists to indicate the count of stocks collected. An early plot to implement this mechanic was Frank Bruno’s Boxing in 1985, which had the KO meter. It is most normally seen in 3v3 team fighters such as Marvel vs. Capcom or Dragon Ball FighterZ, where 1 breed of ace meter grants the player a basic “ Level 1 ” ace or “ Level 1 Hyper Combo ” ; in accord with being able to collect more than just 3 super stocks ( even up to 5 or 7 ), these games tend to besides provide more herculean super moves at higher livestock levels ( i.e. a flush 3 extremely ). A leveled gauge is a gauge where a fortune of the super meter represents a super sprout ; this may be where the terminus ”bar” is used rather than “ sprout. ” Meter systems with this format typically habit 3 bars, with superintendent moves being available upon filling up all 3 bars, but this can besides deviate bet on to game. In accession to super moves, super stocks may allow players to use early moves or techniques that require super meter, such as EX moves, evasion or mobility mechanics, indomitability or armor, specific types of cancels, etc. Holding multiple superintendent stocks was first seen in the Darkstalkers series .

survival Battle [edit ]

A type of match where a player must defeat as many opponents as possible ( using the same life barroom ) before being knocked out. In most instances, some liveliness is recovered by beating an opponent before the future opposition is fought .

sweep [edit ]

Refers to a ( universal ) low-hitting move that knocks the opponent off their feet and knocks them down onto the background. Most normally these moves are inputted with directional commands such as chromium. HK ( crouching intemperate recoil ) or B4 ( back Rear Kick ), varying depending on the game. The sweep attack made its debut in the original Street Fighter, traditionally causing a hard knockdown ( or HKD ). Sweeps are besides heavily used throughout the Mortal Kombat games, albeit they do not grant any HKD property in these games .

tag [edit ]

In games that allow the musician to select multiple characters at a time, tagging refers to the act of switching between those characters mid-round. In The King Of Fighters XI, there are multiple tagging instances, such as tagging out to save a character ‘s life ( although none is recovered when said character is resting ), to bring in the Leader partner, to save a character from a lentghy jazz band with an hand brake maneuver, or to cancel an attack in the middle of the animation to bring in another character and create longer jazz band. Some games, such as Marvel vs Capcom 2, include some screen of attack from the tagged-in character to cover the tagged-out character ‘s safety valve, while others such as Tekken Tag Tournament leave the figure and exiting characters vulnerable and require careful timing. In most games that include the tag feature, inactive ( offscreen ) characters can slowly regenerate health, though this is normally limited to a section of the life bar colored bolshevik or some other color – i, most games will not allow an inactive fictional character to completely regenerate all of their health. In the Dead Or Alive series, many of the throw attacks when used in Tag Mode will bring in the Tag Partner for a special, extra damaging attack involving both characters if the two have similar contend styles. The collaborator who came in for the attack will then remain while the early leaves .

twit [edit ]

A twit ( chouhatsu in its native japanese ) is a move that, when performed, shows the player ’ sulfur character acting out a alone animation, showing off the character ’ sulfur personality through design and/or verbally challenging the opponent. A character tease by and large has little to no offensive function in most cases, its integral function chiefly to mock the opposition ( which can in fact leave the tease player open to being punished, as they are basically stuck in convalescence during and/or after the tease. Some taunts may merely be available at certain points of the pit, such as between or after rounds ( e.g. one of the two hide taunts found for each fighter in Garou: Mark of the Wolves, which can be performed by pressing Left or Right and Start after a player wins the round right before going into their default victory pose— the universal joint “ Provocation ” twit can besides forcibly make the coach dummy walk towards the actor in this game ’ south practice mode ). Certain games, however, may have taunts that can be used in offense situations or as tactics. Of note are many different SNK games such as the Art of Fighting serial & earlier editions of The King of Fighters, where taunting decreases the opposition ‘s special or super gauge. In other editions of King Of Fighters, they can be cancelled into anything from normals to super moves, and are used to bait the adversary. Ryuji Yamazaki from the Fatal Fury and King of Fighters series besides possesses a pair of moves, one in which he first taunts the adversary, offering a release hit. When the opponent complies, they are effectively parried & counterattacked. The other one is a stay attack that simulates a twit when the fire button is held. Games like Street Fighter III: 3rd Strike, on the other hand, feature taunts that may give sealed properties/enhancements to characters when utilized, such as increase damage or defensive ability. Of eminence in this game is Q, whose refutation increases drastically every meter he taunts, maxing out at 3 taunts, thus making taunting an built-in share of his gameplan. Dan from the Street Fighter Alpha series, known for being a low-tier fictional character in about every game he is in & a common exemplar of the “ joke character ” original, possesses a multitude of taunts to do such as flexing his fist/bicep, rolling across the floor, jumping in the air and sometimes a combination of these all & more as a super combo — the key model of this is his fabled Taunt ( or 挑発伝説, Chouhatsu Densetsu ) ace. In general this tease does no damage and leaves Dan fully vulnerable to attacks during its animation ( sometimes causing Dan to take increase damage, depending on the game ) — however, some games will grant extra properties to this super. In Street Fighter IV, Dan ( along with Dee Jay ) was able to cancel his super twit into his Ultra jazz band. Certain Capcom vs. SNK games will besides cause this twit to grant both players full superintendent gauge if it is successfully completed without being interrupted— Street Fighter V borrows this property, equally well as filling up both players ’ V-Gauge *. In SFV, this tease will besides result in Dan taking roughly five times the convention sum of damage from moves if he is hit during the identical end pose of the full vivification ( his signature put where he gives a hitchhike up & slenderly sticks his buttocks end out ) ; if punished with a critical Art extremely, he can be instantaneously KO ’ vitamin d. other taunts found in sealed SF installments may besides have very niche & discrete properties, such as in the event of Sean or Dudley whose taunts were considered weak projectile attacks that could be used in setup against an opposition ’ sulfur wakeup. Dudley ’ s “ Rose Throw ” tease in SFIV inflicted 1 point of damage & 1 point of “ sandbag damage ”, and could KO an opposition with chip damage. In SFV, Akuma ’ second tease acts as a hitting attack that may launch the adversary and allow him to super delete, while Zangief ’ s twit may just be used to buffer his superintendent remark. Earlier versions of Capcom vs. SNK 2 featured the wheel cancelling bug, which players could exploit to cancel the inauguration of their roll into a twit. This changes the “ roll ” animation into that of the tease but tricks the game ’ mho locomotive into maintaining the indomitability frames of the roll, making the character ’ second tease invincible. Players could besides use this tactic to counter and/or punish certain attacks up close that would otherwise connect ( such as a DP or a super ). This option was patched out in later releases of the game, but may have been the divine guidance for the “ spot dodges ” implemented in Super Smash Bros. Melee and onwards. Most of the characters in Street Fighter IV could besides perform a “ kara tease, ” which allowed them to plink their Focus Attack into a tease, a method utilized for nullifying the strike effect of fireballs ( alike to armor ) with the Focus Attack ’ s indomitability and turning their inflict wrong into recoverable health. The Guilty Gear series typically features two unlike forms of twit : a standard Taunt in which the character mocks their adversary ( slenderly boosting the adversary ’ s Tension gauge ), and a Respect, in which the character alternatively compliments the opponent— the gameplay difference is that deference can be cancelled at any time into any attack ( or Yellow/Purple Roman Cancel depending on the crippled ), which can allow certain mind games to be played if the adversary does n’t recognize it ( whereas Taunt stops the character from attacking until halfway through the animation ). In Guilty Gear XX Accent Core +R, Kliff Undersn possesses a tease that works as a rocket. This plot, american samoa well as the play along Guilty Gear Xrd, besides allowed players to taunt at the end of a winning circle to grant their opposition 50 % Tension gauge at the beginning of the future round of golf ( much like a aureate burst but applied to one ’ s opposition alternatively ) ; this could be seen as a form of mercifulness from a winning adversary, or could be done by a daring player to just challenge the adversary by handicapping themselves. recently in Guilty Gear Strive, the tease mechanic has been changed so that Taunts can not be cancelled by attacks at all ( besides RC ) until the animation is basically complete, while Respects now can be cancelled about halfway through. Players still have always been able to cancel any normal or Gatling chain into a tease ( in addition to being able to Roman Cancel taunts at any time— however, thanks to late major changes in the RC system as of Strive, players can now use this tactic to cancel a normal or string into a twit and then promptly RC their tease mid-combo. This technique causes players to intentionally get a Purple RC alternatively of the launch Red RC, reducing their damage scale a well as granting electric potential new jazz band routes or setups. In Tekken Tag Tournament, the previously introduced character Bryan Fury possesses a tease that deals a little sum of wrong & is unblockable, which he can then follow up with his launcher to start a jazz band ; this is popularly known as the Taunt Jet Upper jazz band ( TJU ), and has since become one of his staple strategies ( notably popularized circa Tekken 4 ). Most of his more annihilative jazz band from Tekken 5 onwards besides begin from a tease. thor is given the “ Mighty Speech ” ability in former Marvel vs. Capcom games, which if uninterrupted allows Thor to build up his Hyper Combo gauge. In Marvel vs. Capcom 3, this could possibly be used for sealed tactics on okizeme such as faking out a command catch, while in Marvel vs. Capcom Infinite this twit may be seen used more frequently in tagging and/or assist situations. Mighty Speech can besides “ lock ” the sieve ’ sulfur television camera in plaza if there are two active characters on the screen door ( particularly if Thor activates the tease from the far end of the screen ), until one of the characters goes into their idle animation— this can be used to force the opponent into a improvised “ corner, ” locking them down to establish atmospheric pressure vitamin a well as run for devastating mixups, specially if the musician does a Team Hyper Combo and the steer quality completes their helping of the move before the other character ( mho ). This technique may besides be easier to utilize in Infinite with the Soul Stone Infinity Storm *, which allows both characters to be active agent onscreen simultaneously. In UMVC3, Deadpool ’ sulfur twit besides had a hitbox ( a well as slender hitstun ) and could be cancelled into his Hyper Combo. Taokaka from the BlazBlue series has a jazz band referred to by fans as the “ tauntloop. ” Taokaka ‘s twit animation is a serial of short punches, which the player can use to hit an enemy and concisely stun them, allowing Taokaka to continue into a wax jazz band. Terumi, on the early hand, is able to cancel into his twit mid-combo, and in plow cancel that tease into his Astral Heat, ending his jazz band with an instantaneous kill. belated entries in the Mortal Kombat serial have besides experimented with taunts in unlike ways— in Mortal Kombat: Deadly Alliance, characters were given a special twit or “ stance-specific ” push button that would grant each of the characters ’ stances with a different unique ability ( which varied from character to character ). The most coarse ability given to fighters was a slow tease which served to replenish some of their health. Another twit variant given to some characters was the fast Neijin power-up twit, which would briefly increase the character ’ sulfur damage output. other position abilities could include a “ about-face ” ( which acted as more of a parry than a traditional reversal, allowing the player to counter an opposition ’ mho attack & react with a full jazz band ), an unblockable shove ( used to break the guard of an opponent, as throws in this game could be blocked ), or an evasive backflip. Weapon stances could besides possess different abilities, such as a sidestep swing or an “ Impale ” ( which would cause damage over prison term to the adversary for the rest of the round while sacrificing the actor ’ s weapon for the rest of the match ). Shao Kahn has always had a “ Ridicule ” tease in his klassic Mortal Kombat appearances where he taunts the opposition with insults like “ You suck ! ”, deoxyadenosine monophosphate well as having a laugh twit. As of recently in Mortal Kombat 11, these taunts now act as damage debuffs & buffs ( respectively ), with Ridicule decreasing the opposition ’ sulfur damage end product & Humiliate ( laugh ) increasing the damage an opposition takes. Shao Kahn besides has a Krushing Blow that triggers entirely if the corresponding string is done while the opposition is debuffed by one of these taunts. about every character ’ s hidden tease in Skullgirls — performed with a complex stimulation and/or release sequence that is singular to each character— has some sort of functionality which can provide a singular character trait to most of the roll. Some characters ’ taunts may hit the opposition once for minimal damage ( e.g. Filia & Painwheel ), while others may replenish health with varying stipulations ( e.g. Ms. Fortune, Valentine, Eliza ) ; Double ’ mho tease can besides replenish some her Blockbuster meter, while Fukua ’ second tease grants her adversary slender meter in substitution for replenishing 30 % of her health lost due to shadows. other characters have taunts that grant more specialize properties ( sometimes even adding extra attacks ) — for exercise, in addition to Eliza ’ randomness twit buffing her “ lady of Slaughter ” ability to replenish health, it besides causes all rake generated by her Sekhmet assist to be transferred to Eliza, boosting her powers. Robo Fortune ’ second twit doubles the sum of missiles fired in her Headrone Salvo particular, while big Band ’ second tease adds the “ TUBA TUBA ” follow-up to his “ Super-Sonic Jazz ” Lvl. 1 Blockbuster knocking back the opponent ( deoxyadenosine monophosphate well as adding the “ Death Toll ” follow-up to his “ Tympany Drive ” lvl. 1, which launches them ). Squigly gains access to an extra brawny Lvl. 5 Blockbuster ( “ Shun Goku Saltsu ” ) entirely after a successful twit & american samoa farseeing as she has a Dragon ’ s Breath and a Serpent ’ s Tail each charged up. Peacock ’ sulfur tease alters her following amply charged item drop curtain to become a Tenrai Ha anvil devolve ( similar to one of Hsien-Ko ’ mho signature super abilities ). Annie ’ second twit acts as a hedge that can counter most attacks except for lows, projectiles, and throws ; she takes more damage the oklahoman she is hit by one of these moves, and being thrown depletes 2 bars of her Blockbuster meter. last, Beowulf ’ south tease will mechanically grant him all 3 levels of “ Hype, ” a alone augment that allows him to EX sealed moves in his Grab Stance & enhance their properties ( i.e. adding a hard knockdown to EX Canis Major, allowing EX Grendel Killa to be followed up with normals, buffing EX Geatish Trepak to knock back the opponent and/or cause a double snap in the corner, etc. ), occasionally sacrificing flimsy damage for these augments. This aforementioned concept of “ Hype ” is besides similarly applied to Raphael in Injustice 2 ; his “ Get Hype ” particular causes him to taunt & builds up his “ sai count ” meter ( up to 10 levels ), which enables his trait button ( or “ character power ” ) to trigger an autocombo that lasts longer with more hits & does more price ( depending on how many levels have been buiit up ). Beyond level 3, Raphael can EX this jazz band center through to juggle the opposition for a full moon jazz band. The DBZ Budokai series uses taunts in a like fashion to the aforementioned Art Of Fighting organization, as a successful tease deducts one stock of Ki Gauge from the opposition. In the Strikers era, it is used to replenish one stock of the player ‘s Striker bar. Luigi of the Super Smash Bros. serial, another character with a useable tease, has a ground-kick animation which can ( under extremely rare circumstances ) deal a point of wrong and a minute come of knockback to an oncoming enemy, but it can not KO an foe evening at 999 %. Snake, introduced in Super Smash Bros. Brawl, has a available tease that can KO. similarly, Luigi ‘s tease in SSBB onwards can be used to ‘Meteor Smash ‘ an opposition straight down if done veracious future to the border of a stage. In JoJo’s Bizarre Adventure: All Star Battle, every character can taunt an opposition while they are down and cause them to lose some of their extremely meter in substitute for allowing them to wakeup instantaneously. however, once per match, taunting can be used to force an opponent to wakeup into an active attack or projectile in an obscure-yet-advanced model of oki. Naruto: Ultimate Ninja besides gives some characters the ability to restore small amounts of health by completing a tease. Of the few characters with taunts in Fighting EX Layer, lone Skullomania ’ s “ Skullo Shock ” and Shadowgeist ’ s “ Death Shock ” can be cancelled into an attack manually after 1.5 seconds .

Teching [edit ]

The term tech normally refers to “ throw teching “ ( besides normally called Throw Escape or Throw Break ) which is when a actor counters and prevents the adversary ‘s throw attack, normally by inputting their own throw. Although the end result of a confuse technical school can vary by game, both characters typicaly reel back a short distance from the broken hurl attempt, and end up out of image of each early ‘s normal throws resetting the neutral. [ The condition “ technical school ” can besides refer to cursorily recovering from a knockdown attack. ] This term was inaugural introduced following late versions of Street Fighter II, where it is besides called “ Softening ” – this is slightly unlike from Throw Teching as it is conventionally known in more holocene games. With Softening, the damage from being thrown is reduced alternatively of contradict entirely, and while they placid end up getting hurl after successfully Softening, the character receiving the throw lands on their feet alternatively of in a knockdown state of matter. Most games will only allow players to tech a normal throw, with the exception of the Tekken serial which besides allows players to tech command throws with the adjust input ( south ). Mortal Kombat 11 places importance on by rights reading/teching forward & back throws via its new Krushing Blow automobile mechanic ; either one or both of certain characters ’ throws will have a Krushing Blow that is triggered if the adversary incorrectly techs the former throw .

teleport [edit ]

A teleport is an evasive or defensive technique that allows the player to warp to another sphere on the screen, typically on the early side of the opponent. Teleports are often fixed to one localization but occasionally can be directable ( having options such as appearing directly in front of the adversary, retreating backwards at fullscreen distance, appearing in the air, or flush faking out by teleporting in home ). Most teleports are merely a mobility tool with no unsavory properties, but some teleports may have an offensive approach attached to them either as a built-in assail or a follow-up command to be performed after the teleport is executed, varying by character or sometimes even by game— for example, whereas teleport attacks are normally special moves in most cases, the ”Vanish” mechanic implemented in Dragon Ball FighterZ ( performed by pressing medium+heavy ) grants players a universal teleport attack for the monetary value of 1 superintendent stock, which can either be used to extend jazz band by granting a wall bounce or to end jazz band and/or “ rounds ” ( eliminating a unmarried quality ), potentially triggering a phase passage .

Throw [edit ]

Throws ( sometimes called grabs ) are block -defeating moves that normally involve pressing an assail button and occasionally a steering at highly close scope. A predefined animation typically plays that ends up with the adversary taking a reasonable sum of damage. This can be used to punish turtlers or add to confusion. It is possible, in some games, to either minimize or negate a throw, normally done by throwing back ampere soon as one is thrown ; this referred to as teching. Tick Throw : Tick hurl is a proficiency that involves inputting a throw at the end of the opponent ‘s block sandbag to give them a very little gap of time in which to counteract the actual throw. Tick throw is frequently used during okizeme, where an opponent will much have to rise in a defend stead, though it can besides be used after a block jump-in. The attacker can stick out a safe on block attack while the opponent is rising, which will probably be blocked, then follow with more condom on stuff attacks which must be blocked if the beginning one is blocked, then throw the opponent again when they become throwable. Named for the ticking fathom that accompanied repeated jabs/shorts in Street Fighter II. Command Throws can be peculiarly effective for click throw, because they much have multiple active frames, and can thus be input before the opponent ‘s freeze stun ends, and should the opposition become throwable during any of them, they will be thrown. If outside the opposition ‘s throw range, the adversary ca n’t counter throw, and can merely escape with a about-face attack, which much requires 1 frame preciseness. While originally considered cheap by many, they are a staple in the arsenal of wrestler characters when the game allows them. Command Throw : Command grabs are defined as throws which are not the universal/standard hurl input— they are command moves that require motion input signal and/or button sequence to achieve ( basically a special act that acts as a shed ), and they are normally unique to the character. These throws typically do not come out angstrom debauched as normal throws or are harder to perform ( such as requiring a 360 motion or even a pretzel stimulation ), but normally either give higher damage or the hypothesis for a follow-up jazz band. To solve this problem, The King Of Fighters was the first game to introduce simpleton motions for throws and limited throws, normally Hcf and/or Hcb — some command throws that had extra properties ( such as Iori ‘s Kuzu Kaze, which leaves the opponent open to any attack after switching sides with him ) may have an add management like “ Fwd then Hcf, ” “ Hcb then forward, ” or viceversa, simplifying the stimulation required and making them far more practical in real matches. Super versions of these moves are much the same motions doubly, or sometimes completely different ones. Command throws are generally unable to be teched if they connect ; they are besides effectively used to tick throw the opponent. 3D fighting games normally include a multitude of command throws for diverse characters, which are escapable ( unlike 2D fighters ), but the complexity of the compulsory technical school control may differ from character to character, or even game to game— in the Virtua Fighter series, for exercise, throw escapes are slenderly rarer, whereas in the Tekken series it ‘s much possible for a musician to mash their direction out of certain throws .

Throw Loop [edit ]

A “ shed loop ” refers to the phenomenon by which a player ’ south throw leaves their opponent right near them & therefore forces them to guess the following move on wakeup, which could be another project. This terminus normally comes into play when discussing the concepts of oki and vortexes .

grade [edit ]

See : libra A proportional standard of a selectable character ‘s implicit in ( or sometimes through engine bugs, circumstantial ) attributes and their performance within a hierarchy of characters across a crippled ’ second roll ; broadly this refers to high-level rival play found in organized tournaments. Tiers can be defined by players in the FGC as a room of shaping or outlining the general residential district percept of the game ’ sulfur meta. For exercise, top tier characters are those whose attributes are seen as the greatest and/or hard ( sometimes seen as “ busted ” ), and are the characters most frequently used in tournaments. On the other hand, low tier characters are those whose attributes are seen as the weakest or, and therefore take the most sum of feat to be used by rights to be able to win— such characters may not even be considered viable in tournament maneuver at all. A plot is considered to have good balance when the differences between tiers are little. A common tier list typically categorizes tiers into letters S, A, B, C, or tied D, with “ S ” representing the highest tier. Some categories are amended to be “ plus ” or “ subtraction ” as a way of about “ calibrate ” one ’ south grade list ( i.e. “ S- “ or “ A+ ” ). Tier lists, while sometimes bearing solid quality placements among the cosmopolitan playerbase, are by and large regarded as immanent across all players of varying opinions & skill levels .

Tiger Knee ( TK ) [edit ]

Certain aerial moves in some games can be Tiger Knee’d ( normally abbreviated as TK ). in the first place what was a bug of sorts now seems to be an intentional accession to most mod games. Tiger-Kneeing allows air moves to be performed either on the grind or extremely close to it ; This is done, normally, by performing the ask fire motion and cursorily pressing up angstrom well as the necessary button, causing the motion to go off equally soon as the character leaves the ground. For example, Cable ‘s Air Hyper Viper Beam ( AHVB ) in Marvel vs. Capcom 2 can utilize a Tiger Knee gesture so the hyper hits instantaneously. The term comes from Sagat of the Street Fighter series, whose touch Tiger Knee required a Down+Back to Up movement. See also : Instant Air

Time Killer [edit ]

A musician who intentionally runs down the clock for the whole round the consequence a lifebar advantage is gained. No single proficiency is employed to play keepaway, but turtling and zoning are the two most common [ and easy ] ways to do this .

prison term Over [edit ]

typically, players have about a hour to 99 seconds to try and knock each early out. If the prison term runs out before one player KOs the other, the player who has done the most overall price wins the turn. In the rare event that both fighters have the exact like total of health at Time Over, the couple is normally declared a draw. In The King of Fighters XI, when a time out happen, winner is no long determined by come of Life Gauge left, and rather, a estimate system determines which party is desirable of the victory, who normally is the one doing more hits and jazz band. This however, is abused by the game to worsen the SNK Boss Syndrome, in that even when the bosses do minimal damage, they are immediately favored by the estimate system by leaps and bounds, thus unlike the previous The King of Fighters games, beating a party boss via Time Out in this crippled is practically impossible .

touch of Death [edit ]

A Touch of Death describes a barely few examples in fighting games where a especial jazz band or jazz band, when performed correctly, will KO the adversary from a wide life bar with no opportunity to escape ; a jazz band that deals at least 100 % of the opposition ‘s health in wrong, or at least 50 % and dizzy if the person was not already dizzy when the inaugural hit landed. The ability to execute such a feat may be an unintended glitch/oversight and possibly even an example of a bankrupt fictional character and/or hapless game blueprint, but it can besides be an intentional sport that requires a consummate floor of skill, a clayey sum of resources, and some risk to successfully perform. While infinite combos may besides be loosely considered “ touches of death, ” true ToD jazz band necessitate complex execution and steps that typically can not be considered repetitive or cheap, having no exact repeating pattern to them. Examples of games that have Touches of Death include Marvel vs. Capcom: Infinite and Dragon Ball FighterZ. See also : infinite

Tracking [edit ]

See also : homing Tracking describes a move that automatically seeks the opponent ’ randomness location & aims the attack there, or “ tracks ” to the opponent, as opposed to being directable. democratic examples of tracking moves may include full-screen [ vertical or floor-based ] projectile-type attacks ( sometimes antenna moves, such as Kan-Ra ’ s shadow Swarm in Killer Instinct, or more frequently certain teleport attacks which tend to autocorrect so that the musician is facing the proper way after teleporting to the corresponding side ( most infamously Sheeva ’ s or Quan-Chi ’ sulfur “ tele-stomp ” moves and Noob Saibot ’ s “ tele-slam ” in late Mortal Kombat titles ) — although most teleports tend to track the opposition careless of being followed up by an assail ( i.e. Testament ’ s “ Lucht Warrant ” in Guilty Gear XX Accent Core +R ). many supers in sealed games besides tend to track & are able to reach the opposition ’ sulfur location on the stage in a topic of mere seconds. In 3D fighters, some normals may be specifically designed to track sidestepping opponents, such as the home attacks found in the Tekken series. In addition to Dead Or Alive having many attacks like roundhouse kicks that bear this same property, most grabs besides track sidesteps ; DOA grants an automatic pistol antagonistic if a sidestep is hit by a track move .

Trade [edit ]

A trade occurs when two fighters trade hits with each early, both connecting their attacks at the lapp clock and potentially interrupt each other ‘s full fire animations ( if not one approach successfully interrupting the other ). This can be due to pure coincidence or it may be sought after because it is advantageous to the player in doubt. good trades and bad trades are determined by who receives more damage as consequence of the trade .

trait [edit ]

See : singular A unique character skill or property that is not necessarily tied to that character ’ s standard specials — character traits may typically be assigned to a dedicated attack/special button separate from the normal lighter, medium, & big attack buttons ( although some characters may be automatically designed with alone properties not shared by others ). In games like Injustice, these traits are attached to their own freestanding, unique meter/gauge system that vary from character to character in both their effects and their stipulations ( i.e. requiring a charge, a cooldown time period, and so forth ). other games like Granblue Fantasy Versus do not tie character Uniques to any cost, allowing them to performed freely for the most function. Street Fighter V gives every character one of two traits that can be performed at virtually any luff in a equal by pressing “ culture medium punch + medium kick * ” in concert, called a V-Skill, which is tied to the plot ’ s “ V-System ” comeback machinist & can be used to gradually build up the player ’ mho “ V-Gauge. ” This can finally grant players access to one of their two V-Trigger, which ( at cost of all their V-Gauge ) grants them a more mighty character-unique ability that varies distinctly across the roll. In comparison, Under Night In-Birth causes the unique Force Functions ( which are besides performed by Medium+Heavy or B+C * ) to expend one helping of the secondary “ GRD ” gauge at the bottomland middle of the screen ( independent of ace meter or “ EXS ” ), although the moves can still be done without any GRD .

trap [edit ]

An object or detail that has a loiter hitbox & is placed in a certain blot on the screen. Traps may often be thought of as having properties like to projectiles but are typically stationary, although they can sometimes be directable and placed in varying locations. The trap will stay planted in this spot until either the opponent walks into it or after a set duration of clock. Activating these traps can have varying effects which may even supercede that of normal projectiles, such as granting a launch or placing the opposition in a sandbag state. Characters that specialize in placing traps and/or other frame-up tools to control the quad of the stage and stipulate the opponent ’ s motion fall under the trap character original, which itself may be seen as a subcategory of the zoner original ( i.e. “ trap zoner ” ) — this original may sometimes be used interchangeably with “ Setup ” or “ Setplay ” character, although there can be a little distinction between the two as Setplay characters may not be able to place their setup tools on-screen for an run period of time & stipulate their adversary to finally walk into them, opting alternatively to frametrap their opponent with their projectile-type setups in sealed situations such as during/after a knockdown. The most outstanding exercise of a trap character is testament from the earlier Guilty Gear installments, who has multiple traps he can place near him that are invisible until activated by the adversary, forcing players to memorize where these traps have been placed & traverse the degree with extreme point caution. While his launching “ HITOMI ( corner ) ” trap may disappear when Testament is hit by the opponent— albeit the trap can placid connect within 16 frames of being hit— his “ Zeinest ( net/web ) ” trap, which captures the opponent in a stun state & can besides be placed in the air, does not disappear when he is hit. Naoto Shirogane from Persona 4 Arena is another example of a character who can utilize traps as a all-important separate of her gameplan— she can set her “ Hair-Trigger Megido ” either in the air beside her or on the background ( which is very useful in corner jazz band ), and upon activation these traps lower the adversary ’ s Fate Counter— a singular bore of hers represented by a counter of 13 skulls beneath the opponent ’ mho lifebar ( which allows certain supers of hers to instantaneously kill the opponent when it reaches 0, regardless of their remaining health ) — by 3 skulls each clock it connects. Her universal Instant Kill super besides sets target traps that are unblockable. In rare cases, some trap characters may use the traps they have placed as a intend of augmenting their own mobility or offense— the best exemplar of this is the Killer Instinct newcomer Kan-Ra, who has specific instruction normals and specials that mechanically place his “ Sand Trap ” on the flat coat, which remains in place until activated. Performing a certain natural process or move while a Sand Trap is placed down, or while standing above one, will augment that moves properties ( i.e. gaining fresh attacks such as anti-airs and recaptures that spawn from these traps, vitamin a well as being able to “ Sand Dash ” or “ Sand Jump ” while standing on a trap ). Although Geras from Mortal Kombat 11 is not considered a trap character by any means, he does have like sand-based moves that can be used offensively to control distance and assist his mobility ( or limit that of his adversary ), such as a directable “ Quick Sand ” attack that hits moo and has a follow-up attack that automatically shifts him to the opponent ’ sulfur placement on the early side, angstrom well as a “ Shifting Sands ” ability that works more similarly to a “ traditional ” ambush by inhibiting the opposition ’ randomness motion when they step into it ( making them walk or jump in space for the most part ). Byakuya of Under Night In-Birth can besides utilize his traps for mobility/offense purposes ; immediately after placing one of his web traps ( which are directable depending on the release strength used in the input & remain onscreen indefinitely until touched by the adversary or destroyed with B or C persuasiveness moves ), Byakuya can press any approach button to perform a command air-dash and emerge from the trap ( the distance traveled depending on the strength/version of the trap used ). This choice can besides be followed up with an automatic attack by pressing an attack button, all of which have different properties/results. In accession to this, Byakuya can special cancel into one his ambush from his rekka at any stage before the final input ( “ Or … Shredded ? ” ). He besides has a teleport move that has a dull startup but acts as an unblockable, sending him forward & either mechanically ensnaring the opposition on hit or setting a ground trap behind him on whiff — this act is coupled with a feint version that begins with the like animation but rather has Byakuya stand in place taunting the opponent & distillery placing a web trap. Another piano Circle French Bread game, the Melty Blood series, equips one of the maids Hisui with a bento entangle trap that can be stacked and improves her okizeme, exploding on contact. early celebrated examples of ambush characters may include Rocket Raccoon or Trish from the Marvel vs. Capcom series, Cagliostro (Granblue Fantasy Versus), Oleander ( Them’s Fightin’ Herds ), the “ Hunter ” Predator or “ Master of Storms ” Raiden variations ( Mortal Kombat X ), and versatile Super Smash Bros. Ultimate characters ( e.g. Duck Hunt, Pac-Man & Steve ) who can use their projectile & setup tools to ledge trap the opponent & prevent them from recovering binding onto the phase. Some players may besides loosely label other setup -oriented characters as “ trap ” characters in games that largely lack true traps, based on the unique utilities of their frame-up tools that can oppressively lock down the opponent and restraint space, such as Rachel Alucard of BlazBlue, Captain Cold of Injustice 2, or characters in recent Mortal Kombat entries like Cyrax or Rambo ( whose “ Claymore ” mine and “ Mace Trap ” swinging log closely resemble Rocket Raccoon ’ s moveset ). Likewise, however, there may besides exist characters who possess trap moves that are not necessarily “ trap characters, ” as their gameplan is not designed to revolve primarily around their trap abilities, such as Venom ( Marvel vs. Capcom Infinite ) or Erron Black ( Mortal Kombat 11) .

Trip Guard [edit ]

Trip guard describes the ability to block gloomy after landing from a jump. It is, at times, mistakenly used interchangeably as a condition for exploiting the miss of trip guard, which lends itself to confusion. The term gets its name from a common proficiency in Street Fighter II where a player would catch a jumping adversary with a sweep as an anti-air, hence the “ trip ”. It is particularly common among the shotos, as knocking the adversary down puts them in an excellent position to lay a fireball on top of them as okizeme .

Turtling [edit ]

The act of staying in a defensive position or guarding for most or all of the match, only attacking when the opposition whiffs, or with a reversal move. normally done when far ahead in the match and running low on time, to avoid unnecessary risk ( see time killer ) .

Unblockables [edit ]

An unblockable is an approach that can not be normally defended against through blocking. such attacks will ignore the fact that the fighter is blocking, frankincense penetrating their guard and consequently ending up with the champion taking price careless. These are more normally seen in the Tekken and Soulcalibur series, where they tend to do a great deal of damage but typically have a identical behind inauguration & are possible to sidestep. Although throws are broadly classified as their own category of move & therefore are referred to individually from dedicated “ unblockable ” attacks, throws can besides be considered unblockables since they inherently open up a defend opposition by design. This can besides refer to unblockable setups, where a musician simultaneously hits the opposition with two different attacks that need to be blocked differently. For case, if a character fires a check projectile that hits high or flush overhead, then does a low attack at the like time the rocket hits the opponent, one of the two hits is guaranteed to succeed if the opponent attempts to block .

unique [edit ]

A unique attack ( or a “ fictional character alone ” ) can refer to one of two things :

  1. A directional command normal, also simply called a directional
  2. A character trait or simply trait, which acts similarly to a “Special (S)” button but may rather stand alone from normal specials

Universal Overhead Hit ( UOH ) [edit ]

Refers to a mechanic in certain games that grants every a quality an overhead which must be blocked standing. Universal overhead mechanics may have began with the first gear two Killer Instinct titles, branded as a “ Top Attack ” & universally performed by pressing “ back+ Fierce Punch ” ( or “ B+3 ” ). The term “ UOH, ” however, initially referred to standard command processing overhead time attacks that originated from Street Fighter III: New Generation. Executed by pressing down + down + any assail and done in 3rd Strike by pressing medium punch and medium kick *, the character hops to execute a dense attack that can not be blocked low. This is besides known as a “ Leap Attack. ” Granblue Fantasy Versus besides incorporates UOH ’ s like to these “ Leap Attacks, ” which players can execute by pressing Medium+Heavy * attacks simultaneously. These moves are besides invincible to throws. Some fighting games may incorporate this kind of machinist with like push button commands, but by way of a more anchor attack as opposed to a “ jump ” attack. Fighting EX Layer, for exercise, has “ Hard Attacks ” ( MP+MK * ) which serve as a default option viewgraph for all characters. This move may not be as easily telegraphed since it is still a ground motion with no “ leaping ” animation, but it still has a well slower inauguration than most other normals & can therefore still be reacted to by more cook players. Guilty Gear is celebrated for utilizing the concept of universal overheads, albeit more straightforwardly— in addition to the four independent attack buttons ( Punch, Kick, Slash & Heavy Slash ) there is a fifth fire button called Dust. The “ Dust ” Button simultaneously operates as both the crippled ’ sulfur universal overhead ( which launches if held ) & the universal joint cross ( if pressed while crouching ) — recently in Guilty Gear Strive it was besides changed to be the modern throw button when pressing forward+D. Dragon Ball FighterZ besides implements a universal operating expense by giving all characters the elementary instruction normal of 6M, which shows them leaping into the tune slenderly ( à lanthanum 3rd Strike or GBFVS ) & performing a two-handed command processing overhead time mint. NRS games have besides experimented with their own cosmopolitan overhead mechanics of both kinds ( command normals and “ jump attacks ” ) ; the Injustice series, along with having universal wall-bounce launchers in the form of a “ Bounce attack ( B3 ), ” besides has a universal overhead catapult ( F3 ). These can besides be cancelled into out of strings for the monetary value of 2 bars of extremely meter. In Mortal Kombat 11, pressing an attack button while performing a short hop will result in a universal joint overhead hit mention to as a “ Hop Attack. ” While these overheads are still considered “ cosmopolitan ” in the sense that every quality has access to them, these attacks can be different for every character in terms of things like rush or frame advantage. besides in the case of MK11, each combatant has 2 distinct Hop Attacks ( tap Up+1/2 & wiretap Up+3/4, or more merely Hop+Punch & Hop+Kick ] .

victory Symbols [edit ]

The icon that appears adjacent to the round timekeeper or otherwise near the character lifebars, signifying a round victory. Distinct victory symbols are normally seen in Capcom games, where each symbol represents a different type of victory. They include :

Vortex [edit ]

A confusion position where one player is continually able to force their adversary to make an unfavorable guess out of a jazz band or frame-up, resulting in the adversary getting caught in the same setup all over again. Usually performed after a reset/restand or a hard knockdown and the opponent is forced to guess where to block on their wakeup ( i.e. Mid/Low, Left/Right, Low/Overhead, and so forth ). originally applied to Marvel vs. Capcom 2 actor Michael “ Yipes ” Mendoza who used it with his Magneto/Psylocke team, but was former popularized in Street Fighter IV by Arturo “ Sabin ” Sanchez, describing a situation wherein characters such as Akuma, Cammy, and Ibuki could do it after a heavily knockdown ( such as Akuma ’ s Demon Sweep ). The condition besides became popular in Mortal Kombat X stemming from the game ’ s abundance of low/overhead 50/50 ’ second & restand options. The key moves of a whirl are typically unreactable ( either excessively fast to react to, or have no ocular cues ), forcing the adversary to guess or read which defensive reception to use ; selecting the improper response results in wrong, and importantly for the definition, loops back to the starting position again ( such as the adversary being in hard knockdown ), looping until the opposition finally guesses correctly to “ escape the whirlpool ”. The term is sometimes debated as being “ esoteric, ” as even though the mind of “ a mixup that loops into itself ” is a ceaseless, the characteristics that constitute how the mixups are achieved count on how each individual game works mechanically .

Wakeup [edit ]

Wakeup – The frames during which a character is considered to be standing back up from a knockdown. In 2D games, the character waking up is generally invincible until fully recovered from the knockdown, and can frequently transition from the survive human body of wakeup to a special, a superintendent or a throw ( as opposed to in 3D games, or some 2D fighters, that employ an OTG arrangement where grounded or rising characters may hush be vulnerable to certain attacks. To expand on this, the wakeup game describes the ability for a player to choose how they get up ( or frequently in the case of 3D games, whether to do then at all ). Options open to the actor may include waking up with a reversal special move or designated wakeup/getup attack, rolling towards or away from the opponent, delaying the wakeup to stand up slower or doing a immediate ukemi to recover faster, plainly blocking the incoming attacks, or ( in many 3D games ) staying on the floor. Because 3D fighters however allow a player waking up to be attacked, these wakeup mindgames are considered critical to offset that vulnerability, as a actor who is waking up can bait and punish an opposition who thinks they can inflict supernumerary damage while the player is downed .

Wall Bounce [edit ]

See also : Bounce Back ( eminence ) A feature in several fighting games where certain attacks may cause the opposition to bounce back off of the wall or corner, either initially launching the opposition or far juggling them during an active jazz band, and allowing the attacking actor to continue their jazz band. These attacks frequently may only be allowed to be performed once per jazz band ( possibly as a way to avoid infinites ). This concept may have originated from the “ wire ” attacks that were finally introduced into the King of Fighters series ( equally early as The King of Fighters 2001 ), wherein some attacks can hit a fighter hard enough to knock them back straight onto the wall and get bounced, left very vulnerable to follow-up attacks and jazz band. This is called wiring. Most electrify attacks are normally counter-wires, in that if the attack hits an enemy as a counter-attack, wire effect will occur ( differently, the adversary will merely be thrown far away ). Some KoF installments may feature moves that mechanically wire the opponent on hit normally ( besides known as a critical wire ). Wall bounces may be triggered by certain attacks when close to the corner, such as Sol Badguy ’ s “ forward+Punch ” ( or 6P * ) in recent Guilty Gear games ( i.e. Xrd & early versions of Strive ). other titles such as the Injustice series may feature universal mechanics that bounce the opposition back ( sometimes from anywhere on the screen ), such as the “ Bounce Attack ” performed with “ back+heavy ” by all characters— Dragon Ball FighterZ besides features respective universal moves that grant a knockback which produces this effect, such as a standing Heavy attack, a Light attack autocombo ( 7 hits ), and the “ Vanish ” teleport machinist. Tekken 7 was recently updated with new “ Wall Bound ” moves provided across the stallion roll ; many existing character moves marked with this property can now bounce an opponent off of the wall if the players are close enough to the edge of the stage .

Wall Break [edit ]

A term for a type of “ Stage Transition “ in which a player hits or launches the opponent outdoor of the predetermine degree into a new area by breaking through a wall or invisible barrier. This is normally done via attacking a corner opponent, the damage they take corresponding to how damaged the wall gets. Some examples of games with rampart breaks include :

  • Guilty Gear Strive
  • Tekken 7 (Mishima Dojo)
  • Super Smash Bros. Ultimate (King of Fighters and Mishima Dojo Stages)

Wall Jump/Run/Cling [edit ]

Refers to a type of ability in some games that allows characters to interact with the wall/corner, normally by jumping/running up/off it ( or sometimes clinging to the wall ) ; this can be used as an an offensive aerial tool to help land certain jump-in or crossup attacks, start/extend combos, and/or occasionly grant characters modern follow-up abilities exclusive to this wall motion, american samoa well as used for mobility purposes ( i.e. evading the corner ). Wall-based abilities are largely character alone, but on occasions may be available universally across the cast ( such as the “ Wall Jump ” attack introduced in Tekken 4 ahead, or versatile stage interactables in late Mortal Kombat & Injustice games that allow players to run up the wall and leap out out of the corner ). Chun-Li was one of the first characters to be given a wall jump ability ( “ 三角飛び, Sankaku Tobi ” ; fall. “ triangle jump ” ) originating in Street Fighter II ; many other characters ( e.g. Vega, Guy, El Fuerte, Rashid, etc. ) have since been designed with this option by tapping “ up+forward ” or a like input ampere soon as they have jumped near the wall. This can typically be transitioned into any nonpayment aerial normal or especial. several other characters from Capcom series have been designed with this ability like Felicia in some Darkstalkers games, deoxyadenosine monophosphate well as many other characters throughout the Marvel vs. Capcom serial ( i.e. Strider Hiryu, Mega Man, Wolverine, Deadpool, Vergil, She-Hulk, Iron Fist, X-23, etc. ), all potentially varying in their distance jumped from the wall equally well as their subsequent benefits. Some characters ’ ability to wall jump may vary between games ; for case, Spiderman possessed this ability throughout every bet on until Marvel vs. Capcom Infinite where this was removed. conversely, Hulk was given a raw “ Avalanche Jump ” ability in Infinite which allowed him to just press “ forward ” when jumping back towards the corner, allowing him to dive horizontally from the wall at a generous distance. many SNK series, such as the Fatal Fury and King Of Fighters games, have besides implemented this same form of triangulum wall-jump with several unlike characters ( besides referred to as “ sankaku tobi ” in these games ) — characters such as Mai Shiranui, Choi Bounge, Ramón, and Kim Dong Hwan ( in Garou ) are just some blue-ribbon examples of characters in these franchises who have been given this ability. respective characters in the Samurai Shodown series have besides been given a triangulum jump, such as Hanzo Hattori, Nakoruru, Basara, Galford, and Earthquake ( who defies the traditional wall-jumper design by having this ability despite his massive size, similar to Hulk in MvC Infinite ). Another example of this type of wall-jump ability in other games is Lancelot ’ s unique “ Delta Leap ” wall chute and walldive moves implemented in Granblue Fantasy Versus. While the traditional “ up-forward ” input causes the player to perform a standard wall jumpstart, pressing “ ahead ” allows the player to dive down diagonally towards the adversary. Unlike the aforesaid examples in certain games such as MvC which allow players to wall-jump from the corner at any point on the stage ( given a transparent wall much like certain games ’ wall bounces ), Lancelot ’ s “ Delta Leap ” is an example of a wall startle that must be performed by the actual wall or corner of the stage. other characters may have moves such as specials or supers that automatically send them flying back towards the wall & allowing them to walldive from there, deoxyadenosine monophosphate well as perform other follow-up attacks. The most popular exemplar of this is Vega ’ s “ Flying Barcelona Drop ” — early moves of this variety may include Rolento ’ s “ Mekong Delta Escape, ” Gen ’ s Crane stance move “ Oga, ” or Adon ’ s “ Jaguar Tooth. ” Vega besides has a unique wall climb ability ( known as “ Cage Climb, ” or “ Bloody Garden ” in SFV ) that serves as a variation of the Flying Barcelona which is lone available on his own key signature stage. By charging down-to-up and pressing all three kick buttons— alternatively, one kick release in SFII or two in SFV — Vega can climb up the caged wall of the stage ’ sulfur background, granting him some indomitability and allowing him entree to his Flying Barcelona follow-ups. This wall-climbing be active may have inspired another particular random variable of wall-based move found lone in certain characters, normally known as the wall cling — while many Marvel vs. Capcom characters only possess the ability to jump off of the wall, some characters besides possess the ability to cling to the wall ( either momentarily or indefinitely ). Characters like Felicia may perform a wall-cling by pressing back while in-air leap out back towards the corner exchangeable to their wall-jump, whereas other characters such as Strider ( and Sonson from Marvel vs. Capcom 2 must perform their rampart cling while grounded with a particular command ; in Infinite, Black Panther can perform his wall cling with either choice and can besides perform the particular dominate at any point in-air. While Felicia, Sonson and Black Panther do not have nonpayment wall jumps, they can performed a built-in wall jump out of their wall-cling state by pressing a certain approach push button ( or plainly letting run of the stick in Felicia ’ s encase ). Although wall clings are similar to wall jumps in that they typically only allow the musician to perform standard aerial/jumping attacks out of them, characters like Strider ( or those from other games such as Dai Shi from Power Rangers: Battle For the Grid and Shanty from Them’s Fightin’ Herds ) may have built-in moves that can be performed in this wall-cling state, such as the ability to climb or run up & down the wall, attacks that keep the player cling to the wall, dive attacks off the rampart towards the adversary, or the ability to leap and cling all the way over to the antonym rampart. Another character democratic for interacting with the wall is Chipp Zanuff from the Guilty Gear series. Chipp was given a wall cling/dive ability in XX Accent Core +R by pressing towards-then-away from the wall, that allowed him to cancel into and out of all his alternate normals, granting him certain forward pass mixups ; however this ability was changed in Xrd to be a wall cling stance similar to Strider Hiryu ( another boyfriend pyxie character ). In accession to spare movement up/down/off the wall, Chipp gained access to modified “ wall/aerial ” versions of blue-ribbon preexistent special moves ( i.e. Alpha Blade, kunai, and grounded or aeriform command grab ). This has again been changed in Strive to be a raw wall run, which can be performed by holding forward when dashing towards the wall ( or after performing certain moves like Alpha Blade in the corner ) ; while running up the rampart Chipp has access to all of his neutral attack buttons arsenic well as his forward-Heavy Slash. This allows Chipp to execute extensive “ wallrun ” jazz band that do not wall fault and thus sacrifice his corner atmospheric pressure, vitamin a well as granting him “ wallrun cancels ” which can overall improve his okizeme and confusion likely. Certain Super Smash Bros. characters can perform a wall jump off of most solid vertical surfaces by tapping “ up-forward ” off of them in the traditional manner, beginning in Melee and continuing forth ( e.g. Mario, Fox, Samus, Captain Falcon, Falco, Sheik, etc. ), while other choose characters can cling to walls ( i.e. Lucario, Diddy Kong, Sheik, & Squirtle ) .

Wall Splat [edit ]

A feature in some active games where certain attacks ( ideally moves with a great deal of knockback ) may hit the adversary into the wall, typically sending them into a rumple country & allowing the attacker to follow up by either continuing the jazz band or going for okizeme and/or setups. This automobile mechanic is by and large confront in 3D fighters such as the Wall Hit in the Tekken & SoulCalibur serial, but can besides appear in 2D games such as the “ Wall Stick ” mechanic of Guilty Gear ( introduced in Accent Core ) and recently King of Fighters XIV ’ s “ Blow Back ” attacks. The boot of Killer Instinct introduced a new type of jazz band Ender called the “ Wall Splat Ender ” ; moves marked with this property can be used to end a anchor jazz band, bouncing the opposition off the wall slenderly and resetting them in a standing stead. This can be used to enforce a whirl site .

Wavedash [edit ]

Wavedashing is a term used in versatile particular games to describe an promote phase of dashing that is faster and/or covers more outdistance than a character ’ south nonpayment daunt. In 3D fighters, wavedashing is accomplished when a character successfully links one crouch dash into another, named therefore for the bob motion this produces in a player character. The chief notoriety of this proficiency originates from the Mishima kin – Jin, Heihachi and Kazuya – in Tekken, where wavedashing by a skilled player using those characters is one of the more torment tactics to play against. many players may consider the tactic about unbeatable, as wavedashing allows for quickly closing on the opposition, mechanically parrying most low attacks & preparing the character to unleash a signature affect called the Wind Godfist, a high-hitting catapult that deals honest wrong on its own and can lead into respective juggles. This go leaves the player vulnerable to quick attacks afterwards on-block, however there is a faster and much more effective variant that is in turning hard to perform : the Electric Wind Godfist, which pushes the adversary far away on-block and gives the executing player a frame advantage. The Electric Wind Godfist besides has better convalescence on-hit, then much more effective and devastating combos could be done. Both moves are high, so they can be ducked, but the musician has a confusion with mid pokes and sometimes launchers against those who try to do so. They can besides use lows against those who just try to block. The wavedash is interruptible, but mind-games and mix-ups can trick the adversary. All of this compound makes the wavedash a identical rapid mindgame that is difficult to counter. other characters in the Tekken serial have proven to be adequate to of wavedashing, but their mix-ups are normally not equally effective as the Mishimas. Wavedashing besides refers to a form of drift in Capcom ‘s Vs. games, achieved by quickly alternating between pressing two attack buttons and crouch. By cancelling the slower half of the dash, chaining rapid dashes together is possible. however, unlike the Tekken series, wavedashing has no benefit other than increased amphetamine in covering the screen. Mortal Kombat 9 & Mortal Kombat 11 besides utilize wavedashing in certain characters. The bowel movement specifically in these two titles differs from that of most fighting games in that dashes can be cancelled out of with either normals & strings, specials, or obstruct at any compass point. Wavedashing works in these games by cursorily cancelling out of a dash by lightly tapping the block release, & then promptly cancelling into another forward step or smash & repeatedly cancelling that with block. The remark basically looks like “ Forward Forward BLK Forward BLK Forward BLK etc etc. ” This allows players to quickly chain dashes together & promptly cover more distance, similar to the aforesaid Capcom Vs. method acting but with the total benefit of well blocking moves immediately upon stopping their movement. Another form of wavedashing is possible in Nintendo ‘s Super Smash Bros. Melee, in which a character performs a diagonally downward-angled air out contrivance into the ground from the blink of an eye they leave the ground during a leap out, allowing a quick break of drift with 10 frames of time. This is an advanced proficiency that allows any quality performing it to utilize a broad align of attacks in conjuction with quick bowel movement – these attacks would differently be available alone from a neutral or slow-moving state .

Weapons champion [edit ]

A contend game where most or all characters have weapons, wherein there may evening gameplay rules that involve the function of these weapons ( such as how to disarm and rearm weapons ). The first high-profile model of this was the Samurai Shodown series ; smaller games such as Weaponlord besides paved the room for this subcategory of fighting games, being thought of as the inspiration for the SoulCalibur series, which stands as the most popular advanced exercise of a weapons fighter as about all of the fighters are armed with melee weapons ( tonfa, longswords, katana, quarterstaff, katars, etc ).

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puff [edit ]

Describes a move that misses the opposition wholly. This is what the term “ whiff punish ” refers to when a actor punishes a move that the opponent whiffs. sometimes used intentionally to bait an opposition, build extremely meter, or reduce convalescence prison term in decelerate moves by cancelling them into a quick be active that whiffs .

Yomi [edit ]

Yomi ( translates to “ reading “ ; from Japanese よみ ) is a japanese term meaning “ reading the mind of the adversary ”, and is basically an intangible asset required in fighting games. It ‘s the ability to know what one ‘s adversary is going to do, and dissemble appropriately, whether achieved by “ conditioning “ the adversary to act one way, and then acting in another way, or just working one ‘s way into the head of the opposition. This term would be used for the name of the menu game created by early competitive Street Fighter II musician and game interior designer David Sirlin. Sirlin would besides use the term for the automatic pistol counterhit mechanic used to tech throws introduced in his game Fantasy Strike the yomi counter, performed by pressing no buttons and having the stick at a neutral situation .

Zoning [edit ]

Zoning is a cardinal tactic in 2D fighters typically used at mid-range or far-range, the function of which is to control the space of the stage ( basically referred to as space control ) and/or to keep the opposition far away ( basically called keepaway ), by using projectile attacks, long reaching pokes, and/or traps. The idea is to space oneself so that they are in a put to respond to or punish any entrance angle or attack of the opposition ‘s. Ideally, the musician can use certain pokes and attacks to beat the opponent ‘s attacks, punish their advances or jumps, and hopefully shut down their offense options, while landing hits. In attempting to zone, it is important to know the properties of one ‘s own attacks angstrom well as the attacks of the adversary, in order to find the best move to use in countering the opposition ‘s act. The ability to predict the opposition ‘s adjacent move, and having dependable reflexes to react to that move, are besides important. Characters of the zoner original tend to be equipped with numerous crop tools ( i.e. multiple projectiles & long-reaching normals ) to help them competitiveness from a distance, but may come with certain tradeoffs to this such as having difficulty getting in & rushing down the opposition and/or being punishable up close .

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