Make Your Move 11 - It's Over, Duder!

[KingK.Rool]

NEON Noodle!!!

Neon Noodle is... creepy

You can collect this sticker much like any other sticker in Brawl! He will give +10 Stamina to any Duck Twacy villain moveset. (is that how stickers work? beats me)

EAT AT JOE'S​

 

[ForwardArrow]

Jukebox Jaw is elsewhere

 

[KingK.Rool]

WOLF MAN​

Wolf Man is one of the gangster scums Duck Twacy encounters in that fun little cartoon that should by now be entirely familiar to you. Unlike such fascinating characters as Jukebox Jaw and 88 Teeth, he's actually animated! When Duck Twacy spots him, he says "Wolf Man!" in a voice of hushed dread, and then in reply Wolf Man, ever the sharp wit, barks twice and howls, grinning broadly.

In fact, there doesn't seem to be much gangster-ish about this character, other than his fancy get-up. It's almost as if they just scooped a random wolf off the street and dressed him in flamboyant clothes...

STATS​

Wolf Man's stats are entirely unremarkable. He's a touch taller than Luigi, but always half-hunched, his paws dangling before him and a hungry look on his face. He's a moderately fast runner and runs clumsily on two legs, tripping often. His jumps are average, his weight is average, his fall speed is average.

SPECIALS​

|» Neutral Special «| Woodland Hunter
Wolf Man takes out his shotgun, and Elmer Fudd style fires forward with cartoonish recoil. This is moderately fast and the shot has infinite range, the blast emitting almost instantly as though it were a prehistoric laser or something. It deals 6% but heavy hitstun on contact, likely shooting foes on the ground into prone. It's also 100% aimable and in the start-up Wolf Man can even turn around to face the opposite direction and shoot that way.

|» Forward Special «| Woodland Predator
Wolf Man goes wild! and launches into a four-legged dash, a state from which he can exit by simply flicking the control stick in the other direction. In this state he moves about as quickly as Sheik and cannot turn manually - he turns automatically and runs in the other direction if he can go no further, say by getting to the edge of the stage or a wall. Turning is almost instantaneous.

You can use any of Wolf Man's attacks out of this rushdown state without cancelling it (although your NSpec and USpec will essentially end it).

|» Up Special «| Running on Open Air
Wolf Man jumps! Once, twice, three times! On all four legs he bounds about as though he were scaling a forest cliff, rebounding off of open air and going up about a Mario each time (although the horizontal distance he can cross with this jump is much more impressive). The trajectory of each leap is very controllable and also very unpredictable, and a skilled Wolf Man can use the third jump to come down laglessly on solid ground - whereupon one can almost instantly launch into an FSpec dash state, since he's on four legs already when he lands. In addition, any of the three jumps can be cancelled into an aerial or another special.

|» Down Special «| Corralling Sheep
Wolf Man takes out a wooden stake and jabs it through the vampire's heart drives it into the ground before him, looking very pleased with himself and his scheme; this takes about half a second. The stakes acts as a solid obstacle about a Mario tall and will need to be jumped over if you mean to get around it. Wolf Man can set up precisely two of these. When he goes to set up the third, the first will fall over and disappear. Ready to fence off a swath of the stage?

Do note that this attack used out of a dash state will have slightly reduced lag as Wolf Man jams the stake into the ground, then grabs onto it to keep his momentum as he spins around and goes running the other way.

STANDARDS​

|» Jab «|
Slash, slash, roundhouse kick! The two slashes are weak and speedy, each dealing 3%; the third hit sees Wolf Man jumping up like a karate artist and bringing his leg around and across the foe's big fat puss, for 8% and decent knockback. Used out of a dash, he'll be carried quite a ways through the air on the fury of that kick... just make sure you don't go over the fenced-off boundaries!

|» Forward Tilt «|
Wolf Man straightens his back and swipes a paw upward, almost straight up into the air, but he curves his claws just so that the hitbox here knocks the foe up and slightly back. This deals 10% and has moderately long hitstun as the foe goes not-too-far up into the air.

|» Up Tilt «|
Wolf Man's head suddenly swells up as he bares his fangs and swipes overhead, snapping and snarling. This attack is very quick and has solid priority and surprising range - but it's also weak, dealing a mere 4% and miniscule upward knockback that'll probably leave the foe just standing on the ground in its aftermath. Well, at least it covers most of his hurtbox if he uses it out of a dash state.

|» Down Tilt «|
Wolf Man sort of makes a knuckle-dragging movement before him, swiping outward with both paws speedily for minor damage and knockback (let's say 3%). This knocks the foe just a wee bit forward on a very low trajectory, beyond a range that'll allow you to follow up... usually.

|» Dash Attack «|
Wolf Man jumps, his claws held over his head in a boogeyman position, a huge wicked grin on his face! His momentum carries him about a platform forward over the course of this attack; midway through it, he brings those claws down sharply, swiping them beneath him with almost enough vigour to turn himself head over heels. The hitbox here is not too easy to hit with, admittedly, but it deals solid knockback in the other direction on a low (but not too low) trajectory and a healthy 14%. Well, you won't be using your regular dash attack too often anyway, right?

SMASHES​

|» Forward Smash «|
Wolf Man lifts a paw and then brings it swiping down, smashing the foe against the ground with all of the force he can muster. Charging this move will not change its power (15% and knockback that sends the foe not very far forward), but rather how high the hitbox starts - at full charge, Wolf Man will actually hop up a bit before bringing his paw down, letting him pull down foes just going up or coming down from a jump.

|» Up Smash «|
Wolf Man pulls a somersault! Well, since he has no momentum, it's more like an in-place flip. The hitbox is his legs, which he extends sharply midway through the jumps and which knock the foe on a slight downward trajectory that can do significant knockback at higher %s and potentially knock the foe beyond recovery radius if you've corralled them to the side of the stage. Of course, this attack uses out of a dash state has much more significant range and Wolf Man covers rather a lot of ground in his Robin Hood-esque leap.

Charging this move will cause the speed of the somersault to increase, making the hitbox shorter but also sharper and more vigorous, dealing more knockback and maybe 21% instead of 16% as well as cutting down the end lag.

|» Down Smash «|
In one of Wolf Man's few unaggressive attacks, he begins to slaver rabidly, like the wolf in gangster's clothing that he is. The drool that drips from his mouth makes a small but deep puddle that will cause tripping when it's crossed by a foe or Wolf Man... on clumsy two legs. If he's more stable, running on four legs as he would in the wild, he doesn't trip - instead, he slides forward uncontrollably, looking bemused as he tries to skid to a stop. He'll regain control soon enough and still be in his dash state, not to worry... and he can still attack while sliding, although he'll have a more confused expression than otherwise. In fact, in this state, he can even use his NSpec shotgun without cancelling his dash.

All drool dissipates after three to five seconds, depending on charge time.

AERIALS​

|» Neutral Aerial «|
Wolf Man performs an ever-so-graceful twirl in midair, pulling foes for multiple hits of 3% if he had anything in the way of momentum as he moved. A nice quick way to pull foes with you, wherever you may mean to go.

|» Forward Aerial «|
Wolf Man puts one fist into the other palm, then thrusts his elbow through the air before him on a mildly downward trajectory. This has slightly predictable start-up, but deals 13% with downward knockback - not huge enough to KO before high %s, but enough to bring the foe down to earth, no question.

|» Back Aerial «|
Wolf Man pulls the plainest ol' two-legged kick you ever did see, extending both back paws in a fairly large hitbox. This is a quick move that deals 13% with moderate knockback and that you can pull some interesting gimps off with in conjunction with USpec.

|» Up Aerial «|
Wolf Man raises both hands and then swings them down in a two-handed swipe/slap that doesn't deal the downward knockback you've come to hope for in Wolf Man aerials - instead, it hits the foe a short distance forward on a more-or-less straight trajectory and deals a feeble 8%. It has decently long hitstun, though, as one would expect upon hearing its painful-sounding hitbox.

|» Down Aerial «|
Wolf Man drops like a stone, his eyes frenzied, a fearsome expression on his face as he curls his claws and bares his teeth. He'll hit ground with almost no lag and be able to launch into whatever you please. While falling, he can use any other aerial. It's not really an attack...

GRAB & THROWS​

|» Grab «| Cartoon Scuffle
When you use this grab, nothing visibly happens - but Wolf Man becomes, for half a second, unable to use any other attack and also a high-priority hitbox himself. If somebody makes contact with him, they'll instantly be enveloped into one of those cartoony clouds of dust that signify that acts of cartoon violence are going on. In this state, the grabbed foe is taking 4% per second as Wolf Man mauls them and pushing the control stick slightly left or right, you can move the whole mess, which is twice the size of a Party Ball. If you happen to scoop up other foes, they'll be grabbed as well!

|» Forward Throw «|
The cloud recedes and Wolf Man, clutching the foe(s) by the ankle, flings them forward like a boomerang - they'll fly at fairly low speed on a very horizontal trajectory. This does no more than 9%, but, well, 9% by 9% is how you play the game!

|» Back Throw «|
The cloud recedes and Wolf Man, clutching the foe(s) by the legs, slams them into the ground behind him viciously, simultaneously spinning into a little jump in the other direction. This deals a more impressive 14% and can't be teched, although neither is its knockback much more than the foe sliding along the ground a bit in a faceplant. Well, they may slide a little bit farther and faster if there's some drool there, but other than that there isn't much to say about this throw...

|» Up Throw «|
The cloud recedes and Wolf Man, holding the foe(s) by the throat, deals out a furious uppercut! POW, to the moon! But this isn't the kind of attack that he does very well - I'm pretty sure he's just trying to imitate Snake Eyes after seeing him do it - so it deals pretty negligible knockback and only 10%. It has good hitstun, though! I mean, that's a real jawbreaker right there.

|» Down Throw «|
The cloud recedes and Wolf Man is revealed to be holding the foe(s) in his mouth, like a dog! He shakes them back and forth gleefully, then tosses them a short ways forward, licking his lips. This is his most damaging throw by far, dealing 16%, but also does next to no knockback. Although... if they don't know how to tech, you might just be able to chain your grab...

PLAYSTYLE​

You ever hear of throwing someone to the wolves? Well, here's the wolf. Now who's going to throw him some prey?

Wolf Man never stops moving and never stops attacking; indeed, most of his attacks are painfully telegraphed if he uses them normally. Instead, he want to almost constantly be in his dash state, in which he has options for almost every which way the foe could try to escape - no, once he has your scent, there is no escape.

Well, but there is! Wolf Man can't turn without having something in his path to stop him - and usually, that'll be a stake in the ground. Wolf Man needs to fence off a space of the stage to allow him to make those quick turns just when he wants to, and then he needs to keep the foe within his lair, which he can do quite ably via his USpec in particular - just as the foe thinks that they're escaping his borders, he can jump over that stake, then quickly double back and jump to meet the foe in midair and slash them or drag them or what-have-you. His dash attack similarly serves the purpose of knocking the foe back into their corrall, like the frightened sheep they are.

In that fenced-off area, you're king. A skilled Wolf Man knows how to chain hits on a groundbound foe and pursue them seamlessly into the air, which is precisely where they'll try to take refuge, make no mistake. Even if Wolf Man's missed them and is too far to pursue them into the air, he always has that shotgun, which can put them into hitstun for just long enough for him to close the gap and bring them back down into his hunting grounds. And hell, when he's landed that crucial aerial to put them back on terra firma, he can simply drop like a stone and go right back into his dash - or even use NAir while dropping like a stone as one of his prime methods of stopping the foe from jumping over his borders.

You don't have a chance in hell of spreading drool across the stage, nor should you try such a stupid thing. But within your borders a well-placed puddle will allow you to hook together ground combos, pushing the foe along before you, beyond the limits of what you can do with your piddly human reflexes.

The KO will come most often from your continued dominance of the foe's position on the stage and your indisputable knack for staying right on their tail. You'll simply sweep them right toward the edge of the stage.

So that phrase "throwing them to the wolves"? That's an accurate way of summing up Wolf Man's energetic FFA gameplay, which will usually have him running back and forth like a mad dog within a pen of his own making and waiting for some hapless foe to be knocked over, ready to be cut up and served on a silver platter. Wolf Man is cunning enough to toy with whatever's set before him, but it's an animal cunning, an opportunism and viciousness that blurs the line between the wolf and the gangster.

 

[KingK.Rool]

Flat Top​

Flat Top is one of Duck Twacy's worst adversaries, and one of the dastards responsible for the theft of the piggy banks.

He's the only one who's a direct translation of a Dick Tracy villain instead of just a punny riff; he doesn't get called out by name when Daffy finds himself surrounded. Instead he appears during the chase, smoking his cigarette, looking completely uninterested, as three fighter jets use his big flat head as an airstrip. These fighter jets don't really wind up doing anything other than making a lot of noise and freaking Duck Twacy out even more.

Flat Top is gunned down by Duck Twacy along with all the others, bar Pumpkin Head - killed by a grenade, the poor guy - and Neon Noodle, who survives the barrage of machine gun fire only to be twisted into an EAT AT JOE'S sign.

In Brawl, Flat Top starts every stock with the three jets parked at the edge of his head. They defy gravity and will not fall off if he gets hit, knocked down, trapped, grabbed, levitated, stretched, or dangled off the edge of the stage.

Specials​

Neutral Special - Rat-a-tat-tat​

Flat Top pulls out a machine gun and fires! His expression doesn't change.

He yanks it out instantly, but then pauses for a moment to allow the foe to make a cartoon "Eep." (not that they're actually cartoon characters that will actually go "Eep")

The machine gun fires big and very visible bullets in a stream about as wide as a Kirby and can be aimed up and down and all around, although it'll also cause Flat Top to be pushed back slightly in recoil for as long as he shoots it - letting him essentially back up while holding the foe back with weak but abundant multiple hits.

Forward Special - Eat Lead​

Out comes Flat Top's gangster gun - a wicked-looking revolver. His expression doesn't change, but with one hand he slaps some sunglasses on for the duration of the attack.

While you hold the button down, he aims. When you release, he fires. The shot moves wickedly fast but the bullet is very visible; it does 6% and long hitstun - that stacks, so if you land more than one shot (unlikely due to its small hitbox), you'll wind up stunning the foe for a looong time. If a shot would hit one of his fighter jets, the jet will brake suddenly in midair and, frightened, zoom off in the other direction. The bullet will pursue it as it goes. This chase will last around the stage for about five seconds, the two of them zooming around at very high speed, whereupon the bullet will catch up and both will blow up in a cartoon explosion that deals 20% but only very slight knockback.

Don't shoot more than one bullet at a single jet, you madman! If you do, it'll join at the back of the chase, and after the explosion it'll just continue flying straight forward. This could allow you to chain an explosion into a flurry of projectile hits.

Up Special - Propeller​

A propeller sprouts from Flat Top's big flat head! It spins and spins and up he goes, his expression unchanging, controllable as in Snake's recovery but with a spinning hitbox covering him from just above that can be used to actually drag foes upward with you, as well as cover you against downward attacks.

If your fighter jets are perched there on your head, they'll get caught up in the propeller, and when the attack ends they'll all launch off at an extremely high speed. They're suicidal! These uncontrollable jets will sooner or later smash into the ground, blowing up. I give it six seconds on FD, more on stages with more complex set-ups.

Down Special - Lift Off​

A fighter jet whirs to life and shoots into the air! Flat Top is unsurprised by this turn of events and does not react. This can be done in midair, during hitstun, during other attacks, whenever. It takes one second for completion but obviously since you can keep attacking while it's happening this is hardly a dealbreaker.

A jet typically flies around on a set horizontal plane, turning quickly and flying about a Mario off of the ground. However, it has a tendancy to (clumsily) chase foes, and so will follow them up into the air or down if off-stage. If being chased by a bullet, its behaviour is completely erratic.

It also shoots its machine gun turrets ahead! If it's within a platform of the foe, it fires a thick stream of tiny bullets that deal very little damage (about 0.25 per bullet) but can actually drag the foe along, especially at low %s.

It also is a hitbox in and of itself, hitting foes with about the same force as a character hit into another character - so low force on the whole, but decent hitstun.

Jets can be destroyed by being hit once solidly, meaning for 15%. They'll immediately reappear on Flat Top's head.

Grab

Grab - Abduction​

One expects Duck Twacy villains to grab in an exaggerated, over-the-top movement - but not Flat Top, who would rather just stand there with a blank expression and a cigarette in his mouth. And so he doesn't in fact grab himself; when he uses this attack, his fighter jets stop shooting and become grab hitboxes.

One jet is easy enough to break free from. Two, harder. All three, it might be a bit of a struggle. In any case, you control the jets' flight completely once they've grabbed somebody.

Until you press any input to cancel out of the controllable grab, and the jets just continue flying on a horizontal plane, still holding the foe until they struggle out. At this point, shooting a bullet at one of your jets will send the whole mass into that erratic chase movement.

Once you cancel "out" of the grab, your other jets - the ones that haven't grabbed - resume their usual behaviour, shooting and swooping and so on.

Standards

Jab - Yosemite​

Flat Top whips out a pair of revolvers and points them forward - not intending to shoot them, see. Even though his expression is hardly menacing, the gesture is intimidating enough; any foe a half a platform before him will be shoved back a platform as though they were doing a reverse wavedash. This comes out very quickly but has punishable wind-down if mistimed; it also has a very brief "hitbox".

And if a jet is in front of Flat Top, heading his way? It'll skid to a stop in midair, dripping sweat, and swoop off in the other direction, firing bullets automatically for the next five seconds or so.

Forward Tilt - Bogart​

Flat Top takes his cigarette out of his mouth and flicks it forward; it flies in slow-motion. How far it's flicked and on what trajectory is controllable; it can go anywhere from just in front of him to two platforms forward to two Ganondorfs up. Upon contact, it deals 5% and a spot of fiery knockback; however, instead of simply vanishing, it bounces up slightly before continuing its downward trajectory (now straight down, as gravity dictates).

Any one cigarette can potentially bounce a couple of hits onto a foe, provided they're being held more or less in place - perhaps by machine gun fire.

A cigarette will also cause a plane to blow up in a fearsome but as-per-usual knockback-less explosion. This takes some careful aim, though... and if you blow up a plane being chased by a bullet, remember, the bullet will simply continue flying straight forward.

Up Tilt - Big Fan​

That propeller sprouts from Flat Top's unenthused head again, this time spinning in reverse. Instead of Flat Top rising, everything light gets pulled in: this means projectiles, small summons, small traps, Pikmin and Gastly. The propeller tears them up when they reach it and drags them in from as far as a platform and a half. This attack lasts as long as you hold the input.

Usually you'll want to cancel out of it once your jets are almost at you, and you can do it quick enough to send them whimpering off in the other direction with your jab.

This attack is also just that - the propeller is the same hitbox as in his Up Special. In other words, it can whirl them around for a handful of multiple hits before they manage to DI out of it.

One last warning: best not use this if a bullet is chasing a jet. When they get dragged in together they'll blow up, dealing the damage to Flat Top, any foes caught in his propeller, and other nearby jets which will promptly explode as well.

Down Tilt - Back Up, Shorty​

Flat Top backs up! He takes four very quick steps back, moving about a platform in all. While moving he can use any attack he cares to; often this can lead into some machine gun fire, as the recoil will allow you to keep moving back after this attack ends. Flat Top never stops backing up! Well, unless his back's to the edge of the stage...

Dash Attack - Duck and Cover​

Now, Flat Top doesn't dash too often; he plays best when quite immobile. However, when forced to - usually by a foe literally chasing him - he likes this little manuever, in which he essentially dives and rolls, balling himself up and generally covering a surprising amount of ground. This naturally ends his dash, as well as dealing 8% from his low-priority hitbox if he connects with anybody.

You can use attacks while he's rolling! This is a nice way to nullify the start-up lag of whipping out your machine gun, as at the end of his roll Flat Top will come out on one knee with it in hand, ready to fire. You can also flick the control stick while he's rolling to have him come out of the roll facing the opposite direction; in other words, this is a tactic for literally turning the tables on a pursuing foe.

Smashes​

Forward Smash - Joystick​

Flat Top pulls out a little old-fashioned remote control, with which he'll begin to control directly the nearest fighter jet (by default, it'll be one still perched on his head, which he will have to manually take off with).

They're controllable in much the same way as Super Sonic, but naturally slower, less slippery, and not as adept with sharp turns; you're better off pulling loop-di-loops and flying upside down then outright turning. Press B to shoot from your little turret; use your grab from this state to turn the one you're flying into a grab hitbox as well as the other two; fly into the ground (something a jet will never do on its own) to make a small explosion that deals 14% and - surprise! - a bit of upward knockback.

If the jet you're controlling is being chased by a bullet, you can allow it to be caught up with and blown up ahead of time by trying to pull a sharp turn (flicking the control stick in the opposite direction). It's a useful thing to render manual.

Up Smash - Warning Shot​

Out comes Flat Top's shotgun, and he cocks it and fires it upward; the exact angle can be influenced only slightly. Fired out is not a cartoon bullet but a generic cartoonish blast.

This has a short hitbox that deals 12-18% and long hitstun on contact. Knockback is minor but can KO over 150%. This shotgun blast does not deal more damage close-up and is therefore not realistic at all.

Down Smash - Flat Bottom​

Flat Top flips upside down, balancing effortlessly on his head. While in this state, he can still move - cartoon physics demand it! - albeit much more slowly. He can still use just about all of his attacks. Good thing they don't involve any sort of physical exertion. All fighter jets on his head will take off as he's flipping and will not respawn until he flips right side up again with another tap of this input or by going into the air.

Flat Top's head has awful traction! The recoil from machine gun fire becomes a great way to move around the stage while he's upside down, as it'll move him in the other direction at about the speed of Sheik's run. Likewise, simple revolver shots will shove him back about a platform in the opposite direction. His two propeller attacks, meanwhile, will essentially shove him up off of the ground, moving his hurtbox as they move him a Ganondorf up. His recovery will move him up, upside down and all - providing an excellent retreat as the propeller hitbox covers him from beneath - while Big Fan's suction hitbox is simply down at the ground.

Aerials​

Neutral Aerial - Cannon Fire​

Flat Top pulls out a bloody cannon! He doesn't have time to aim it or fire, though, because it weighs him down so much that first his arms and then the rest of him go plunging down to earth. Throughout the cannon in his arms is a strong hitbox dealing 15% and decent knockback. When he hits ground, it rolls off into the background and he suffers some winddown as he looks dazed and scratches his head.

This can also be cancelled out of while you're in the air and is therefore a decent gimping measure. Start dropping, hit the foe, then propeller your way to safety as they go plunging.

Forward Aerial - Have Some Cigarettes Friend​

Flat Top tosses out a handful of cigarettes. About six of them fall slowly through the air as in his Forward Tilt, but as they're not lit, they can't cause planes to explode. Instead they're just there to deal flinching knockback. Forward Tilt is a move Flat Top will most often be using as a retreat; jumping while still carrying some momentum from machine gun recoil and then tossing out a handful of annoying flinch hitboxes is an ideal way to get the foe off your trail.

Back Aerial - Sent Packing​

Flat Top swings a cartoon briefcase broadly behind him, dealing 10% and decent spacing knockback in one of his few effective physical hitboxes. If he happens to hit a plane - or a plane/bullet chase - with his briefcase, they'll vanish, locked away in the briefcase quite without ado. Next time he uses the attack, they'll fly right back out in the opposite direction, allowing him to turn the short-range suitcase swing into a more potent surprise bombing.

If it was a jet with any number of bullets on its tail that you cased, it'll be overtaken almost as soon as you release it, making that knockback-less explosion right behind Flat Top.

Up Aerial - Emergency Evacuation​

This attack is quite ineffective if there are no fighter jets parked on Flat Top's big head. If there are, though, they'll whir to life but still cling to his skull with their spokes; he'll then move quickly forward on a horizontal plane through the air, the maximal distance depending on the number of planes. With all three, he can cross FD - although then there's nothing distracting and annoying buzzing around to keep the foe from hitting you right out of your glorious ride.

While in his evacuation animation - Flat Top looking as disinterested as ever - he can use any of his other aerials. Pulling out his cannon will cause the whole precarious flight to end most ignobly, but is nevertheless a nice way to get the drop on the foe trying to catch up to you from beneath.

Down Aerial - Hammer(head)​

Flat Top turns to be somewhat facing the screen and pulls out a massive wooden mallet like the Looney Tunes antagonist he is. After this very obvious start-up, he swings it down heavily, dealing 16%. This is a very strong spike, but one that you won't be pulling off unless the foe is in some sort of hitstun.

Playstyle​

Flat Top is a mobster - a ringleader, no less - and as such, he's quite uninterested in fighting.

But at the same time he's a cartoon character, and as such he's willing to engage in some good old-fashioned slapstick, chasing, and good-natured comic mayhem... and he's packing heat!

He has two functions: to move around the stage and keep the foe well away from him through his unique brand of "proactive retreat" - that is, attacking incessantly whatever his range from the foe may be and constantly backing up as he does so. He's an adept camper who likes nothing so much as sitting around shooting at things, well out of harm's way. When push comes to shove, his priority is dodging arrest, so to speak; in the air, he can flee very abruptly and effectively as long as he has a jet camped on his head, and on the ground he can turn an undignified scramble away into a hail of machine gun fire - which allows him to continue moving back, of course - as well as quite suddenly backing up with his DTilt, which can likewise be chained into machine gun fire. Get the message? Machine gun fire is useful! In addition to keeping the foe occupied with DIing out of your most annoying attack, it broadens the gap.

Naturally no character can function by just backing up all game, and so Flat Top has his planes, which operate quite well independantly. He does have some rudimentary control over their movement and behaviour - that is, he can pull them toward him, turn them into grab hitboxes that will promptly put them right where he wants them (typically far away), or cause them to blow up - and can, of course, take full control over them via Joystick, although that's usually not a feasible technique unless that space between him and his enemy is very broad and all of his jets are buzzing around at once.

Flat Top's damage output is most adequate when he's playing at his own canny brand of projectile comboing. The long hitstun of his shotgun and revolver, the steady stream of his machine gun, the ever-so-slowly tumbling cigarette he launches through the air, all of them are intended to enable his planes to land their own hits in quick succession - to dart past, firing wildly, dragging the foe with them and possibly sandwiching them against machine gun bullets, then swoop away and allow the next jet to fly in and land its own damage. And this scheme takes on its most crystalline and effective form when Flat Top engineers a pursuit; of course, you need distance and some sharpshooting skills to nail a bullet right at a moving fighter jet, but the rewards are considerable. You get three bullets chasing a jet, let's say, you can slip into Joystick to render it more manual or package the chase in your briefcase for more controlled use, and then when the explosion connects with the foe they'll be knocked into prime position for a chain of bullet shots - damage, heavy hitstun, possibly an opportunity to knock the foe right out with a giant wooden mallet if you've spaced them properly and they're just off the edge of the stage. Generally, Flat Top is a coward who will run under cover of heavy fire - but with his jets and guns he means to hound the foe to the corners of the stage, into prime position for the kill, right where he wants them.

Don't let those do-gooders catch up to you and bring you to justice; keep your cool and your distance; and shoot lots and lots of bullets. This is the big time now. We're not talking piggy banks here.

 

[n88]

 

[Davidreamcatcha]

I LOOOOOOVE THAT MOVEMENT!​

 

[Rychu]

:star:

Great job guys

 

[ProfPeanut]

What's this?

Jack Skellington

In the world of Halloween Town lives Jack Skellington, the King of the Pumpkin Patch. As the patron and leader of that macabre holiday, Jack is responsible for making every Halloween more terrifying and dreadful than the last. After all, no one can scare people like he can, or have quite the artistic zeal in such a responsibility. Yet the Pumpkin King is quite open to new things, to say the least, and this moveset thing looks like fun to Jack. Why, he’s betting that he can improve on the Brawl with some ideas of his own…

Size: 9
Weight: 2
Ground Speed: 8
Traction: 6
Air Speed: 8
Jump Height 1: 7
Jump Height 2: 6
Fall Speed: 5

Jack may be tall enough to see eye to eye with the King of Evil, but he’s not as easy to hit a target as most other large characters, due to being thinner than the columns supporting Luigi’s Mansion. He stands straight and tall when idle, and can maintain the poise of his upper body while walking at any speed. When running and jumping, his outstretched limbs indirectly increase his hitbox size, so sometimes you may want to remain walking to give your foes a harder time trying to lay a hand on Jack. His highest walking speed is just behind his high dash anyway, and his lightness is a frightening hazard for any player to work around.


Specialties

Neutral Special : Trick or Treat

Jack conjures a carved pumpkin from his hand, large as a smart bomb, and lets it float in the spot in front of him. Where did it come from, and what keeps it afloat? I’m afraid I can’t tell you that…

These pumpkins float a Pikmin from the ground, and can also be placed anywhere in the sky, smiling their grisly grins at the screen. They’re quite unbudgeable – unless an unlucky foe would be a stagebuilder block near it a few moments after its creation. You see, these pumpkins have quite the desire to smash themselves into careless brawlers and engulf them in a ghastly explosion {15%} unlike a Bob-omb’s.

Not all’s doom and gloom for the foe, however. Once a pumpkin locks its sights on someone, it’ll float at them menacingly, but slowly, gathering speed as it pursues the foe. But in this state, any attack dealt to the pumpkin with 10% or more damage, even jointed ones, will knock it away like a Primid, making it careen and bounce across and off the stage. Jack’s quite vulnerable should he be hit by his rejected treats, taking the brunt of the explosion, and he can only have two of these out at a time too.

But what’s this? Pressing A during the brief starting lag of this move creates an entirely new pumpkin! They look and act the same, yet instead of a deadly explosion, their collision with anyone creates an outpouring of candy instead, healing anyone for 15% in the same area! My, what a fine treat from ol’ Jack! And if the foe throws these pumpkins away, well, Jack wouldn’t mind reaping that healing instead! Since these are a different sort of pumpkin, this means Jack can have as many as four identical-looking pumpkins grinning their grins around the stage at a time. And as for the foes, they’ll be quite in the dark as to which pumpkins have the treats and which have the tricks…

Side Special : Ghost of a Chance

Jack holds his hand in front of him, as though holding something – and some ghosts appear in it as a swirling white mist almost as large as Bowser. It seems some other spooks of Halloween Town wanted to join in on the fun, but Jack could only afford for the incorporeal to tag along. This is about to become quite terrifying for everyone else…

Tapping the input makes Jack release this ghost mist as soon as it materializes, and it’ll become invisible as it hovers in the place it was left in. You can hold down the input to make Jack hold onto the mist while able to go moving and jumping wherever. If you tilt in the direction Jack is facing on release, the ghost mist will slowly float forward on release at a speed between crawling and slow walking based on the tilt. Of course, whether it moves or not is disguised by its invisibility.

These ghosts help to boost many of Jack’s attacks to make them even more terrifying, dissipating afterwards. You can only have one of these floating out at a time, the first one disappearing if you release another batch of ghosts of the same kind. What? Oh yes, like your Neutral Special, you can create a “fake” ghost mist of mischievous spirits by pressing A instead of releasing the input. Since you’ll end the move by releasing the ghosts, it may be better to let go of a doppelganger batch if you don’t want to re-place the actual ones. As for what ghosts do exactly, you’ll have to wait for the rest of Jack’s moves, but rest assured that these “fake” ghosts will perform the same effects with none of the damage and knockback. After all, your foes will be quite terrified regardless of whether the ghosts are for real or not, seeing as they won’t know if the ghosts are inching forward or simply lying in wait in the first place.

Up Special : Happy Haunting

Some spirits seem to have come to Jack’s aid – and believe me, there’s plenty of spirits who wouldn’t turn down helping the Pumpkin King. For three seconds after inputting this lagless move, Jack will have near-doubled jumping capabilities and dashing speed thanks to the wispy spirits around his limbs. His best walking speed is still as steady as ever, however.

While in this state, any attack Jack performs that would be improved by his overlapping with a ghost mist with either his body or his limbs is automatically buffed by the helpful spirits! Unfortunately, such an action also removes Jack’s newfound agility, and bars him from calling upon the spirits’ aid for three seconds afterwards. Jack can end up open to counterattack with his recovery removed should he be careless.

Then again, Jack can attack with these spirits while overlapping with an unseen ghost mist as well. The mist will be used up instead, but as a boon, the spirits become invisible, waiting to unexpectedly buff Jack’s next attack on an unsuspecting foe!

Down Special : Grave Yard

Jack reaches down into the ground to pull up a…gravestone? How did that get there? It’s a little patch of Halloween Town, really; it even comes with a jagged gothic fence in the background, spreading past the gravestone three stagebuilder blocks on both sides.

Naturally, the gravestone comes with a grave, but an empty one. It won’t appear onstage, instead manifesting as a pitfall trap hidden under the gravestone, and I’m sure you’re all aware what those do. Then again, you can also tilt left or right during the start-up lag to move the location of the trap, concealing it until the foe makes that misstep. The trap can be moved up to three stagebuilder blocks to either side of the grave, so the fence serves as a marker for where it may lie. A wide area to cover for a simple trap, and not only that; there’s a strange spookiness to this place that prevents dodging and rolling of any kind, instead making the foe shield. But it seems shields won't even regenerate in this field (as well as Jack's) so remaining here isn't a smart defensive choice.

But surely the foe will simply avoid lingering in such a creepy spot, then? Well, perhaps not completely. You see, the homeliness of this dreadful grave makes the ghosts from your Side Special giddy with delight, so much that they become visible when over the spiky fence. Not only that, but the awareness of a pitfall trap below them causes a fake ghost mist to shiver in anticipation of such a scare! These spooks just can’t hide their excitement. On the other hand, a real ghost mist will shiver over a random spot instead, capable of fooling the foe into thinking the real location of the trap a safe place. How well you can manipulate your foes’ fears depends on which mists you use, and will hopefully result in a foe with nowhere to run as Jack approaches their buried bodies…


Attacks

Jab : Spine Chilling

Jack stretches one of his arms out and begins dancing his fingers over the air in front of him. Oh, Jack, this is hardly the time for such childlike gestures! He can hold it for as long as he wishes, dealing multiple fast flinching hits with his spiderlike movement {1%}. Then again, such a small hitbox can be easily DI’d out of.


With ghost mist overlapping with Jack, the ghosts transform into spectral worms and insects, buzzing under Jack’s fingers. This increases the damage, hits everyone in an Electrode-sized area under Jack’s hand, and lasts for as long as the move is held down. Did I mention this move devours shields? Oh yes, it’ll reduce a shield to nothing after a second of Jack prickling the back of the foe’s neck. And ghosts can help reduce that time to half a second instead…

Forward Tilt : Bony Grasp

Jack takes a moment to bring his arms back before making a fearsome swipe at the foe with both of his arms {11%}, like a scorpion closing its claws in. Given how long his arms are, this move has quite some range, covering almost a whole Bowser length in front of him. Foes caught are brought right in front of Jack – allowing him to follow up with his Forward Smash, as you’ll see soon enough.

Should Jack overlap with a ghost mist upon execution of this move, large wraithlike claws will appear alongside Jack’s arms to mimic his grasp, pulling in anyone caught {5%} towards his clutches. The size of those claws effectively double the range of this move, but they’re not as dangerous damage-wise as Jack’s hands. On an interesting note, though, anyone the claws push to Jack will end up with their backs turned to him. Hmm...

Up Tilt : Wave of My Hand

Jack quickly snatches the air above him {9%}, throwing foes upwards at knockback lethal only at around 180%. With ghosts helping out, a ghastly axe swings with Jack’s movement, increasing the range by a Pikmin’s length yet inflicting less damage {5%}.

But supposing the foe’s overlapping with the ghost mist instead, hm? The ghosts will then tag along with the unlucky foe for up to five seconds before dissipating. Should that foe attempt to dodge or roll, the ghosts will be only too happy to scare the foe out of it {8%}, knocking them back into a vulnerable state. Jack can use this to ensure that dodge-happy foes are kept in check – or simply fool the foe into not dodging while the ghost mist still waits to come out when least expected.

Down Tilt : Well-Placed Moan

Jack’s crouch consists of bending his legs enough that his whole upper body stays just above the ground. From here, he can do a quick scare {4%} at people’s feet that slightly flinches anyone standing in front of him. For anyone unfortunate enough to be crouching right next to Jack, though, they’ll be shocked {8%} straight into the air. This attack also has shield damage that doubles the move’s output, spooking those foes hiding in their shields.

The ghost mist won’t help you increase the range, but it does carry a nasty treat for any foes that might be overlapping with it when the move is done. Like the Up Tilt, the ghosts will follow the foe for the next five seconds. This time, after the time is up, they’ll inflict 1% damage for every ¼ second the foe spent airborne through a piercing wail. That should be a fearfully painful enough to dissuade the foe from keeping to the air, and there’s no reason to not feint this move either. You can probably convince the foe to stick to the ground where one can always shield against their fears…

Dash Attack : Scaremonger

Jack puts on a gruesome visage as he dashes onwards like a demon! Anyone struck will be thrown upwards {3%}, but Jack will continue to dash forward with his greater-sized hurtbox once the move ends. To be honest, despite the hitbox covering the whole area in front of Jack, this move isn’t too effective…on Jigglypuff.

For everyone else, the memory of such a horrific face will remain with them for the rest of the stock, and thus getting broken out of their shield will simply revitalize that memory and make them jump out of their skin (not literally) with a scream – and past the blast zone. Yes, Jack can notch the shield jump of anyone hit by his dash attack to infinite, which grants him the KO method of scaring people out of their shield and watching them fly! If only it weren’t such a nuisance for your foes to dodge instead…wait.


Aerials

Neutral Air : Scarecrow

Jack poises like a monster leaping upon its victims, arms outstretched and knees bent. His entire body becomes a lingering hitbox {8%} with this move, lasting a few moments before Jack resumes his normal falling stance. The ghost mist can add some range by closing down as a pair of hungry jaws(7%) on a Bowser-sized area below and in front of Jack. It’s a nasty bite, and both hitboxes do good upwards knockback lethal at 150%.

Forward Air : Arise!

Jack brings his arms down, then moves them up as though gesturing for zombies to rise from their graves. While no such thing happens, anyone struck by the upwards motion {10%} is thrown upwards and likely to lose a life at 160% - if they were on the ground. Airborne foes take much more knockback, dangerous if they’ve received 110% by that point. Ghosts add range much like the Forward Air, turning into an illusory rising swarm of bats {7%} and doing the same upwards knockback.

Down Air : Don’t Look Up

Jack lowers one of his hands straight beneath him and makes three tapping gestures below with a bony finger. Back to light creeping harassment, are we? Each tap {3%} comes with some frightening shield damage, eating away a seventh of shield health each, and some good hitstun. With a ghost mist hanging nearby, some spectral hexes magnify the damage (8%) and double the shield consumption. For some added flexibility, you can tilt the arm left or right upon using this move to alter where the hitbox lands. And don’t worry about getting hit by flying foes whose shields have broken; they’ll simply rocket past Jack and out of the stage.

Back Air : Behind You

Jack quickly reaches behind him; you can’t scare anyone not in front of you, after all. Should he grab someone, he nimbly moves himself behind that foe, fast enough to land an attack of his own once behind the foe. Though he doesn’t stall in the air when using this technique, even when moving behind the foe, there’s almost no landing lag to halt Jack from pulling out another surprise. If you miss though, the ending lag can bite you back, so practice good timing for you scares as always.

Up Air : Skullduggery

Jack pulls out another quick scare by facing up and creating another grimace of terror, complete with clawlike hands. This is enough to spook {6%} anyone straight upwards, particularly knocking out those around 140%. Then again, this move will only hit around the area right above Jack’s head, which we must remember is about as large as a smoke ball. But some nearby mischievous ghosts can magnify Jack’s face with a vision right above his head as long as a battlefield platform, doing the same damage and high knockback. Jack makes quite the character juggler with these upwards-knocking attacks, doesn’t he?


Jack’s Ol’ Lanterns

Grab : Skeleton Key

Jack raises his hand above the area in front of him and pinches down with two fingers. I suppose he’d rather not use brute force for his grab, but what surprise does he have in store for the foe then?

Should the grab connect, Jack will hold the foe by their heads with his two fingers like delicate pincers. Given how little strength this appears to show, any foe facing Jack when grabbed will only have half the grab difficulty to mash out of. Not very effective, almost just enough time to use a throw, and don’t all foes face their grabbers?

Not with Jack Skellington, you see. If Jack grabs a foe from behind, such as one pushed towards him by his Forward Tilt, they’ll be facing away from the Pumpkin King, and then it’ll be raw fear of what’s holding them so nimbly by the head holding them down. They’ll have to escape from twice the grab difficulty this time, giving ample time for Jack to enact his pummel.

But first, understand that all of Jack’s throws involve him conjuring a haunted carved pumpkin larger than a smart bomb to follow the foe from behind as he releases them. These pumpkins don’t resemble those made by his Neutral Special, but they come in all kinds of faces that have no bearing on the throw used. There’s really no damage at all involved; his pummel simply makes him tap his feet in thought, allowing him to extend the six second duration that these pumpkins follow the foe by half a second. After the time is up, they’ll drop to the ground and disappear; alternatively, Jack hitting the pumpkin himself also destroys it. Aside from that, the pumpkins will relentlessly follow the foe from behind, waiting to enact their ghoulish surprise…

Forward Throw : Merry Maws

It’s easy to make these pumpkins do their tricks; simply press grab while a pumpkin’s following someone, and Jack will snap his fingers. For this throw for example, the pumpkin extends its carved maw to a great size before chomping down on the spot the foe stood on {20%}, dealing upwards knockback lethal at 150% or fully devouring any shield it chomps on. It’s sure to hit – if the foe was standing still or moving slowly. If it misses because the foe was dashing away instead, it’ll fly in pursuit just behind the foe, continuously biting at the air in the event that the foe slows down. After four seconds, it’ll finally burn out and drop; it’ll also disappear once it gets one mouthful of the foe. But surely anyone who simply keeps on the move would escape this rabid pumpkin, right? Hopefully, that someone won’t run into any other sinister hazards the way.

Back Throw : Sudden Blowout

Upon activation, the pumpkin rushes at the foe’s feet and splatters itself on them. That’s…odd. Then your foes find that the pumpkin’s slippery muck is sticking to their feet, changing their traction as though on ice for up to five seconds! This can be a most frightening event for when your foe tries to turn around, wherein they end up sliding straight into an open grave. And of course, why not let your foe turn around a few times without activating this to fool them into thinking that this isn’t the shock in store? Then you could make them slide straight into your waiting Forward Smash!

Down Throw : Giant’s Vines

With a snap of Jack’s fingers, the pumpkin suddenly grows to an enormous heavy size, large as an Electrode. It’ll also entangle the foe’s feet with its twisting growing stem vine, which is ideal for dragging the foe down as the pumpkin then plummets like Bowser’s Down Special. On landing, the foe can’t move a battlefield platform away from the pumpkin, which will need to have its 15% chipped away to destroy it. Obviously, this is near useless on grounded foes, but can be a nasty surprise for those up in the air, who won’t be able to smash the pumpkin until they’ve landed. And surely no foe would be suicidal enough to jump over a bottomless pit with this pumpkin hovering behind waiting for an opportunity, right?

Up Throw : Balefire Candle

This pumpkin…doesn’t activate. Nope, it just hovers behind for the whole duration, grinning a creepy grin as though it had some trick in store. Your foe is pretty much safe from this kind of pumpkin – so long as they don’t attack, or create any damaging hitboxes. Yes, I can assure you that to anyone who doesn’t attack at all while the pumpkin reads that foe’s every move, the pumpkin will not stretch its jaws to unleash a fiery blaze dealing damage equal to the damage of all the foe’s hitboxes added together. After all, even dodging wouldn’t escape such an attack, and shields will just get burnt to a crisp.


Scare Smash Witless

Forward Smash : With The Slightest Little Effort

This time, it’s no trivial spook coming from Jack Skellington; he prepares a truly blood-curling nightmarish face before unleashing it! Anyone facing Jack on at least two Bowsers away on the same level will be shocked {9%-15%} and stunned for some moments. Anyone directly in front of Jack when he does this will be scared so traumatically that they’ll be sent flying straight up from fear, enough to seal the fate of anyone at 80%-50%! Better yet, one can charge this move while moving slower than the dash, with Jack walking forward at whatever speed he was walking as he secretly charges this frightful finale! And did I mention that it even scares foes out of their shields?

Ah, but let’s not get too excited. Aside from the small sweetspot, the ending lag is nothing less than utterly terrible as Jack will more often than not slouch in disappointment should he not send anyone flying. Even if he does, he’ll spend time taking a good laugh out of his success, so he’s really quite unable to take advantage of any stunned foes. You honestly shouldn’t pull this out until the foe’s well and pitfalled, or sliding into your face thanks to a squashed pumpkin.

Oh, but what about the ghosties? On release, the ghost mists, real and fake, will mimic Jack’s scare from wherever they hovered, also stunning foes on the same level and scaring anyone in the dead center of the mist out of their wits. Yes, the fake one is still harmless, but the real one can help to put an extra hitbox where the foe won’t expect it, keeping them on guard as Jack casually strolls across the stage

Up Smash : King of the Pumpkin Patch

Jack makes a dramatic upwards-grasping motion with his right hand {10%-16%}, a small hitbox capable of knocking out foes at 160%-140%, sending them upwards. This isn’t a very capable KO method, as you’re really better off using your Forward Smash.

So, useless filler? I bet you’ve forgotten about Jack’s Neutral Special then! If any deadly pumpkins dealt their damage to a foe, they’ll find themselves with a lingering curse activated by Jack’s Up Smash. A giant spectral skeletal hand will grasp at the foe and hold onto the foe’s body for four seconds plus twice the amount of time Jack spent charging this move. While the foe can mostly attack and move as normal, the hand will slowly drag that foe towards Jack, pushing against their movement. Worse yet, the hand also locks the foe from performing any dodge or roll at all!

And as one final boon, the ghost mists will appear as a rising curtain of spirits, reducing float speeds of anyone in the area to 1! They’ll linger for as long as the skeletal hand does, and can be very helpful for juggling foes to their doom.

Down Smash : Skeleton Dance

Jack prepares to make three full body spins, arms outstretched. This comes with some good range and damage on each arm spin {2% - 4%}, so Jack can effectively deal with clusters of fighters at once, while punishing anyone who doesn’t DI out. Ghosts overlapping with Jack can augment an individual arm, increasing the hitbox of the hand with a spectral aura the size of an Electrode and boosting the damage to boot {5% - 7%}. Not to mention they make escape via DI much more difficult, allowing you to land a frightening of damage.

One more trick then: does Jack have any pumpkins chasing a foe, Neutral Special or Forward Throw? Then as Jack spins his body, the pumpkin will quickly fly through the background and come back into the fray on the other side of the foe before resuming the chase! Simply imagine a mirror on the foe, and the pumpkin swapping places with its reflection. This can make those momentum-based opponents especially jittery, in case they end up running straight into a pumpkin’s waiting jaws. It’s also useful for fooling mix-ups between the candy and the danger, and goes well with your Back Throw too.


Final Smash : Halloween Night

Time to make this a Halloween they won't be forgetting! Jack Skellington harnesses the power of the Smash Ball to transform himself, donning his scarecrow form complete with a pumpkin head. The whole stage will become topped with gravestones and fences, barring all your foes from dodging for the twelve second duration of this move!

Your Neutral Special now flings blazing pumpkins straight ahead at a terrifying speed! You can pull this off consecutively at an alarming speed while running and jumping, and also tilt the direction of the pumpkin. Pressing your grab flings a pumpkin the same way, but the pumpkin will instead inflict any of your throws upon your victims! Your Up Throw will breath a fiery 15% instead of waiting, and you can press a direction upon throwing the pumpkin to decide which affliction shall blaze forth.

Jack doesn't take hitstun in this form, and also doesn't use up the spirits of his Up Special by attacking, allowing him to deliver a trauma line of ghost-augmented attacks. Skeletal hands made by your Up Smash have even greater influence upon the foe's movement, and your Forward Smash has its sweetspot increased in size, its ending lag greatly reduced and can be charged while dashing about! As a final touch, ghosts will add ethereal flames to their attacks, igniting foes that they may hit. Turn the whole stage into a nightmare of a blazing scarecrow and his horrific rampage! Happy Halloween indeed!


Playstyle

Unless you’ve been too alarmed so far as to read deep into Jack Skellington’s moves, you may notice that most of his knockout moves send the foe flying straight up, with no horizontal knockback mentioned at all. This is quite intentional, really; Jack’s plan is to scare the foe so badly that they jump into the sky and past the horizon, since there's no method of scaring people more satisfying than that. There are three ends that lead to this goal: sweetspotting Jack's Forward Smash, consistently juggling foes with Jack's aerials with the help of his Side Special, or burning out the shield of someone hit by Jack's Dash Attack. An artist such as Jack is not going to fall for redundancy by having only one KO method!

Jack's not trying to play scare tactics with the foe - well, not that much, anyway. When one can mix up pumpkins, ghost mists and pitfall locations, Jack can possess quite the stage presence even when half of his props are harmless! It's all a matter of fooling opponents with fake scares and real ones; sending forth mists after a pattern of lingering ones, throwing nothing but explosive pumpkins, then letting your foe toss candy-filled ones back at you, intentionally letting a fake ghost mist hover over the trap in a double feint. And what's not to like about using your Up and Down Tilts just to startle the foe?

And what of your brilliant grab game too? Tag one pumpkin, and your foe will have to expect any of them to happen. It becomes dangerous for them to stand still, turn about, jump up high or attack recklessly - and so they may refrain from all of those actions when in reality you've only rigged one of them! Let them survive a few risky actions to throw them off before startling them with the true nature of your throw, or simply hold it off as long as possible to make them cautious about attacking. Attacking the foe in this state may break the grab, so try spend more time setting up around the stage. Of course, your Neutral Special pumpkins and ghost mists are free to terrorize the foe in the meantime.

Your Forward Smash makes an excellent surefire scare option for when the foe is helpless as he struggles against the grave's trap or slides into your open arms. Just by walking does Jack dissuade foes from coming too close, as they may get caught in a Forward Tilt or stunned by a charging Smash. And don't forget about maintaining your hitbox, or breaking into a dash to land your Dash Attack.

The air is a dangerous place for fighters when Jack's about, since he can easily juggle them straight past the blast lines. Save your Up Special for when the foe thinks himself out of range, and keep a ghost mist at the ready too. Your Back Aerial makes a good repositioning tool as well, since you can also use it to land a grab or Forward Smash too. Should your foes stick to the ground instead, they'll have to remain forever cautious of their shield levels, as many of your attacks easily eat away at them, and your Down Special stops any kind of shield regeneration. If you want to keep your foe from dodging instead, consider the usefulness of the skeletal hand created by your Up Smash.

Ultimately, Jack Skellington isn't relying on invisibility, clones or freak meters to strike terror into his foes. He's a wild card of subtle panic and frightening reach, pushing forward with tricks and treats alike to scare his foes out of their wits. After all, life's just no fun without a good scare...


Treats

Taunts

- A grave with double doors lays on the stage. Jack opens the doors outwards, savoring the air of the battlefield as he emerges. -

Taunts

- Jack takes a good-natured cackle over how much fun this battle's been. He's not evil, it's really his natural laugh! -

• Zero, Jack's beloved pet, pops out and circles around Jack for a few times before fading back into the ground. -
• Jack pops out his head and holds it like one pitying poor Yorick before putting it back on. -

Victory

- Jack makes dramatic bows, waving to a cheering crowd behind the camera in between bows. -

• A great, hearty, but nevertheless chilling peal of laughter resounds from Jack. "Oh, what fun!" he says afterwards in a formal stance. -
• "This has given me some NEW ideas for next Halloween!" remarks Jack as he makes an intimidating poise for the camera. -
• Loss: Jack whole-heartedly applauds for the victor. It was a good show of a match regardless! -

​

 

[Davidreamcatcha]

How 'bout a monster for breakfast today?

COUNT CHOCULA

STATISTICS​

Traction - 10
Aerial Movement - 8
Jumps - 7
Size - 7
Ground Movement - 6
Weight - 4
Falling Speed - 3

SPECIALS​

Neutral Special - Piercing Gaze

Chocolua rears backwards for the startup, during which his body can be angled. After the starting lag, he fires a dark brown beam from his eyes. The angle this is fired can be determined during the startup. The laser is as long a- ah, no point in hiding it. The length of the beam, the start/end time and speed of which the beam travels are all shamelessly stolen from ROB. The time before you can fire another beam is much longer, however, totalling in at 3 seconds.

Still, what happens when the beam hits differs from ROB's version. If it hits the foe, they are unable to move for a full second (but will still continue to fall if they were in the middle of doing that), and they act as though they were hit by a fully charge paralyzer. Chocula slyly remarks "Scared stiff." as soon as the foe is hit, still able to attack while he says this.

Side Special - The Ancient Guardian

"Majú monštier na raňajky dnes..." Chocula mumbles an ancient curse to himself as he waves his clawed hands in front of himself. This takes about .50 seconds, after which the ancient beast shall be unleashed! This enchantment summons the spirit of Igor, a monstrous spider-like demon who will guard things for whoever summons him. Igor, a Bowser-sized beast, climbs up from the stage once the .50 seconds have passed. Igor begins a deranged march back and forth 3 Battlefield Platforms as soon as he spawns. He rapidly kicks his legs as he marches, dealing rapid flinching hits of 2% and causing the foe to be dragged along with him. Still, Igor will turn as he is marching, meaning it is largely ineffective as a method to drag them across the stage.

Igor can be hit by your Piercing Stare, which causes him to kick in place until Chocula fires the beam at him, causing it to be a decent damage racker, if not one that's easy to DI out of. Igor has 20% stamina, though considering his legs make it so attacks from the front are ineffective, foes will often try to attack Igor from the air if they feel he must be deal with. Chocula is extremely adept at dealing with aerial foes...

Down Special - Hot Chocolate

Chocula swipes his cape in front of himself, before swiping it back. This causes a wave of hot chocolate to appear from his cape, pushing 2 Battlefield Platforms forward! The wave pushes foes it hits this distance, as well as dealing 5% damage. After it travels this distance, it begins to coat the ground it passed over.

If anyone (including Chocula) steps onto the chocolate, their momentum is boosted to that of Sonic's dash speed. They can easily jump off, meaning their momentum won't be transferred. Their momentum ends the instant they leave the hot chocolate, however.

By crouching next to the chocolate, anyone can drink it over the course of 2 seconds, causing the chocolate to disappear and healing themselves of 5%.

Igor's kicks actually have a purpose now with the Chocolate, Igor can kick the foe into the chocolate, and can be forced to stand still at the end of the chocolate as a damage racker. Chocula can, of course, stun them with nspec to temporarily halt their movement on the chocolate, as well as using it on mid-air foes to drop them downwards.

Up Special - Going Batty

Well, what did you expect for a recovery? Chocula turns into a monstrous bat, before he gains free flight for 4 seconds, moving about at Bowser's dash speed. He can be easily gimped, but can use all of his aerials in the form of this Capsule-sized bat. While this is a vaguely uninteresting move, it does serve as simple spacer to get Chocula away from his foes, as well as serving more purpose in his aerial game.

GRAB-GAME​

Chocula's grab range is short as Chocula wraps his hand out, attempting to catch anyone close by. To make up for the short range, he can grab in mid-air.

If he catches someone, he holds them in a tender embrace as he rears his head back, his teeth becoming visibly brown; the color of chocolate. He lunges forward and bites the foe's neck with his teeth, which turn white as the brown in them sinks into the foe's neck. This sounds quite laggy, yes? It takes 3 seconds, during which the foe can mash out with 1.5x grab difficulty. If they let Chocula bite them, he pushes them forward 2 Battlefield Platforms. Now, the chase begins...

The foe begins to take 1% passive poison damage, and will continue to do so for 20 seconds. During that time, they MUST KO Count Chocula or die themselves, this is the only way to remove the curse that follows. Once 20 seconds have passed, the foe screams as they turn into a chocolate statue of themselves, completely unable to move. They still take knockback, meaning Chocula will want to abuse the foe as much as he can during their time as chocolate. They stay as statues for 7 seconds before bursting free, regaining all their jumps if they were in mid-air.

STANDARDS​

Jab - Bite

Chocula performs a quick bite in front of him, a standard vampire cliche. This deals 5% damage and good knockback; the size of Chocula's mouth doesn't randomly grow like Wario's, so this is probably good as a GTFO move only, but it can be somewhat decent as a counter due to quick nature. In fact, the priority is ridiculous, meaning it will out prioritize most attacks flying at it.

If Chocula bites a foe that has been affected by grab, he sucks all the chocolate out of them, ridding them of the grab effect and healing Chocula of 10%.

Forward Tilt - Cape

The Count swipes out his cape, holding out in front of him for .30 seconds, before drawing it back for some mild end lag. Any foes touching the cape will be reflected/turned, and if they were moving, they will be turned and fall into prone. This is yet another way for Chocula to take advantage of his foe's movement, to send them rocketing backwards and tripping into hot chocolate or Igor.

This can also reflect projectiles, as you'd expect.

Down Tilt - Cry of Fear

Chocula covers his face with his hands, before lowering them and letting out a cry of "Boo!". While not particurally scary, a wind hitbox appears from Chocula's mouth that covers 2 Battlefield Platforms in front of him. They push the foe away at Mario's dash speed, possibly into Igor or chocolate. But the important thing here is it's use as a spacing tactic, one that can give Chocula some time to turn into a bat or get some setup time in.

Up Tilt - Chocolate Geyser

Chocula points at the ground in front of him, causing a geyser of chocolate to erupt from the ground! The geyser is as wide as Ganon and 1.5x as tall as him, anyone who hits it is instantly shot up 2 Ganons, regaining all their jumps. If Chocula does this on a moving foe, they retain all their momentum when they move into the air. If they go into the air with enough momentum, they can potentially go fast enough to go off the side blast zone. The geyser lingers for 3 seconds, so Chocula himself can get on it. Combined with building momentum on chocolate, this can be a good getaway technique.

Dash Attack - Dark Lunge

Chocula suddenly leaps one Kirby into the air, moving 1.5 Battlefield Platforms before he falls downwards. If he catches a foe, he grabs onto them and smashes them downwards, dealing 8% damage to them and giving them slight stun. Chocula can potentially leap off the stage using this for a suicide KO, but if he whiffs it, he will likely die. More often that not, Chocula will be using this to force both him and the foe onto the chocolate. If he's gained momentum, he will keep moving at that speed during the leap, making an extraordinary movement tactic, as well as potentially making it less predictible in the suicide aspect.

SMASHES​

Up Smash - Lucious Smells

A brown mist appears around Chocula during the charging animation; this represents the aroma of fresh chocolate. After charging is complete, Chocula can move it for 5-12 seconds in all directions at Bowser's dash speed, alebit he is completely immobile while doing so. Once he presses the input while the chocolate is in a set area, it will remaing there until someone activates it. The wave is as long as 2 Battlefield Platforms, and can be angled in any direction; upwards, downwards, diaganol, you name it.

If the foe, Chocula or Igor come in contact with the smell, they are hypnotized by the aroma and follow the wave at their normal walk speed, defying gravity if it leads into the air. This can lead into a follow-up strategy, such as a grab or your aerials. This also allows you to reposition Igor.

Forward Smash - Sticky Marshmallows

Chocula waves his fingers with a "Ha!", causing a Kirby-sized to Bowser sized (depending on charge time) marshmallow to appear on the ground in front of him and begin rolling forward. It rolls forward at Bowser's dash speed at the start, building momentum as it moves. The marshmallow will not stop unless it falls off-stage, but the long startup combined with the fact he can be interrupted at any time prevents this from being extremely effective. If the marshmallow hits anyone, including Chocula or Igor, it will cause them to stick to the marshmallow as it rolls. They must escape with 2x grab difficulty or face the threat of rolling off stage. However, both Chocula and the foe can send the marshmallow in the direction it came from by hitting it with any attack, a task made much harder when they have no control over their movement or are stunned, yes?

If the marshmallow passes over any chocolate, the marshmallow begins to absorb every bit of it. For every Battlefield Platform of chocolate it passes over, the size of the marshmallow increases by 1 Kirby. For every Kirby it gains, the marshmallow must be hit with increasingly stronger attacks in order to turn it around, though reflectors and disjointed attacks will often cause it to turn around automatically. Eventually, you can have a gigantic marshmallow moving about the stage, a truly destructive force of nature.

If Chocula happens to jab an incoming Marshmallow, he bites one Kirby off it, reducing the size of it by that amount and healing himself of 8%. The timing must be spot-on and you will be grabbed regardless unless the marshmallow was only the size of one Kirby, of course. Still, the amount of health healed can be well worth it.

Down Smash - Ball n' Chain

Chocula extracts a brown, Kirby-sized ball covered in spikes ans attached to a chain. Once he brings it out, he swings it around himself for the charging animation. If any foes come near him during the charging, they get impaled to the ball and chain and begin swinging around with him, taking 2% damage per second. When Chocula releases this, he swings the ball in the direction it was facing when he released it, and it travels 2-4 Battlefield Platforms before it falls to the ground. If it hits a foe, they get impaled and take 2% a second for 5 seconds, as well as 6-12% damage. Chocula can potentially use this as a damage racker, as well as a staller during the charging animation.

If the ball lands in the stage, it impales itself in it. Anyone who walks into it will take 5% and be knocked backwards. The chain lays next to it, allowing them to pick it up and toss it, inflicting impalement and whatnot. When the imaplement wears off or it is thrown offstage, it returns to Chocula. Chocula cannot use his dsmash if it is out of his possession.

AERIALS​

Neutral Aerial - Flapster

Chocula flaps his arms downwards like a bird, hitting foes on either side of him. This does about 2% damage and light flinch. Most notably, Chocula can move half a Kirby in any direction from the arm flap, which allows him to counter negative momentum the chocolate might give him. Chocula's recovery only increases as a Bat, as he moves a full Kirby instead of half a Kirby. He can only do this 3 times, the 4th time he falls into helplessness.

Up Aerial - Clinging On

Chocula bares his teeth before biting upwards in a small hitbox. If the foe attempts to to hit the teeth, or if Chocula actually bites them, they will take 5% and have Chocula cling on to them. Chocula can now move around while clinging to the foe, the foe must attack Chocula with a hitbox to get him off, or wait 2 seconds. Chocula can potentially influence foes towards the bottom blast zone, though he'll always die first if he's clinging. Naturally, this works even better with your bat form, where you just have better movement.

Side Aerial - Caught ya!

With a flourish, Chocula faces the screen before throwing his cape out in the direction you selected, letting it linger for .25 seconds before he retracts it with bad ending lag. If a foe gets caught in his cape, they get tangled in it. Chocula has 2 seconds to pick a direction before the foe is automatically released and he enters helpless, after he picks a direction, he hurls the foe from his cape at 2.5x the speed they were moving at Chocula. This allows Chocula to force the foe in certain areas, as well as possibly building their momentum for them.

Down Aerial - Monster Claws

Count Chocula's feet merge into monster claws as he plunges downwards in a traditional stall-and-fall, if his clawed feet grab anyone, he will hold them underneath them. They can rapidly button mash at average grab difficulty to escape, regaining all their jumps as Chocula slips into helplessness. As a bat, he can fly around and recover while he has a foe in his clutches, allowing him to easily position them. He can also follow this into any of his other aerials as a bat, the most obvious being side aerial.

If Chocula lands on the stage while he has clawed feet, they will dig into the ground. This makes him immobile, but he will be unaffected by chocolate, allowing him to stall in the middle of it. His claws will automatically dig out in 5 seconds and be unable to dig in for another 5, meaning he can't stall forever. He can also be hit out of this stance with any attack.

FINAL SMASH​

Chocula causes CHOCOLATE RAIN to start, causing down special chocolate to start falling from the sky for 10 seconds. Not only a way to fill up the stage, the chocolate drops footstool people as well, making it a decent way to kill foes offstage.

EXTRAS​

Entrance - Rope Climb

Chocula climbs a rope hanging onto the stage, facing the screen and letting out "Here comes Count Chocula!" before he jumps onto the stage.

Up Taunt - Scaredy Cat

Chocula lets out a sarcastic "Don't be scared..." before throwing his head back in a laugh.

Side Taunt - Finger-Lickin' Good

Chocula notices a bit of chocolate on his finger, so he licks it up with a look of satisfaction.

Down Taunt - Shiny Box

Chocula bares a fanged grin, as his teeth shine. He then proclaims "I have ze shiniest teeth ever!"

Victory Pose 1 - Self-Proclamation

Chocula slinks through the victory screen, singing: "Count Chocula Cereal is coming your way; how 'bout a monster for breakfast today?"

Victory Pose 2 - The REAL Dracula!?

Count Chocula is seen about to eat a bowl of his cereal, before Bela Lugosi Dracula (Castlevania Dracula if you're playing against a Konami character) comes next to the cereal and asks "May I have some?" Chocula looks frightened, running away and saying "You can have 'em all!", leaving Dracula with a confused look on his face.

Victory Pose 3 - Monster Mash

A disco ball hangs over the victory screen as the Monster Mash starts playing, accompanied by several generic monsters (including a werewolf, the mummy and Frankenstein) dancing to it. Chocula proclaims "It's a monster mash!"

Victory against Frankenberry - Electrical Powers

Chocula tangles a dazed and confused Frankenberry in an electric grasp before proclaiming "I like him this way!"

Victory against Boo Berry - Gloating

Chocula opens a suitcase, revealing a full-sized table with a bowl of Count Chocula, calmly stating with a smirk, "You haven't a ghost of a chance when Count Chocula's here!"

Victory against Fruit Brute - Cereal Battle

Fruit Brute holds his cereal, proclaiming "I love Fruit Brute!" Chocula pulls out a potted plant and muffles him with it, yelling out "I love Count Chocula!"

Victory against Fruity Yummy Mummy - Self-Proclamation

Chocula does the Egyptian over Fruity Yummy Mummy's defeated body, singing "Fruity Yummy Mummy makes your tummy go yummy!" mockingly.

Victory with Frankenberry - Monsters of Stage

If Chocula and Frankenberry won on a team, they will enter the victory screen with top hats and canes and begin singing: "We're the monsters strong and tough; we'll scare you but you can't scare us!"

 

[MarthTrinity]

Frankenberry to be posted...eventually.

 

[TheSundanceKid]

Eventually

 

[Clownbot]

FRUIT BRUTE​

The fourth cereal mascot to be introduced to the General Mills monster-themed line of cereals and, tragically, the first the die out - he was discontinued by 1983. Relieved of his duties as cereal mascot, Fruit Brute now prowls in the night during the Halloween season, barking at the moon in agony and attacking innocent children with the howling good taste of fruit.

Fruit Brute's stats are fairly rounded: his weight, height, speed, traction and aerial mobility are all, give or take, average.

SPECIALS​

Neutral Special - Fruit Brute Cereal

Fruit Brute pulls a box of delicious Fruit Brute cereal from his overalls and takes a huge bite out of it, leaving just half for later. For the next 10 seconds, Fruit Brute moves at a faster speed. He takes a lot of cereal at a time, so this move is really only useful twice per stock - don't waste it. Upgrades from eating cereal don't overlap; if you eat half a box of Fruit Brute while you still have some in your system, the only thing that will occur is a reset of the 5 seconds.

Side Special - Brutish Bite

Fruit Brute growls - giving this move just a little start-up lag - before lashing out at the opponent with a ferocious bite. This move has a range of one stage builder block and deals 11% with moderate knockback. Immediately after the bite, Fruit Brute will retreat slightly back - this gives the move about as much endlag as start-up lag. Shortly after the opponent has been bitten, they will turn into a werewolf. In werewolf form, characters stand hunched over, weigh more, and behave ferally: many of their moves are replaced with generic bite-and-claw attacks. Opponents remain in the werewolf state until they lose a stock.

Down Special - Howl

Fruit Brute sits on the stage and howls to the sky for one second. This move has a range of a few blocks on either side of him and causes other characters to back away, frightened. When in the werewolf state, opponents will respond to the howl with one of their own. Because this move travels in each direction as opposed to automatically taking effect on any foe in range, werewolves that are farther away from Fruit Brute will take longer to respond to the call and those near him will howl almost at the same time he does.

Up Special - Werewolf Claw

Fruit Brute extends his claw straight up, recovering a bit. This attack deals 6% with low knockback. If he's eaten any delicious Fruit Brute cereal, the recovery of this attack is greater and it also becomes a homing attack - if any enemy is within range of the move, Fruit Brute will pick up on their scent and claw towards them.

STANDARDS​

Neutral Attack - Slash

Fruit Brute performs a single slash of the claw with a bit of endlag. This move deals 9% with fair knockback.

Dash Attack - Lunge

Fruit Brute lunges forward with a low, guttural roar. This attack has a very good range, covering two stage builder blocks, and deals 7% with mild knockback. Due to the power of delicious Fruit Brute cereal, Fruit Brute will cover three blocks with this move.

Forward Tilt - Growl

Fruit Brute extends his head forward, dealing 8% as he growls at the opponent. If the opponent is a werewolf, this move establishes Fruit Brute's dominance. In free-for-all matches, no werewolf opponents except the one Growled at may attack him. If Fruit Brute is attacked after establishing dominance, he loses his status and any opponent may attack him once more.

Up Tilt - Flea Swatter

Fruit Brute slaps the air above him, sweeping fleas away. This attack deals 6% with low knockback. If any werewolf opponent is near Fruit Brute when this move is performed, they will gain fleas. These fleas steadily increase damage for about 5 seconds and there is no way to get rid of them until then. The fleas can only be used once per stock.

Down Tilt - Scatter

Fruit Brute pours about half a box of delicious Fruit Brute cereal onto the ground below him. This is Fruit Brute's way of marking his territory. When an opponent steps near the delicious breakfast meal, Fruit Brute will become enraged and the power of his moves is increased, provided he's attacking the offending foe. Foes can also eat the cereal to gain the same speed boost Fruit Brute gets from it. If Fruit Brute has no cereal left, he will simply paw at the ground, dealing 3%.

SMASHES​

Forward Smash - Fruit Punch

Fruit Brute rears back his fist and unleashes a devastating punch that deals 23-30%. With delicious Fruit Brute cereal in his system, the punch's power is upped to 32-40%. This move has ghastly endlag.

Up Smash - Bark

Fruit Brute barks loudly into the air. This attack has greater range depending on charge and deals 12-17%. Once a Bark is performed in a free-for-all match, werewolf opponents will be forced to approach any foe(s) who were within the Bark's range. Unless Fruit Brute has established dominance, they may also attack him.

Down Smash - Tail Chase

Fruit Brute chases his tail in a circle, once or twice depending on charge. Any opponent who comes into contact with him during this attack is dealt 1 to 2 hits of 8% damage each and moderate knockback. If a werewolf opponent gets near him while he is performing this move, Fruit Brute will chase their tail. If he catches up to the opponent in time he'll give them a good bite that deals 19% and better knockback than before.

AERIALS​

Neutral Aerial - Spinning Claw

Fruit Brute extends his arm and spins around with his outstretched claw. This move deals 6% damage and can hit the opponent twice per use.

Forward Aerial - Werewolf Breath

Fruit Brute exhales a foul stench that deals 14% damage to the opponent. This move has no knockback. This move is ineffective against opponents who are werewolves.

Back Aerial - Elbow of Doom

Fruit Brute forcefully shoves the opponent back with his elbow, dealing 8% with moderate knockback. Having eaten delicious Fruit Brute cereal, Fruit Brute's elbow deals damage of 15% and much greater knockback.

Up Aerial - Head Snap

Fruit Brute snaps his head upward in an agitated manner, dealing 9% with good knockback.

Down Aerial - Paw Swipe

Fruit Brute performs a swipe with his foot that deals 11%. Under the effects of delicious Fruit Brute cereal, Fruit Brute slams his foot downward with the move now being a Spike attack.

GRAB GAME​

Grab - Fangs

Fruit Brute takes the opponent between his jaws and holds onto them firmly.

Pummel - Chew

Fruit Brute casually chews on the foe, dealing 4% per hit. If Fruit Brute attempts to chew on a werewolf, he will automatically spit them out using his Forward Throw. Fruit Brute may be vicious, but not enough to eat one of his own.

Forward Throw - Spit Out

Fruit Brute spits out the foe, sending them slightly forward. If he still has any delicious Fruit Brute running through his veins, Fruit Brute loses its effects automatically upon performing this move.

Back Throw - Dig

Fruit Brute tosses the opponent behind him and kicks at them with his feet a couple of times, dealing 6% per kick. If Fruit Brute uses this move next to a pile of delicious Fruit Brute cereal from his Down Tilt, he will bury it for later. The area in which the breakfast is buried is indicated by a small mound of dirt; Fruit Brute can dig it back up by using his Back Throw again or, more easily, using his altered Down Tilt when he has no cereal left. Other characters cannot dig the cereal back up.

Up Throw - Shake

Fruit Brute rapidly and brutally shakes the opponent back and forth in his mouth, dealing 3% per shake. By default Fruit Brute only shakes the opponent once, but you can press the A Button up to 5 times during this move to perform more. The distance the foe is sent upwards depends on how many times they are shaken.

Down Throw - Werewolf Slam

Fruit Brute performs a classic body slam against the opponent, dealing 10% damage. What, were you expecting a big finish? Okay, fine, uh... This move's power is increased by delicious Fruit Brute cereal, I guess. Okay there you go that's my Halloween contribution now shut up

Fruuuuuuuuuuuuuuuuit!

Fruit Brute!​

​

​

 

[ForwardArrow]

Fruity Yummy Mummy​

The Fruity Yummy Mummy is yet another one of those Monster Cereal mascots from the olden days. Now unlike probably everyone else here I never actually had one of those cereals. That said from what I've heard their delicious and they had these silly little monster mascots representing them. And who doesn't love silly mascots, am I right?

Stats​

Traction - 10
Size - 8.5
Recovery- 7
Air Speed- 7
Weight - 6
Fall Speed- 5
Movement Speed- 3​

Our mummy friend here is not exactly the fastest character in the game, though he's reasonably quick in the air. He is slightly smaller then Ganondorf, and considerably lighter. Fortunately he at least has godly traction, he's not going to trip any time soon.

Specials​

Neutral Special​

One of the strands of the fruity Mummy's gauze flies forwards, wrapping around the foe. This creates a bit of a leash on the foe, in that they cannot move beyond the length of two Bowsers from Fruity Yummy Mummy. The connection can be severed by dealing you at a total of 5%, but you can throw out additional strands to increase the damage needed to break the bond by 5% per strand. Fortunately for Fruit Mummy, he can actually move beyond the maximum length of gauze, instead dragging the foe along with him as he moves. If the foe is in prone when he does this, they take 2% per second as he walks and 6% per second as he dashes, being dragged along the ground behind you. Also, when knockback is dealt that would launch you or a foe beyond the length of the Gauze, it drags the other along as well, so be careful KOing the foe while attached. Firing a strand has about a quarter second of lag total.

Side Special​

Fruity Yummy Mummy leaps forwards a short distance, attempting to grab onto a foe. If he does, he will hold them still while they escape with half grab difficulty. During this time, the fruit Mummy can press A to bite onto the opponent's head, trying to eat their brains. This deals them 3% and no knockback, but a flinch. A bite takes about a third of a second, so it's kind of hard to land a lot of them on a grab, making this a fairly poor damage builder. The attack is fortunately pretty fast, and the range is quite solid.

However, if you manage to bite onto their head 10 times, Mummy manages to crack their skull open. While this isn't visible, the opponent will take 10% upon the breaking of their skull and hold their head in pain during their idle pose. Now, biting into the foe's head instead deals 20% and knockback that KOs at 75%. This move is also pretty easy to land, making it an excellent KO move once all that work is done. Another thing of note is if the foe is stunned by some means or another, Mummy can grab and start biting them during their stun and not knock them out of it, instead adding that time to how long it takes for the foe to escape.

Up Special​

Fruity Yummy Mummy does a demonic grin as a large blast of wind blows in behind him. This wind will boost him upwards 2 Ganondorf heights and forwards 3 times the width of Bowser. Afterwards he goes into helpless. Any foes hit by the wind will be pulled along with him. If you use this by the edge of the stage when a foe is tethered to you, this will slam them into the side of the stage and deal them 10% and a second worth of stun. You can also tap A to prevent yourself from actually flying because of this, wonder what that might be useful for.

Down Special​

Without any gauze out, this attack does absolutely nothing. Sorry Junahu. With gauze attached to the foe, he brings it in with almost no lag, dealing the foe 2% and a flinch. You can mash this button to remove all the gauze you've attached to the foe pretty quickly. This also serves as a pretty decent damage builder in combination with your Neutral Special.

Grab Game​

Grab​

Fruity Yummy Mummy reaches forwards, having slightly above average range and lag for a grab. If he has bandages attached to a foe, he can reel them in an additional half stage builder block, giving this some pretty scary range and even if it doesn't hit it pulls the foe in closer.

Pummels​

The mummy grabs a bowl of his trademark cereal, putting a spoon in it and then forcing the spoon into the foes mouth. This doesn't deal any damage or knockback, mostly just having the effect of placing the Yummy Mummy cereal in their stomach. What possible use could that, have, I wonder?

Forward Throw​

The Yummy Mummy grabs a bowl of milk and forces it down the foes throat. This isn't ordinary milk though, it's actually acid, which they immediately spit out and take 12%, as well as flying backwards about 2 stage builder blocks. They also will be coughing for the next 2 seconds, which leaves their mouth open. This means if you re-grab them you can feed them slightly faster, and they attack with 0.8X as much damage and knockback.

That's not the only benefit though. This attack leaves their mouth open, which makes a bit of a change to your Up Special. He will force the wind down their throat, which causes the Yummy Mummy inside their stomach to start growing. Don't ask how, it's a company secret. Anyway, this expansion grows the cereal beyond the capacity of their stomach, and causes them to throw up once every 2 seconds as long as they still have cereal inside them, throwing up one pummel worth of cereal each time. This doesn't actually cause much lag at all, so it seems pretty worthless at first.

The good news, though, is that when the foe throws up it leaves a blob of the half digested cereal on the stage, that is about the size of Kirby. Using the Up Special on it causes it to expand again to the size of Bowser, though no further. A foe who is dragged through it will move at half their normal speed and escape grabs with double difficulty. If the vomit is in the air it causes foes trapped in it to be dragged downwards at a much faster rate So yes, it is in fact goop. You can drag them around by dashing to position where they throw it up as well, which gives you a great way to position the goop, as well as pull them into it. The glob of vomit disappears after 10 seconds.

Back Throw​

Yummy Mummy tosses the foe behind them, dealing them 7% and moderate diagonal knockback that will not KO until around 330%. You can also follow this move up by pressing A, at which point he will grab the string attaching him to the foe if there is one, and tie it in a knot. This decreases the distance of all the lines you currently have attached to the foe by half a Bowser length. You can only use this twice and it only effects string made before this, so once all of the ones that are tied are destroyed the foe gets a longer leash.

Up Throw​

Yummy Mummy wraps one of his bandages around the foes stomach and pulls it tight. This deals the foe 8%, and no real knockback. In addition, if the foe has any cereal in their stomach, they'll throw it up and choke on it, dealing them another 2% for each bit of cereal you've feed them. This also thankfully does not use up the cereal either, making this a very effective damage builder.

Now if the foe has had the wind forced down their throat as well when you use this, this causes them to vomit it all out at once, dealing them 3% for each spoonful and creating a blob of the half digested the size of Kirby for each spoonful eaten. This can potentially make a huge area of vomit for you to trap the foe in with your gauze, making it incredibly unpleasant for them to attempt to escape. Unfortunately it uses up all of the spoonfuls of cereal.

Down Throw​

Mummy throws forwards another band of gauze, this one wrapping around the foes mouth. This deals the foe 1% per second, though if they idle for half a second they let it go. The main problem is that they aren't idling if your dragging them along by the gauze, so this can actually stick around for a good while and build up a bunch of damage.

That's not the main use for this move though. If the foe is currently in the process of vomiting, the moves real power kicks in. The foe will attempt to vomit, but be unable too because of the gauze, and begin taking 8% per second. They will also look extremely sick and be unable to move or attack as they button mash to try to get it off with 1.5x grab difficulty, after which they vomit. This becomes even more horrible for them if a blob is already set up, giving you ample time to chow down on their brains.

Standards​

Jab​

Fruity Yummy Mummy tosses forward a strand of Gauze, dealing 2% and a flinch. The strand then stays out, it extending a Bowser width in front of Yummy Mummy. If a foe dashes over the strand, they will trip and take 5%. Pressing A again with a string out pulls it in, tripping them and dealing the same damage as though they dashed over it. This has a fair bit of lag when both casting out the string and pulling it in, but it helps restrict the foe's mobility even further.

Dash Attack​

Yummy Mummy rolls forwards in a surprising feat of agility, dealing the foe 8% and knockback that KOs at 200%. This will also trip any foes currently attached to him by Gauze that are on the ground. This has surprisingly little end lag, which allows you to potentially drag the foe around a bit afterwards for some additional damage.

Forward Tilt​

Yummy Mummy takes out a bowl of his acidic milk and slams it in front of him. This deals 13% to the foes and a half second of stun as they scream in pain. This is prime time to either grab them, or because their mouth is open force wind down their throat. This also leaves a small pool of the milk behind, dealing the foe 10% and vertical knockback that KOs at 220% if the foe walks over it. The puddle lasts for 6 seconds and you can have up to 2 out at a time.

Up Tilt​

Yummy Mummy tosses out a few strings off gauze and sweeps them upwards, dealing 3 hits of 2% and flinching with a fair bit of range and fast startup. Unfortunately the end lag isn't so good, as he reels the string back in. He will also throw any gauze he attached to the foe into the air with it, tossing them up into the air. This will not stun them or interrupt what they are doing, but likely will cause them to miss with an attack.

Down Tilt​

Yummy Mummy takes out a spoon, scooping along the ground with it. This is fairly fast and deals 4% and low upwards knockback. The other benefit is that this moves any blobs of vomit forwards half Bowser's length, allowing you to position them after the foe throws them up.

Smashes​

Forward Smash​

A strand of gauze extends from Yummy Mummy's arm, before he whips it forwards, dealing 8%-16% and 1-3 seconds worth of stun to the opponent. This has fairly nice range, but also a large amount of lag. That said, the stun gives you ample time to devour the opponent's brains. Hitting them in mid-stun knocks them out it and deals knockback that KOs at 220%-140%.

Up Smash​

Fruity Yummy Mummy takes out two bowls of his acidic milk, before slamming them overhead, dealing 22%-28% and knockback that KOs at 95%-60%. Unfortunately, this has ungodly start-up lag on par with a Warlock Punch, so it's not a very practical kill move. The clash of the bowls overhead is a pretty huge hitbox that lingers for about half a second though, at least.

Now, naturally that isn't all there is too this move. You see, this gets the acidic milk all over Yummy Mummy for the next few seconds. This makes it so that contact with him deals 5% and light horizontal knockback, and any bandage attacks instead now knock away with 7% and average knockback for the next 6 seconds. While this is rather unfortunate if your trying to tether to a foe, this gives you a very fast and effective attack in the Neutral Special. Not to mention with how much you're limiting the foe's movement, it's pretty easy to repeatedly bump into them and keep them in range.

We're not done yet though. You see, if he uses this over a glob of vomit, it causes the vomit to become acidic and deal 4% per second to victims trapped inside. Considering how easy it is to trap the foe in one of those things, this can result in hellish damage building.

Down Smash​

Fruity Yummy Mummy is uses his mummy powers to call upon some ancient egyptian magic, and creates a Kirby sized windstorm in front of him. This deals 14%-20% in mass flinching hits and lasts for about a second. The wind storm is incredibly hard to DI out of, and during this time you can in fact chow down on their brains with Side Special. Unfortunately this has a fair bit of lag on both ends, so be careful with it.

The move also interacts with the cereal blobs and your Up Special. Your Up Special will push the wind around, causing it to drag opponent's along with it. This can potentially be used for gimping the foe if you so desire. In addition, it can carry a Kirby sized quantity of vomit in it, increasing the damage by 6% and removing that mass from where it was. You can use this to reposition the vomit or just make it even harder for foes to escape.

Aerials​

Neutral Aerial​

4 strands of Gauze extend from and begin to circle Mummy for as long as you hold the input. These deal 5% and a weak spike, and gradually extend out over time. They start out only a Kirby width in length but will continue extending at the rate of a Bowser width per second, to a max of strands 4 Bowsers long. You can actually hit with this several times, and can be used to push opponent's towards the ground, where they have no ability to move, or keep them out of the air. That and it can allow for suicides in combination with attaching yourself to the foe, as they are gradually forced downwards and recovery becomes nigh impossible. This has moderate start up and a bunch of end lag as he reels the strands back in.

Forward Aerial​

Fruity Yummy Mummy tosses forward a Kirby length strand of gauze, which floats forwards at Ganondorf's walk speed. It also descends really darn slow, taking 5 seconds to descend a Kirby height. This doesn't have much lag so he can litter the air with these pretty easily. They are also pushed around by windstorms, which cause them to fly diagonally out if they fall into one. If one of them contacts the foe, it will wrap around them, and the foe has to escape with a fifth grab difficulty. It's not particularly powerful on it's own, but it really limits the foe's ability to move around in the air.

Back Aerial​

A band of gauze extends from Yummy Mummy, wrapping around the foes throat and squeezing it. This deals 10% and causes the foe to gasp for air stunned for half a second, which not only has applications for gimping the foe, it also allows you to force wind down their throat. Unfortunately this has a bunch of end lag, so despite coming out fast and having decent range it's a somewhat dangerous move to use.

Up Aerial​

Yummy Mummy throws a few strings of gauze above him, dealing multiple flinching hits that add up to 10%. This also shakes gauze that the foe is attached too, which drags them downwards though dealing no damage or knockback. The fact is, Yummy Mummy doesn't really want the foe above him in the air, but this does at least somewhat help him pull the foe down to his level.

Down Aerial​

Our fine Mummy friend takes out a bowl of his acidic milk and begins pouring it below him, dealing 3% per second and mass flinching hits. The stream is the width of Sheik going down to the stage or bottom blast zone and he continues pouring until you press another input. This pushes around the forward aerial strands and covers them in the acid, making them deal 5% upon constricting the foe. In addition, if it comes in contact with a windstorm it will splatter of to the sides of it, dealing the same damage a Bowser width on each side of the storm.

Now, once you press another input, Mummy will drop the bowl to the ground. If the bowl collides with anyone on the way down, it deals 13% and knockback that KOs at 155%. If a bowl falls into a windstorm it will be launched back up into the air, and if you use wind on it the bowl will be pushed in that direction. This can serve as a wonderful tool to finish the foe off if you decide to go and gimp them.

Final Smash - PUNCH OUT​

Yummy Mummy yells out “Come on!” in Eqyptian and does a motion similar to Captain Falcon’s taunt, but not nearly as flamboyantly. If anybody is within a Battlefield Platform in front of the mummy when he performs this move, they’ll be locked into the final smash, otherwise it ends right there.

If you hit with the initial hitbox, the camera pans behind the enemy and the gameplay goes into a typical arcade boxer format. You can both press A and aim either high, low, or in the middle to punch that point of your enemy’s body. Foes deal 2% per hit and 4% per headshot, while Yummy Mummy does double damage due to the battle not being in his field of expertise. You can both press B to block any of the three points of your body, as well as move right and left ever so slightly to do a brief dodge.

However; Yummy Mummy has an option that his foe can’t do – a deadly right and left hook that you input like you would a fsmash/bsmash. This deals 20% and knockback on par with Bowser’s fsmash, ending the final smash early. These two deadly hooks out prioritize all enemy punches and can’t be blocked, and must be dodged by moving in the opposite direction Mummy punches. Of course, these can be hard to hit with due to the lag, so you can fake them by inputting a ftilt/btilt to do the startup animation but not actually the punch, then punish the foe for their dodge.

If you don’t smack the foe out of the final smash early with a hook, the final smash lasts 12 seconds.

Playstyle​

So you decided to pick the Fruity Yummy Mummy I see? That's a bit of a weird choice, but let's just roll with it. Mummy doesn't exactly have a lot of power or speed, but he at least has nice range. Obviously though, Mummy is a bit more threatening than meets the eye. Once he cracks open a foe's skull, he has a KO move that is both very powerful and easy to land. But considering the short duration of that attack, how DO you get in those bites?

Setting up a few of your traps around the stage is probably a good idea, to help restrict the foes movement severely. You don't have the most elaborate set-up phase in the world though, just get a few bandages in the air and some milk puddles on the ground and you're set. After that, tether the foe to you with a few Neutral Special bandages. It's fairly easy for the foe to break through them, so you're going to need to constantly reapply them, but REALLY restricts where the foe can go in combination with your stage set up.

With their uncomfortably small movement range, it becomes significantly easier to land a few grabs on them. This means they will most likely end up with a large quantity of cereal in their stomach, and will end up vomiting it everywhere. This gives you your chance. Drag them into the vomit and start munching on their brains as they struggle through the muck. You have various tricks to stun them and get in a bunch of bites at a time, and between that and you're impressive damage racking with your ability to drag the foe around, you'll have the finishing bite in no time flat.

Alternatively, the Yummy Mummy can move to a sort of gimping game. The vomit can help drag a foe downwards if you move it around with the sandstorm or spoon. The Nair and Fair provide additional pressure to keep the foe from getting up. By creating a field of minor frustrations Yummy Mummy can make it hellish for the opponent to recover, and get a gimp KO as an alternative to his normal plan. I'm not the kind of guy to make you play a character the same way every time, am I?

 

[Nicholas1024]

There's just one problem.

If you're doing sets for all the Duck Twacy villains, where's Neon Noodle?

And I think this is nearing the point where I just flat out give up on commenting, the amount of sets we've been getting is just beyond the impossible.

 

[Kholdstare]

Jukebox Jaw was once here.​

 

[kitsuneko345]

DOR-15

DOR-15, or Doris is a secondary antagonist, later the true antagonist of Disney's 2007 film Meet the Robinsons. Invented by Cornelius Robinson as a 'Helping Hat' that would assist wearers in small tasks, Doris soon rebelled against her creators and took control of the test wearer. Cornelius acted quickly to deactivate her and she was placed into a Robinsons Industries storage room for prototypes and failed inventions. She soon reactivated and escaped, meeting Bowler Hat Guy who was egging and toilet papering the Robinsons Industries building as an attempt for revenge. They discovered they shared the same hatred of Cornelius and decided to team up in an attempt to destroy the future he created.

Stats:​

Height: .5
Weight: .5
Jumps: 10
Traction: 10
Aerial Movement: 10
Ground Movement: 5
Falling Speed: 10

Yikes, character of extremes much? This would be a good time to mention one of Doris's natural abilities: Hovering. Doris will always start off the match hovering at about Bowser's height and can move anywhere across the stage. She will receive knockback from all of the moves, but once she gets into a reeling state she can easily recover from the attack with out needing to go back to the stage. This hovering period will always last for thirty-two seconds; Once that time is reached, Doris will go down at her falling speed at a ROB-like helpless state. If Doris lands on the ground, she would be able to refill her hovering technique 4 seconds for every second she's on the ground. Any attack Doris gets hit by during this helpless state would not make her recover any hover time, while going off of the camera will make her lose her fuel at twice the rate of comsumption

Specials:​

Neutral Special: Clones

Yay, another mechanic to deal with. Pressing the special button by itself will make Doris automatically create a miniature version about a Deku nut in size of herself almost instantly. Because of the energy required to create a clone, Doris will have to do a measly sacrifice of one second of hovering time. Said "clone" will sway behind Doris in and out of the fighting arena. Any attack that deals 2 damage would destroy the small clone, but it will stop most projectile attacks from hitting the original. If the clone stays alive for 4 seconds, it will reconfigure itself by increase its size to the original Doris and becoming a lot sturdier, requiring 64% damage to be taken down. The clone will also have the exact same amount as floating time as the original. To easily differentiate between the two, the "Beta" clone will have a less rounder crown in the shape of half a icosahedron. This is important to note because the clones will usually deal less damage than the original and Doris has the ability to create multiple clones.

By pressing the special button again after five seconds pass between the first use and this, both the original and the clone will make a mini copy. Something of note is that the copy that the clone has made will be weaker than it's creator at 32 HP when fully grown. Again to tell the difference between this clone and the others, the "Gamma" will have a half a dodecahedron as the crown. Press the special button again with all 4 clones present and 4 more minis will be created, and press it again after 5 seconds with all of the grown-up clones to get 8 more. The Gamma's clone will create the pyramid shaped 16 HP Delta model, while the Delta's mini will grow up to be half-cubed shaped 8 HP Epsilon clone.

To give an idea of how each of the clones are positioned during this move, I have created a chart that will show where each of the clones will be once Doris created all her clones. The letter at the beginning will represent which Doris it is (A=Alpha/Original, B=Beta, C=Gamma, D=Delta, and E=Epsilon), while the number at the end will signify the prder in which they were created (at the start of each neutral special attack, there is a period of 1 frame between the original and the clones afterward, which does not affect the set growing up stage of the attack).

A-1|B-5|B-9|C-13
B-2|C-6|C-10|D-14
B-3|C-7|C-11|D-15
C-4|D-8|D-12|E-16

A few more notes: Doris will always have with 7 of her Epsilon clones beside her at the start of the match and after she's KO'ed so that the player can get a feel on how Doris plays. Using the Neutral Special again with 16 clones will still make Mini Doris's, but they will not be able to get bigger until the other clones are destroyed and will stay out of harm's way by going into the background of the stage. The first-born minis will always have first priority when a clone is destroyed. The maximum of clones allowed for one controller is 32 including the minis in the background, so using the move again with all 32 will just waste time. Lastly, Epsilon clones will create Epsilon clones.


Down Special - Positions

For this move, Doris will take out a large flatscreen TV out of herself. The screen will show four different directions in a compass-like matter, each pointing to a set of dots with letters and numbers on the screen. I have created two of the many screens that might be shown when using this move in the link in this sentence. Yes, the dots are actually indicators of how many clones Doris has, but what do they mean? Well, tilting the control stick will make Doris and all her clones go into those positions.

If you are too lazy/cautious to click the link above, then here is the basic idea with the set. tapping forward with the control stick after this move will make the Doris's line up in a horizontal row. A similar occurrence happens when tiliting up, but the row is instead a column. Tilting back with the control will produce two rows and tilting down will make the formation two columns. If there is an odd number of Doris's, then the original will be inbetween the two rows/columns at the front/top. The placement of which clones are where is a bit difficult to explain, so more charts!

A-1|B-3|B-5
B-2|C-4|C-6
..|..|..
A-1|B-2
B-3|C-4
B-5|C-6

If you don't get the idea, the clones will always form themselves in the sections of two.

If one were to accidently use this move, they can get out of it with a quick tap of the special button. To get back into the original position of 4x4, the player will have to use the down special again then tap on the direction their current formation was in. The clones are vulnerable during the choosing process, but will gain superarmor during the change in formation.


Side Special - Hide

Using this will make the original Doris take out the flat screen TV again, but there are a few differences. Firstly, She will swing the TV right in front of her and spin it around, dealing 12% and moderate knockback to anyone in the average sized range of this move. Once she she is finished, Doris will then move the TV screen a bit towards the foreground and hide herself behind that screen, with all of her full-grown clones going into that space as well. During this time, all of the other hats will grab onto the edge of the hidden screen and let go at random times, including the original holder.

What the other players don't know is that by pressing one of four buttons and optionally tapping a direction, the original Doris will switch places with one of the clones. The clone and original will alter their crowns to the other during this switch and a few of the hands that were holding the screen at the time will let go during the switch. There will even be a number change between the two hats when the down special is used. After the switch, the hat that was originally in the creator's place will take that screen and put it inside of her while the rest of the hats go back to their previous positions.

If it wasn't obvious enough already, then I'll spell it out: this move is to create a sort of mindgame on the opponents. In fact there are two main reasons why Doris would use this move: to protect herself from attacks by using her clones to take the hit and to surprise the opponents with a strong attack. If Doris uses this move again and goes to another position other than the front top corner, then the clone she switched places with will move to that position instead of the other clone going back to its original position so that the former clone will take over. Because this move takes one whole second to complete if the input is done just as the attack portion is finished and how the there is only minor superarmor in the first half second when they hide, it's suggested that this is done while Doris is hiding away form attacks as she can't attack. Below is a chart to signify which direction and which input the original will go to.

|Neutral|Sideways|Up|Down
Special|1|5|9|13
Standard|2|6|10|14
Grab|3|7|11|15
Jump|4|8|12|16

Up Special - Tethers

For this move, the leading Doris will extend her hidden metal claws at a 45 degree angle at about two Pikmin's length and stay like that for a while. A quarter of a second later, the Doris's around the leader will extend their claws to the leader with that same length for an extra push. Then the next patch will do the same for the other clones and so on. Using this attack in the normal position will yield on at most three extra pushes diagonally upwards, but using this with a single file formation will give out up to fifteen pushes, albeit only upwards or forwards.

The leader Doris's claw is the main hitbox during this move, dealing 5% damage and slight upwards knockback during this attack if Doris is the assumed leader. Otherwise, the attack is weaker by 1% by the difference in ranking. If she is able to grab onto the ledge, then the rest of her clones will muster up the strength to get on the ledge with her. Her ledge recovercy will be her doing a quick jab that would deal 6% if she was the original, 5% if she was a Beta, 4% as a Gamma, and so on. The rest of the clones will just get back up with no attacks to deal due to the mass jumbling.

Something to note in general. If the Original Doris is KO'ed, this doesn't necessary mean that she will lose a stock. Rather, the clones will continue fighting without her. If she used the Side Special beforehand, then the the current leader will assume the role of "Alpha" Doris even though they can still be destroyed and deal less damage; otherwise, the oldest living clone (in the case of only the original being KO'ed, that would be number 2) will assume that position. To indicate that the original has been defeated, the clones will only be able hover around for 16 seconds due to the energy given by their leader gone. Any mini clones that are active during that time will stay mini until all of the clones are dead, and they will have half of the hover fuel left than the previous generation's.

Standards/Aerials​

Jab/Nair - Countdown

The Leader Doris will take out her claw and will count down from three to one with three taps. Her long "fingers" in the move deal the damage in this case and the range is about one Doris in length. The original Doris's will deal 3% damage on the first number, 2% on the second, and 1% with the last; each hit will give out no knockback and slight stun. After the leader has started the move, the second in command will follow up with the same attack 5 frames later, then the third in command, and so on. However they will deal less damage in their attacks: Betas will not deal any damage in the last hit, Gammas will have the same effect with the second hit only dealing 1%, only the Delta's first hit will deal damage, and the Epsilon will have just the 2% in the first part. However, the stun time in the attack is kept.

Yes, Doris has the potential to deal out 64% with only three taps of the standard button, but that's only if the opponent is that bad at directional influence. Usually the opponent will be dealt around 20% damage with the attack if they just stay put with attack and even just get 3% damage if they can get out early. Doris can't use the attack again until an entire number is finished. If she does try to do so, then all she will do is push the opponent a small distance away from her. Don't think about delaying the attacks to exploit counting to three over and over again, as Doris will always count down the numbers even with a delay in the attack. The ending lag of this move is below average.


Forward Tilt/Aerial - Thrust

With this move, leader Doris will simply push herself forward quickly for about half a second at around the distance of an SB Block. Like the jab before it, the other Doris will follow in order afterwards. The original Doris will deal 8% damage with minimal knockback with this attack, while the others will deal around 6%, 4%, 2%, or even 0% depending on their rank (lower rank = lower damage). To compensate for this this, the knockback for each of the moves is inverted with the ranking: Epsilons will deal a slightly higher than average knockback, for example. Like the move before it, Doris will be unable to use this move again until all of the other Doris's complete this move. Otherwise, Doris will wait for the rest of the clones to catch up in this low lag attack. This is also a good time to mention that Doris can alternate her attacks without worry about her other clones, so long as all of the clones are not performing the move she will use next.


Up Tilt/Aerial - Attention

In this move, the Doris will stand on top of one other with their claw and raise themselves
about 1/2 of a stage builder block up. For the Doris's in the bottom row, they will either just move upwards the same distance in the air or hold onto the ground below them if they are close enough. Something of note with the move is that it will cancel out all standard attacks, as all of the Doris's will be in synchronization during this move. The damage vastly depends on where each clone is during that time. For example, using the 16 clones in the normal 4x4 stance without switching the leader will have the original clone's hitbox deal 16% (5+4+4+3), but the hat on the other extreme column parallel to the original will deal only 8% (3+2+2+1). Likewise, the hat on the last row of the original's column will deal only a measly three damage. To prevent dealing the rare but possible 48% damage, the hat that will deal the most damage with this move will give that amount of damage to the opponent and the ending lag is slightly above average. Once the move is done, the Leader Doris will stay in the position she was in while the others quickly go into formation at that spot. Remember though that this move will cancel out all of the moves that were being used by the other Doris during that half-second attack's time.


Down Tilt/Aerial - Spike

Doris will swiftly take out her menacing claw and slide it towards the ground (or lack thereof) until it reaches a SB block away. Afterwards, the previously closed claw will suddenly open up to about Doris's height before sliding back inside the brim. In this case, the slide will always deal 1% to the opponent while the pop will deal between 0% and 4% depending on ranking. The move has slightly below average lag and will give out slight upward and forward knockback. Unlike the jab and forward tilt, this attack will start off with the lowest in command starting first, then moving up in rank. This make it one of the perfect attacks for a one file formation, as each hit will easily lead to next one if the opponent is not careful. However, Doris can't be able to use this move if any of her other clones are doing another attack nor can she use another attack if they are in the middle of this, but she can continue using this attack once a half second as come off.

A special note: whenever Doris is about to be on the ground (either forcefully or just because), the lower deck Doris will go down first, then the next row will stack onto the hats already on the ground, and so on until it becomes a TF2 player's wet dream. There is one major benefit with this attribute: the space between the hats whenever they attack will halved. Considering this makes them almost touching one another, it should be obvious why this attribute is mentioned during this move.


Backwards Aerial - Surprise

This move will act very similarly to the D-tilt in that the newest made clones will attack first and then it goes back to the old. They will also be able to use this move repeatedly after as long as the front-runners don't initiate an attack for them beforehand, but will have to wait for all of the other clones to finish before attempting another move that don't have this attack setup. What makes this move more interesting is that instead of the the usual clones setting up the attack, the mini clones will attack by headbutting behind their clones for around half a SB block. The original's mini will deal 4% plus around 10 frames of stun, with the others dealing 1% less and 5 frames more stun time for each demotion of rank. To compensate for this, the ending lag will be above average compared to the near instantaneous start-up for this move


Dash Attack - Blades

For this move, Doris will take out her claw and spin it around in front of her. As a keep on moving attack, she will continue at this state for 3 seconds and has the ability to move anywhere in the air as long as she has enough fuel, but she can't change where she is facing during this time frame. The claw will deal a continuous 1-5% and slight downwards knockback that is measured by the level of the Doris for every spin, and the spin time for this move is a third of a second in length. After the first ten frames when the leader initiated the attack, the next in line will follow suit, and then the third, etc. Once the three seconds have passed, all of the Doris's will stop their attack. Whenever the Doris's are on the ground for refueling and the original is there, they will do this attack in the air but will fall down as soon they finished. If the original isn't there and the others are out of fuel, then they will use their attack with the pitiful ground speed and can only move back and forth.

(Air) Smashes​

Forward (Air) Smash -Scan

For this move, the charging animation is the leader scanning the area about 3 SB blocks away, with the other's scanning as well within ten frames (similar to the jab/ftilt). If nobody enters the scan zone (which last a half second minimum and full second maximum), then Doris will stand confused for half a second before going back to her idle stance. If someone gets on the scanner, then the first Doris who noticed them will chase after the opponent for one second at Mario's dash speed before giving up, with the others following close by. Once the (possibly temporary) leader has captured the opponent, they will grab the opponent and push them towards the ground below. If there is no ground below, then that Doris will commit Doriscide with the opponent while the others just watch in horror once that happens. Because of the chances of the Original getting kill by that attack, using the specials button will cancel the move.

Once the opponent is on the ground, then Doris squeeze the life out of them for one second and deal 16-20% if it's the original (Beta's do 8-12%, Gamma's 4-8%, Delta's 2-6%, and Epsilon's 1-5%). The opponent will be unable to move during that one second. If the other Doris's scanned the opponent, then they will grab onto the opponent as well but not deal any damage; rather, they will prolong the amount of time the opponent can get back up for up to two seconds. Otherwise, those Doris's can attack the opponent with their own moves (all attacks sans the specials will be available with the oldest clones being the "leader", but they will scan one of the Doris's if they use this move against the same opponent while the others are still using this move).


Up (Air) Smash - Command

Like the back air, the Mini-Doris's will be the ones attacking. However in this move they will attack with the leader first then then the next in lines. Once the move is finished charging, the mini clones's heighten sense of surroundings will attack the help them in their hunt for an opponent. Once they hone in on the closest opponent within 2 SB blocks away, then they will chase them around until two seconds are up or if they suddenly grow up, in which they will go back to the main group. If they are able to catch up to the opponent at their Mario dash speed, then they will headbutt their opponent and go straight back towards their superiors. The Minis will have super armor that will protect them from any attack that deals less than 10%, but repeatedly using this move will lessen the armor to 5% damage. The regular Doris's mini-clone will deal 5% and slight knockback, with the others dealing 1% for every demotion of rank. Unlike the forward smash, all of the minis will have their own hitbox during this move.


Down (Air) Smash - Saw

This move will start out with the newest made clone and go down to the higher ups every 10 frames. Once the move is finished charging, Doris will take out her extended claw very close to her brim and spin it around for about a second in length. During this spinning time, Doris can move around at Jigglypuff's walking speed before finishing up with the slightly long lag. The original will always deal 16% damage during this attack plus 1% more for every 1/4 of a charge, with the Beta's dealing 8%, Gamma's with 4%, Delta's 2%, and 1% of the Epsilon. All of them will give out the same downwards knockback, but the force will vary on the strength of the Doris used, with the original's having so much power that the opponent going reeling.

Grab-Game: Control​

For this move, the leading Doris will try grabbing onto the opponent's head, having the exact same range and lag as Ivysaur's grab. Once the opponent has Doris on their head, Doris's eye will glow intensely to initiate mind control. Whenever the opponent is in mind control, Doris will be able to control their movements and their attacks as long as they don't conflict with what the opponent will do. So let's say the opponent is dashing at the time. Pressing the standard button will make them do the dash attack, while pressing the jump button will make them jump in that direction. However, trying to move in the opposite direction will just make the opponent move slower. Likewise, whenever Bowser is doing his neutral B attack, Doris can move the flames up and down but is unable to use any attack.

If the moves sound useless right now, remember that you still have the other clones to deal with. The clones will be lead by the second in command and can use any of their moves in their arsenal except for the grab attack, which will make the leader let go and move back to the group (the only time that the other Doris won't attack during this move). So basically the player has two characters he can control, albeit one is limited. With that, the leader and the clones can try to do a few Wombo Combos before the Doris is forced to let go. The original Doris's will always last twice as long as a regular grab, while the Beta's have a length of 1.75x a normal grab, Gamma's 1.5x, Delta's 1.25x, and Epsilon's havong the same length as a normal grab. One other note while we are still on grabs: Yes, the leader Doris can be grabbed if she is within reach and yes, it's possible for enemy Doris's to mind control the original. However, the clones that have their master mind controlled will just make their new leader become the second in command. To not cause any glitches, Doris can't grab other Doris who are in the middle of grabbing and second in commands are unable to do the grab in general unless the leader is KO'ed.

Final Smash: Future​

What do hats do whenever they get the Smash Ball. Obviously they get find an abandoned time machine and elect the leader to go into the future. Meanwhile, the rest will attack the opponent for ten second, hoping that all of them will not get destroyed or KOed during that time. Once the ten seconds are up, the leader will come back the the present time to bring a good friend: a humongous Doris that the leader can control for 20 seconds before turns to rust. This mammoth Doris will be around the size of Giga Bowser and can do all of the standard attack the regular Doris can do with twice as much damage. For attacks that uses mini clones, the clones will do the attacks with twice as much damage as well. However, Giga Doris can't use her grab or specials button (doing so will use the standard attack that would normally happen) and moves that use clones will not have any clones to help you.

Playstyle​

With Doris's 7 weak clones, Doris becomes a minor threat in the first few seconds. Once those clones get destroyed (and with the Epsilon having only 8 HP, chances are that without proper planning most will be wiped out in seconds), Doris won't have much in the way of attacking. Once Doris moves out of the way to make her clones off stage, she become a true threat. Opponents will have to make sure to keep track of where Doris is and if they can attack her. But enough about what the opponents should do. Doris will always need at the very least eight of her clones to at least become a threat. She can easily do so during her 32 seconds away form the opponents, but after she made her 7 clones, she has the option to create more clones or to switch positions/formations. Whenever fighting against heavy weighted characters, the former option would be best so that Doris can start comboing them with success, while the latter can work well with lightweights for a few surprises. Either way, it's in her best interest to use the other option soon afterwards, preferably in the air.

Now to the meat of the attacks. Most of the attacks will combo well with each other due how versatile they are. For example, using her D tilt with a one row combination will lead to the whole floor of Final Destination in attack for an easy trap. She can spam that attack for a while to get opponents tense, then use her up tilt to cancel of her moves. She can then go use her Up Smash shortly afterwards to get in a bit more damage and knockback, then use the Forward tilt to give the opponent a good 40% if done correctly.

What makes her very deadly is her short traction, as she can turn around as much as possible and the clones will follow that same path. This can ultimately give more damage than usual if done right. For example, if Doris were to use the jab in the normal formation and the opponent gets hit in the middle of it, then she can slightly move forward then turn around and use that move again to give a little trapping effect. Then she can repeat this until the attack does 0% to get a good 20-30% on the opponent if done properly. These are just two of the many possibilities Doris has

Sadly, Doris doesn't have much in the way of killing moves besides her down smash and her risky forward smash. That's where the grab comes in. With that, Doris can try to make the opponent make as many mistakes as possible while the clones knock the crap out of them. Even better is to have one of the clones replace the leader from attacks to ensure that there won't be too many mistakes.

Doris is a very high risk, high reward character. It's a bit easy to mess up on attacks and leave Doris vulnerable from having her clones gone. But in the right hands, she can be downright impossible to KO.

Engineer Approves of This Set​

 

[ForwardArrow]

-Gatstaf Shepherd-​

Gatstaf Shepherd is a common card from the most recent Magic set, Innistrad. As you can probably tell by the picture, he's a typical farmer, not really much to talk about here. Probably provides for a small village or something. Either way, the guy wants to take care of his flock of sheep... most of the time anyway.

-Stats-​

Size: 8
Weight: 7
Fall Speed: 7
Traction: 5
Movement Speed: 5
Air Speed: 3
Jumps: 1

As you can see, the Shepherd is not exactly the scariest brawler on the surface. He's a pretty big guy, not as tall as Ganondorf but slightly wider because of his coat. Unfortunately, that is where your stats stop being even remotely nice to you, especially with those godawful jumps. Your actual recovery move is not even an extra jump. But I suppose you can't expect much from a random farmer.

-Specials-​

Neutral Special
The Shepherd taps his staff on the ground, and a single sheep appears in front of him. The fluffy animal is about the size of Kirby, and has 15 stamina. Upon being summoned it will stand in place until you tell it to do otherwise, sheep are not very smart animals. You can have up to a whopping 12 sheep on screen at a time.

For the most part, sheep will just stand still, serving as meat-shields at the best of times. However, if one of them dies, the remaining sheep will panic and run in the direction they are facing until Gatstaf Shepherd calms them or they get 3 stage builder blocks away from the foe. Yes they WILL run off cliffs because Sheep are stupid. Fortunately summoning them doesn't exactly have a ton of lag, though it's far from spammable, taking about half a second. No, you cannot hurt your own sheep, why would you ever want to do that? You've got other, nicer ways to calm them right?

Side Special
Gatstaf Shephard takes out a small bundle of hay, tossing it forwards about twice Bowser's length. This can be angled to increase or decrease the length tossed by 2/3 Bowser's length. This deals foes 3% if they are hit by it and not even a flinch, which is rather disappointing considering this isn't all that fast a projectile.

The good news is that the hay at least directs the sheep, as any sheep within 2 stage builder blocks of it will run towards it. This will also temporarily distract them from the foe if they are trying to run away, meaning if none that spot it are hit within another 2 seconds they will manage to forget about the foe and just go on to eat the hay. After one of the sheep eats the hay they will go back to standing still.

Up Special
The Shepherd pulls out a small razor, which he swipes forwards, dealing 7% and low knockback. This has quite a bit of lag and doesn't even have much range. The good news, however, is that when you use it on a sheep, it will take off the animal's wool. You can then carry the wool with you as an item. Pressing A while holding the wool holds it forwards as a shield, taking up to 10% before ripping and disappearing. You can sheer more than one unit of wool though, stockpiling up to 6 at a time. Sheep start out with wool and do not grow more until 20 seconds passes.

Now, you want to recover don't you, and that little razor really is not doing it for you? Well, double tap Up Special and he'll make the wool into a makeshift parachute. This will boost you up 1-4 Ganondorf heights into the air and reduce your fall speed from there by half-an eighth, depending on the amount of wool. The wool up top can be destroyed by taking 10% per unit of wool though, and it takes 5% per second while you are flying around. You CAN use your aerials with this parachute though. This is the main reason to keep your sheep alive, so that you'll have some sort of air game, and so you have some wool in reserve when all is said and done.

Down Special
Gatstaf Shepherd suddenly starts holding his head for as long as you hold the input. He suddenly starts growling before attempting to recompose himself throughout the course of this move. If you hold this for 5 seconds total however, the Shepherd will suddenly roar, growing fangs and fur and nearly doubling in size, transforming into a monstrous werewolf. This new monster's moveset will be detailed after this one.

That's not all though. What I did not mention earlier is that Gatstaf Shephard will transform anyway after 40 seconds are up. Each second you spend holding Down Special reduces this time by 8 seconds, so this effectively speeds up the inevitable. Why would you WANT to staff in Shepherd state though, you might ask, when you have this far more powerful monstrosity available? Truth be told, Shepherd's game contributes quite a bit towards the game of his new form... you'll see when we get there.

-Standards-​

Jab
The shepherd holds out his staff in front of him, using it as a defensive measure that can take up to 10% before he falls backwards in prone. Much worse than the wool shield, but it will have to do if you don't have access to one.

Pressing A with either defense up will cause him to jab forwards with the staff for 2%. With a wool shield up this is impossible to see coming, and as such hard to dodge. It does deal decent shield damage as well, though.

Forward Tilt
Gatstaf Shepherd jabs forwards with his staff, dealing 9% and average knockback, as well as large amounts of shield stun and damage. This attack isn't particularly fast but has decent range.

Up Tilt
Gatstaf Shepherd swings his cane over his head, dealing foes 8% and knocking them to the ground. This has average lag and good range, but doesn't hit to your sides.

Down Tilt
Gatstaf Shepherd jams his cane at the ground, dealing 4% and low knockback. This does a fair bit of shield push and damage and has surprisingly low lag.

Dash Attack
Gatstaf Shepherd throws his cane down in front of him, grinding to a halt and dealing rapid flinching hits that add up to 8%. This cannot be spot-dodged well, and the mass flinching hits can chip away at shield pretty fast.

-Smashes-​

Forward Smash
The shepherd slams forwards with his staff, dealing 15%-22% and knockback that KOs at 190%-140%. In human form this is your strongest KO move, which really doesn't say much. Fortunately the move does MASSIVE shield damage, cutting through half-a whole shield depending on charge.

The other side effect happens when this actually DOES break a shield. You see, not only do they get stunned, but they also lose their shield for the next 7 seconds, after which it slowly begins to regenerate for another 7 seconds.

Up Smash
The Gatstaf Shepherd swings his staff upwards in a clubbing motion, dealing 12%-18%. This has a good bit of lag, but also does a lot of shield damage. In addition, if you hit the foe with this they'll be dazed into using their shield for the next half second-1.5 seconds. Take this opportunity to start breaking it.

Down Smash
Gatstaf Shepherd swings his staff at the ground, dealing 14%-18% and pitfalling opponents. This is also a pretty laggy attack, and as usual deals great shield damage. The main benefit to this attack landing is it allows you to set up a larger herd or sheer some sheep.

-Aerials-​

Neutral Aerial
Gatstaf Shepherd thrusts his cane out in front of him, dealing 10% and average knockback. This attack is a sex kick, and as such will hit foes who just try dodge it, but only for 4%. It also deals high shield stun, meaning as a short hopped aerial it can likely chain into another attack.

Forward Aerial
Gatstaf Shepherd swings his staff in an arc in front of him with a large amount of force, dealing 13% and a surprisingly strong spike. This move is laughably easy to air dodge though... but it creates a wind effect afterwards that hits foes even in the background, pushing them diagonally down and forwards. This helps for a lot of things, like moving foes away from your sheep and pushing foes back towards the ground so you can keep attacking their shield.

Back Aerial
Gatstaf Shepherd swings around and swipes behind him with his staff, dealing 8% and a weak spike. It's a fairly quick move with decent range.

Up Aerial
Gatstaf Shepherd swings his staff over his head, dealing 6% and knocking the foe the foe slightly upwards. This move is pretty terrible because it's not even particularly fast... generally you don't want to have to deal with a foe that's above you.

Down Aerial
Gatstaf Shepherd swings his staff below him and begins fast falling. This deals 8% plus an additional 4% for each Ganondorf fallen, with knockback that KOs at 200%. When he collides with the ground, a shockwave will fly out of the staff about one Bowser length to each side, dealing the foe a half second of stun plus an additional quarter second for each Ganondorf fallen. The shockwave also hits into the background, but it stuns the foe in the background so you can't actually attack them there. That said it does let you start setting up sheep, or sheer for a bigger parachute... or maybe it'll come in handy in the final seconds before your transformation.

-Grab Game-​

Grab
Gatstaf Shepard reaches forwards with one hand, in a rather laggy and short range gesture. This is generally a pretty awful grab on a whole.

Pummel
The Shepherd jabs his staff into the foes stomach, dealing 2%. This is a very slow pummel.

Forward Throw
The Shepherd throws the foe forwards 2 stage builder blocks. This deals them 7%.

Back Throw
Gatstaf Shepherd jabs the cane into the foes side, dealing them 5% and pushing them behind him a stage builder block. This also deals minor damage to the foe's shield even though they don't have it out.

Up Throw
Gatstaf Shepherd hooks the foe on his cane and swings them behind him, dealing the foe 9% and average upwards knockback. This is your most powerful throw, but a foe can actually shield it if they choose too, though this will deal a fair bit of shield damage.

Down Throw
Gastaf Shepherd slams the foe into the ground, dealing them 5% and knocking them diagonally, just far enough so you cannot chain grab them.

-Gatstaf Howler-​

After 40 seconds, the shepherd gives in and transforms into the monstrous werewolf shown above. He has a whole new set of stats to compliment it as well, as well as some new mechanics and an entirely different set.

-Stats-​

Size: 10
Weight: 9
Movement Speed: 9
Fall Speed: 7
Air Speed: 6
Jumps: 6
Traction: 4

As you can see, his new form is notably larger and more intimidating, being the size of Bowser and far faster than he was before, being nearly as fast moving as Fox. Unfortunately, this form comes with a few downsides. For one, your attacks will now hurt sheep, which is both a benefit and a problem because it at least allows you to direct them and possibly send them charging at your opponent. You will also transform back into human form after another 25 seconds, so you get less time to utilize this form. Lastly, you will drop Wool when you enter this form and it becomes completely useless to you. That said, it is quite the powerhouse...

-Specials-​

Neutral Special
With his Neutral Special, the werewolf slinks over, his fur turning a somewhat whiter shade. If he's in a group of sheep, he'll become completely invisible, hiding amongst them. This leaves the foe unsure of his position. You can in fact dash along with the sheep as they flee from you, hiding amongst them. That said you move slightly faster than they do, which really just allows you to move back and forth throughout them and make yourself move unpredictable. This lasts for 7 seconds, after which you cannot use it for another 4 seconds.

Side Special
The Gatstaf Howler lunges forwards his own body length, attempting to snatch up a victim in his claws. If he manages to grab a foe, he will tear and claw at them for about a second, dealing them 20% in total and sending them flying with knockback that KOs at 140%. This has low start up but a ton of end lag if you miss, so be careful with this attack. After being mauled, the foe will be unable to roll for the next 8 seconds, being badly torn up and not in shape to do so. In addition, if a foe dodges this the wolf will still slam his arm into them, dealing them 13% and knocking them upwards with knockback that KOs at 140%.

That's not all you can do with this move, though. You can use it to grab a sheep as well, and he will tear it up and devour it over a brief period, during which he is invincible. This is an easy way to scare the sheep, and it also heals you 6% and buffs the damage and knockback of your attacks by 1.2X for the next 5 seconds. If you eat another sheep it will refresh the timer.

Up Special
Gatstaf Howler lunges upwards 3 times the height of Ganondorf, swiping his claw above him. Anyone in his path is dealt 14% and a spike of surprising strength. This will send him into helpless if he does not collide with the stage. If he does collide with the stage, he will grip onto it and be able to move along it at his walk speed for the next 4 seconds. He can also use all of his normal grounded inputs from here, using this as a method to attack foes on ledges. If you jump while clinging onto the stage you merely fall off in helpless.

Down Special
The werewolf begins growling and holding it's head as it randomly starts speaking human words. This causes him to return to normal state at the same rate he would if you use used Down Special in normal form, returning in 3 and an eighth seconds due to the shortened length of this form.

-Standards-​

Jab
The werewolf begins tearing up the ground in front of him as long as you hold the A button, dealing repeated hits of 3% as well as kicking up a cloud of dust as you claw the ground. The cloud quickly grows to nearly the size of a Smart Bomb blast, and any sheep that see it will immediately turn around and run the other way if they are in a panic. Using this nearby sheep will also cause them to panic, making this a wonderful way to start chaos amongst them.

Dash Attack
Gatstaf Howler swerves around, swiping and dealing 7% and low knockback. This wouldn't be a big deal except he keeps dashing afterward, and if this kills a sheep it serves as a wonderful way to turn around a flock.

Forward Tilt
The howler swipes forwards with one claw in front of it, dealing 12% and knockback that KOs at 160%. This is fairly fast, and also hits foes in the background. That might come in handy if the foe's shield has been disabled by your previous form...

Up Tilt
Gatstaf Howler roars and lunges upwards, swiping above him. This deals 14% and upwards knockback that KOs at 130%. If this is used out of the invisibility provided by a group of sheep, the foe will be startled for a quarter of a second as you lunge out, making the attack for more likely to hit, and making it easier to land another one if it doesn't.

Down Tilt
The werewolf growls and digs into the ground, making a small pitfall trap. Any sheep that run over a pitfall trap will be stuck for 3 seconds, and after they get out they will calm down again, though this destroys the trap. Any number of sheep can be in a trap at one time. This takes a bit of lag to make, but it's a decent way to control the sheep and can also potentially be a nuisance for the foe.

If he is attached to the bottom of the stage via his Up Special, the werewolf will instead dig through to the top of the stage with half a second of lag, coming out roaring and slicing upwards. This deals a whopping 22% and huge knockback that KOs at 80%. This will also startle sheep whether or not you actually kill one of them with it, but the end lag is fairly punishable.

-Smashes-​

Forward Smash
Gatstaf Howler jolts forwards in a similar manner to the space animal's Side Specials about a Bowser length, dealing 12%-17% and knockback that KOs at 220%-150%. After you use this attack, you suffer bad end lag unless you use it again, in which case it comes out again with fairly little lag. This allows you to chain several of these together as an approaching method. If you go into the air with this move, you enter helpless, however.

That's not all there is too this move. You can also angle it up or down. If you angle it up, he will jump up into the air when performing this move about Ganondorf's height and move forwards twice as far, dealing 16%-23% and knockback that KOs at 110%-60%. Unfortunately, you go into helpless afterward. Angling it down has him dash into the background, dealing the same damage and knockback if the foe happens to be dodging.

Up Smash
The werewolf rears back before lunging upwards, dealing 18%-25% and knockback that KOs at 120%-70%. This has a fair bit of start up lag and he goes into helpless afterward, but the move does have huge upwards range. If you use this under the stage, he will instead lunge into the stage, driving through the other side with no lag on the end.

Down Smash
Gatstaf Howler slices forwards once dealing 14%-19% and knockback that KOs at 150%-100%, before rearing back and tearing forwards in a second hit that deals 26%-33% and knockback that KOs at 55%-30%. The first hit never chains into the second... but if the foe was stupid enough to dodge they WILL be hit by the second one. Even if they roll, the second hit will connect, which can be rather ugly for them.

-Aerials-​

Neutral Aerial
The werewolf reaches forwards both hands in front of it, attempting to grab an opponent. If he does, he will immediately pull them down and drag them to the ground, dealing 13% and knockback that KOs at 150% when they collide with it. Yes this is an easy suicide KO if you want to do that.

Forward Aerial
Gatstaf Howler slashes forwards with both claws, one in the background and one in the foreground, dealing 14% and knockback that KOs at 120%. This will also hit foes in the background, and has a fair bit of lag on each end.

Back Aerial
The werewolf kicks behind it with it's powerful back legs, dealing 13% and knockback that KOs at 150%. This is actually very fast, and the short-hopped version of this is fantastic at punishing a foe for rolling behind you. It doesn't turn you around, but it certainly makes it very dangerous for a foe to be behind you in the air.

Up Aerial
The werewolf flips upwards, dealing 11% and knockback that KOs at 180% to foes above him. This is fairly fast and boosts you half a Ganondorf height into the air, but you cannot use this more than 3 times in the air before you land again. If you press A after this, he will dive bomb the ground, dealing 16% and upwards knockback that KOs at 100% as he comes down, hitting foes in the background as well.

Down Aerial
The werewolf slashes below him with his claws, strongly spiking foes in the foreground and dealing them 16%. Foes in the background take 13% and upwards knockback that KOs at 135%. This has about the lag of Ness' Dair and less range than his usual, but it's a wonderful way to punish a foe whether they are dodging or not.

-Grab Game-​

Grab
The werewolf reaches forwards with both paws, having nearly the range and speed of Dedede's grab. This can either grab a foe or a sheep.

Pummel
Gatstaf Howler sinks his fangs into the opponent, dealing them 2%. If he uses this on a sheep it deals the same damage and heals him 1%.

Forward Throw
The werewolf tosses the foe forwards, dealing them 9% and knockback that KOs at 140%. If he grabs a sheep, he tosses it forwards as a projectile, dealing 12% and knockback that KOs at 150%. The tossing of the sheep has a fair bit of lag, but it does serve as a decent projectile and your only option for one.

Back Throw
Gatstaf Howler puts the victim in his teeth and crunches down. If this is used on the foe it deals them 15% and has them stagger backwards 2 stage builder blocks, during which time you can follow up with a Forward Smash or something. It also puts the foe into helpless if you grab them underneath the stage. If he uses this on a sheep, he immediately kills it and devours it, panicking nearby sheep and getting the same benefits from your Side Special.

Up Throw
The werewolf tosses the foe upwards, dealing 11% and surprising knockback that KOs at 145%. If he throws a sheep upwards it only deals it 6% and disorients it, causing it to no longer be panicked. This gives you some method of preserving your sheep.

Down Throw
Gatstaf Howler sinks his teeth into the victim, dealing them 13% and leaving scars on them. The scars heal after 4 seconds, but during this time the foe cannot dodge. So hypothetically you could have it so the foe cannot dodge, roll, or shield. What a gruesome fate that may lead too... Using this on a sheep causes it to be unable to move for the next 8 seconds, might be somewhat helpful in preserving it for the Shepard.

 

[KingK.Rool]

And you will face the sea of darkness... and all therein that may be explored.

Spoiler

THEY SAY THAT WHEN THE EARTH SPITS UP THE DEAD, THEY WILL RISE TO DRINK THE BLOOD OF THE LIVING. THE GATES OF HELL HAVE BEEN OPENED; THERE IS NOWHERE TO RUN.

<goblin>​

Lucio Fulci is sometimes called the Godfather of Gore. This Italian director made what you'd call B-movies, or maybe trash films if you're that kind of person; and he made over 50 of them, cementing himself as one of the most legendary directors of surreal and gorey horror of all time, although he also dabbled in adventure, comedy, and whatever else the studios told him to do.

Perhaps his most popular and enduring work, though, is the handful of zombie movies he made.

These include Zombi 2 (no connection at all to the original "Zombi", which is what George Romero's Dawn of the Dead was called in Italy and the name Fulci piggybacked on to draw audiences to his own film), The Beyond, and The City of the Dead. The latter is pretty awful, but the other two are transcendant - Fulci was no satirist and his movies don't delve into philosophical questions as Romero's do, but he does have plenty of gorey deaths linked together by the faintest, most illogical, most surreal wisps of plotlines you'll ever see. The man was a visual stylist and an atmosphericist. He was an original. And there may be no social commentary here, but there is plenty of eyeball mutilation.

Fulci comes to Brawl as a man, not a necromancer. A man prepared, and intent on bathing Brawl in blood, perhaps, but nevertheless grounded, ordinary, and physically feeble.​

<frizzi>​

In Fulci, the zombie apocalypse plays out on a small scale. There are seven gates of hell in the world. For one reason or another, a gate is opened, and an ordinary locale - a cavernous Louisiana hotel, a innocent town in the South, an island in the Antilles - becomes the portal through which the dead reenter the world of the living. He's not much for happy endings. His movies are pre-apocalyptic, the futile efforts of the disbelieving few to halt something that will soon tear through the entire world. And the men of science and rationality are ever present, ever sceptical, ever bent on finding a logical answer - one that is not forthcoming.

Fulci doesn't summon zombies. He merely opens a portal through which they can enter the world of Brawl. When he spawns on the battlefield, a zombie pushes out of the ground somewhere toward the edge of the stage. Every ten seconds, another zombie will emerge from the dirt of the stage. He can't stop their spawning... and they will continue to rise for as long as he is in the Brawl.

Fulci's zombies are hideously deformed, in an advanced state of decomposition. They move slowly, no quicker than a strolling Ganondorf, but they have lightning-quick reflexes and superhuman strength in their hands.

They walk slowly - almost idling - toward the nearest victim. They can be attacked and flinch briefly when hit, but they don't take actual damage unless struck in the head. Once 30% is dealt to the zombie's head, it'll burst off in an explosion of gore and the creature will collapse and vanish.

When they're within reach, they strike out lightning-quick, going into a grab as they grasp the victim by the neck, the shoulder, or the back of the head. The grab in itself deals 10%. The grasped victim can't move or jump, but they do have about one second in which to attack and free themselves before the zombie launches into a vicious bite to the throat or shoulder. In this second, hitting the zombie's body does nothing; it's the head that must be struck, and fast, to cause it to loosen its hold. All the better if you kill it, because if you don't, it's liable to simply grab you again.

When a zombie bites you, it tears a chunk of flesh off, a small amount of blood dripping onto the ground. This deals 15% and increases the speed at which other nearby zombies approach you. It's all very well and good to walk around the stage dripping blood from many wounds. You won't be KO'd by the zombies' feast... unless you take at least four bites in two seconds, at which point the character screams and vanishes under the bloody pile.

When you jump over a zombie, it'll try to grab you out of the air if you're low enough. When you grab a zombie, it won't work; it'll grab you instead. When multiple zombies are holding you, you had best hit their heads quickly or you're liable to become a feast. Zombies are very slow to turn.

Fulci is a human being. He's targeted by the zombies every bit as much as the foe. His universe is an opportunistic one of every man for himself and God against all, and the only way to survive is to throw the others in the zombies' path.​

<ortolani>​

Lucio Fulci is:

• Slow.
• An average jumper.
• Weak.
• A slow faller.
• Unlikely to slip and slide about.
• As tall as Samus.

Woe be unto the foe who is a poor jumper, a fast-faller. Who's poor at turning and at slowing his momentum after a run. Such a foe will be first to die, because against the zombie masses, stability, constancy, and above all, control, are high virtues. And so even Fulci's modest stats do him service in this arena. Even if he can't KO, and can't cover much ground.​

<frizzi>​

((( Neutral Special )))
Last Line of Defense
Fulci draws out a revolver, aims, and fires. It can't be aimed downward, but otherwise, you have excellent control and a good second to shoot where you want to. The bullet deals 8% and sends airborne foes into freefall. Once drawn, you can fire repeatedly and at a decent speed, but no more than five times before Fulci runs out of bullets and is forced to stow his pivotal weapon.

A gun is the best defense against a zombie and a single shot to the head is enough to kill one. It's not as easy to aim as it sounds, especially at a distance... and it won't avail you much if you're surrounded on all sides... but otherwise, it's your finest failsafe.

)))))))))))))))))))))))

((( Forward Special )))
Fresh Meat
A miasma leaks from Fulci's temples, swirling into the shape of a human being right before him. This takes a mere half a second and leaves a human wandering the stage, aimless for the most part, easy enough to attack and kill by dealing 15%. They take full knockback and do not defend themselves, except by fleeing.

Romero may summon humans to unfold a grand zombie epic. Fulci summons them to take the heat off of himself. Humans are not clever enough to flee from zombies and will instead merely back away slowly, a terrified expression on their face. When bitten, they'll collapse to the ground, only to rise, looking grotesque and gorey, two seconds later. If there's a zombie moving toward, you could do worse than to put living flesh between you and it... although a large group of humans can very quickly go awry...

)))))))))))))))))))))))​

<goblin>​

((( Up Special )))
Hell is Empty, All the Devils are Here
Like the wizards and demons that stand beyond the gates of hell, Fulci teleports instantaneously, without the slightest visual indicator. He moves a mere platform and a half in the desired direction. When struggling to stay above a rampaging sea of zombies, his quick and short recovery does him no favours... although it also allows him to get around them without taking to the air, and without risking his skin.

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((( Down Special )))
Vat of Acid and Black Magic
Fulci's films don't operate on logic. I recommend you watch this clip to understand what I mean, to understand his aesthetic, and to understand this attack. Not recommended for the squeamish. Watch it through to the end, if you can.

Fulci lifts a large jar of acid, then hurls it down at his feet. Now back off from it, because anyone who touches the platform-long acid puddle is dealt 20% and great upwards knockback, much like Brinstar.

The puddle vanishes after ten seconds, and Fulci can't make another until then. Unremarkable... unless...

If the acid happens to mix with blood, which drips from wounds of humans and characters and can be shed by Fulci with many attacks, it begins to swell. It foams and froths and extends constantly outward in either direction like an entity in itself. It moves only half as fast as a zombie, but it'll edge outward constantly for as long as it's mingling with blood as it goes. The more blood on the stage, the longer it will linger before vanishing, and the farther it'll go. Theoretically, it could cover the entire stage, at which point Fulci has effectively committed a lunatic suicide KO.

This acid-blood foam behaves the same way to characters who touch it, but it destroys zombies and humans. Humans will collapse into it as soon as it laps their feet. Zombies, more robust, will try to continue walking for a second before collapsing as well. Once they fall, they dissolve. They know this and will naturally move away from the acid while it's spreading across the stage.

This will widen a gulf between you and the foe if you're on opposite sides of the pool, leaving you each fighting your own battles against the zombies. If you're on the same side, it will give the battle a dire, urgent edge. In any case, it's contingent on how gorey the battle has been thus far. The more gore, the more fearsome a threat the acid becomes, possibly surpassing even the zombies.
​

​

<ferdenco>​

((( Jab )))
Excision
Fulci stabs forward with a wicked-sharp scalpel. If he makes contact, the foe is held in place for a moment as he drags it through their stomach, then pushes them bodily off of it. This deals 10% and leaves the foe only slightly up ahead with a gaping wound in their gut (or back) and a solid amount of blood on the ground. It's quite quick to come out.

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((( Dash Attack )))
Exorcism
Fulci sweeps forward with a large wooden cross in hand, driving it before him as if to wield it as a pitchfork. This deals 9% and minor forward knockback, although he can continue running as he uses it. If he scoops up a zombie with this, he can continue running, slowly driving it forward with it unable to reach him - although if he tries to do this with more than one, he will find himself halting in his tracks and suffering heavy wind-down lag.​

<frizzi>​

((( Forward Tilt )))
Sign of the Cross
With that very same cross, a stock weapon for his protagonists, Fulci deals out a mighty upward swing that comes out quickly but suffers from heavy wind-down. It deals 11% and insignificant upward knockback. With this versatile weapon, he can hit a zombie repeatedly (?) from a safe range, right in the head.

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((( Up Tilt )))
Deep Red
Fulci brings a great, bloody meat cleaver through the air in a downward arc over his head, jumping slightly as he does so. It gets itself embedded into the head of the foe it connects with, creating a most ghastly sight and a hideous head wound, although the cleaver itself vanishes like a bad dream after a second or two. It also deals 17% and mild knockback on a slightly downward arc. This is a quick way to force zombies to release their hold, or perhaps to interrupt a foe fleeing through the air above you, although it has recognizable start-up.

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((( Down Tilt )))
The Unburied Dead
Fulci lifts a shovel into the air with both hands, then drives it down into the ground mightily, embedding it there. This deals 9% if its small and irregular hitbox connects; it also instantly kills a zombie in the process of spawning. And most importantly, the shovel remains embedded in the ground for the next five seconds, and one can stand on its hilt - one. It dissolves, falling over after two seconds, if it makes contact with acid. If you put up another, the first vanishes.​

<myrow/seagrave>​

((( Forward Smash )))
Pitching Fire
Fulci tosses a molotov cocktail on the ground just before his feet, or up to a platform forward if he charged this smash. The bottle bursts if it hits a foe, a human, or a zombie, lighting zombies on fire (which causes them to collapse after seven seconds, but otherwise produces no visible change and they're still as dangerous as before) and dealing 18% to anything else if it connects.

If it hits ground, though, it'll set a small patch of fire that'll burn for up to eight seconds before receding. Zombies will be repulsed by it and will not cross it (unless you force them through with a Dash Attack or the like) and if you or the foe touch it, you'll take 10% and be pushed back sharply in the direction you came from. Cut off a foe's escape route! Or cut off a zombie making a beeline for you!

Acid will instantly extinguish this brave little flame... and there can't be more than two burning at once.

)))))))))))))))))))))))

((( Up Smash )))
Gristly Cannonade
Fulci drives a shovel forward, then swings it back over his head in an arc. The forward part is a hitbox that deals 18% and shoves away firmly on contact (while also disfiguring the foe's face considerably and splattering blood on the ground), while the arc part knocks everything skyward and deals 13% (no blood shed). Charging increases the speed of the swing.

If the first part hits a zombie - which requires careful timing, because it's not quick enough to be an attack you'll use when the zombie is right on top of you - it'll neatly behead it, and the second part of the attack will chuck the head through the sky, about 1.5 platforms back by default but further if you've charged to increase the swing's speed. Aside from creating an explosion of delicious delicious gore when it comes off, the head will bite reflexively if it hits anything on its downward trajectory. Once it lands or falls off the stage, it vanishes, along with the body, which will crumple where it stands.

)))))))))))))))))))))))

((( Down Smash )))
Shallow Grave
A hole in the fabric of the earth! A space of almost a platform before Fulci suddenly opens up, only as deep as Kirby - exactly like a grave. After 1-3 seconds, depending on charge, it'll be smoothly covered as though nothing had happened... but, of course, if anything was standing or lying in it, it'll be entombed entirely (forced into prone as the earth repairs itself). This includes Fulci himself.

If a zombie is entombed, it'll lie there until prey passes overhead, whereupon it'll clutch at the heel, pulling its victim into prone and slowly rising. You can generally make it let go with a get-up attack, as its head is so low to the ground.

If a human is entombed, they'll suffocate where they lie and rise after ten seconds, zombified.

If a foe is entombed, they can escape more or less by simply pressing up on the control stick or the jump button, after a brief second of lag. It's a shallow grave, after all. It's possible to turn this into a surprise attack. The foe is forced out after eight seconds.

If you're entombed, you can do much the same to escape at any moment and land a surprise attack. Alternately, you can remain in your grave while acid spreads across the stage above you, or while zombies overrun the stage entirely. It won't last you forever, but maybe it'll be enough for somebody to take the heat off of you.

A buried player can be dug out with a few low-hitting attacks. It's fairly simple stuff, although it gets a wee bit more complex if you bury, say, both a zombie and the foe (suffice to say they'll be bitten at least once before clawing their way out of there).​

​

<goblin>​

((( Neutral Aerial )))
Curl Up and Die
Fulci balls himself up into a sort of fetal position and spins. This deals a mere 10% and mediocre knockback that depends largely on the angle of contact - if you hit a foe from above with this, they'll be knocked weakly downwards. It's almost instantaneous and briefly cuts down your hurtbox as soon as you use it.

)))))))))))))))))))))))

((( Forward Aerial )))
Bloody Quilt
Fulci pulls a Mario, swinging a cape that's black and bloodspattered through the air just before him, with less than Mario's range but also less start-up. In addition to turning the foe around and pushing them lightly in the other direction, the momentum from the swing turns Fulci himself around, so that meeting a foe in the air with this will send you both the way you originally came. This can also be used on zombies, although that's going to want very careful timing on your part, as it can't break their hold if they've grabbed you. Whenever this is used, a little bit of the foe's blood is shed, and Fulci's palms turn briefly red and raw.

)))))))))))))))))))))))

((( Back Aerial )))
Reap What You Sow
Fulci drags a sickle sharply through the air behind him, not reaching too far but trying as hard as he can to twist his aged body. This is a fairly strong hitbox that deals 15% and moderate knockback, and can be used to KO if a foe has been literally forced off the stage by the threat of either zombies or acidic foam (because Fulci has been forced off the stage as well and may as well do something while he's in the air like that). Naturally, landing this attack causes an upwelling of blood n' guts as Fulci slices through the foe's tissue.

If you use this on a zombie just as it's reaching for you, with the utmost precision and timing, you'll slice its arm clear off. This won't bother it very much unless you happen to slice both arms off of one zombie, at which point it will no longer be able to grab and will only bite if somebody is literally overlapping it (which means that it won't be long for this mortal world). The discarded arm lingers on the stage and can be used as a moderately weak bludgeon item. Perhaps you have a teammate who could benefit from increasing their attack range...

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((( Up Aerial )))
Every Man For Himself
Fulci scrambles frantically upward, clawing through the air for only about a platform's distance before plummeting, helpless. If he happens to reach a foe, he'll cling to them and they'll both go into helpless and fall. How suicidal are you today? How bent on going out in a gorey explosion of flesh and guts?

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((( Down Aerial )))
And God Against All
In a deceptively quick two-parter attack, Fulci brandishes his scalpel rapidly below him, bringing it across horizontally for one quick slice that deals 8% and negligible knockback but that causes what looks like brain matter to poke out from the skull of whoever he connected with - and then takes it to his own arm, dragging it across his wrist in another quick slice. This sprinkles the ground with Fulci's own blood, and aside from being your only fully independant means of shedding it, it'll mark the spot on the stage where the zombies are rising (every ten seconds, you'll remember). The scent of Fulci's blood is a powerful incentive.​

​

<festa>​

((( Grab )))
Chaos Amidst Chaos
The grab itself is simple and functional, as he grabs them by the collar... but once he has the foe grabbed, Fulci does not behave like a normal character. He and the grabbed foe go into a grapple state; while Fulci has access to four "throws" and a very dangerous pummel, the foe can tap the control stick toward Fulci repeatedly to push him in the given direction or away from Fulci to turn around while still holding onto/being held by him, swapping positions (both of which they can do more effectively at lower damage). But do note that this grab can't be escaped in any traditional way, although Fulci can release it by pressing Z again. The grab is instantly cancelled if either Fulci or the foe is grabbed out of it by a zombie.

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((( Pummel )))
Blood Madness
Fulci pulls out, of all things, an electric drill, and revving it he moves it slowly toward the foe's face. His grapple game continues as usual while he's attacking with this drill, and the foe can still try to move Fulci around the stage, perhaps in hopes of pushing him into a zombie before the drill reaches their eye. Lucio Fulci's violence is fetishistic. He always goes for the eyeball.

Tapping A moves the drill closer to their face. The foe is obviously trying to resist and can tap A themselves to slow Fulci's progress. If they don't tap, the drill hits them after one second; if they tap constantly at 0%, it may take a good ten seconds for the drill to reach them. When it does, well, hideous scream, eyeball juices squirting out, Fulci getting splattered with blood, 25%, and a two-second animation that involves the foe in awful pain and Fulci driving the drill ever deeper into their head, during which he and the foe lose access to their otherwise intense grapple game.

Once the job is done, Fulci releases the foe and the drill vanishes, although they'll have a disgusting gorey hole in place of an eye for a while. Naturally, though, this will rarely ever happen. A zombie is bound to interrupt while you're so intent on mutilating your lesser foe.

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((( Forward/Back Throw )))
The Tussle
It's very simple. If you're holding the foe in front of you and tap forward, you shove them forward with difficulty, for only about a third of a platform. If you're holding the foe in front of you and tap back, you turn around, still holding them out in front of you. Although this control sounds very easy, the foe has access to the same controls and is not likely to let you shove them toward an encroaching zombie horde. More likely Fulci and the foe will look ridiculous, shoving one another back and forth and spinning in place pathetically, each trying to put the other in harm's way. Perhaps you'll even have to work together?

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((( Down Throw )))
Intent
Fulci shoves the foe to the ground and bears down on them. They can struggle out of the pin by tapping up on the control stick, and Fulci won't be able to hold them for very long before they get up... unless he's also got a drill pointed at their head, in which case they'll be too focused on tapping A and resisting it to get up too quickly. If you've had enough of the back-and-forth and want to focus on the gorefest, this is the throw for you. Even in the midst of the zombie apocalypse, people are busy being awful to one another.​

​

<frizzi>​

((( Final Smash )))
The Beyond
Certain unlucky souls look upon Hell itself and return to the mortal world to speak of it. The foe is about to join their ranks, as the stage itself, and Fulci, disappear, replaced by that barren wasteland littered with corpses you see above.

The zombies are quite gone and the foe is left in absolute solitude for twenty seconds - and silence, as well, as this stage has no music.

At any time, you can tap B for a voice to boom out: AND YOU WILL FACE THE SEA OF DARKNESS, AND ALL THEREIN THAT MAY BE EXPLORED.

Once you do so, the foe is compelled to move, as though by a demonic force. They have only the most tenuous control over their movement as they're tugged and shoved in all directions by invisible devils or what-have-you. This can last up to ten seconds and then the foe will be released from the Final Smash and the Brawl will go on entirely as before, unless...

Tap B again and a bloodcurdling roar will split the screen as a zombie bursts out of the earth, grabs the foe by the skull, and squeezes until brain matter and blood are oozing in all directions. The foe screams, and the screen seems to shatter like a broken mirror, only to fall away in shards, leaving a pitch-black screen behind.

The stage quickly reappears, but all the zombies are gone and the foe has taken 45%. So, Fulci, will you get that vital scare in and give up all your zombies into the bargain? Or will you let the foe eat away at themselves in anticipation of the attack, being prodded harmlessly by invisible devils, only to release them just as before?​

<frizzi>​

Lucio Fulci is more suited to fighting the undead than living foes... and he's more intent on making bloody sport of them, and his foe, then he is on orchestrating a grand zombie apocalypse. He doesn't care about his zombies! Are you kidding me? They're vehicles. They're the instruments he's been given, and he'll make use of them to create a true grand guignol spectacle.

You can try to play Fulci straight - trying to keep the zombie population under control and putting the accent on directly fighting the foe with your plethora of spacing moves. Maybe you're hoping to create a big bloody mess and drop a vat of acid, covering the stage in that supreme KO substance... but it won't work. Without his zombies, Fulci's gore is too limited and his attacks too obvious, telegraphed, slow.

If the stage is infested - to a manageable degree, of course, because what suicidal lunatic would create zombies en masse, would summon more humans than he knows what to do with, would even manually generate a zombie horde by clustering a group of humans and sealing them into a mass grave with DSmash; what suicidal Fulci player would splatter the floor and opt not to dispose of excess gore by dropping it into a grave, so that an acid foam remains at a safe and controllable degree, and doesn't coat the entire stage, leaving Fulci and his foe to fight for ledges and likely both perish? - as I say, if the stage is infested, Fulci is going to be spending more time fighting his so-called summons than his foe; he's more adept at it, with many of his attacks allowing him to do things to and with the undead that the foe, who's limited to trying to attack their heads with attacks with adequate range, can't possibly compete with. This is the first aspect of Fulci's gameplay - surviving. Not only the zombies, but also the acid, which he can avoid by entombing himself, or temporarily by jumping onto a shovel for a good vantage point (from which to snipe off zombies, or perhaps snipe off the foe trying to repeatedly jump into the air to avoid them?), or even by teleportation. This teleporting allows Fulci to get around zombies without taking clumsily to the air, where he's liable to meet the foe before he's ready for him - it allows him to approach, even while both he and the foe are engaged in the simple fact of survival.

And that's the second aspect of Fulci's gameplay - preventing the foe from surviving. And it's considerably more important, too, because Fulci has to play a little bit fast-and-loose, a little risky, a little on the edge, putting himself in harm's way and knowing which tool to use when in order to keep the zombies from feasting on his flesh. No, his own life is a small price to pay for what we're all here for - blood and guts. Here enters his grab, in which he and the foe most blindly waste time struggling with one another instead of devoting themselves to a mutual throw; his DAir, in which he and the foe accept their fates as the same; his FSmash, in which he can cut off a foe from escaping his pursuers or cut off those very pursuers from approaching him, or something in between, sealing a group of zombies between two flames and striving to shoot or gimp the foe into that mass of hungry dead flesh; and so on it goes, with each of Fulci's attacks potentially turned toward either freeing the stage of the zombie menace, or dooming the foe even at the cost of his own life.

Zombie KOs will occur if Fulci's playing dangerously and spawning humans, and everything I say about urgency goes double and triple if they're clustered close enough together to land such a fearsome succession of bites. Now you can try to grab the foe and push them to their doom, if you're feeling dangerous... or you and the foe can get your heads in gear and join your efforts to get the hell out of there.

There is a reset button: the acid. Zombies don't disappear when Fulci is KO'd, remember? Sooner or later, unless you're a true marksman with the revolver and you and your foe are working together for the time being, the stage will be overrun to the point where neither your game nor the foe's can function at all. At that point the jar of acid will come down and sweep the vestiges of this gorey scene away... but beware, because zombies move away from it on instinct and you may just be cutting off a swath of the stage for yourself.

All I've said about Fulci and the foe being torn between cooperation and conflict applies even more to team battles and free-for-alls. The more, the merrier; hell, the more players, the easier it is to keep the stage relatively free of zombies, right? Well, I suppose we're depending there on the benevolence of the Fulci player, who can at will help the zombies rather than hinder them. How much do you care for your fellow man?

This is not a zombie apocalypse story, or if it is, that comes secondary. First and foremost, this is a gorefest. This is the primal struggle for survival. This is the adrenaline rush that comes from a chase scene, or the sense of urgency that comes from a slow but ceaseless menace. This is, as Fulci would say, entertainment.​

​

 

[Junahu]

3 hour moveset to choke this thread even more

Daffy Duck's
Piggybank
​

So, you've seen the great piggy bank robbers in all their fictitious glory, now meet the prize; Daffy's darling Piggybank.
It's a good idea to remind you that Duck Twacy, his enemies, and even the world around him, were all just figments of Daffy's warped imagination. While this may seem like a let down, a cop-out of an ending to avoid having to give actual resolution to the plot, this offers a very unique chance to explore Daffy's mind, the laws he lays out, and the way his world works.

In the episode, Daffy's Piggybank.... well, you're looking at it right now. It sat there and got fondled by Daffy who was overjoyed to find the one true love of his life, pigs.

​

Calling all Stats
Size---- [][][][]
Weight [][][][][][][]
Walk---[][][][]
Run-----[][]
Jump---[][][][]
Air------[][][][][]
Good old Piggybanks, sturdy, slow.. and that's about it. Her roll is pretty good. Piggy aint running all the way home today, or any other day. She'll be fighting to keep her coinage safe.

Calling all Specials
Down Special: A Penny Saved

Piggybank looks positively giddy with glee. And why shouldn't she? Every time you tap this input, a gold doubloon appears just above her out of nowhere and deposits itself in her slot. You can hold the input to rapid save a flood of coinage, but if you're hit whilst doing this, you'll take double knockback and triple stun. Someone caught Piggybank in the act of hoarding, of course she's stunned!
In terms of damaging the foe, this acts as a very short ranged version of Ivysaur's Bullet Seed, so if you get very verrry close to the foe, and pop them into the air, you can get away with a pit of penny pinching here.

Each penny that's saved, adds to her all around bulk, gradually making her heavier and slower, and less jumpy. 100 coins is her maximum, after which, additional coins bounce back out of the slot and roll away, never to be seen from again.
With 100 coins, her weight, attack damage and attack knockback is doubled, while her movement and jumps are reduced by 1/3.
​

Neutral Special: A Penny Spent

I compared the Down Special to Ivysaur's Bullet Seed, but this attack really IS bullet seed, only it reaches 1/3 higher than Ivysaur's version. It also comes at the literal cost of your coins
​

Upward Special: Bottom Out

The piggybank stopper on Piggybank's underside pops open, allowing ALL her hard earned coinage to fall out. This, for some wierd reason, propels Piggybank upwards a fair amount, relative to how many coins you had to jettison.
The coins descend in a big lump, and drag foes down with them, dealing a constant series of 2% hits all the while. If the coins hit the stage, they form a neat pile of treasure. Piggybank can recollect a pile of coins by standing over them, and using this Special again. The foe on the other hand, can destroy a pile of coins by damaging it. The amount of stamina a pile has, is exactly equal to the number of coins in the pile.
​

Forward Special: A Penny Earned

Our porky plunderer flings herself forwards (it's not like her legs can move or anything). She crashes into the foe, dealing 7% damage. The visual hit effect, is a bunch of coins flying outward from the foe. This is for a reason, hitting a foe with the Forward Special steals coins from them!
Huh? You didn't think the foe had any money on them? True. But the foe passively pockets every single coin that they are hit with (even if they shield), and they also pocket half of a pile of coins when they destroy it.
The Forward Special steals 1/5 of the coins they currently have, but always at least 10, even if they don't have that many to give.
The coins that the foe is stuck with do slow them down, by-the-way. However, it'd take 100 coins to slow them down to 2/3 of their normal speed, so It's probably not worth force feeding the foe your moolah.

This special also thieves coin match coins... like anyone cares.
​

Calling all Attacks

Ground Attacks

Jab:
Piggybank flips onto her back and spins around and around in place as you tap A. This deals a sensible number of 3% jab hits, with progressively higher levels of knockback with each hit that lands. It'd take like a dozen hits to reach KO levels, and no man alive would manage to stay inside a jab combo that long.
Now, do you know about centrifugal force? Well, those coins inside Piggybank, are swirling around in her insides, and the force generated by them, gradually causes Piggybank to spin in wider and wider circles, eventually encompassing a whole stagebuilder unit and a half with her street styling. The more coins you have, the quicker Piggybank reaches this stage.

F-Tilt:
Tipping up onto her snout, Piggybank slams her back into the foe, dealing 8% damage and decent knockback. The more coins she has, the longer the end lag of the attack. But more coins also lengthens the duration of the hitbox, helping against spotdodgers somewhat. If she has more than 90 coins, the weight on her money will cause her to tip over onto her back, into the prone position. This is actually much better for her, as she can at least roll away from the foe's retaliation now.
Anyway, if you happen to miss this attack, Piggbank loses more than just face, she loses coins too! 5 coins, if she has that many, squirt out of her slot, acting as a short range projectile (1.4 stagebuilder units) that deals 3% damage. When they land on the floor, they form a little pile, much like the piles made via Up-Special. If the coins touch an existing pile, they combine to form a richer pile.

D-Tilt:
Piggybank shuffles forward at a suddenly uncharacteristic pace. It's a charging tackle! She'll maintain this dash for as long as you hold A, or until you crash into someone. In the case of the latter, she deals 10% damage and moderate knockback upward at a 45 degree angle. The more coins you have saved up, the longer it takes for you to stop after canceling out of the attack. You can however, use other tilts while coming to a stop, so long as you have at least 50 coins.

U-Tilt:
The portly porker shunts her back up, in a similar manner to the king of the koopa's Up-Smash. This deals 9% damage and light juggling knockback. Feel free to alternate between this, Down Special and Neutral Special, to keep juggling the opponent just above you.
If the attack misses, 4 coins shotgun out of Piggybank's slot, dealing a basic 2% damage on foes just above her. They also deal a little hitstun, enough for you to follow up with another U-tilt (and hopefully land it this time)

Dash Attack:
Ms Piggy trips head over heels, flying forth a short distance and landing on her back, Charlie Brown style. This leaves her in prone.
If the foe was hit by her comedic trip, they take 8% damage and moderate horizontal knockback. You can weigh up your options here; should you roll after the foe now, or roll away to save your own bacon?


Smash Attacks

F-Smash:
Piggybank leans forward and squeezes herself inwards, firing a sequence of coins from her slot while you hold A. Each coin arcs forwards, landing 3 stagebuilder units away from Piggybank. It can contribute to money piles, and deals 1% damage with flinching on the foe.
Once A is released, Piggybank performs what she must think is a shoulder barge on the foe directly ahead of her. This deals between 12% and 28% damage, with horizontal knockback that can KO from 90%. The coins inside her, rattle around after the attack, causing Piggybank to shudder during the end lag, which deals 5% damage and light upward knockback if the foe stumbles into it. If our porcelian pudge has more than 80 coins, the shuddering will last 2 seconds after the end lag ends, giving Piggybank a little protection in the meantime.

U-Smash:
Piggybank tenses up, as if straining. When the smash is released, she leaps up into the air forceably, dealing up to 25% damage to foes on her trip upwards. If you successfully clobber a man, they take upward knockback that is enough to KO at 110%, and you instantly regain control of Piggybank. Apparantly the hit to the head knocked some sense back into her.
And that's good, because if you missed, a grim fate would be in store for the poor piggy. Upon landing from the attack, she shatters into pieces! You idiot! She's fragile! Don't worry too much though, as the laws of cartoon physics means she'll pull herself back together again in a few seconds. But now that you're a pile of broken ceramics on the ground, all that money you were stashing is left vulnerable to attack. Every 1% damage dealt to this big pile sitting on your broken corpse, takes 1 coin away from you, giving it to the opponent. If the foe accidentally steps onto the shattered shards that surround that money, they'll take 9% damage and light upward knockback.

D-Smash:
Piggybank tenses up, as if straining. Familiar stuff.
This time, she has a little bit of an incontinence problem, and her stopper falls off while a blast of 10-15 coins explodes out of her hole. The coins scatter over a wide area, dealing between 5% and 15% damage and knocking the foe away rather well. The blast itself, if the foe is somehow close enough to touch her, deals between 20% and 35% damage, and KOs vertically from 70%.
The blast also manages to scatter existing piles of coins that she's standing over, splitting them into two identical, smaller, piles either side of Piggybank.


Grab & Throws

Grab
Piggybank quickly leaps into the foe's waiting arms. My darling Piggybank! This only leads into a grab, if the foe was in the middle (or end lag) of their own grab. Otherwise, the collision deals 3% damage and some hitstun

Pummel
Piggybank shakes herself vigorously in the foe's hands, dealing 4% damage per shake. Each shake also causes a coin to fly out of Piggybank's slot and fall into the foe's pocket

D-Throw
Piggybank turns herself over and shakes out a whole mess of coins (up to 30) on the floor in front of the foe. Then she jerks forward, making the foe stumble over the pile of coins, tripping over. This throw magically deals 12% damage.

U-Throw
Piggybank smashes herself over the foe's head, dealing 5% damage, and reducing our delightful porcine to pieces. It's the same deal as her U-Smash, except the foe is already standing on her shards, and hence automatically take 9% damage and upward knockback.

F-Throw
Piggybank swings herself around and around the foe. The more coins you have, the more effective the throw is gonna be.
After 3 revolutions, the foe's fingers slip, and both piggy and the opponent fly away from one another in opposite directions. The foe takes 8% damage into the bargain. You'll want about 60 coins or more for a throw that can KO the opponent. But be careful not to pile on too much cash, because you might end up KOing yourself with the knockback that you take.

B-Throw
Piggybank suddenly gets too heavy for the foe to hold. She falls to the floor, then yanks the foe onto her back, right over her slot. What you do from here is up to you. Though the foe is permitted to shield at any time, they cannot escape until Piggybank either moves, or tries an attack (or 4 seconds pass)


Aerials

N-Aerial
Piggybank does a quick twirl in midair with her snout held up high. This deals up to 4 hits of 2% damage and has zero landing lag. Kind of neat for approaching the foe with intent to combo.

F-Aerial
The banking swine attempts a little headbutt on the foe, which deals 8% damage and light knockback away from her. She also flips a single coin from her slot, arcing it through the air as a singular projectile. It deals just 1% damage and a flinch.
This attack is fast, but if you don't mind losing the headbutt, you can hold A to fire a steady stream of coins, so you can blanket a wider area as you fall.

U-Aerial
Piggybank bucks her head into the air(or as much of it as she can, given that she's made of porcelain) providing a simple 7% juggling hit for the foe who ends up caught by this. If you tap A a second time, Piggybank shoots a pair of coins out of her slot in a V shape, at the expense of a little extra end lag. the coins will only hit the foe, if they try to move left or right to avoid followup. On contact, they deal 3% damage and knock the foe back in towards Piggybank, allowing her to hit with Up aerial again.

B-Aerial
Our darling Piggybank leans back and fires a buckshot wad of coins out at the foe behind her. She fires 10 coins at once in a very short ranged shotgun blast that deals 14% damage and harsh horizontal knockback.

D-Aerial
Piggybank.. dives downward? This deals 7% damage and minor knockback, and acts much like a standard stall-and-fall. If she crashes into the ground, she shatters to pieces, a state I've already explained before.
If however, she dives into a decent pile of money, she vanishes into it, popping out of the next largest pile (or just the same one again, if no other pile has more than 20 coins in it). Who does she think she is, Scrooge McDuck? Next you'll say she spits out a few coins after surfacing, as if she had just been for a swim. She does? And this deals a rapid string of 1% hits if the foe was near enough to be hit by it?

Bah! I give up! This attack is just daffy!



Calling all Final Smashes
The great Piggy Bank Robbery

!! The lights go out throughout the stage. A pause, and a spotlight illuminates the area Piggybank used to be.

USED TO BE!? HELP! MY PIGGYBANK HAS BEEN STOLEN! GET ME DUCK TWACY!

The foes search high, and they search low, but no Piggybank to be seen. It doesn't help that the only source of light is that one spotlight.

SOMEONE! TURN ON THAT LIGHT!

The lights come on, and... the foe will wish they hadn't. All along, they were surrounded by a cornucopia of outlandish cartoon rogues, each with the intent on pounding the foe to dirt.

Mouse Man!! Snake Eyes! Agh! Eighty-Eight Teeth! Hammerhead! Oh, no, Pussycat! Pussycat Puss! Bat Man! Double-Header! P-p-picklepuss! P-p-p-pumpkin Head! Neon Noodle! Juke Box Jaw! Wolf Man! Flat Top!

YOU'RE ALL UNDER ARREST!

The foe is then beseiged by all these rogues at once, in a melee of brawl proportions. Luckily for the foe, these rogues aint so tough after all, having virtually no weight and pretty bad AI too.

After the foe dispatches the last of the rogues, Piggybank returns safe and sound.


​

Calling all Playstyles
Daffy's Piggybank is kind of a strange mix. She does have combos, and she does have KO moves. The extent to which you lean either way is determined by how much money you have at hand. Combined with the myraid ways to spend coins, and you'll see why Piggybank is so centralised around her money.
Collecting 100 coins is no hard feat. You could probably get 40 right as the match starts with that Down Special. It's just a case of finding the right moments to start hoarding.
But, with 100 coins weighing you down, you'll have a new problem, you can't catch the foe.
So, it's time to get charitable; force your booty onto the foe, and weigh down their pockets with useless gold. You could leave big piles of coins scattered about as a little bait, or try to directly throw coins into the foe's pockets, either way it'll take some smart thinking to pull off.
Speaking of money piles, leaving piles of different sizes (25,50,75,100) can help you immensely by providing Piggybank with a quick way to switch to different levels of coinage. Just dump out your current coins, stand over the pile you want, then use Up-Special to take the pile on-board.

You can do it. Live out Daffy's power fantasies of a high rolling dangerous crime fighter, and fill the world with so much treasure that even Daffy himself would be proud.

​

 

[darth meanie]

So it comes to this... the most perfect storm of movesets the contest has seen in years. Never since the days of Make Your Move 3 and 4 have so many movesets been posted in such a short period of time, filling up page after page. Halloween 2011, Make Your Move 11 truly was an event so staggering in its massiveness that it threatens to consume the entire thread in a maelstrom of fatigue, people tired of making sets and too overwhelmed to comment.

So it comes to me to lead the charge. I was once a great commenting warrior, and on this day I draw on my experiences then to strike a dagger of comments into the heart of Halloween. Follow my lead, and let the thread be awash with overflowing comments. Prove that even the biggest event of Make Your Move history isn't even enough to slow the thread down.


And a word to the wise; do not be so foolish as to attempt to start the next set before commenting the one you just finished. And when you are done with a segment, post it instead of simply saving it on your computer to whither and weaken. Do not relent.



Granfaloon


The mechanic for his weight and the way he takes damage is interesting, and I like how you implemented it so that he's designed to soak massive amounts of damage and wear off his own health for... pretty much every attack he has. I also really like the way you made the Specials, and everything he does, a tactical decision between survivability and dealing out damage, and using the element of surprise to make self-damage more justifiable, especially in the case of the Directional Special.

Can the core be KO'd or knocked from the rest of the shell? I thought it might be interesting if focusing on a single section to reveal its body and wail on the inner piece might be an effective strategy if you could then smash it away. Maybe if you don't KO it snaps back into place from elastic tentacles? I thought that might be a more interesting strategy than just having him absorb damage from other parts of the shell (and how much of the shell does the core absorb when it hits 200%, an entire section, to sections or every part of it? Even if it absorbs all of it, you've got to deal at least 400% damage to get to that point...)

When it comes to the multi-controlled Granfaloon, I actually like the concept, but for what I assume is an attempt to recreate the enormous number of minds, and I almost wish that there was an option for even more players, perhaps through wi-fi letting sixteen people all control him at once to really get the hivemind concept across.



Firebrand


Hellish assitance makes it quite clear from the beginning exactly what this set is setting out to do, and I love it. Not sure why the Side Special automatically leads the opponent, this isn't Mahvel where projectile angle is decided by one of three attack buttons, angling attacks is the first thing you learn here, and leaves options for other sorts of trickery. Up Special making you go DOWN if you SMASH it sounds like ALL OF MY ANGER if I ever try to recover... why... why would you DO that?

I like how the Down Special lets him turn around in the air for constant harassment, and already his ability to perform epic pokes sets him apart from most Brawl and MYM sets.

I like the emphasis on spacing and mobility in the standards, and while I'm normally averse to non-damaging A button attacks, you maange to get the concepts of directionality and character in, and they feel more like command normals in a standard fighting game. They're also not 'lolrandomstatuseffects', which makes them far more acceptable than the usual variation of that genre. The Forward Smash does this well too, and I kind of expected something along the same lines in the air DSpecial.

I'm a little concerned that the U-Smash only reaches up Olimar's height... isn't that SHORTER than Firebrand is? Seems pretty ridiculously short-ranged, but nitpicking, nitpicking... Aerials are good both as spacing tools and the core of his damage-building game, which I appreciate.. Forward Throw is an instant-kill on Bridge of Eldin, might want to address that.

I do kind of wish that he had some KO focus in his aerials and not just his smashes, as while his air-ground game is good, you sort of skimp on what could be a really fun air-air juggling and spacing game. A fun set overall though, and I don't really have to explain to you how well it manages to make itself unique from the UMvC3 set and take your own take on the character. It's a very Hyper_Ridley moveset and proof of how effective you've become at making movesets that are executable, playable, and interesting.



Sweeney Todd


One of Silver's signautre flowery movesets with overflowing detail and tender care applied to each individual move is the last thing I need if I want to keep up this chain of comments, but I'll shoot through it.

I imagine that several of these moves had their order changed around, specifically the throws, but it's painful to see moves getting referenced before you introduce them as if I have any idea what they mean.

I dislike the mechanic to remove the bib or razor from the opponent, as it's one of 'those' mechanics where getting rid of it is literally 'whatever is most beneficial to the playstyle' and has some pretty silly side effects attached to it too. While I was a little apprehensive about making the Z button remove it, since it's an unusual input, I suppose it makes sense as it's a shortcut for Shield + Attack and keeps it from stopping the opponent from doing other things. Sweeney Todd obviously suffers from the easy Make Your Move vice of 'I take over the other player for a little bit now' to a certain extent, but again, it's hard to avoid this trope since any actual player is not going to be of the opinion that Sweeney Todd is there to offer his services. I greatly prefer when they work inside the barber chair game, since in there control is already taken away from the other player, and lets you invoke the horror trope of forcing the opponent to await Tood's actions. Honestly, singing could have been entirely a mechanic of the chair, which would let you put a different move in that slot and avoid the control-wresting of the Neutral Special outside of the chair or the fact that it does nothing without a chair.

I'm also utterly entertained by the last line of the Side Special; opponents trust Todd less after he stabs them in the neck, so they'll spend slightly less time in the barber chair unless he sings to them. Incredible. That and the fact that you make a big deal about the Down Throw being his killing move, but it cannot kill enemies at all. Also, does the Down Special boost last for only the next hit, or just for the Side Special and Down Throw, seems like it could be pretty insane to get a 50% boost to his standard physical attacks.

In summation, I think that the concept of keeping the opponent in the chair is interesting, but the opponent really has very little they can actively do once in the chair, which makes it less of a battle and more of a competition for Todd to set up for his kill move. Good to see that Silver hasn't died on us yet though.



Copycat


Have movesets been used as a vehicle for creepypasta before? It's cool nonetheless, Junahu. Although what could have possibly possessed you to post those stats in that fashion? After studying it for some time, I still found it utterly incomprehensible, and I'm left to presume that you were abducted by aliens and learned their arcane mathematics and accidentally used them in this set when making these stats.

You played your hand too early, especially with Will-o-Wisp, but I can't imagine that limiting yourself to moves common to both Clefairy and Banette for the first few moves could have afforded you any room for playstyle.

I do like how Copycat herself plays, and the idea of her fighting alongside her Pokemon is more acceptable because of that, and gives me a bit of a P:TA feeling in a good way. Taking a page from Parasol Lady? You can also mock all of us and our silly playstyles too. The slow hints of how Banette is really the more important character and how she's unafraid of sacrificing Copycat for victory in the DThrow makes it a very unique twist on the relationship of Pokemon. There's a whole hidden world of character development and depth hidden in here. I like it.



JJJ


JJJ's main draw, his own personal propaganda machine is of course his main draw and the most interesting part of the moveset, so the fact that it's practically an afterthought compared to all of the quirky move interactions throughout the rest of the set is fairly disappointing. I wouldn't want to see it so complicated to pull off that it becomes impossible to do it effectively, but I wish it flowed better with the rest of the moveset itself.

Another thing with JJJ is the tidal wave of silly, 1969 style gag moves and effects; the cartoonish caricature of the moveset and lack of real seriousness makes this a lot easier to accept, but there are still a few problems, especially since you set up a pretty blatant schism in his personality. On the one hand, there's the Jameson who's actually actively fighting his opponent, but on the other is the unsympathetic news boss who's just engaging in antics and entagling the opponent by happenstance. You really should have stuck to one interpretation or another, at least stylistically; Phoenix Wright in UMvC3 attacks the opponent directly, but all of his animations or incidental; displaying evidence to the opponent, pointing out the weaknesses in their testimony, or accidentally sneezing and blowing them sky high. JJJ should have aimed for this same style of consistency in goal. When the FSmash is a direct attack, and the DSmash is a auto-locking phone call that JJJ tiggers to incidentally entangle the opponent in the phone cord, there's a blantant disconnect. Having so many mechanics and interactions that, while in a way character building, really don't fit into his actually interesting concept, makes the set wear out its welcome some.

The writing style is top-notch; JJJ is a set that demands 1st person writing style, and while the present tense tone makes it a bit awkward to imagine, especially when you're inconsistent as to whether he's attacking opponents or his own employees, making him just 'describe' his attacks would ruin the level of action and anger you get across in all of the individual moves. It's a fun set, but one that doesn't clean up its act enough to really get any better than completely entertaining.



Dr. Facilier


While I've gotten on to Junahu more than once about keeping a key concept of a move blatantly hidden, I really think the Talisman should have been described naturally throughout the individual moves as the set went on rather than just a single storm of information that really has to describe a lot of stuff that doesn't make sense yet. I do like how he gets one last mad dash to try to take the foe with him to the other side, and gives him a frantic last part of his game when he's doomed. It's also less forced on the opponent than Fright Knight's mechanic, as they can very well perform the requisite action without having to alter strategies, and despite his recovery, he's easy to Star KO.

Unlike some of your earlier sets, Dr. Facilier suffers a bit from overdetail and a need to execute a couple of lovely line breaks; I probably play a bit too defensive in avoiding walls of text, but it makes the Specials pretty imposing. You also spend far too much time in the NSpecial detailing minute stuff when I have no context to appreciate the significance.

The Shadow is also really one of the coolest little abilities I've seen in a while, with afterimages and his opposite letting him attack form any angle at once, he's got all sorts of tricky little hitboxes at his disposal, though I worry that since the shadow requires 50% to be killed, and it can be summoned again immediately after dying, it seems like you only need to withdraw it when you want to avoid it dealing damage to Facilier. Also, holy moley, the combo potential is out the wazoo; this guy could make an infinite wihtout even trying.

I dislike how he has control over which cards he draws, since the draw should be decided by fate, not Facilier himself, however much control he has over them. From a mechanical perspective, it also ends up turning the move more into a 'menu' of other specials he can access, taking away the mystique that's present in some of the other moves.

Overall though, the moveset gives me a good impression of what a versatility moveset should feel like; after all, real movesets in real fighting games don't wall themselves into one single strategy, and Facilier has very good tools that lets him turn simple attacks into a frightening bevy of unique moves, approaches, combos, and strategies.

I greatly dislike smashes that do no damage for no clear reason, and the FSmash and USmash cleanly fit in that category. I don't remember if he had the illusion dust as an actual item he used or if it's just a character aspect you added in, but if it's the latter it would have worked much better as a card. They also follow some pretty overplayed tropes in Make Your Move, obscurement and character control stealing.

Moves like Nair are also awkward because there's no indication that there would be a mechanical change there with the talisman activated; while it's an interesting ability, I think that making it reliant on the talisman being charged isn't particularly necessary and just lowers the move intuitiveness. The other complaint I have with the aerials is that using Tarot Cards here when they're built into the Side Special elsewhere feels like a bit of a cop-out to add in some 'random' magic in where physical moves work perfectly fine; people far too often underestimate the usefulness of simple attacks. With the shadow on the ground using standards or smashes when you're using your aerials and the presence of the aftershadow means that even a simple kick would have far-reaching consequences in the moveset, so you were hardly dependant on the tarot cards to put stuff in here. Fair does this, and Uair can too, but it could be more too. The fact that the smashes are set-up magic effects for the most part takes away some of the sweet opportunities you could have had there. I'm a sucker for self-consistency.

Regardless of my incessant nitpicks, this really is a cool little diddy of a moveset and truly a seminal set for you; it's full of unique, thought-out ideas and while it still relies on some usual crutches (and every member of Make Your Move makes prodigious use of design crutches) it's a set that stands on its own as good. I like it.



Giant Bat


I'll at least get a foothold on these sets so I have a chance of continuing. The mechanic itself alone almost tells me everything I need to know about the moveset. He has incredible air movement, amazing range, and his wings let him soak damage quickly and he's quite vulnerable to kills, but the opponent actually has to hit his main body to do so. It's a playstyle that writes itself and by nature exists only for the character you're basing it off of.

The fact that the jab has such drastically more range than the forward tilt bugs me, but at least it makes sense in that the jab is more omni-directional while the jab focuses on a single opponent. It already seems so risky as the last thing you want to do is get that near an enemy.

The air game paints something that I really wish we saw more often; that of a mid-air juggler. Air games can really be frightfully interesting and unique, and we're so ground focused here in Make Your Move... and the wind flows so well into all aspects of his game, KOs, spacing, and just general stage control. It's a tricky and unique character you've got here, and one that I really do appreciate as a unique addition to our Make Your Move Roster.




Now then, that should hopefully inspire you all to read Fright Knight all of the Halloween sets. I've given you guys the lead, but you all need to take up the baton. Don't get discouraged.

I still reserve the right to come to my senses and, y'know study for class instead of writing these up.

 

[Akiak]

Hammerhead

Wow, I can't believe you were able to make such a good set with such a shallow character. The pitfalls add a great deal of depth to the character, and it also gives him a very unique way of KOing which I've never seen before and I absolutely love.
Coupled with the awesome "throws", it makes him an incredibly interesting character which defies all expectations. The moves may all look similar (which is inevitable), but in the end they all have different uses in his playstyle and the way all of the moves work together is great. There's really nothing to say, it's pretty much perfect.

 

[Supreme Dirt]

Somehow I was namesearch ***** by this thread.

... I don't understand how though.

 

[MasterWarlord]

GENERIC ZOMBIE SURVIVOR WITH RANDOM DIRECTOR’S NAME ATTACHED

What’s with that utterly hideous organization, Rool? Green and orange are the colors of zombies and gore now? News to me, as well as all of those recycled stupid symbols you brought back from bloody Kangaskhan. Stop reusing your damn templates.

So first off, the comment title – you wanted to emphasize that this moveset was not for a director but rather a zombie survivor. Why the hell’d you make it for a director then? Because he can randomly summon people, right. It really comes off awkward and you should’ve gone one way or the other – have people spawn naturally as well as the zombies. Then, you have Fulci boy here be an absolute psycho who has minimal value for his own life and is just in it to kill his enemy. Zombie survivor indeed. Yes, he’s a director who wants to create gore everywhere, but no, he’s not, he’s a zombie survivor, seeing the zombies are hostile to him and spawn uncontrollably. He needs to make up his bloody mind.

The zombies spawn at a slow enough pace that they don’t seem like they’d ever really get going, but it’s number crunching. What’s not number crunching is that Fulci pretty much only kills by suicide KO – if not directly, by the acid or by making so many zombies neither he or the foe can’t possibly fight back. At the start of the match, there aren’t any zombies around, and Fulci is going to fall behind. Far, far, far behind, where all of his suicide KOs shoot him in the foot. The only tool he has for stalling the foe long enough is that grab, which has pretty much no pay-off if there are no zombies around. Once the foe is ahead, even slightly, the foe won’t really care about the zombies and will just relentlessly attack Fulci, as after they get their KO they’re perfectly willing for suicide KOs to constantly keep coming. Yes, Fulci has tools to deal with zombies better than most, but you make sure he can’t fight off a legion.

A character with a hostile summon has been done (By you, no less), and honestly handled a lot better than this in the past, mostly due to there being some actual fear of the summon. Yes, those sets were more about avoiding the summon than fighting it, but I wouldn’t say Fulci is so much about fighting it as he is about letting it kill him and hoping the foe dies to the zombies before the zombies –and- the foe kill him. Meanwhile, if Fulci wants to do much of anything, he’ll be killing the zombies tasked with killing the foe.

PONY WITH 2 SECONDS OF SCREEN TIME THAT HAS A FANON NAME AND ITS OWN MOVESET THAT PROVES HOW MUCH PEOPLE ARE TRYING TO FORCE PONIES TO BE COOL AND HOW BLATANTLY THEY’RE JUST A MEME SPAMMED IN POOPS

The (Obtusely explained) mechanic you have with her being able to direct where all of her various musical notes go would be a well and good way to control all of these various notes that you’re going to turn into grab hitboxes. . .However, you have the purpose of all of the standards and aerials just be a 100% generic attack in X direction. You don’t need both – pick one. Considering you came up with a mechanic to control where the notes show up without wasting inputs with the mechanic, there’s very little excuse for the sheer pointlessness of the standards and aerials. The smashes actually vary to an extent based off what you’ve inputted into the mechanic, thankfully, though even then I don’t think they particularly contribute to her game centered around the grab. In the least, turning the notes into grab hitboxes lets the plentiful filler in the moveset –pretend- to be relevant.

MR. POPPER

Penguin seems to be focused on being a more FFA oriented character from what I can gather, but with the thugs substituting for other enemies in 1v1. Not many people have attempted this sort of thing so directly, with the only one I can remember using it as a blatant selling point being Etna. Penguin here, though, seems to do this a lot better. The attacks are very generic, yes, but they all seem to serve some context in a FFA situation. Yes, like everyone else, the grab concept is good, but it shouldn’t have eaten up all his throws – it probably should’ve been a Smash over that fairly pointless usmash so you could have a full grab-game. Heavies like Penguin have particularly high expectations for grab-games, as Kupa can tell you with Kaptain K. Rool. I also think the Penguin could’ve used some more attacks where he kept the umbrella closed to actually make use of a foe stuffed into his umbrella, but I guess utilt will have to suffice. In any case, a playstyle summary, again, really would’ve helped here, as a lot of people don’t seem to of picked up on your surprisingly well thought out vision.

HELMET

Shelmet’s interactions are for the most part for creativity outside simply spreading the acid around. Aside from that, their relevance to his goals of poisoning the foe are quite limited. I don’t care if I can spread the acid from my slimy interior to the foe, it’s still not worth it, and I’m not going to be stupid enough to get it on me. When he’s –not- interacting, things are very Pokemon syndromish – nicknaming moves after actual Pokemon moves and then giving the moves nothing in common with the moves (Double Edge, Struggle Bug) or, worse yet, giving him crap like Façade and taking the effect directly from the game comes off as very forced creativity.

That’s not to say there’s no playstyle. He has some standard trappy camper stuff going, particularly as he stalls the foe with moves like Bide so the poison damage can actually come into play. It’s actually quite a big step-up from Pete for a second set. The catch is you’re working with a Pokemon now, the easiest set archetype to make, so you don’t get any pity points that you got for Pete, and, while you may not know yet due to not reading sets, you just made the single easiest and most common archetype of playstyle.

Spoiler

Fright Knight
Sweeney Todd
Dr. Facilier

Spoiler

@JJJ comment: 99% of the flow comes from JJJ provoking foes to attack in ways he can take pictures of, which is about as close to his propaganda machine as I could get without making it even crazier. As for inconsistency with him fighting the foe or going about his business in the office, I was thinking the set’s mentality was he was considering the foe somewhat of an annoyance in that he was fighting them while still going about his work. Guy’s a workaholic and never stops multitasking. That and, from a design perspective, he of course needed to do some office related things for the set to work, but if I just filled up all of the inputs with that and didn’t give him any actual attacks the set would come off even more tacky. Playstyle wise, I especially wanted him to have physical attack so he could actually provide actual resistance for when the foe reaches him. That and, it’s the only place his anger gets to really show in-game. I thought it’d be unfitting for his character to be another uber Unsmash set who just completely ignores the foe.

 

[KingK.Rool]

Ack! What can I do? I'm not ready to start chipping away at the Halloween block, but I need to comment on comments! Well, maybe I can be forgiven just this once...

Spoiler

So I have to take issue with your complaints, Warlord. Or at the least get you to flesh them out, because you seem to have two problems: A) you're not bearing with me on balance, which means you're not reading closely enough, and B) you're blatantly ignoring who the set is for

What’s with that utterly hideous organization, Rool? Green and orange are the colors of zombies and gore now? News to me, as well as all of those recycled stupid symbols you brought back from bloody Kangaskhan. Stop reusing your damn templates.

The touchpoint in this set's organization is in fact not Kangaskhan but Romero, who in turn riffed on Headless Horseman's. Fulci's is a lot less fluid and makes less sense, sure, with the much more random placing of the symbols. Shame you missed the reference - I thought the heavy use of orange brackets and the grey introductory message would give it away.

And you don't like my greens and oranges? Yeah, that gristly green is totally the color of zombies. The color of gore is red, which is also present. (A)

So first off, the comment title – you wanted to emphasize that this moveset was not for a director but rather a zombie survivor. Why the hell’d you make it for a director then? Because he can randomly summon people, right. It really comes off awkward and you should’ve gone one way or the other – have people spawn naturally as well as the zombies. Then, you have Fulci boy here be an absolute psycho who has minimal value for his own life and is just in it to kill his enemy. Zombie survivor indeed. Yes, he’s a director who wants to create gore everywhere, but no, he’s not, he’s a zombie survivor, seeing the zombies are hostile to him and spawn uncontrollably. He needs to make up his bloody mind.

I never wanted to emphasize any such thing. The zombies are entering Brawl through the gates of hell, which open when Fulci enters. Other than that, for the most part, he's an ordinary human being. Of course, this isn't kept consistent throughout, what with teleporting and summoning human beings... but the inconsistency is very much deliberate. Where would people spawn from, anyway? A teleportation machine in Los Angeles?

The zombies are hostile to him like they're hostile to all human beings. I always felt it was a cop-out for me to make Romero some sort of bloody necromancer. With Fulci just as much a victim as everybody else, the three key points of playing him can be established - zombies, gore, and the supernatural (in this case, the acid), each one feeding the next.

The zombies spawn at a slow enough pace that they don’t seem like they’d ever really get going, but it’s number crunching. What’s not number crunching is that Fulci pretty much only kills by suicide KO – if not directly, by the acid or by making so many zombies neither he or the foe can’t possibly fight back. At the start of the match, there aren’t any zombies around, and Fulci is going to fall behind. Far, far, far behind, where all of his suicide KOs shoot him in the foot. The only tool he has for stalling the foe long enough is that grab, which has pretty much no pay-off if there are no zombies around. Once the foe is ahead, even slightly, the foe won’t really care about the zombies and will just relentlessly attack Fulci, as after they get their KO they’re perfectly willing for suicide KOs to constantly keep coming. Yes, Fulci has tools to deal with zombies better than most, but you make sure he can’t fight off a legion.

I don't know where you're seeing so many suicide KOs, to be honest. The grab can be turned suicidal but its main purpose is to shunt the foe headlong into a crowd of zombies, whereupon Fulci is quite free to escape via teleportation, self-burial, or whatever you please. A few of the aerials function doubly as well. In any case he has a solid handful of moves that dispatch zombies more effectively than what the foe's going to be playing with... and he can indeed fight off a legion, through his "reset button", the acid.

A character with a hostile summon has been done (By you, no less), and honestly handled a lot better than this in the past, mostly due to there being some actual fear of the summon. Yes, those sets were more about avoiding the summon than fighting it, but I wouldn’t say Fulci is so much about fighting it as he is about letting it kill him and hoping the foe dies to the zombies before the zombies –and- the foe kill him. Meanwhile, if Fulci wants to do much of anything, he’ll be killing the zombies tasked with killing the foe.

Why in the world would he want to let the summons kill him? And you make it sound like his whole moveset is given over to... well, not much of anything at all. He can fight the foe just as well as the foe can fight him. So he's about fighting his summons and killing the foe. The key to using him properly is to make these two goals hang together - which he has plenty of options for doing, via Dash Attack, USmash, FSmash, teleporting around a zombie to get straight to a foe or teleporting away and forcing them to go through the air to get to him which is dangerous because he can snipe them off with his gun or a quick FAir, and so on and so on.

 

[MasterWarlord]

RUSHED 46 INPUT SET

The shepherd boy’s moveset is pretty much entirely dedicated to shieldbreaking, with some little side thing of shearing sheep to get any form of recovery. I guess it helps in provoking an approach from the foe so they can get in his ideal range, but other than that the shepherd by himself is awkwardly contradictory with wanting to break a foe’s shield while wanting time to himself at the same time, for something he needs but doesn’t really help his direct game.

All the shepherd really does to help out the wolf is just spawn sheep, which is plenty easy enough. . .And yes, the wolf can eat the sheep, but it’s blatantly not the main point. The main point seems to be to hide among them with random magic, of all things? The reason I asked for the card was I entirely expected that to be some sort of random spell the wolf had, but nope. The only real link in here between shepherd and wolf is just getting the foe’s shield weakened so the wolf can apply more offensive pressure with his anti-dodge game after immediately turning into the wolf, but unless the foe’s shield is gone for a whole 7 seconds from that one oddly specific move he has virtually no time to capitalize on it and is just left to hiding among sheep like the wussiest wolf I’ve ever seen, chowing down if he gets too tired. Yes, the stuff with him clinging to the underside of the stage and digging to either side is cool, but largely irrelevant to everything. You could’ve attempted crap with spiking through the stage like a recent trope of my sets to make it actually relevant, and honestly not much would be lost from those bland aerials.

One final complaint before I go is just how obscenely tacky you manage to make the shepherd regardless of how simplistic he is. If fsmash breaks a shield, it randomly prevents them from shielding by some magical arcane process, bthrow magically does shield damage even though they don’t have it out, and uthrow randomly prevents the foe from dodging it – only the playstyle relevant way of avoiding the throw is permitted!

Spoiler

So I have to take issue with your complaints, Warlord. Or at the least get you to flesh them out, because you seem to have two problems: A) you're not bearing with me on balance, which means you're not reading closely enough, and B) you're blatantly ignoring who the set is for

A)I believe he blatantly cannot kill in a practical manner without dying in the process.
B)I believe that you're the one blatantly ignoring who the set is for, otherwise you wouldn't be going back and forth on whether or not he's a director/necromancer or just somebody trying to survive the apocalypse.

I never wanted to emphasize any such thing. The zombies are entering Brawl through the gates of hell, which open when Fulci enters. Other than that, for the most part, he's an ordinary human being. Of course, this isn't kept consistent throughout, what with teleporting and summoning human beings... but the inconsistency is very much deliberate. Where would people spawn from, anyway? A teleportation machine in Los Angeles?

I'm the player and I don't have you to come explain to me that these zombies are randomly coming from a portal to hell - I see random zombies coming up out of the ground. People spawning out of thin air makes just about as much sense.

The zombies are hostile to him like they're hostile to all human beings. I always felt it was a cop-out for me to make Romero some sort of bloody necromancer. With Fulci just as much a victim as everybody else, the three key points of playing him can be established - zombies, gore, and the supernatural (in this case, the acid), each one feeding the next.

Romero wasn't a necromancer, he was simply a director. The foe is the protagonist of his film, and the zombies are all Mexicans in costumes.

Here, you treat the zombies as far more real considering Fulci blatantly isn't directing them, but he can summon humans, teleport, -and- is determined to kill the foe in psychotic ways despite the fact he's not making a movie and is in the middle of a real zombie apocalypse.

I don't know where you're seeing so many suicide KOs, to be honest. The grab can be turned suicidal but its main purpose is to shunt the foe headlong into a crowd of zombies, whereupon Fulci is quite free to escape via teleportation, self-burial, or whatever you please. A few of the aerials function doubly as well. In any case he has a solid handful of moves that dispatch zombies more effectively than what the foe's going to be playing with... and he can indeed fight off a legion, through his "reset button", the acid.

Yes, Fulci can kill off all of the zombies with his acid, at which point he's created another hazard which is just as likely to kill both him and the foe as the zombies he just killed.

Why in the world would he want to let the summons kill him? And you make it sound like his whole moveset is given over to... well, not much of anything at all. He can fight the foe just as well as the foe can fight him. So he's about fighting his summons and killing the foe. The key to using him properly is to make these two goals hang together - which he has plenty of options for doing, via Dash Attack, USmash, FSmash, teleporting around a zombie to get straight to a foe or teleporting away and forcing them to go through the air to get to him which is dangerous because he can snipe them off with his gun or a quick FAir, and so on and so on.

His moveset is given over to fighting the zombies when they're his main tool for killing the enemy. The foe has a moveset dedicated to fighting him, and also has time to get a lead before the zombies or acid come into the picture. If things are even and there are a lot of zombies on the stage, yes, Fulci can outlast his foe by going into a tomb or something, but he eventually has to come out at which point he'll die horribly. If he was behind, which he always will be, he's not making any progress.

Yes, a lot of the gameplay problems with the set could be fixed if the stage already started with X amount of zombies on it because the foe could get no such lead, but that would be very random and go against your usual stylistic approach. Even if you put it in, I would hate Fulci's characterization for him being so torn between surviving the apocalypse and making a film at the same time, unable to determine whether or not the zombies are actually real.

 

[darth meanie]

Why am I doing this? I don't know. Maybe it's because I'm wholly impressed by the fact that you guys actually managed to push out this kind of workload. Maybe it's because I remember Holiday 2010 and how much it crashed the progress of the contest that time. Maybe it's because I might actually believe that if I comment these sets seriously, everyone else might too. And maybe it's just because I want to prove that I can.


Ooh, and it looks like controversy is coming out already! Don't worry, this heap of comments is certain to add to the pile of rage. I've got some words for how Warlord's primary complaints with Fright Knight were that I didn't force in hard move interactions to make the moveset more flowcharty or that it compared negatively to King Ramses because it didn't have both players 'fighting' over the sword like they did with the slab, despite the fact that once Ramses gets the slab it's pretty much his for good and the opponent has no recourse to reclaim it, while Fright Knight's entire gameplan focuses on placing the sword in a precarious position and gives both players multiple options to retake the sword from each other, but I want to give him the opportunity to either retract those statements or put them in writing so I can really address how mind-boggling they are. (that may be the longest run-on I've ever put to words)



Medusa


Another clearly mechanic driven character, I assume that all of these sets are going to be due to their nature as Castlevania sets and to make them easier to produce in such quantities. Medusa's mechanic with her tail seems rather annoying, but the potential of using it to strike the enemy is interesting. The moves all control it with specific animations rather than having it coil naturally though, so I'm a little confused as to whether the lag of the moves are affected by the tail's position or if it just 'snaps' into place.

The Down Special puts an extra button input to make the move useful, but there's... no real mindgame there besides the raw 'you don't know which move I'm using'catch-all. Even if the opponent doesn't know you're going to put your shield down, would it ever matter? And under what possible circumstance would you want to not drop the shield down immediately, unless the period of lag is so long that the opponent can see it and have enough time to react to the pause with an attack. It doesn't even really seem to do much that she doesn't do just by... standing still. Also, while I've never played Castlevania, I'm going to assume that her ripping off her own head is a signature ability of the series, because in the actual mythology, Medusa not being able to grow her head back was a plot point, not the other way around. Of course, I'm no stranger to unusual takes on Medusa, seeing as Fate/Stay Night portrays her as a sexy pink-haired Pegasus riding chainfighter in a BDSM outfit. That was a fun moveset.

I like the mechanic of the Forward Tilt and Smash, but it seems like an awkward button input to put it on. I'd have liked it as an addition to the Down Special to make it more useful rather than just being a slight repositioning of a shield mechanic she already has. A dash attack that's bad for playstyle purposes? I remember doing that for Saren! People yelled at me for making such a stupidly weak move. This is Make Your Move, the idea of having weak spots or any attacks that are useful for their own merits is sacreligious! Good Lord, that Up Smash has an obvious purpose in the moveset, but isn't even slightly fancy! Filler! Burn the witch! Oh, directional grabs? Nevermind, Warlord will love this moveset again. Although where the hell is the pivot grab, seems like the most interesting one in how it would work with this mechanic

I don't think I got all of the stuff you were implying in this moveset though; maybe it's because I'm going through fairly quickly, but the use of the angles of her aerials, and exactly how she uses the push in and out of the opponent didn't come together as well as I wish it had. I appreciate subtletly, but the playstyle section read like you were discussing something with someone who already fully understood it, not explaining some of the things that would be lost on the reader.



Mummmy Men


And yet another mechanic that provides another spin on partner movesets, and one that is off-putting from the very begining; a completely AI controlled teammate. And you specifically state its behavior to be entirely unhelpful! You've done it now Junahu! Up Smashes from crouch, QUARTER CIRCLE ATTACKS!! What madness have you wrought?

Going through the moves, again I feel like the jab and forward tilt mixed themselves up. I'm not sure if you're just crazy or if you understand the purpose of the jab input better than Sakurai or I do... Also, smushing players between two blocks is a no-frills mechanic KO? It should deal 300% damage and Jigglypuff shield breaker knockback instead... that somehow kills them when there's a ceiling... ah never mind... And you're using Stagebuilder units as a system of measurement again, I thought we all stopped using that for a reason. I think it might even been you who told us to stop.

Also, when you mentioned that the Up-tilt let you use all of your aerials while your legs remained grounded, I instantly scrolled down to check for any kicks. Good man. Can you walk around while in that state too? Also, I resent that statement on back airs! I'll whine incessantly if people make movesets with air approaches that don't go bair first! And if they don't have air approaches, I'll whine about their sucky air game that's just 'ah hell, I never asked for this, here are some moves designed to help you stop being in the air, it fits the playstyle because the playstyle is on the ground'.

Oh yeah, the playstyle? It is what it is. Entombing the opponent and trapping them between stones is a cool enough idea, and the two mummy mechanic works well for giving you the ability to effectively build and avoid getting pressured, especially with that dash attack that lets you soak off damagel, and it avoids devolving into infinites. I really do worry though that with the exception of the stone block slam enemies are far far better equipped to abuse the walls and ceiling for unending combos and infinites.



__________________________________


I'm pretty sure Warlord was planning this exact same mechanic for another set. Granted, the set was going to be a FullMetal Alchemist Original Character Do Not Steal where Sloth was a giant rhinocerous. So I'm weeping tears of joy to know that any lingering desires he may have had to make that set have been killed by someone else already doing the mechanic.

Oh, is that (MAKE YOUR MOVE THE AIR GAME?) Because I'm pretty sure that's the exact same air game I just spent some time bashing in my previous comment! Oh man, this is awkward... and I hate giving begrudging exceptions to this kind of thing, because although lots of sets have mechanics that make air games impossible, shouldn't those mechanics be modified for better air games? The Count, I'm looking at you. You had no reason to be missing aerials, and we all bought into those Special Smashes like suckers. Suckers...

Oooh, and speaking of Special Smashes, you did Special Smashes properly here! I like how you even took the time to explicitly remind people (HEY GUYS, SAMUS DOES THIS TOO) in a only slightly un-subtle gesture. Of course, then you completely contradict yourself in the Down Special when you mention that it doesn't go as high in the air... I though that he old had his one aerial special! You should really clear up which way is which, because now I don't know what moves he has access to in the air.

You know, with the multiple grabs, rockets, and massive, slow size, I'm really getting the feeling that you might have heard of this guy called Nemesis, I here he's going to be in the next Marvel vs Capcom game! Although Nemesis can't summon 'lighting' from his fingertips, might wanna fix that. Also your Up Special Smash makes a reference to recharging batteries that never appears again in the rest of the set. The detritis of a long-forgotten ammo mechanic?

Regardless, I really probably like this set the best of your Castlevania movesets, in part because of that beautiful conflict between the opponent not wanting to get in the air and having to get in the air, and how naturally he works in free-for-all or team battles and changes the way he plays. In fact, the way he is balanced, he seems like the kind of character who wouldn't really be particularly gimped in a 2-on-1 battle if it were to come to that, just because of the nature of his fighting. It's fun, it's unique, it's keeping an FMA OC from being made.



Death


I find it impressive how despite this set being made by Smady, it fits the overall mood and personality of the other Junahu movesets and takes the position of the last set in this list in its stride. It's still a distinctively Smash Daddy set, but it also fits into the vein of Castlevania sets, which is difficult for most movements where each character plays by completely different rules and would make no sense together whatsoever. We'll see if the Duck Twacy sets do (spoilers: with that many people and that level of organization it's assured)

I have to say, I'm not a terribly huge fan of the background / foreground distinction style of movesets because Brawl characters actually exist on a truly 3D playing field with attacks that have truly 3D hitboxes. Characters can also dodge either closer to the camera or further from the camera, respectively, and hiding in the Z-Axis is only a part of the advantage of rolls, much less than the copious invulnerability that comes with it, with notable exceptions like King Dedede's. These moves really should just have massive hitboxes on the Z-side and pierce invulnerability from dodges. Granted, this is a bit of a silly distinction, but it does become important when moves reference the background or foreground as if it's always the same from the perspective of both characters. It would be really interesting (HINT HINT, THIS IDEA IS UP FOR GRABS) if someone actually took advantage of this face and made moves that would hit if the opponent rolled to the left side of the player but not the right, for example, but that's never the case in these sets, where the extra space in the battlefield is always treated as the same no matter which side of the characters they dodge into.

Now that I've gotten that lengthy soapbox lecture out of the way I'll do my best to judge this moveset on the basis of dodging mechanics as they've been treated in Make Your Move since Arbok in MYM7. And this is hilarious, there are only two movesets that actually fit that mechanic. I just spent an entire wall of text nitpicking something that I thought was going to be a central concept that turned out to just be a small featurette! I'll make up for it by nitpicking the Down Tilt; overhead swings are Forward Tilts, not Down Tilts. A down angled Forward Tilt fits the style of most Down Tilts better, and should be switched with the Down Tilt that exists right now. Nit picked.

Death makes the portal mechanic that we've all seen a trillion times before... but his portals obviously work differently than most other wormhole sets have done with those chains that create a linked prison between them. Combined with the held down special it also works really well at letting him create these interesting situations and avoid trapping himself in a set-up sectin early on.

The grab is one of 'those grabs' as in, a move that really should have been a special move but got pulled into the grab slot to avoid having to make actual throws. It is an interesting move, to be certain, but grabs aren't just important because they ignore shields, but because they let players who are being attacked have a retaliatory option out of shield. When the grab is based around a part of the moveset that doesn't actually protect the character himself, it makes it very hard for them to get control of the match flow again. And this could all be solved by giving him a regular grab if he grabs onto the foe himself as well.

The aerials suffer from a bit of magic syndrome, but there's nothing too awful; the chief complaint to be levied against the air moves is a lack of damage building ability, which for such an air focused character seems a bit missing. The moves are all effective as manipulations of his little mechanics, but they could use some punch as attacks to hit enemies with too. The Neutral Aerial could use a hitbox, for example.

Your writing style does do well here, with less of your signature incomprehensibility and more of a slight stuffiness and dullness befitting of a being that is the very essence of death itself; as the playstyle section says, it's grown weary of the living and it finds this slow, deliberate, careful game of deceit and cruel traps a mild boredom. It's really fitting in a cold way.



Hammerhead


Hammerhead starts the moveset right off the bat with one of my most loathed Make Your Move tropes: The 'MY VERSION OF THIS MECHANIC IS DIFFERENT BECAUSE I SAY SO' Pitfall trap. You could have easily called this thing anything other than a pitfall trap to save yourself some pints, but this is just shameless. Even then, you're changing the rules of things when there's a preexisting mechanic you could use just as easily. Yes, you wouldn't be able to use YOUR version of it with its different effects that fit into your playstyle better, but I'm a sucker for consistency, and I find that it's rarely THAT hard to reappropriate existing mechanics in Brawl to work towards my purposes as opposed to creating parallel mechanics from scratch. Of course, you're reusing the 'blast the opponent through the bottom of the stage' mechanic. It was silly before, and it's silly now, although Hammerhead's cartoon physics makes it a bit more acceptable as a break from reality than it was as on DBZ villain #28. It's a silly move to even imagine anyways; does he flips himself upside down, stand on his hands, and bang his head back and forth? Or does he lean all the way that he's on all fours and scratch it out that way? It's like you forgot that there's no one actually holding the hammer, it's his actual head. The Side Special at least addresses this, but it's kinda silly looking at him make a pitfall. The grab too is impossible to realistically imagine happening, since the angle he has to be at to perform his 'throws' changes from option to option.

How does the Up Special's side effect work on a stage like Lylat Cruise, or god forbid, the dorsal fin of the Great Fox on Corneria? It doesn't even make that much sense on Smashville or Final Destination, not to mention that you pretty blatantly express that this move was designed as a specific counter to other playstyles. And you let us know that he's still heavy when he's reduced to just a head, but how does he even move? Or jump?

As is to be expected of a Warlord moveset, there's a lot of clever little forced creativity sprinkled throughout to make interesting ways to force the opponent through the stage, but for all the reasons stated, it feels broken conceptually from the start. And I know that you're going to moan that this was the only direction that makes sense and throw some straw men out that I wanted this to be Generic McGeneric Genericfest, but if you're telling me that you could be given a 1920's era gangster with a hammer for a head and cartoon physics, hammerspace, and all that comes with it, and the only thing you could do with it was rehash a mechanic from one of those DBZ sets you made with a few changes, I'm not buying it. You could have created any sort of fighting style you wanted for this character, a tommy gun that shoots little nails, mallets from hammerspace, summon anvils to fall from the sky, flattening players like pancakes, any sort of silly little weapons or cartoon tricks you could have liked. You had unlimited freedom and used it to execute a forced mechanic you'd done before and the most awkward possible use of the character's anatomy you could think of. I think once in the entire set do you use his arms or legs; this is essentially a set for a physical hammer with an invisible hand controlling it. Yes, you had no character to work with, but you had all the character to create.



Mouse Man


I actually do like grab hitboxes in some basic attacks and wish we saw them used properly more often, then again, most Make Your Move sets all do knockback in only one direction and strength no matter where the attack hit, and a lot of them do set knockback, so there isn't really too terribly much of a difference except ignoring shields. Down Tilt is another ovehead attack that somehow found itself in the Dtilt's spot. You also don't really detail the pancake mechanic too much, though I presume it's a button-mash escaper where the opponent doesn't take knockback and just gets beaten on for damage through the Down Smash.

Smashes make him really feel like a cartoon Donkey Kong, not that that's a bad thing, since he is essentially cartoon Donkey Kong from the looks of things. Also, I saw that scratched out neutral aerial, and I'm glad you removed it; we get enough non-attacking extra mechanic standards, and landing lag doesn't even work that way anyways. Also, didn't you just get done chewing Shelmet out for his mid-air grab? I suppose it must have been ironic after you posted Mouse Man, but this set is so nicely in the middle of everything I might be the first person to actually find this out. I wish it did damage somehow though, rather than just being the two of them gently and awkwardly falling down to safety together.

The portal mechanic in the Specials (what is with movesets and funny move orders these days I tell you? In my day, you did your Specials first, your grabs last, and you were happy with that!) seems a little tacky, but it seems obvious that that's what he must have done at least to intoduce himself, and cartoon physics and networks of underground holes go hand in hand. He's a fun set, and has more depth than it looks like at a glance, a technique that you've been polishing for quite a while now and that I've tried to replicate in DarkMega and Fright Knight, though not as effectively as you have. My biggest complaint would be that he can cancel ending lag or starting lag with his mouseholes though; on any stage bigger than Battlefield that's just going to be plain unfair.

 

[half_silver28]

I don't usually do this type of stuff, but I made some edits to Sweeney Todd. Parts of his playstyle have seen significant changes, so you might want to check him out again. That is all.

Spoiler

good god there are so many sets. We need to not post any more for like, two weeks (wary)

 

[MasterWarlord]

Hammerhead


Hammerhead starts the moveset right off the bat with one of my most loathed Make Your Move tropes: The 'MY VERSION OF THIS MECHANIC IS DIFFERENT BECAUSE I SAY SO' Pitfall trap. You could have easily called this thing anything other than a pitfall trap to save yourself some pints, but this is just shameless. Even then, you're changing the rules of things when there's a preexisting mechanic you could use just as easily. Yes, you wouldn't be able to use YOUR version of it with its different effects that fit into your playstyle better, but I'm a sucker for consistency, and I find that it's rarely THAT hard to reappropriate existing mechanics in Brawl to work towards my purposes as opposed to creating parallel mechanics from scratch. Of course, you're reusing the 'blast the opponent through the bottom of the stage' mechanic. It was silly before, and it's silly now, although Hammerhead's cartoon physics makes it a bit more acceptable as a break from reality than it was as on DBZ villain #28. It's a silly move to even imagine anyways; does he flips himself upside down, stand on his hands, and bang his head back and forth? Or does he lean all the way that he's on all fours and scratch it out that way? It's like you forgot that there's no one actually holding the hammer, it's his actual head. The Side Special at least addresses this, but it's kinda silly looking at him make a pitfall. The grab too is impossible to realistically imagine happening, since the angle he has to be at to perform his 'throws' changes from option to option.

How does the Up Special's side effect work on a stage like Lylat Cruise, or god forbid, the dorsal fin of the Great Fox on Corneria? It doesn't even make that much sense on Smashville or Final Destination, not to mention that you pretty blatantly express that this move was designed as a specific counter to other playstyles. And you let us know that he's still heavy when he's reduced to just a head, but how does he even move? Or jump?

As is to be expected of a Warlord moveset, there's a lot of clever little forced creativity sprinkled throughout to make interesting ways to force the opponent through the stage, but for all the reasons stated, it feels broken conceptually from the start. And I know that you're going to moan that this was the only direction that makes sense and throw some straw men out that I wanted this to be Generic McGeneric Genericfest, but if you're telling me that you could be given a 1920's era gangster with a hammer for a head and cartoon physics, hammerspace, and all that comes with it, and the only thing you could do with it was rehash a mechanic from one of those DBZ sets you made with a few changes, I'm not buying it. You could have created any sort of fighting style you wanted for this character, a tommy gun that shoots little nails, mallets from hammerspace, summon anvils to fall from the sky, flattening players like pancakes, any sort of silly little weapons or cartoon tricks you could have liked. You had unlimited freedom and used it to execute a forced mechanic you'd done before and the most awkward possible use of the character's anatomy you could think of. I think once in the entire set do you use his arms or legs; this is essentially a set for a physical hammer with an invisible hand controlling it. Yes, you had no character to work with, but you had all the character to create.

The thing I found forced about how Ginyu did it was he had to bring the foe obnoxiously high into the air before he spiked the foe through the stage. Here, I'm specifically hammering bit by bit through the stage. The only reason I let this set be made was because of how interactive his main game was of the foe still being free to move as they come out of the pitfall, with Hammerhead having to come up and fight them regardless because of a lack of ranged attacks. In this close ranged fight, not only is there no option for either to flee, but there's another variable inserted with Hammerhead knocking the foe down and the foe having to make their way out. I thought it was pretty bloody unique. The Ginyu rip-off part was brought in simply because of how logical it was to follow up with that, and in the least I finally brought it to it's inevitable conclusion with going upwards through a pitfall from below, which Ginyu didn't have to have because of broken recovery.

And you're dismissing the unique aspect of the playstyle because it so happens there's a stun animation where we knock people into the ground in Brawl. Priceless. The foe is not always half enveloped (A lot of the time you won't even start it by hitting them into a pitfall) and they're still moving around, so the animation is quite different.

Even if this was the case, MYM is quite blatantly just a sandbox of characters which can be used to create a game at this point, if you haven't noticed. Whenever we leave and make a game, we will pick and choose what gets in and start worrying about some actual consistency then. If you're in favor of number crunching being something to laugh off, then you're a hypocrite to not be in favor of this stance.

I felt it would be OOC for him to use moves that didn't involve his head (He's not a completely blank slate - that's his entire character), and when I put in Neutral Special I was pretty blatantly forced to make all of the moves use only his head. Yes, it was blatantly -that- Special and added in because I blatantly needed a fourth one, and all of the ways it flowed were basically just an approach to add more generic pressuring - though then again, you love that sort of crap.

I really don't even like this set that much. Considering I downplayed Burter in the rankings for "ripping off" -HANNIBAL-, you can figure out why. I don't want to defend it, as I actually thought Dirty Bubble and Wario were worth defending. To be honest, I’m more amused than offended, mostly because I can’t believe that a single member of MYM would actually buy the horsecock you're shoving down my throat, nor why you're still respected as a MYMer when you make comments like this. I apologize I did not fap to Fright Knight as hard as you expected.

Spoiler

The OCs I made, Barbovor more-so than that generic FMA OC, I can post with more dignity than the vast majority of crappy characters people are forced to resort to at this point. In any case, they are made for the concepts for MYM sets, what 99% of MYM OCs are made for - yes, Junahu's especially, if not the most so.

 

[majora_787]

Excuse the lack of coherence. This set was written in two hours.

* * * New Destroyman * * *​

John Harnet, UAA (United Assasins Association) #8

​

New Destroyman is the 8th ranked assassin in No More Heroes 2: Desperate Struggle. John Harnet returns after his "death" as not 1, but 2 Destroymen as Travis Touchdown sliced him in two in No More Heroes. When he returns, they both have cybernectic halves filling the missing side of their body.


New Destroyman, unlike regular Destroyman, is two opponents instead of one. One Destroyman, the red one, is computer controlled and acts based on what the other is doing. He will only use special attacks in conjunction with the other Destroyman. The blue Destroyman will instead be player controlled, and will function as a normal character. When one Destroyman is KO'd, the remaining one is able to 'revive' them without the cost of a stock. If the player controlled Destroyman is the one that is killed, they will switch control over to the other Destroyman for the rest of the match, or until they die again. They do not lose stock until both Destroymen are KO'd.

* * * STATS * * *​

WEIGHT: 9 / 10
SIZE: 8 / 10
GROUND SPEED: 4 / 10
AIR SPEED: 5 / 10
FALL SPEED: 9 / 10

New Destroyman is a sort of lighter-end heavyweight who is capable of moving around as well as he needs to to get the job done. His suit adds to his weight and fall speed, as well as keeping him from running very quickly. The metal enhancements in his side don't help anything either.

* * * SPECIAL MOVES * * *​

Neutral B: DESTROY BUSTER​

The player-controlled Destroyman will hold his arms out at his sides, yelling "Destroy" as he begins charging and his suit begins to light up slightly. After a second and a half, a massive laser will shoot from his codpiece as he finishes his yell with "BUSTER!" This laser will span the entire stage, and will remain active for as long as the B button is held down. The laser can be slowly swept across the screen with the control stick. It moves at half Ganondorf's dash. The CPU-controlled Destroyman will attempt to charge and fire a Destroy Buster so that it catches an enemy at the intersection. The move does 10% for the initial hit and then does 2% per second while in the laser. New Destroyman can be hit out of this attack from behind.

Side B: DESTROY SPARK​

New Destroyman will stick out his hand a very short distance in front of him. If he hits an opponent or an opponent hits him, he will grab onto their hand and say "Destroy Spark" as he unleashes a nasty 20% damage attack that shocks the opponent and leaves them on the floor. If the other Destroyman is nearby, he will add to the shock for a 30% damage attack. However, the attack will not be any easier to pull off.

Up B: SUPPORT NETWORK​

The player-controlled Destroyman and CPU destroyman both place small boxes on the ground if this move is used on the ground. This allows them to use their recovery move, which is a very large and easy to control jump that will carry you as well as Snake's recovery move. Opponents can break these boxes at will, and if all are destroyed, neither Destroyman can use their recovery. An infinite number of boxes can be placed, but ANY attack that deals over 10% of damage will destroy the boxes. Every time a box is destroyed, the box that enables the special will change. If the 'correct' box is destroyed at any point, all boxes are destroyed instantly.

Down B: HEROIC(?) POSTURE​

The player-controlled Destroyman poses and points in the direction he is facing. He will stand still for a second, as the other Destroyman makes his way over to him. If both Destroymans pose together, this will switch the AI of the CPU Destroyman between "assisting" and "aggressive". Assisting AI will make the Destroyman quick to revive, eager to prevent your being edgeguarding, and constant in backing up your attacks with specials. Aggressive AI will make the CPU leave your side and savagely assault the weakest opponent. They will change targets at the drop of a hat. If two opponents have equal stocks AND equal damage, he will go for the one farthest from other opposing fighters. In a 1v1 scenario, that detail is irrelevant. You can tell what AI the opponent is taking, depending on what they say. If the AI is becoming aggressive, they will say "We'll kill you twice over!" as they end the pose. If it's becoming passive, they'll say "The fun has just been doubled!". If the move is used when one Destroyman is dead, the charge will last for two and a half seconds. Afterwards, he will say "You're really pissing me off!" and the other Destroyman will drop down from the top of the stage.

* * * STANDARD ATTACKS * * *​

A: DESTROY STUN​

New Destroyman will hold out his hand, which will light up with electricity. Opponents within a battlefield platform will feel the sting as electricity ripples out for a 3% hit. If the other Destroyman is nearby, the two will shake hands and deal 6% to any opponents within a battlefield platform in either direction.

Dash Attack: CLOSING WALLS​

New Destroyman will ram his opponent hard, knocking them away for 8% damage. The other Destroyman, if nearby, will attempt to hit the opponent with the same move from the other side. If the opponent is hit by both attacks, they will be spiked upwards for 16% damage.

Up Tilt: DESTROY MAGNET​

New Destroyman will hold an energy sphere over his head that will pull opponents toward him at the speed of Ganondorf's walk. If both Destroymen are near each other when this attack is used, it will instead pull opponents in at the speed of his run. No damage is done, but the opponent is forced into helpless while this move is used.

Side Tilt: GOING POSTAL​

New Destroyman will spin around one time quickly. If the other Destroyman is nearby, he will get back-to-back with the player-controlled Destroyman. At this point, rapidly pressing the side-tilt command will cause the two to spin faster and faster in place. After about two seconds, they will keep spinning after you stop pressing the command. At this point, pressing the A button will fire the two destroymen like missiles off in either direction. If they hit an opponent, they will do massive knockback and do 23%. They will go about three battlefield platforms in distance. If the B button is pressed, they will use a three-second Destroy Buster instead.

Down Tilt: DESTROY DISC​

New Destroyman will duck down and throw a metal disc like a boomerang a short distance along the ground. It goes one battlefield platform and a half and deals 4% damage. If the other Destroyman touches the blade, they will duck down and repeat the attack in a similar manner. The attack is very quick, taking about 1.5 seconds in the two-destroyman version.

* * * SMASH ATTACKS * * *​

Forward Smash: HIDDEN TURRETS​

New Destroyman will spread his arms and shoot ahead of him for a second and a half, firing bullets out of his...nipples. This move does 15%, and has an ending lag of a half second. The other Destroyman will react by pinning the opponent with his own Hidden Turret attack.

Up Smash: DESTROY CANNON​

New Destroyman will charge up an attack for a second and fire a large energy shot over his head that will go straight up and offscreen. This move deals 12% and will carry opponents up with it by knocking them upwards. The other Destroyman will react by attempting to intercept the opponent with a Destroy Buster.

Down Smash: DESTROY POUND​

New Destroyman jumps up into the air a small ways and comes down in a punch that causes shockwaves a battlefield platform away on either side of him for 16% damage and 1 second of stun. The CPU Destroyman will respond to this attack by attacking the stunned opponent with either Hidden Turret or Destroy Spark, depending on how close he is.

* * * AERIAL ATTACKS * * *​

Air Game: DESTROY PADDLE​

The player-Controlled Destroyman can use his neutral aerial to fire a slow-moving energy projectile out of his chest. The projectile goes at 2/3 Ganondorf's run across the screen. The CPU-controlled New Destroyman will attempt to hit the projectile back at you with his aerials. Each aerial input will have Destroyman put up a barrier in front of him for a half second in the direction of the input. The aerials do no damage, but are for reflecting projectiles! Every time a projectile hits an aerial, it will get 1.2 times faster and will do 3% more damage. The goal is to have multiple projectiles on-screen and keep making them all stronger and to keep the opponent in a compromised position. If the projectile hits Destroyman, however, it will have the same effects as it would on any opponent with half knockback.

* * * GRAB GAME * * *​

GRAB​

The player-controlled Destroyman grabs onto the opponent immediately in front of him. His grab is twice as opwerful as a regular grab. Control then shifts to the other Destroyman. The idea of the grabs is that you initiate a throw by flicking the C stick, and can then initiate a "Destroy Throw" by being on the other side of the opponent.

PUMMEL​

Destroyman doesn't actually have a pummel. However, the player-controlled Destroyman can attack the opponent while the CPU-controlled Destroyman is holding him.

Up Throw: DESTROY SPIKE​

New Destroyman flings the opponent upwards for 3%. If the player-controlled Destroyman contacts the opponent, he will fling them even farther up for 3% and will hit them with a Destroy Cannon for 12%. This move can get good top-of-screen KO's!

Forward Throw: DESTROY GRIP​

New Destroyman hucks the opponent forward. If the opponent contacts the other Destroyman, they will be caught in another grab and will take 5% damage. However, each time the opponent is caught, the grab will be half as powerful, making it hard to chaingrab endlessly. However, each throw will deal 5% damage.

Back Throw: DESTROY SHOT​

New Destroyman tosses his opponent back over his shoulder for 4%. If the player-controlled opponent is hit behind the CPU-controlled one, he will charge up and fire a one-second Destroy Buster that will deal 14% and high knockback.

Down Throw: DESTROY TENDERIZER​

New Destroyman floors his opponent for 5%. If the player-controlled Destroyman is nearby on the other side of the opponent, he will jump in the air and perform a Destroy Pound on the opponent, burying them in the platform and dealing 10% damage.

Final smash: DESTROY LIMBO​

Each Destroyman will take a side of the screen and will form a giant laser similar to a Destroy Buster between them. They will then slowly sweep from the middle of the screen to the top, then to the bottom. The laser will launch opponents away from it for 25% damage.

* * * OVERVIEW * * *​

Destroyman is a character who is all about maintaining teamwork with your NPC partner to overpower and brutalize your opponent. Using your aerials to pressure them with a game of pong, using high-power projectiles, or pummeling heavyweights with your own beefy power hits are all viable options!

 

[LegendofLink]

Chaos 0​

A playlist to set the mood.​

Size: 6
Weight: 6
Walk Speed: 1
Dash Speed: 2
Traction: 10
Jump Height: 10
Air Speed: 2
Air Control: 1
Fall Speed: 4
Chaos can Wall Cling.​

Chaos is the God of Destruction that resides within the Master Emerald in the Sonic the Hedgehog series. By absorbing the power of the Chaos Emeralds, it can attain godlike power and carry out its purpose to destroy those who would disturb it and those it protects. Luckily for his opponents in this game, Chaos will remain at his base power level…. for now.

Mechanics​

Liquid Body​

As you can see, Chaos' body is made up entirely of water (or some water-like substance). This makes Chaos nigh-invulnerable to attacks normally. Attacks hitting his body simply pass through his body as if nothing happened. This means that all of Chaos's physical attacks have transcendent priority, and as the opponents attacks will simple pass right through his limbs. The only way to successfully damage Chaos is to hit his weak point, the glowing pink brain-like object in his head. If he is hit there, he takes damage and knockback as normal. Chaos can also be grabbed, but his liquid body cuts his grab escape difficulty in half. Luckily for the opponent, Chaos is very, very slow, so hitting that weak point shouldn't be too hard if they put some effort into it.

Chaos Dive​

When Chaos dashes, he shrinks into a puddle of liquid that travels along the stage at his incredibly slow dash speed. When he does this, his brain temporarily dissolves away into the puddle, rendering him completely invulnerable. In addition, his spot dodge and roll also cause him to enter this state, and can be canceled into the dash by holding the control stick in the direction you dodged in (or in the direction you want to move in the case of spot dodging). Luckily for the enemy, Chaos has to exit this state to turn around, and he is still very slow, so he isn't too hard to get away from.

Specials​

Up Special: Chaos Reach​

Chaos pulls back one arm for a moment before flinging it out in the direction you point the control stick at the speed of Link's boomerang. Thanks to his liquid body, his arm can stretch a ridiculous distance before shaping back, traveling 2/3 of Final Destination. If Chaos's hand hits anything, it grabs ahold of it and immediately reels itself in, either pulling the object to Chaos (if it is an item or character lighter than Chaos) or pulling Chaos to it (if it is part of the stage or a character heavier than Chaos). Character's hit by Chaos' arm are dealt 8% damage with heavy hitstun regardless of whether Chaos pulls them to him or not. If Chaos fails to make contact with anything, his arm snaps back with heavy end lag, and he enters his helpless state if the move was used in the air. Chaos does not enter helpless upon a successful grab, and automatically clings to any wall he hits after reeling himself in, but he won't be able to use this attack again until touching the ground or grabbing a ledge.

Side Special: Chaos Shot​

Chaos whips his arm around in an underhand motion as if he was bowling, hurling a kirby sized ball of water. The ball bounces along the ground at Captain Falcon's dash speed, bouncing up to kirby's height as it moves. Upon impact with an opponent, the orb bursts, dealing 10% damage with moderately powerful vertical knockback. The ball travels an infinite distance, and won't stop until it leaves the stage, reversing direction if it bounces off a wall. Chaos can only have one of these on stage at a time.

Down Special: Chaos Splash​

Chaos enters its dash state for a brief moment, before emerging with moderate ending lag, leaving behind a small Pikachu-width puddle on the ground. *If an opponent *comes within half of a battlefield platform of the puddle, it transforms into a Ganondorf sized tentacle of water that lashes out at the opponent dealing 13% damage with moderate horizontal knockback away from the trap. The trap disappears after thirty seconds or after being triggered, and Chaos can have up to two traps out at any one time. If this move is used in the air, it causes Chaos to halt his momentum and fast-fall straight toward the ground in his dash state before placing the trap normally. Note that the initial animation of this move is identical to Chaos spot dodging, and retains the invincibility that Chaos Dive dash state provides.

Neutral Special: Chaos Orb​

Chaos' body takes a spherical state for as long as you hold the A button. While *in this state, Chaos' body becomes extremely bouncy, causing physical attacks from the opponent to bounce off, causing knockback equal to however much knockback the attack in question would have dealt to Chaos. This attack starts up very quickly. Chaos' weak point is in he center of his body in this state, and projectiles can still*pass through it, meaning that he is extremely vulnerable to projectiles. Chaos can maintain this form for up to three seconds, with some largish end and lag as he exits the form. If Chaos uses this move in the air, he will bounce upon impact with the ground, bouncing up to 0.75 times the height he fell from. He also generates a shockwave upon impact with the ground in this state, which radiate outward two battlefield platforms from the point of impact at Fox's dash speed, dealing 7% damage with moderate horizontal knockback away from the shockwave to opponents hit by it.

Standard Attacks​

Jab: Elastic Chaos​

Chaos uses his arms like whips for a surprisingly fast three hit attack in front of him. The first two hits consist of downward slashes with either arm, one after the other, for 4% damage and flinching knockback. For the third hit, Chaos causes a water tentacle similar to the down specials to appear right in front of him and perform a spinning sweep around in a circle, dealing 8% damage with knockback on par with Ike's own jab combo. This move has range similar to Marth's sword, and the third sweeping hit actually covers a small distance behind Chaos as well, making it able to punish rolls if the foe shields the first two hits.

Forward Tilt: Chaos Double Stab​

After a bit of noticeable startup, Chaos stabs froward with both of his arms, which stretch one battlefield platform forward extremely quickly, dealing 10% damage with forward knockback to opponents hit by the attack. Aside from the startup, the attack executes very fast with little end lag, and can be angled 30˚ up or down if you tilt the control stick, with the knockback adjusting to the attack's new angle. If you use this attack into the floor, Chaos's arms will bounce off of it at the same angle, giving more angles to attack from.

Up Tilt: Chaos Upper​

Chaos performs a Shoryuken-esque spinning uppercut, except instead of jumping, he extends his arm upward an awesome height equal to double Ganondorf's height. Opponents hit by his fist take 9% damage with knockback forward at a 45˚ angle. The move has rather fast startup and end lag, but his arm stays out there for much longer than it has to, leaving him quite vulnerable if he misses.

Down Tilt: Chaos Flow​

Chaos causes one of his arms to flow along the ground like a stream of water, traveling forward at his dash speed for as long as you hold the A button. When the button is released, Chaos' hand shoots upward a distance equal to Chaos' height from the end of the stream in an attempt to grab opponents. Opponents grabbed by the hand dealt 10% damage as they are pulled back down into the ground and pitfalled. Afterwards, chaos's hand snaps back to him, with end lag relative to how far the hand stretched.

Dash Attack: Chaos Dolphin​

Chaos leaps a short distance off the ground from his dash state for a headbut, dealing 11% damage to opponents hit by the attack with moderate upward knockback, then reentering Chaos Dive at the end of the move. This is one of Chaos's few direct attacking options out of his dash, but he attacks head first in it, meaning that this attack has actual priority and can be overpowered by another move, so be cautious in its use.

Smash Attacks​

Forward Smash: Chaos Wave​

Chaos slams his arm into the ground in front of him, and three tentacles appear in front of him, one right after the other, each performing a sweep similar to the third hit if the jab. The tentacles are evenly spaced along a 1.5 battlefield platform range in front of Chaos, with the first one half a battlefield platform in front of I'm, the second one 1 platform in front of him, and so on. The timing of the tentacles' attacks is such that getting hit by the first carries the opponent into the second. The first two hits each deal 4-6% damage each with set knockback, with the final hit dealing 10-15% damage with knockback KOing around 140-90%, depending on the charge. The startup on this attack is rather large, but Chaos can actually act before the attack finished, just around the time the second tentacle attacks, making it easier to follow up.

Down Smash: Whirling Arms​

Chaos begins spinning his arms around him stretching them to cover a 1.5 battlefield platform area around him. Opponents hit by this take 14% damage with decent horizontal knockback, KOing around 160%. This attack can't be charged. Instead, Chaos will continue spinning for as long as you hold the A button, up to a maximum of three seconds. Chaos can also move at his (still very slow) walk speed while spinning. This attack only pushed shielding opponents away a small distance, meaning you can apply repeated hits to their shield by walking forward. Moderate lag on both ends.

Up Smash: Overhead Slam​

Chaos stretches one of his arms behind him, the distance stretched determined by how long you charge the attack, ranging from 0.5 battlefield platforms uncharged to two platforms fully charged. When the attack is released, Chaos slams his arm in an arc over his head dealing 15-21% damage to opponents hit and slamming them into the ground at the end of the arc, leaving them in prone, or spiking them downwards if they end up off of the edge. The startup is surprisingly short if used uncharged, and the end lag increases with charge as well, as Chaos has to reel his arm back in.

Aerials​

Down Aerial: Chaos Crush​

Chaos slams both of his arms downward, reaching an impressive distance equal to double Ganondorf's height, Opponents hit are spiked downward and dealt 13% damage, startup is fast, but there is heavy end/landing lag on the attack.

Forward Aerial: Chaos Sniper​

Chaos Throws a punch forward with range equal to his up special, dealing 10% damage with moderate forward knockback. The punch can be angled up or down up to 45˚, and suffers the same large ending lag that the up special does. The fist also ricochets off surfaces in a manner similar to the forward tilt.

Neutral Aerial: Chaos Drill​

Chaos tucks its arms in begins spinning around rapidly, dealing rapid hits of 1% each to opponents caught in his spinning. Once this move is initiated, Chaos can't stop it until he reaches the ground, and he will carry opponents caught by the attack all of the way to the ground with him unless they manage to DI out of the attack. Upon reaching the ground, Chaos knocks opponent caught in the attack forward with light knockback, dealing an additional 4% damage. As you can probably tell, this attack is much more damaging when an opponent is taught high in the air with it. Incredibly fast startup and landing lag, allowing for easy followups.

Back Aerial: Whiplash​

Chaos spins and whips one of his arms behind him. The arm stretches to two battlefield platform distance behind him. Opponents hit by the arm are dealt 8% damage with moderately powerful knockback toward Chaos, meaning that the foe will usually end up back in front of him. This is also Chaos's fastest attacking aerial outside of the neutral aerial, with relatively little lag on either end.

Up Aerial: Air Chaos Shot​

Chaos lobs an orb of water identical to the side special almost straight upward. It travels upward a distance equal to 1.5 times Ganondorf's height before falling back to earth. Upon impact with the ground, the orb bounces back up to 0.75 of the height it fell from. The orb continues bouncing until it either hits an opponent or bounces three times. Only one orb from either this move or the side special can be on stage at a time.

Grab: Envelop​

Chaos Reaches out with both arms in front of him, attempting to embrace the foe. This grab can reach up one battlefield platform in front of him. Opponents caught by this grab are pulled into Chaos' body as he takes a spherical form similar to the neutral aerial to envelop them. Chaos' pummel is automatic and passive, dealing 3% damage per second to opponents traipsed inside Chaos as he crushes them and deprives them of air. Instead, Chaos has five throws, with the A button initiating a neutral throw. While Chaos is holding the foe, his weak spot is completely hidden, meaning that any attack that hits him is likely to hit the held foe instead. Held foes gain 10% heavy armor while Chaos holds them, anything stronger than that will knock them out of Chaos' grip, ending the grab.

Neutral Throw: Crushing Pressure​

Chaos constricts its body around the foe, dealing an impressive 18% damage. The opponent body then falls limp to the the ground under Chaos ending up prone.

Up Throw: Chaos Dimension​

Chaos borrows a move from everyone's favorite extra dimensional tentacle monster, turning his body into a swirling vertical column of water around the foe, dealing rapid hits totaling 12% damage before launching the foe into the air with a lot of force, KO-ing around 140%.

Forward Throw: Chaos Shot Redux​

Chaos expels an orb of water identical to the projectile from the side special, except that this orb contains the opponent. The foe must escape from the orb at normal grab difficulty, and the timer doe not reset when the throw is used, meaning that this throw is best used right away after landing the grab. While trapped in the orb, the foe continues to take the passive pummel damage *from the grab, but no longer has heavy armor, meaning any knockback will knock them out of the orb.

Down Throw: Bouncing Slam​

Chaos bounces into the air before slamming back down onto the ground, dealing 10% damage to the opponent and bouncing them off of the ground a short distance back into the air. Chaos bounces up again after the slam, leaving himself higher in the air than the opponent, ready for a followup. The opponent continues to take the grab's passive damage throughout the throws somewhat slow animation.

Back Throw: Spin Cycle​

Chaos causes the opponent to whirl around in a circle inside himself for a moment before hurling them out behind him, dealing 8% damage with moderate horizontal knockback. As with the down throw, the animation on this throw is somewhat lengthy, and the foe continues to take the passive pummel damage during it.

Final Smash​

The seven Chaos Emeralds circle around Chaos for a brief moment similarly to Sonic's Final Smash, then in a flash of bright light he… vanishes? Your opponents only get a few seconds of rest though, as soon a massive tidal wave appears in the background, flooding the stage! The stage ends up covered in water about half a Kirby high at the level of the stage's main platform, with deep water acting as water normally does in Brawl. Then, in the background rises the ultimate destroyer….

Perfect Chaos​

Perfect Chaos resides in the background of the stage, completely invincible for the duration of the final smash. Pressing the A button causes a large water spout to form on the water, and if you hold the A button you can move it from side to side at Mario's dash speed. Upon being released, the tornado remains in place if it was sitting still, or continues moving across the screen if it was released while moving. Opponents who come into contact with vortex are sucked up into it, dealt 20% damage, then flung toward the top of the screen, which KO's around 60%. Tapping the B button causes Perfect Chaos to launch a bowser sized energy ball from its mouth into the air, which falls on to the stage at a random point about three seconds later, dealing 15% damage with upward knockback that KO's around 80%. These energy balls can be fired rapidly in groups of five. Holding the B button causes Perfect Chaos to charge up energy for a brief moment before firing a massive beam of energy from the background that sweeps throughout the center of the stage. The beam is two battlefield platforms wide and deals 30% damage, KO-ing around 50%. After 25 seconds of destruction, the Chaos Emeralds leave Chaos, and he reverts to his original form as the water recedes from the stage.

Playstyle​

Chaos is slow. Very slow. It is incredibly easy to run away from Chaos, as unless you fall for a long range up special, in which case you deserve the beat down you will receive. While running away is easy, the problem comes when you run out of stage to run away to. This is because it is incredibly hard to run past Chaos rather than simply running away from him. Chaos is very good at controlling vertical space, because while he can't move from side to side very fast, he can jump very high, and return to the ground very quickly thanks to the up special. From there, Chaos' many long reaching moves can completely shut down the foe's attempts to get by Chaos if timed right, and you can constantly harass foes who don't want to budge from the edge with your long ranged pokes and smashes, slowly squeezing closer and closer with moves like the Down Smash and the Neutral Special. Even if you do manage to get past Chaos, if he's smart he'll have traps from his down special set up to either knock you back toward the edge, or to give you even less room to run around.

There is another important part of Chaos' game. Not only is Chaos incredibly hard to get past, but he in incredibly difficult to stop. Thanks to Chaos' tiny hurtbox and unbeatable priority, only the most precise or large projectiles can shut him down from a distance, and even then, only messing with the stage itself can stop Chaos from approaching with his dash, slow as it may be. The fact that Chaos can easily pound on the foe from outside their effective ranges makes it even harder to retaliate.

This leaves one type of opponent that Chaos can have some trouble with, and that's the purely aggressive characters. While Chaos' range makes up for his slow speed when he's attacking defensive characters, if he's being constantly pressured, he'll be hard pressed to keep opponents off of him due to the slow nature of most of his attacks. This means that Chaos cannot play an effective defensive game, but instead has to continue playing his plodding offensive game regardless of the opponent's strategy. If you treat aggressive opponents the same way you treat opponents who are trying to get past you to run away, things become a lot simpler, though not to much easier. Chaos' best moves in this case are his neutral and down specials. The neutral special can easily ward off attacks if it is timed correctly, and the down special can dodge attacks altogether, leaving a trap for the foe in its wake. if Chaos can position itself correctly, it can even simply go right through the opponent's attacks, meaning that the foe has to extremely careful at to the timing of their strikes.

Overall, Chaos plays like an advancing wall of doom. He is slow as molasses when it comes to getting places, but he will get there. All he while, he is either setting up traps for opponents who try to get past him, swatting down those who try, and harassing those who would play keep away with you. Once the foe slips up, and all it takes in one up special or down tilt to get the foe at your mercy. At that point, knocking them into a trap to knock them right back into you, lading a grab for a more damage or a KO through the up or forward throws (the forward throw in particular works very well if there is a trap to send them in to, and can very easily KO at higher percentages if they're near an edge they you drove them to). If you can keep the opponent off of you, then they will have nowhere left to go, and their fate will be sealed.

 

[Junahu]

Thanks bunches for commenting my sets DM. It's hilariously depressing that you can comment so much and so consistantly, while everyone else wrings their hands nervously.

As you've probably guessed, the idea for the 4 Castlevania monsters was to toy with the way they feel to control, making them feel more like bosses. The Creature in particular comes very close to acheiving a boss like feel.

Something I've been interested in lately, is how a very small change can have a big effect on how a set feels. For example, you note the Mummy's Jab and F-tilt being back to front. It's true, they are back to front, topsy turvy and so on, but the important thing is what that means for how the player reacts to the set. It's a very clear indicator that moving is not the mummies' domain, when the F-tilt, the only forward input they have outside of aerials/grab does less knockback than the jab.
This is also what drove me to such suicidal lengths as to put a Quarter Circle input in there. I had a think about the kinds of inputs the player would naturally make, if they were encouraged to crawl a lot (i.e. crawling under blocks to flee, or ambush the foe). Crouch up-smash and Quarter Circle were the two I felt would be most common.

Anyway, specific replies and such now;
Copycat:

• I originally had a number of different twist endings planned, which is why I played the "twist" early. I was hoping to twist the twist, by revealing something else entirely. In the end, I didn't want to confuse the reader, so I just stuck to the twist that the reader was assuming from the start
  • Clefairy is really a Banette in a Pokedoll
  • The moveset is written from Banette's perspective, not Copycat's
• Creepypasta is harder than it looks, that's for sure. But I did what I could, and I'm proud of it, regardless of how no one will ever be creeped out by it.
• Now I'm starting to wish that the Final Smash was a part of the Substitute throw (i.e. holding the doll you make recovers health, at the cost of you being stunned when the foe breaks free). Though being able to pick up the doll encourages you to throw it offstage... nasty.

Medusa:

• Backward aerial is the only input outside of grabs that takes her tail's position into account. I didn't want the tail to be too much of a "thing". It's a weapon, the same as her sword and shield, and I wanted them to be relatively equal in importance.
• I should have probably given Medusa the ability to roll out of that Down-B, along with having that pause "charge up" the shield, giving it a hitbox/windbox if you let it play out.
• There is an enemy in the Castlevania games called the "Medusa head", which is stated to be one of Medusa's actual heads. In Castlevanian mythology, Medusa dies by stoning herself. So, yeah, Castlevania does differ from mythology on a fair few points.

Mummy Men:

• I do love my explorations of teamwork. Viola, Team Rocket, Clefable, Doppelori, Nurse Joy, Etna, Mona/Lisa, Penny Gadget, Krillin, Fluttershy, Linebeck, Copycat, and now the Mummy Men. I'll never get tired of the potential of working together with a buddy, incompetant or otherwise. I'm surprised I haven't tried out one of them thar Hugo sets yet.
• We stopped using Stagebuilder BLOCKS because they were ambiguous. Stagebuilder UNITS are unmistakably the smallest square unit in Stagebuilder
• Yes, you can walk while "airborne". If you couldn't, it'd be pretty hypocritical, what with Mummy man walking forward just fine when he has the foe grabbed and is "airborne".
• Indeed, lots of infinites. So long as you don't let the foe catch the two of you together, you can smush the foe while they're busy abusing their infinite. The lure of being able to infinite you is probably the only reason the foe would ever pursue you into your pyramid (at least at higher levels of play)

The Creature;

• His aerial game is (I think) a lot more fun than the general "get me and the foe on the ground plz" airgames we all know and love. I personally adore aerial play, but if I HAD to play as someone who worships the ground, I want to at least be able to leap up and elbow drop the floor like a heavyweight wrestler. It all links back to that ever important "feel" of a moveset. The Creature's trips to the air are sporadic and short, but nonetheless neccessary to put the fear of god in his puny opponent. Being airborne makes it much harder for the foe to hit his face or torso, and makes it easier for The Creature to catch the foe and punish him. In return, jumping actually lets foes run underneath him, which is very important, because he's otherwise impassable.
• Oh snap, you're right about that Special problem! I think I ended up assuming that Special Aerial was a Grab Aerial by mistake. Actually, I think I'll change that Special Aerial so that it works by pressing Grab. Thanks! :D
• The Recharging Batteries is just a reference to the cooldown period from the Tilted Up-Special. It just means that you can still use the Smash version while the Tilt version recovers (in fact, if you use Up Special while it still needs to recharge, he'll automatically use the Smash Up Special instead)

 

[Davidreamcatcha]

Might as well do this now; I'm commenting every Halloween set before moving on to all the ones before them, then the ones after them. I'm starting out with these two sets, but I'll be editing this throughout the week so I can cover everything (tipsy)

WOLF MAN!​

This is your self-proclaimed favorite of your Twacy Trio, so I might as well comment this one first. Wolf Man takes on something that very few sets today would dare to take on: a melee-focused playstyle! SHOCK AND HORROR! Well, he still has some stuff in the form of the drool and posts, but he does manage to stay melee-focused throughout the thing.

Wolf Man's characterization, which is present throughout the entire set, is one of the main selling points here. He's a clumsy, brute fighter; but he's hungry for those appetizing sheeplike opponents of his, and he'll stop at nothing to get to them. It's a simplistic characterization, but it manages to stay present throughout the entire set, more than I can say for MW's attempt (but we'll get to that later). It's not entirely without flaws; the drool stuff is kind of tacky to me, especially when such a brute and almost mindless fighter is clever enough to suddenly realize he can use his own DROOL as a weapon against his foes. It only gets worse when he apparently tries to skid off it when he actually runs on it. Regardless, the set is pretty damn well thought out and a fun read.

F-F-F-FRUIT BRUTE!​

Ah, your Cereal Monsters contribution. I glanced at it beforehand, and the organization is still delightfully charming. Regardless of the amazing organization, the rest of the moveset fails to life up to it, I'm sad to say. The cereal is essentially a more voluntary version of Party Pete's Radicola, but in making it voluntary, the cereal loses much of the interesting quality that the Radicola had. You manage to introduce another interesting concept with the werewolf transformation, but never really manage to go anywhere with it outside introducing some tacky effects. The FTilt and UTilt are the biggest offenders here, putting some random effects that don't really seem like they have any sort of overall relevance to his gameplan. Regardless, you had fun making the set, and that was the whole damn point of the project. It may very well end up as a WV for me.

Well, that's it for now folks. Hopefully, I'll be able to comment the rest of the sets ASA- what the? Snake Eyes? Aah! P-P-P-Pickle****!? NEON NOODLE! RUBBERHEAD!

I'm gonna RRRRRRRRRub ya out, see? RRRRRRRRRub ya out!​

That's fantastic! Furthermore, it's unbelieva

Yes, that just implied everything you thought it did.​

 

[Deleted member]

MYM11 User Rankings #3​

Welcome to the User Rankings! Every Monday, I'll be compiling the entire of the last week's activity in the thread and showing off, just who is the most active member? The point of this exercise is to recognise the most dedicated among us – those make your movers who are currently pushing the boundaries, as well as highlighting all movesets made by them.

To get on this list, you need to have made a moveset in this or a previous Make Your Move, as well as having posted in the Make Your Move 10 thread. The cut-off point for tallying is 3:59PM on Monday EST, 5:59PM PMT or 11:59PM GMT; other removals or changes are at my own discretion. This week, the deadline was extended to Tuesday of the next day to encapsulate Halloween projects altogether. The breakdown of points is as follows:

30 points for a Moveset
5 points for a Comment
4 points for a Secondary Submission
2 points for a Secondary Submission Comment
1 point for a Regular Post
+Regular Posts do not stack
+Secondary Submissions are MYminis, Joke Movesets and other miscellaneous submissions
​

This was one of the most memorable weeks ever in Make Your Move, and one to which I am proud to say I was the overseeing OP. I won't take an ounce of credit for it, but by God, we really did something monumental on my birthday, of all days. I couldn't be more thrilled about how active we've been - I appreciate the role all of you played in making it all happen.

Junahu dominated the week with an amazing six sets, seven including a set posted on The Bunker. These were Copycat, Giant Bat, Medusa, Mummy Men, The Creature and Piggybank. Though the first and last of these border on the more joke-y, it's still an extraordinary effort by Junahu. In second with an equally impressive run was KingK.Rool, fronting for the Duck Twacy project and getting out a spiritual sequel to George A. Romero at the same time. These sets were Mouse Man, Wolf Man, Flat Top and Lucio Fulci. An old favourite of the User Rankings made another choice - and very welcome return this week, with darth meanie getting a set out - Fright Knight - as well as some of his stereotypically large comment catch-ups. Great to have you with us, DM.

What does the future hold for Make Your Move? Well, lets hope this week was a sign of things to come.

Remember to check out the stadium to find all of the sets mentioned.

Overall User Rankings

Points: 181, Movesets: Linebeck, Mask DeMasque, Gruntilda, Copycat, Giant Bat, Medusa, Mummy Men, The Creature, Piggybank
181

Points: 122, Movesets: Mouse Man, Wolf Man, Flat Top, Lucio Fulci

Points: 120, Movesets: Fright Knight

Points: 105, Movesets: Gangreen Gang, Le'Quack, Hammerhead, JJJ

Points: 101, Movesets: Vol Opt, Kyubey, Fruit Yummy Mummy, Gatsaf

Points: 90, Movesets: Dr. Facilier

Points: 71, Movesets: Marvin the Martian, Freaky Fred, Pussycat Puss, Count Chocula

Points: 51, Movesets: Box Man

Points: 45, Movesets: Farfetch'd

Points: 42, Movesets: Swalot, Death

Points: 40, Movesets: King K. Rool, Double Header

Points: 35, Movesets: Pachirisu

Points: 34, Movesets: Boom Boom, Dark Star, Kanden, 88 Teeth

Points: 32, Movesets: Majora's Sceptile, Leviathan, Deviljho, Jinouga

Points: 31, Movesets: Octavia, Jack Skellington

Points: 31, Movesets: Rapunzel, DOR-15

Points: 30, Movesets: Sweeney Todd

Points: 30, Movesets: Bass.EXE, Grovyle

Points: 30, Movesets: Firebrand

Points: 30, Movesets: Party Pete, Shelmet, Fruit Brute

Points: 30, Movesets: QWOP, King Ramses, Knight Man, Escavalier, Phantom, Zombie, Jukebox Jaw

Points: 16, Movesets: Fefnir, Harpuia, Phantom, Leviathan

Points: 10, Movesets: Kimiko

Points: 10

Points: 5, Movesets: Rumble

Points: 5, Movesets: Kobold Clan​

 

[LegendofLink]

Bass.EXE
I previewed the starts of this a long time ago, and the core concept hasn't changed too much since then. Bass is a combo character, but unlike most, he does his combos while standing still, bouncing them in between his projectiles with backwards knockback and his melee attacks with normal knockback. This works out really well, as projectiles really do make ideal, simple combo starters. There are a few places where things are a bit off though. The Gospel moves are the first thing. DarkMega did glitches too, but the thing about those was that they were consistent. Bass' glitches are completely random, meaning you can't predict or adjust for them, and you can't even try to use them to your advantge. This wouldn't be too bad if the only lasted for a short amount of time, but they last for the whole stock, meaning that players are heavily discouraged from using the Gospel moves at all. The other part of the moveset that doesn't fit is the up special. Just having a random "take you with me" move instead of a normal recovery is really out of place with eh rest of the set. The additional requirements on it to balance it are also annoying, as nobody likes a move that you can't even use 90% of the time. Aside from those, the set looks to be really fun, but the glitches and up special are just too intrusive into the playstyle to ignore.



Octavia
This is... impressive to say the least. As someone who knows a good bit about music, this really does fit the playstyle you ascribe it. Octavia keeps the foe at bay with music while she play the "concert" exactly the way she wants. I love the amount of customization you have in her strategy, and the down special literally triples that. Overall, I find it extremely hard to fault the set, except that the aerials could try to be a bit more relevant. At least 90% of the time Octavia is in the air she will be riding on her up special note, so they really only serve as last resort defensive options, which is ok, but with the way the rest of the set is set up, they could be doing so much more. Definitely one of my favorite sets this contest, hands down.

 

[MasterWarlord]

INSULTING KATAPULTAR’S ONLY GOOD MOVESET

Considering how much Pokemon Syndrome Clefairy has, it was a good mask for Banette’s moves without anything getting too suspicious. The pins were a bit too obvious in giving Banette away, especially so early in the set, though the subtle hints you dropped throughout the set were quite good in keeping up suspense for the reveal to make it nice and juicy. The generic cutesy attitude of Copycat and the general terribleness of the moveset as an actual moveset makes it all the better in building it up to what is blatantly the actual point of why this piece of writing exists. Your writing skills and pacing show very well here, and it’s very good as an example of your philosophies that I could see you using very well in one of those Stadium articles you love to make. Mission accomplished. I particularly like how you actually found something in the actual game to play off of for a creepypasta - the believablity makes it far, far scarier.

I don’t think I need to tell anyone why I dismiss the actual moveset, but if I do, one of the two characters in the desynched team has nothing to attack with but Punch Punch Kick when Junahu could’ve given them the entirety of the foe’s set. Ramses Punch indeed.

RATTIGAN

Mouse Man is the heavyweight comboer trope brought back from the dead, with all the problems presented by them in the first place. Assuming you actually keep in-tact all of the heavyweight’s tropes to make them truly a heavyweight, with slowness and tons of power, what they have to make up for it has to be absurdly broken, otherwise they’ll just try to be a traditional combo character and fail horribly like the original Kupa ones due to said heavyweight tropes.

And Mouse Man definitely falls into the absurdly broken category. He can cover his end lag far too easily by retreating to the opposite end of the stage and leaning away from the foe, then by the time they get there he’s already at the opposite end of the stage leaning all the way towards them. The defensive game is scary enough as as he plays campy waiting to get in the initial hit, but after that point the fun is only just starting as he either turns them into a pancake (Which, indeed, painfully needs to be explained regardless of it being obvious) or better yet smacks them to the other end of the stage right back into his face. DM thinks Facilier is the one who can create infinites without trying, but this guy is the one I’m terrified of.

He is more balanced when you take into account the set-up he needs – he has to lumber all the way over to the opposite end of the stage, difficult enough by itself, then needs a full second to himself. Considering you give him absolutely no tools to do this, though, this feels incredibly unfun for the Mouse Man player and just a forced balancing aspect of the moveset. At least most of those MYM 5 set-up characters had proper GTFO or could fake setting up a trap.

I do utterly despise this moveset in 1v1, and considering you’ve gone on record saying you don’t like this set the FFA/Team aspects you brought into the moveset seem to be even more telling, seeing how uncharacteristic it is for you to ever acknowledge anything outside 1v1. That all said, I actually really really like Mouse Man in FFAs and Team Battles. Aside from all of the fun extra stuff you put in specifically for those modes I don’t need to bother talking about, his infinites can finally have an end put to them and he can finally get the initial set-up he needs to poke his holes. The moveset is so amazing in these modes that I feel as if there’s some missing link, but as usual Butterfree is absent.

THE GANGSTER ROOL AND I WERE MOST AFRAID OF. . .BESIDES SNAKE EYES

Something you seem to be avoiding in this moveset desperately is getting around to the moves where 88 Teeth actually fights, with all of the attacks that are meant to be used during other “real” attacks – all four Specials aren’t enough, you need that dtilt almost immediately after, and even the in the regular attacks you have awkward things like dsmash when he badly needs another way to use the Down Special boost properly bair(Would be good if he had any reason to put them there)/uair in the aerials. This also contributes to a painfully Unsmash and unintuitive feel which feels very out of place on such a simple character/moveset, particularly when two of his throws do jack if he’s not using Down Special at the time.

I actually really liked the concepts presented with the dtilt and all the specials save Neutral (Which is blatantly there to fill out the last of the specials and give you a token interaction for usmash), in that they give 88 Teeth many ways to attack while moving. I would say that the specific attacks he can do while doing each of these things would be awkward, but he has so many ways it actually is a nice way to make each relevant. 88 Teeth’s movement during attacks is particularly notable as he weaves in and out of combat to either narrowly dodge a hit to stall for Down Special, or suddenly comes in to hit them with a smash when it’s ready. It’s really fascinating stuff, and it’s a shame 88 Teeth hardly has any actual moves to use while moving around with practical applications. This could’ve been an amazing hit and run moveset, as is, it’s mainly just a great foundation to be expanded upon. Again, though, it’s nice to see such an intruiging approach on just motion in general, with the fact that he’s not –constantly- moving meaning he doesn’t have to bother with the common problem most momentum sets have of having to stop. No, I’m not just talking about sliding off-stage, I’m talking about sliding past the foe and being painfully open.

SPADEFOX

A shotgun? You make such a point throughout the whole moveset that he’s just a mindless beast, but you start it out by giving him a shotgun? And it’s not even more effective at close range, like a real one?

Wolfman’s inability to turn around is what dooms him to have every cliché of momentum characters outside having to build the momentum. He zooms past the foe as they dodge, he keeps running forward like the idiot he is, the foe attacks his back. He could theoretically close in the fence further and further so he has less far to run before he goes at the foe again, but then he’s essentially running in place and the whole point of the momentum is lost. Most momentum sets spend most of their relevant inputs on ways to get around the inherent problems with it, while this just has a bunch of attacks which serve the purpose as generic runby options with the occasional anti-air thrown in.

Boom-Boom introduced almost nothing new, but at least he brought –SOMETHING-, and he at least played with momentum properly at all. Outside the generic options, his only real option is to slather drool (Which not being a Special is a capital offense with those four terrible Specials you have) over the stage – it seems to be the most practical way to play him. Not like he has anything else to do while waiting to turn around. Yes, you can stop dashing and play him like a Brawl character, but he’s pretty bad at being a Brawl character to promote his playstyle.

CHAOS 2

Chaos 0 is far more interesting when pit against/is intended to fight defensive MYM characters, shockingly, as most MYM sets talk about themselves as if they’re fighting a generic offensive character. Furthermore, Chaos manages to do this without just generically giving the finger to them like Junahu – he’s actually designed to FIGHT them, not counter them. Remind me to specifically port him into whatever MYM game I make.

Chaos’s approach game against these characters is interesting in that while he’s approaching, he’s still somehow playing campy as he sends projectiles forwards to aid his approach and hitting the foes with Dhalsim style limb extensions (The attacks where his arms rebound are particularly clever). If he’s ballsy, he can potentially approach the foe directly with the Up Special grab, and the part where he sets up traps for the enemy to have to run through (Not just the ground ones, uair water balls too)/prevents foe from running past him adds to his game significantly.

Yes, Chaos would be a very good addition to MYM Brawl, but the playstyle is almost entirely different when facing the standard Brawl fare and a lot less flowing. His hurtbox mechanic is a lot more pronounced here, and there’s some decent GTFO with Chaos 2’s water ball to enable him to function in a generic campy fashion. In the least, though, it’s not projectile spam, as he focuses on his long range melee attacks – not many sets can claim to have done that and for it to have turned out at all well.

Perhaps most impressive is that these two styles manage to peacefully co-exist, and many moves manage to be very relevant to both styles and he can potentially even transition between them when the MYM defensive character comes in for the KO. Yes, the moves seem quite haphazard at a glance and he could’ve done with more specific uses of things like the smashes in particular, but there’s disturbing amounts of depth here that I pretty much only discovered when I was forced to comment it – before writing this I thought it was worse than Mouse Man.

>>>NEW MOVESET FOR OBSCURE AS CRAP CARTOON INSTEAD OF LEGITIMATE CHARACTER<<<NEW

This moveset is the only one of yours in this group that doesn’t have very significant issues. You can argue it’s standardly campy, but how little control Flat Top has over the jets actually make the moveset more unique IMO as he has to stall and delay the foe properly before the jets show up, as well as manipulate them rather than outright controlling them. Of course, he –can- outright control them, but it leaves him horribly vulnerable. He’s got some ways to move about in the air as he camps at the foe and does some very slight bullet hell stuff with the planes, cigar, and his gunfire to make for an entertaining, if tacky, moveset.

I can definitely see why you dislike the set with the rather random usage of unfitting props (Dear god the cannon) and pointless non damaging moves like dtilt, but dsmash takes the cake. Not only is it a randomly undamaging Smash, but there seems to be almost no purpose to flipping him when Up Special would take him upwards anyway. I was thinking you’d have him do some drilling into the ground or something, but no, it’s even worse than Hammerhead’s bair. You badly needed something like Marvin’s uair to enable him to shoot from whatever direction to even attempt to justify that. A lot of these very tacky inputs aren’t even being used to force playstyle relevance, so they really drag down the set – tackiness for no reason whatsoever is something we haven’t seen since MYM 4.

 

[KingK.Rool]

I was about to chew you out for that comment, Warlord, but imagine my surprise upon going back to the set and realizing that I had mangled one key sentence. Guess proofreading is useful after all.

What originally, rather nonsensically, read:

Wolf Man goes wild! and launches into a four-legged dash, a state in which he will remain by simply flicking the control stick in the other direction.

was meant to be:

Wolf Man goes wild! and launches into a four-legged dash, a state from which he can exit by simply flicking the control stick in the other direction.

I've fixed it now and as I'm sure you'll still have your reservations (by the way, 2 stars, for some weird reason, actually feels much more comfortable than 4 stars ) will be very willing to debate the moveset with you at a later point - maybe in a special edition of a roundtable review? That might be an interesting exercise. Anyway, I'll edit some comments into this post in five or six hours, because I'm starting to feel like the bad guy without any - just wanted to clear up that one point.

Okay, here we go. I'm going to dive straight into the Duck Twacy villains firstly because none of them are likely to have reviews requested for them, which might keep me from reiterating myself, and secondly because I was the one who kept pushing for people to make them and now I had better bloody well pay them back in some humble way.

AHA! MOUSE MAN!
Okay, the holes are a good starting point for a cartoon heavyweight with something in the way of comboing and an easy way to make very simple attacks very playstyle-relevant. But you never fleshed out the pancake state or balling up the foe very much at all. Yes, they're suitably cartoony effects, and yes, they have some value in an FFA setting (which these sets are obviously thinking of first and foremost - Duck Twacy villains only ever exist in a free-for-all setting), but they don't stand alone very well. And a few of the animations are problematic, as DM pointed out.

SNAKE EYES! AAH!
I'm even commenting the bloody extras now! I mean, if I've already crossed the border of sanity and starting talking about my own sets, I might as well go all the way here. And, er... I don't think you mentioned why he wants the dice to land on a pair of ones? Does anything happen, or does he just leave the stage at that point? And if the latter, why would anyone do anything other than let him do his thing? I dig the idea of used the gun to keep the dice up and "rig" the results - it never occurred to me and it seems that it'd have beena nice bedrock for a playstyle if someone had gone all the way with the big guy.

88 TEETH!
I think this moveset hews a lot closer to what making Duck Twacy sets in the first place is all about than my three - and I'm happy to see 88 Teeth as another take on the concept of "the chase". He's all about the hit-and-run, bravado and cowardice, as the most un-gangster-looking of the gangsters should be; his is the false face of confidence, not that he should be underestimated. I find the DSmash very effective as a fallback if you flub the timing on a crescendo and even attacks as simple as DAir have their useful applications if used in conjunction with his his specials. Any and all tackiness is too deliberate and appropriate to even be pointed out. You did a very good job with this one, man.

HAMMERHEAD!
I'd like to be like you and willfully misinterpret the moveset out of spite, but that wouldn't be too cool and on the whole I'm more on Akiak's side here than on DM's. This is you at your very strongest, implementing as layered and deep a playstyle as ever but with the use of quite simple and intuitive attacks to supplement a great concept at the center. It's got the execution as well as just the flashy ideas. And it's an interesting aggressive character, something I really, really love to see. Allowing Hammerhead's head to function when disembodied is surprisingly effective, both playstyle-wise and as a piece of characterization - how easy is it to imagine Duck Twacy managing to behead him, only for his head, grinning broadly, to swoop over and smash him? It feels a bit awkward to have only some of the foe's moves cut off when they're pitfalled - when a character like Regal is pretty much shut down right there and one like Joe Calzaghe is going to do just fine from there - as well as to twist the foe into odd shapes and change the direction of their attacks via the grab - I know it's a cartoon, but that doesn't even pass for cartoon logic! - but in general, I forgive you for not getting Wolf Man now.

OH NO! PUSSYCAT! PUSSYCAT PUSS!
I don't know which SWF template you're on, man, but I can hardly see those headers. Anyway people are saying Flat Top is unreadable in monotype corsiva so I can't talk.
Geeez, is it ever awesome that you can make a pyramid of cat gangsters and stand on top of them pissing metal. And I'm sure that there's some even cooler way to use your car in an opportune way to knock down the entire pyramid in quintessential cartoon fashion to actually deal some significant damage to the foe or at least put them in a compromising position. I'm glad you did make Pussycat Puss the gangster who most leads the charge of his own minions - it works quite effectively here with the getaway car and the prowling, nicely interactive gangsters, and is all designed with your now-recognizable style of soft, organic interactions. Again we're dealing with the chase concept, and here it's a team sport. The aerials do strain a bit for credibility and flow, and he's not really interesting in FFA as 88 Teeth is and I tried to make mine, but that wasn't an explicit goal for these movesets, was it?

BAT MAN! DOUBLE HEADER!!
Double Header - the stupidest gangster, if you ask me, in that he doesn't look even remotely like a gangster and seems to just be Flat Top's weird cousin from the sticks or something - wallows in how cartoony he is to a far, far greater degree than the others; the number of terrible puns he draws on in his moveset is really striking, and it's clear that you just had a ball coming up with them. I'm not sure they'd all hit home with the player, who's going to be left bewildered at why Double Header is tossing around beans and such, but then it might lead to a bunch of facepalming "aha" moments. Gameplay-wise, I really like how he sets up a sort of batting practice to control the air over the stage, between Bat Man and the cannons, allowing him to really bombard the foe into sticking to the ground and moving through his traps haphazardly. The traps are sometimes a bit strained, though - and although I guess it's him setting up his baseball field, they don't really feel too relevant to his character - and I have a tough time getting how stretching helps him much with his goals, aside from letting him drop traps a little bit more quickly, I suppose. It's a tacky set, but you're good at making that kind of thing and still having a sort of neat internal order. It might well grow on me.

P-P-PICKLE PUSS!
It's kind of neat to have Pickle as a minion, even though his actual effect is pretty generic. He makes puddles, then randomly shoots around the stage. Well, Wolf Man will be grateful for the puddles, which are even more effective than drool and which which just magically crop up all around him. And Flat Top digs the additional stream of gunfire, which really enables him to crank up the comboing. 88 Teeth likes anything that covers him while he runs away - or runs back in.

P-P-P-PUMPKINHEAD!
To be reviewed (?)

NEON NOODLE!
Neon Noodle certainly proves the hardiest of the gangsters. Stamina indeed. This is a very sophisticated extra, if I do say so myself. It's enough to make Junahu turn green with envy.

URGH! JUKEBOX JAW!
Well, Khold, you seem to be off in your own little world. Nobody really explained the context for this moveset - instead, we just kind of pushed this picture and this name on you and told you to do something with it. Who's this don you're talking about? Maybe it's Snake Eyes. He seems like the leaderly type to me.
I hear Warlord doesn't like this set. The most quantifiable complaint that occurs to me is that moving at half speed to prolong his hitboxes is not really any sort of advantage; it's not an advantage to move at half speed from a Timer item in Brawl, is it? I mean, true, he can freeze himself to put the hitbox out there even longer, but can't he do the same if he were moving more quickly? But then, it makes it easier to hit the beats and the foe won't be able to repeatedly dodge if the hitbox is that long, so it's probably a moot complaint. I think that the general idea here is very clever indeed and that the simplicity in the rest of the attacks brings the point across really smoothly.

WOLF MAN!
I said more than my fair share about this set in the fireside chat with Warlord. I hope you all read it. This is another set that I'm completely happy with - that I can add to the club that includes Skeleton, Tutankoopa, and Gastly, as the sets I would hand over to Sakurai out of my own if I had the opportunity.

*planes lift off from Flat Top's head as he stares ahead bored*
There's some neat remote-comboing tricks at play in this moveset, and this aggressive-retreat thing I'm quite happy with. Wolf Man chases, and Flat Top backs away; he seems to be the only gangster who doesn't actually physically pursue Duck Twacy. A ringleader, no doubt. Tackiness and cartoon logic do abound, and I was very pleased with the random cannon appearing in his hands in midair; originally it was going to be an anvil, but there's this sort of theme of escalating, increasingly excessive weaponry coming out of hammerspace throughout this moveset, and the cannon seemed the perfect place to cap it off.

RUBBERHEAD!
I don't know about all this potential Rubberhead supposedly has. His power is unique, but is it really that deep? You can take this route - making the foe invisible - or you can try to make different parts of the foe or the stage outright vanish into thin air. Kupa had an interesting little hypothetical in the chat the other day along the lines of this second one - something to do with eliminating the foe's hitboxes bit by bit - but as is I don't care for cosplays anyway.

Good job, folks. Will be editing in a comment for the last of the bunch shortly.

 

[majora_787]

/ P R O J E C T . R A P T U R E \​

* * * Garrick (Neo Ramses) * * *

Tortured Knight's Spirit

Art was made specifically for this character by Spire! Thanks, Spire. ​

Ramses is a character from my full-length fiction story, The Anima Project. In the old version, Ramses was a main antagonist who was the warden of an ancient desert prison which had been buried under the sands of Thermas for many millenia. While he did not work with the other villains, he did not want any intruders of ANY nature in his prison, causing him to turn against the protagonists. He did realize that he had died, or even that the prison had been buried under tons of sand for thousands of years.

In the new version, Ramses was renamed Garrick. Also, he is instead a wandering spirit whose grave was built over by the Woodrake empire in Pantano. After the protagonists break into their stronghold, without wasting a single second, Garrick jumps in to rake the Woodrake overlord over the coals. He ended up flooding the surrounding village in a sea of lava and burning down the surrounding forest... as collateral damage.

Due to this set being a revival and reimagining of my MYM3 set for Ramses, I will refer to him in this set by his NEW name Garrick instead.




Garrick doesn't have a battery or a high-risk, high reward deal going on. As a matter of fact, there is little risk going on with his mechanic whatsoever. Garrick has two type of attacks: Explosive molten attacks that make gaping gaps filled with lava in the stage, and more standard heating attacks that will reheat lava after it cools. That's right. After about six seconds of being out in the open, lava pools made by Garrick will cool and become solid. However, fire attacks and explosions can rehead the lava pools and make them liquid again. When the lava is liquid, opponents will be forced to swim in it and will lose all momentum. They will begin to drown very quickly, and will take constant damage at 3% per second in the lava. They will have to jump for their lives to get out, and just try not to fall in to begin with. However, instead of pools, Lava can also form in layers. Layers will not act like a body of water, but will damage opponents at the same rate as regular lava. When lava ends up on pass-through platforms, it will ALWAYS be a layer. The layer will then start to drip down under the platform after a second and a half or so. This will hurt opponents on AND under the platform. When the lava cools, the dripping will cool to make a weak wall that has 10% hitpoints but blocks projectiles. If the wall is broken, the lava on the platform will take another 1.5 seconds after being reheated to begin dripping down again. SOME characters can actually reheat lava in a different way simply by being heavy. If a big character like Bowser or Dedede (or heavier yet) use an attack that moves them down with high force, they will break the cooled lava and it will reheat. Needless to say, Garrick stands on lava as if the platform were normal. (NOTE: Some moves have no damages because they deal standard lava damage... 3% per second of contact with the lava.) Also, Garrick can only make so much lava; he can only coat 65% of the stage in lava, changing depending on the size of the stage itself. The exact percentage changes by up to 10%. (75% on large stages, 60% on small stages.)

* * * STATS * * *​

WEIGHT: 10
SIZE: 9
GROUND SPEED: 1
AIR SPEED: 2
FALL SPEED: 10

...What? Yeah. Garrick is a character who is about Ganondorf's size, but is even LESS maneuverable. He runs slowly, he doesn't jump high or far, and he falls like a rock. The only good things about him are that he is a wall of a character who doesn't flinch unless it's a big smash attack or massive projectile... AND that he really does compensate for this maneuverability problem with his ability to bend the stage to his whim.

* * * SPECIAL MOVES * * *​

Neutral B: DESERT SUN​

Garrick holds his hand out in front of him, palm-up, and a small sun appears in his hand. This attack charges for a second and a half, during which he is vulnerable. After the move is finished charging, the move will happen over the course of another second, during which Garrick has super armor and cannot be interrupted. The sun grows even larger and floats over Garrick's head, and lets out waves of heat across the screen. Any cooled lava will become liquid instantly when this move is used. The sun will stay where it is after the move is initiated for another three seconds, extending the time the lava has until it cools by... well... three seconds when it's used.

Side B: CAPTIVE CHAINS​

Garrick bends forward in a pained stance, and reels backward suddenly after a full second. Long chains shoot from Garrick's armor in a bizarre attempt to grab, reaching three battlefield platforms straight ahead. If the chains hit an opponent while moving forward, they will be ensnared, and will be trapped in an unusual grab that will allow Garrick to freely move his opponent around him at the speed of Ganondorf's walk. Garrick cannot be hurt while moving his opponent. HOWEVER, the opponent can break out of this with twice the work it would take for a regular grab, leaving Garrick stunned and open for a full two seconds. Also, if the chains do not hit an opponent, they will fall to the ground for a half second. An opponent who is fast can grab the fallen chains and swing Garrick around, sending him on a small flight.

Down B: LAVA STEALTH​

Garrick crosses his arms over his chest and melts abruptly into a puddle of molten liquid. When you release the button input, Garrick will slowly reform over the course of a second, being vulnerable. Opponents who contact Molten Garrick take damage as if they were in lava. Speaking of which, this move's REAL use comes from the lava! If there are multiple lava pits around the stage, Garrick can use his down B when he is on top of one to warp to another. You can sort of select which one you go to by pointing toward it with the control stick as Garrick enters the lava pool. Lava pools containing Garrick will stay hot for an extra three seconds. However, if they cool while he is inside, he will start taking damage at 1% per second and will have to escape it like a strong grab. ON THE OTHER HAND, Garrick reheats lava pools when he warps to cool ones! You just have to make sure it doesn't cool while you're inside. When in the lava pool, you can do one of two things... warp to another pool and try to trick your opponent, OR you can leap out in an attack! What attack? Well you really only have one option...

Up B: MOLTEN GEYSER​

...And this is it. When used normally, Molten Geyser does 15% damage! Garrick stretches his arms out to his sides as he rises into the air on a pillar of lava that stretches as high as two bowser heights and is as wide as... well, Garrick. He can jump off of the pillar or do whatever after the pillar is complete! He can also make a temporary pillar on top of a permenant pillar, but he cannot stack temporary pillars. This pillar will do lava damage to opponents and will act as a solid, damaging wall that they need to maneuver around. The wall won't stay around for long, however... Only about five seconds. On the other hand, if Garrick uses this move from inside of a lava pool, the attack will do 20% and the lava geyser will never go away. The geyser will instead simply cool with the lava pool and act as a non-damaging large wall. However, the geyser will reheat with the lava pool. The lava geyser blocks all attacks and projectiles, solid or not. It will also set off explosives and negate ice attacks! When used in the air, Molten Geyser will instead function similar to ROB's recovery, slowly propelling Garrick upwards for 3 seconds. Underneath Garrick during this move will be a constant rain of lava which can spike opponents and will create a layer of lava over the stage.

* * * STANDARD ATTACKS * * *​

A: MOLTEN SLING​

Garrick makes a tossing motion as a glob of molten liquid arcs to the floor. If it hits an opponent, this glob will stick the opponent in place and cool, making an opportunity for a free hit. If it misses, it will cool and create a sort of blob on the stage that can cause tripping and can stop projectiles that hit it.

Dash Attack: MOBILE WALL​

Garrick's dash attack really has no animation, other than slightly faster running. It's simply a period where an opponent can be hurt by Garrick's clunky dashing. Using his dash attack is similar to rolling in a zelda game; it does give him small occasional speed bursts on the ground, but can only be used about once per 1.5 seconds if spammed. The move does 8% and scary knockback for a dash attack. However, the move is good for plowing opponents down and putting Garrick's mobility at its highest tier. Not that that says anything...

Down Tilt: MOLTEN SLIDE​

Garrick shifts his foot forward as a low wave of lava goes a battlefield platform away from him along the ground. This move heats cooled lava and creates a lava layer on the surface of the platform. It knocks the opponent upwards for 9% damage, and cam combo into the up tilt as a way of forcing opponents into lava.

Up Tilt: MOLTEN SLIDE, FIERY FALLS​

Garrick does a very short jump upwards and performs a sort of attack that resembles Ganondorf's Side B in the air-- If it hits an opponent, he will grab them by the head and will slam them down into the ground for 8%. This move can be combo'd from Molten Slide to bury the opponent in the ground or plant them in a molten layer of lava.

Side Tilt: FAN KICK​

Garrick bends back and performs a spin kick with noticeable ending lag. This deals good knockback to opponents, but really does leave Garrick vulnerable. If he uses the move while standing on a lava pool however, he can use his side tilt to spread lava over the stage and keep things heated up! If an opponent is hit by flying lava, the opponent will take lava damage, but will also be knocked with the lava and will have to hurry to recover and get out of it. This layer of lava on the ground can be quite dangerous and really limits the amount of ground opponents have!

* * * SMASH ATTACKS * * *​

Forward Smash: JUDGEMENT OF THE SANDS​

Garrick reaches back for a second and a half and grabs the sword off of his back, swinging it down in front of him. The resulting impact causes a lava geyser to erupt from just out of reach of the sword (2/3 of a battlefield platform away). The geyser acts like one of Garrick's permenant lava pillars from his up special. The sword swing deals 27 damage and massive knockback, but is easy to see coming and easy to dodge. This is Garrick's main KO move.

Up Smash: MOLTEN PLATFORM​

Garrick holds his hand overhead and a battlefield platform of lava appears overhead. This move initiates in a half second. The platform inflicts standard lava damage.

Down Smash: OMEN​

Garrick plants his sword in the ground for a full second and releases it. His sword will stay planted in the ground with a permenant lava pool around it until it is called back to Garrick. If he dies, he will respawn with another sword. The move has no hitboxes.

* * * AERIAL ATTACKS * * *​

Back Aerial: STAYING THE OMEN​

Garrick releases his sword, and it floats in the air pointed in the direction he was facing. The sword will act as a platform, but cannot be destroyed. This move does no damage.

Forward Aerial: FIRING THE OMEN​

Garrick points his hand forward, and any sword that is floating after being prepped by Staying the Omen will fly in the direction it is pointing at the speed of Sonic's dash in the order they were fired. The swords will cross the stage in the order they were prepared, and will go a very large distance. On a stage like Temple, the swords will just barely not make it from one edge to the other. The moving swords deal a good 15% damage and good knockback, and are one of Garrick's nastier projectile defenses/offenses.

Down Aerial: CARVING THE OMEN​

Garrick slams to the ground and creates a pool of lava underneath him roughly one battlefield platform across. This lava will cool instantly, and Garrick will pull a new sword from the cooled lava. If he already has a sword, this move will function the same, but a sword will simply appear stuck in the resulting lava pool. This move has a full second starting and ending lag. The ending lag is only present if Garrick did not already have a sword. He can create up to five swords at one time, and cannot replace them until they are all destroyed.

Neutral Aerial: CALLING THE OMEN​

Garrick pauses in midair and holds his hand out to his side. His sword, wherever it is in the stage, will fly out of the ground and return to Garrick at the speed of Captain Falcon's run. The returning sword deals 20% damage and large knockback. If Garrick has a sword already ans uses this move, he will simply pause in mid-air for a full second and not attack. Also, if he has a sword, all other swords will pass through him and then plant themselves underneath where he was when he used the attack.

Up Aerial: SATURATING THE OMEN​

Garrick points his sword skyward. The sword will burst into flames, and will take on lava properties. When Staying, Calling, and Firing the Omen are used, the sword will drip lava on the stage as it flies, and will deal an extra 5% damage on contact with opponents. This attack does 13% damage if the opponent is hit by the sword mid-charge. The charging takes about a second and a half, stalling Garrick in midair.

* * * GRAB GAME * * *​

GRAB​

Garrick reaches out and grabs his opponent around the neck, holding them up off the ground.

PUMMEL​

Garrick closes his hand, crushing their throat for 4% and a relatively slow pummel.

Up Throw: TARGETING OMEN​

Garrick tosses the opponent upwards, and a sword in the stage flies around and into the opponent at the speed of Captain Falcon's run for 13%.

Forward Throw: CONDEMNATION​

Any and all swords on the stage will line up behind Garrick and slam through the opponent for 5% per sword before returning to their original locations. After the last sword, Garrick will release the opponent. If there are no swords, Garrick will not do a forward throw-- he will instead perform a back throw, but in the forward direction.

Back Throw: BREAKER​

A cooled lava geyser appears behind Garrick, and he slams his opponent through it for 15% damage. The opponent will act like their shield was broken for about two seconds after this throw.

Down Throw: WITCH DUNK​

A small lava pool appears under the opponent, and Garrick drops them in. The lava then cools, automatically trapping the opponent inside and having to try to escape. Escaping from the cooled lava is like escaping a triple-strength grab while taking half lava damage-- 3% every two seconds.

Final smash: LAST RESORT​

Garrick will float up in the air. The entire stage will turn to lava instantly, damaging everyone for about five seconds. After five seconds, the stage will cool over, and begin to crumble. The entire stage will fall off the blast line except for a three battlefield platform area underneath Garrick.

* * * OVERVIEW * * *​

Garrick's goal in a match is to make life hell for his opponents. Being slow, he increases his own options for attacks and maneuverability by expanding lava all over the stage. He can also alternatively pressure his opponents by creating platforms and walls of lava on the stage, heating up lava at random with his attacks, and otherwise making the entire arena dangerous. He also is particularly fatal to opponents who specialize in ice attacks-- he negates every ice move out there with his lava game. Every last one. If you can't handle the heat, stay out of the kitchen! Another option for Garrick is to use his sword to pressure opponents. He can plant swords around the stage and use these swords as sort of projectiles. He can also use them as platforms, and prepare them so that they can be fired at any time. He can use this mechanic to propell himself across large stages quickly, riding his sword Omen at high speeds.

 

[ForwardArrow]

A few things I just want to get out the way. For one... I'm kind of aware that both of my Halloween sets are garbage. So yeah, read them if you want but honestly I really do hope I'm able to produce better than this in the future. If you want to read them go ahead, but don't expect to leave fulfilled or anything.

Fright Knight
First of all, loved the Ecto Storm mechanic and the sword and how it all came together, that was pretty brilliant. Initially the attacks came across as generic, but honestly they all flowed really well with the playstyle and made him play in a very unique manner. I have a few complaints that Warlord already pointed out and probably phrased better, but whatever. First of all, I feel that a lot of his ground game without the sword is... really fillery, and doesn't serve much of a purpose. Sure, they let him fight but they don't feel like they contribute to his overall goal, and just come across as bland. That, and I don't really like how the lightning bolt strikes pretty much randomly. I don't exactly know how you would control it, but I feel that giving a mechanism to control the bolt would make me like the set more, honestly. That said, it's a very good set DM and I love seeing you continue to make these things.

JJJ
As per usual Warlord, you manage to craft a playstyle I can't really find a lot of holes in, though I feel the character of this set is the standout. JJJ's ramblings are incredibly fun to read, giving this set one of the most enjoyable writing styles I've seen in a while. There in lies the problem though... some of JJJ's attacks are honestly pretty hard to figure out through the writing style honestly, with a lot of the descriptions being pretty vague. That and, let's be honest, the set is pretty tacky. I know you picked a character who is completely impossible not to make tacky, but it still legitamately annoys me. Especially with the tables, how the heck do they work with multiple JJJ's in a match? That's one thing that bugs me about cartoon sets in general, I feel that tackiness is tackiness regardless of who it's applied to and it bugs me. It's not a big deal though, I suppose, and this is among my favorites so far since Gangreen.

Lucio Fulci
...I think I'm going to have to get back to you on this one, since I still really do not have my opinions on this set sorted out. I feel you've made a pretty valid defense for it though, so I might just end up liking it. Either way for now all I'll say is it's fun, though I feel the manipulation aspect was underplayed too much for my liking.

@All those comments on Kyubey being OP: I just nerfed him a fair bit, see the Up Special and Neutral Aerial for details. Hopefully that will alleviate your concerns a bit.

 

[half_silver28]

Let's do some actual commenting again. Chaos 0 is a set with relatively simple attacks that manage to add up to a very interesting playstyle, much like Gallade. He attacks mainly using Dhalsim-style stretchy limbs, but he has even more range than the Yoga master and can attack at any angle by bouncing his limbs off the stage. He's also pretty good at taking to the air to counter foes who try to jump past him. Chaos is incredibly slow, but luckily he has other ways to approach and defend himself, and traps to cover for his laggy moves. My only complaints are that the side special doesn't really serve much purpose in his game, and that his unique dash combined with his low dash speed make him FAR too good at stalling opponents out. I'd recommend giving him a time limit for the move or allowing low attacks to hit him out of it. Otherwise, this was a pretty enjoyable set, nice job LoL.

New Destroyman. . . all I remember about the boss fight is that it was goddamn annoying with the jump-challenged Shinobu. Regardless, this has some cool concepts with the teamwork between the two Destroymen: keeping the CPU ally busy reacting to your own attacks keeps them from doing something stupid. Even without that, they provide a nice distraction for you to land grabs or other laggy moves (though they will go for you more often).

That being said, I'd like it if the CPU didn't just copy the player in so many situations and used different attacks like in the up and down smashes. And some of the attacks like down tilt are just awkward and far too weak to be worth using, ever. The changing of the Ai is a decent touch, with the "aggressive" Ai making it harder for individual foes to predict attacks or to attack two foes at once in free-for-alls. But I'd like it if there was an option to switch control between the two Destroymen without the blue one dying, it would make it easier to create mix-ups and actually pull off teamwork moves.

Honestly though, the best part of this set comes when the foe is trapped between the two, where you can catch them between their projectile spam or dash attack, or toss them back and forth with throws for major damage. As for the aerials. . . yeah that's a pretty horrible cop-out on those. I like the concept of reflecting the projectiles back and forth, though you made the projectile too slow to really pull it off. This set seems really overpowered to me with both Destroymen being really heavy and hard to kill. And it is impossible to find any logic in that recovery. Like at all: why do they have to set random boxes in order to use a -generic jump-? And what box is the 'correct' one by default? Overall this was an enjoyable set, but bogged down by some balance problems and little details that could make it a lot better. Keep sticking with it, Majora


. . .I also feel obligated to again point out that I made changes to Sweeney Todd. I changed many of his key moves, including Side Special, down throw and down tilt, and completely replaced the up smash. His playstyle has been altered significantly too.

 

[majora_787]

New Destroyman. . . all I remember about the boss fight is that it was goddamn annoying with the jump-challenged Shinobu. Regardless, this has some cool concepts with the teamwork between the two Destroymen: keeping the CPU ally busy reacting to your own attacks keeps them from doing something stupid. Even without that, they provide a nice distraction for you to land grabs or other laggy moves (though they will go for you more often).

That being said, I'd like it if the CPU didn't just copy the player in so many situations and used different attacks like in the up and down smashes. And some of the attacks like down tilt are just awkward and far too weak to be worth using, ever. The changing of the Ai is a decent touch, with the "aggressive" Ai making it harder for individual foes to predict attacks or to attack two foes at once in free-for-alls. But I'd like it if there was an option to switch control between the two Destroymen without the blue one dying, it would make it easier to create mix-ups and actually pull off teamwork moves.

Honestly though, the best part of this set comes when the foe is trapped between the two, where you can catch them between their projectile spam or dash attack, or toss them back and forth with throws for major damage. As for the aerials. . . yeah that's a pretty horrible cop-out on those. I like the concept of reflecting the projectiles back and forth, though you made the projectile too slow to really pull it off. This set seems really overpowered to me with both Destroymen being really heavy and hard to kill. And it is impossible to find any logic in that recovery. Like at all: why do they have to set random boxes in order to use a -generic jump-? And what box is the 'correct' one by default? Overall this was an enjoyable set, but bogged down by some balance problems and little details that could make it a lot better. Keep sticking with it, Majora [/QUOTE]

Actually, the box thing is a nerfed reference to Destroyman who had the same setup, only with switches. Main differences being that it was infinite flight instead of one jump, and that only Destroyman could destroy them.

It actually makes sense, it's just nerfed a lot. But yeah. The set was initially just an amusing fanservice set for no real reason other than to amuse myself, but I started getting some good ideas partway in. And yeah.