That reminds me of giraffe caterpillar whatshisname from Sekiro, the first point in the game where I had to really learn a boss’ attack rythm because parrying on reaction would be too late.
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I see what you mean. Still, 50ms is 3 frames. Third Strike is definitely more lenient than that anecdotally.
I think Sekiro must be slightly more lenient than most fighting games but still.
From some notes I made a while back about Sekiro I believe, Parry window = 30 frames by default (0.5s before the attack hits)
Window decreases as a penalty if Guard button released, this can stack (going down to a minimum 7 frames)
Penalty removed after a period of time (30 frames) or following a successful deflect
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I think it’s much smaller on fighting games. Much more focused player attention so you can ask for more precision. I don’t know if it’s as low as 1 or 2 frames (I’d guess 66-100ms, or 4-6 frames, but I don’t know much about fighting games).
Yep, I measured Sekiro at 400ms or more. Definitely more forgiving than earlier Souls games. That’s a really interesting observation that the parry window shrunk on repetition! How’d you figure that out? Theoretically that’s an anti-spam tweak; I assumed they mitigated it through the vulnerable period before re-upping block and maybe by increasing stamina damage.
My problem with parrying in most single player games is going too early. I’m usually so tightly wound I can’t bear the tension of waiting and my nerves get the better of me. This was a problem with Sekiro especially, so if it has a longish window that feels right to me.
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Most of the research was done by community I just summarised it lol. I figured it does vary when playing since the game seemed to catch me mashing but then parrying would become super easy if I chilled out/after a death. It’s also a cool way to reward a patient player albeit completely opaque.
Third Strike seems to be between 6-10 frames as far as google searching will get me.
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Although thinking about it again, a long window should allow for going early as well. No idea why I can’t hit a 400ms window! Maybe they just anticipate players being late and shift the window more in that direction?
400ms can still be hard! Sekiro especially loves to vary it up with the enemy attack animations, which have fakeout tells and widely-varying timing. Even if the parry window is similar, it’s much easier in God of War because they have pretty consistent timings on enemy anim start to hit, and always try to be as clear as possible with messaging.
Like music games, you can only be so forgiving after the hit because you’re rewinding from the obvious contact point. God of War makes a virtue out of obvious rewinding: when they register a parry or hit they snap characters into their recoil pose or pin Kratos’ axe to the enemy. It’s jarring but it plays into the hit pause and makes everything feel crunchier, at the expense of feeling flow-y or realistic. Still, they give a max of 2 frames after the hit.
From Software just loves to troll, like these dudes:
he just ignores gravity to mess with you and tease out a too-early parry!
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Yeah I could pretty reliably (80%) hit 1 frame windows in Melee (specific side-b shorten distances w/ Falco) but those are solely timing-based rather than reaction based.
If you combine a small reaction window with a very tight timing it becomes something that only occasionally happens at the top level of play (e.g. accidentally pressing side-b and then shortening on reaction is really really hard and most pros can only save themselves occasionally from that. I think I’ve done it once in like 1000 hours of play and if you’re going for any shorten distance then it has a 5 frame window).
If you can like pre-ready yourself to pick a specific option to a stimulus then it becomes a lot easier, because you’re only having to deal with timing in the reaction rather than both what to react with AND timing. But the tradeoff there is that you can get really caught off guard if thing you’re wanting to react to never happens.
Getting good at fighting games is all about “automating” as much as you can w/ muscle memory so your conscious brain can focus on reacting and choosing options on the fly.
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All the mash disincentives they added in Sekiro largely failed to discourage mashing. I knew about the posture penalty and I didn’t know about the frame penalty captainlove mentioned (but I must’ve subjectively taken it into account). The fact remained that I won more when I mashed than when I tried to be calculated and precise, so I never stopped mashing a lot even in my Demon Bell run where the posture disincentive is more severe
Deflect being a better version of block (which is already a kind of OK reaction to an enemy attack) makes mashing fundamentally irresistible. Now I wonder how much the devs intended this
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With the number of systems to discourage it, I would guess that they didn’t intend it, but they couldn’t ultimately stop it without breaking it for correct behavior. They need the window to be generous so it doesn’t teach people to give up, and they model correct aesthetics through a bunch of the enemies. Stillness, then lightning reaction. But there’s only so much you can do and every game is full of contradictions that you just have to live with.
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(I know we’re mostly talking about action games but since music games were mentioned)
what’s strange to me is that people still broadly think of music games as those where the player mimics being the performer via one-to-one input/feedback frameworks as opposed to like, just existing in spaces where music is playing around them, especially considering the latter conception is just so much easier to engineer
like, I know we have oikospiel and fract osc and even slave of god (by increpare), and we’re getting away from being really strict about timing with games like fuser, but it just feels like no one making these games has ever gone to a club and wanted to be anyone other than specifically the DJ, despite the fact that most DJs would rather vibe out and react to the crowd than be the only thing anyone is paying attention to for the entire performance
kind of hilarious to think that in the big EDM heyday swedish house mafia had to spend an entire like 10-15 minutes at a festival sharing a single FX knob between all three of them because if they wanted to mix out of whatever song they were playing they would ruin the pyrotechnics show that was playing
I don’t want to be the one playing the music, I literally want to be inside the music like some fucked up purity ring lyric
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also more and more convinced these days that live “performing” music is less about manipulating sound and more about manipulating the space that the people are hearing that sound in
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The Australian Classification Board has posted a new rating for Castlevania Advance Collection, registered by Konami on June 18. The registration lists M2 as the author, well-known for classic game ports and who previously worked on 2019’s Castlevania Anniversary Collection.
The title seems to imply this collection would be made of the three Castlevania titles that made their way to Game Boy Advance
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Ah, but will this include the 2007 J2ME game Castlevania: Order of Shadows?
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How do you conceptualize the player’s role in the Q Entertainment style, where the player has free input and the game tries to line it up with the beat? In something like Tetris Effect I don’t feel like I’m controlling things as much as existing within them; part of that unity of music/humanity that Mizuguchi loves so much.
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otoh if you play tetris effect enough you DO start to feel like you’re controlling the music since the actions are always available to you and i start superfluously moving or spinning to hear the part of the music i like
nifflas’s new game ynglet has really nice dynamic music that will play tracks or flourishes or key changes when you do certain actions, but those actions are normally contextual so it feels even less like i’m controlling it
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Here’s a post about breaking news in an attempt to appear clever by sharing an innocuous tweet
Ironically doing a c. 2007 roast of themselves is just sad
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Another classic from Rock Paper Shotgun founder John Walker who brought us such hits as ‘the loot boxes in Pokémon go aren’t loot boxes, they’re just fun’ and ‘Myst is the worst game ever made’.
Dude’s also following multiple TERF accounts on Twitter, but nobody seems to have noticed that yet.
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honestly feel a little ill knowing that there’s someone who would write 1300 words to defend the honor of Niantic.
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