After the. However, to execute a combo with one or more Iilli I C! Bear in mind that you can build meter during a combo, be able to fill the Gauge with enough meter to perform a special attack short.
That being said, there really are no ru les in choosing the right one for you. Some players are drawn to tshe character they t hink is the strongest; others like to identify personally with their chosen character.
You might prefer the one who looks the coolest, or whom you find the easiest to use. We would recommend selecting the character you want to use, no matter what your reasons are. There is nothing stopping you from using multiple characters, though top players generally know one character extremely well, rather than maf. If you would like some help selecting the character that fits you best, take a look at the following collection of character styles and traits.
Whichever character you use, you'll be developing your own style, but it will be within the mold of that character. Every fighter has certain strengths and weakness from different positions in the arenas, and you will need to adapt your style to your character in order to make the most of the attacks in their respective arsenals.
If you are unsure which character to t ry, have a think about which of the following suits your preferences: Poking I wears down opponent gradually with 1 or 2-hit attacks High damage I always looks to land powerful hits and combos Spacing I keeps the opponent at bay with ranged attacks Throw game I uses advantage to go for grab mix-ups CH fishing I baits opponents into attacking at the wrong time Mix-ups I opens up defensive opponents with strong Low attacks Projectile-based I uses projectiles to maintain offense at long range Rushdown I attacks perpetually from the appropriate range.
However, it is just as important for the characters to fight distinctively, so that using a different character in battle is a wholly different experience, perhaps even akin to playing a different game. The fact is that these varying playstyles contribute to certain characters being stronger or weaker overall at different aspects of the game, and this can sometimes make some characters seem much more difficult - or much easier -to w in with.
Some characters will appear more or less powerful as you learn abou the game. Faster characters like Pyrrha and Leixia then come into their own once you learn to recognize the more powerful attacks, especially when those characters are relatively simple to use and can punish well.
More complex characters then become a threat, as players rea lize their true strength by mastering the execution of Cervantes or a Patroklos. Finally, when the players have seen the cast's full capabilities, characters like Mitsurugi or Yoshimitsu find streng th in their abili ty to mix-up unreactable attacks, keeping even the most experienced opponents guessing at all times. The matchup between two characters can seem to favor one side too well, but you can always find ways to boost your character's chances of winning against any other character.
There is no doubt that some characters are simply better than others at certain aspects of the garrie, but you can use strategy to try and keep any match on your terms, so that your character has more chance of prevailing.
Always remember that you can always do something in every situation, and that some things will be more difficult for you whilst others more difficult for your opponent. Whichever character you use, you should aim to find the best way to play in different situations with that charac ter, to make them as strong as possible.
Each character's attacks make them naturally more comfortable at certain ranges, as shown in the table. As a general rule, faster characters have smaller weapons and prefer to fight up close where the bigger characters can't attack as quickly, while characters with larger weapons tend not to move so fast, but can attack opponents from distance and stop them getting close. Others are simply unorthodox: Raphael can attack very quickly from range, whilst Ezio fights well up-close, despite his relat ively slow speed.
Each character has far too many atrtacks for you to remember them all at once, and many of their attacks will simply be worse than others or only useful in sped fic situations. In the character-specific sections, we have suggested some of the stronger moves to use as a foundation for your f ighting style, and we explore some preliminary strategies and basic tactics to get the most out of your character from the beginning.
This mode allows you to learn your chosen character's key moves or their entire move list; practice recommended combos or develop your own; familiarize yourself with the layout of each of the. Different players prefer to spend time in training on different aspects of the game, but everyone will benefit from using this mode in various ways. We'll explain some of the most valuable features and how they can be used to quickly improve your game.
We would recommend that once you become comfo rtable w ith the main features, you go on to explore the multitude of available settings to tailor your own training requirements. After selecting Training from the Astral Home menu, you will be prompted to select your character from the Character Select screen.
Choose your own character, and a second character to train against. Finally, ybu can choose a stage to train on, and adjust the background score if you wish. Each of these allows you to test different aspects of either character that you have selected for use. We'll cover each of these modes later in this section.
Within each of these modes you also have a number of different states that you can switch between to further refine the testing, and change w hat the on-screen help window displays.
You can cycle through all of these settings without using the Training Menu with the shortcut commands shown at the bottom of the screen character. This can also be done by simply pressing the Start button again. Press i I on any move or combo to w atch the CPU demonstrate it. The 0 I buttQn brings up a window detailing the move list terminology.
By default they are set to the left-most option. Press the Start button to bring up the full list of training options. The Counter Hit setting defines the CH property of the first hit of any combo you perform using the P1 character. The different settings proportionally affect the damage done by the attack.
All types of CH lead to a different kind of hit property for certain moves. Setting this to Random makes your initial attack sometimes an Attack Counter and sometimes a normal hit; this can help you train to confirm a CH for those attacks with special CH properties. Pl's Guard Gauge can still be depleted and Burst if slhe blocks incoming attacks.
The Critical Gauge can be set for both characters to empty, 1 full bar, or 2 full bars the maximum. It will be set upon return ing to the game, and then fi ll as normal as characters attack one another.
The final option here creates a delay between your inputs and the corresponding character actions on the screen. This can help to get accustomed to the different timing when playing over Xbox Live or PSN, as there will be some delay during online play while the consoles communicate. You can use the above settings to make this command move the characters to a wall or ring edge instead. This is especially useiul for practicing wall combos and testing which attacks Ring Out, as it saves you having to manually and repeatedly move the characters.
Adjust the Position Settings to Reverse to swap the camera angle to the other side of the cha racters, so that Pl will be on the P2 side and vice versa, but the positions in the stage are unaffected. Tlie Direction Settings let you choose where the wall or edge will be re lative to the cha racter positions. It is really useful when practicing combos or punishment for example, as the characters will often shift into awkward positions during this kind of routine, while attacking, blocking, moving, and getting hit.
You can predefine three different groups of CPU actions, labeled No. Each of these will allow you to make the P2 character act in a certain way repeatedly, so that you can train against those actions. Use the Settings Slots option to choose which of the three to adjust. For each slot, you can choose an initial action for the P2 character, and then a subsequent action which the P2 character will perform after a certain condition is met.
Usually this will be after you land an attack on P2 w ith the P1 character. So, for example, in Slot No. Press Start to exit the menu, and you will see P2 jump up and down repeatedly.
After pressing Start and returning to battle, P2 will still be jumping up and down. Moving, blocking, or whiffing some attacks won't alter the CPU's behavior, but if you hit the opponent with an attack, P2 will recover, perform a single attack, and then proceed to jump up and down repeatedly as before. This will probably get annoying pretty soon. See Training Modes: Free. Change the Ukemi Settings setting to practice against an opponent using an Ukemi to get up quickly in a particular direction or random direction if you set it so.
When state is set to the relevant Slot No. This is predominantly useful to fi nd out which of your combos can be avoided using Ukemi, and to search for and practice Ukemi Traps with your character. The first setting modifies the state in Free Mode. CPU and Controller refer to the states of the same name. Record Command changes the state to Record 1.
The Aerial Control Settings work in a similar way. After being launched, the CPU character w ill air control in the direction set once Air Cont rol becomes possible normally after a second hit while P2 is still airborne.
This w ill also w ork after 2 hits if P2 w as initially caught in midair while jumping. It will be greyed out if the player positions have been recently reset. The replay controls are the same as during the automatic replays at the end of a round:.
This takes you to the standard options for adjusting volume and controller settings, just as in other game modes:. There may be too many options in Training to take in at first, so we'll run through the main ones in more detail here and explain what their primary uses are.
It will help to experiment with them a little yourself, alongside reading this chapter, to become more familiar with the possibilities. The Mode setting governs the overall purpose of a particular practice session. You can adjust the CPU behavior in each mode w ith the state setting, and the available state settings are specific to the chosen mode. The most important mode setting is Free. It is the most flexible and powerful mode, and lets you adjust the CPU behavior in a huge number of ways.
The possibilities are vast, as you. The other modes are more streamlined, and are especia lly useful when learning the basics about the game and given characters.
They offer more restricted option s than those in Free Mode, letting you concentrate on learning about a character's main attacks, combos, and attack properties.
The different state settings were covered earlier in the P2 Settings section. Let's ta ke a look to see what each of these states is for. A good standard setting for No. This is perfect for testing and discovering combos. The CPU will try to guard continuously from the first moment you hit P2, so you will be able to find which attacks are guaranteed from that point.
If your combo involves a launcher o r knockdown, adjust the Ukemi Settings and Aerial Control Settings to find out if th e opponent can escape damage using Ukemi or Aerial Control. The Stand 1 Random A ll Guard setting can be used on its own to practice hit confirming your attacks. For example, t ry to continue your combo only when the CPU doesn't block your initial attack.
This will help you to play more safely in real battles. The Attack and 8-Way Run options can be useful when set to Moves Slot 2, to test what options you can use after your initial attack hits or is blocked. Exit the menu, hit P2 with a particular attack, and then try to hit P2 again to see which of your attacks can be stepped right after the fi rst attack.
Once you are advanced and confident enough to use it, the Record function allows you to buffer any attack or movemen t immediately, making it more reliable t han the pre-programmed settings found here. After you have recorded command inputs to Record 1, 2, or 3, set them to the Setting Slots w ith the Replay option in the tvloves Slot sub-menus.
You can assign various instructions to the CPU characte r using No. There are 3 slots so that you can save up to 3 batches of instructions and switch between them, without having to re-enter all the information again. The Record 1, Record 2, and Record 3 States are for this purpose.
Perform as many actions as you like for up to 30 seconds. Usually you w ill want to cut the recording short by pressing Back I Select. You can simply practice against your own recorded commands by using this feature. Now let's use a recorded command in the No. First, switch state to Record 1. As soon as you input something, this wi ll change to "Recording" and be highlighted yellow.
Make sure that the attack command is the first thing you press after starting to record, so that the attack comes out as fast as possible during replay. Free Mode: Example 2 No. You can use similar ideas to train your timing on JG and autoGis, or to learn how to properly step or evade some attacks. Your character may even have unique ways of dealing w ith certain attacks: for example, try recording some of Raphael's options from his Preparation stance, and see if you have any options that will work against more than one attack.
The Replay I Random setting in Free Mode is in general a fantastic asset for training against stances and other mix-ups. If you want to keep the settings you've made in a Training session, be sure to select Return to Astral Home from the menu once you're finished. All of your settings will then be saved for the next time you enter Training. Now switch state to No. When you return to the game, Nightmare will be blocking. Hit him with a single hit attack, and he' ll retaliate with one of the attacks you have recorded.
When you can successfully block multiple attacks in a. Now open the P2 Settings sub-menu. Press Start to return to the game, and attack P2 w ith various moves. P2 will retaliate each time with the attack you recorded, so you can t ry to guard his attack to see which of your moves are punishable by the recorded command following a JG.
It is invaluable for practicing against various characters. Then set the computer to perform these attacks at random, and try to react to each attack and counter it appropriately by say blocking, evading, or interrupting. So, to illustrate. Go back to the character select screen and select Nightmare as P2.
Proceed to Training and make sure it's set to Free Mode. Switch state to Record 1, and record Nightmare doing t? If you want, you can also record another attack such as in the Record 3 State. Make sure the first input on each recording is the attack command, or you might start reacting to any movement you entered first typica lly or little steps and you won't learn to re-.
This mode is useful for some general tips w hen using a new character. The Advice Window shows an example attack, and briefly describes the properties of the move and how it can be used. Some of the advice contained therein can be quite helpful, and it's a useful way to learn a little about an unfamiliar character. The selected attacks are not always the same as those found in the Main Moves section of the move list for any given character.
This mode highlights the five example combos found at the bottom of the Main Moves section in the selected character's move list. It is useful to see th e combo on screen while you attempt it, rather than having to keep opening and closing the menus. If you inflict a teachable knockdown on your opponent while practicing these combos, the chosen state determines whether the P2 character will Ukemi or not.
The CPU automatically blocks after the first hit in either state, so you can use this to make sure you're executing the combos correctly, and can also test whether further damage is avoidable using Ukemi, or experiment to whether you have any Ukemi Traps available, by u sing the second sta te.
Ahe computer w ill begin the count again, so you don't need to keep count in your head of how many t imes the computer has blocked if you want to try a new string. WR , and FC.
Bear in mind that chara cters have very diffe rent speeds for th ese attacks. However, you can still use thi s mode to try evasive or auto-GI techniqu es against these basic attacks after your initial hit is blocked.
This mode can give you a rough idea of how safe an attack is. You can use this mode to quickly test the safety of some of your attacks.
The CPU w ill cycle through three attack strings after blocking the pertinent number of attacks. If you delay after attacking for a. This is similar to the Main Moves Mode, but instead of going through attacks for P1, the CPU demonstrates attacks for the character you have selected as P2.
This time, the selected attacks are those from the Main Moves in the P2 move list. You can test which moves you can punish with Attack and Guard, or find out which attacks are safe enough to allow P2 to sidestep your Vertical strikes after you block or JG them.
The Advice Window displays the name of the particu lar attack and the required input. The Check Skill Mode is mainly designed to help you find ways to counter these attacks or strings, be it through punishment. It's a good way to start anti-character training, until you become comfortable enough w ith Free Mode to specify your own practice regimes. Here we' ll go over just a few of the more common applications of the various settings. This w ill give you a fou ndation for getting the most out ofTraining.
If you want to test which of your own attacks can be punished by a single move, first record P2 doing that move. For example, Pyrrha's AS is an excellent punishment attack, so you w ill need to find which of your moves she can punish and try to avoid using them against her unless guaranteed. Switch to Record 3 andl perform.. Now en ter state No.
Finally, return to the game and attack Pyrrha w ith single-hit attacks. Try to block immediately afterwards. If she nonetheless hits you despite your defensive efforts, she can punish your attack w ith AS. Alternatively, you can try to make the early hits whiff, so that she just blocks the last hit. This requi res less fiddling about w ith the menus, but means you have to shuffl e your cha racter to the appropriate distance every time.
Firstly, you wi ll wan t to practice punishing particularly powerful moves that are giving you trouble. You may also want to practice executing more difficult punishment techniques, such as when your best punishment attacks require a input.
You may also want to check that a certain move is actually punishable. The frame data does not tell you whether a move becomes safe from pushback; some moves can also sometimes whiff during the early active frames, making them seem to come out slower 'than you expect for punishment pur poses.
You ca rl! For all of these purposes. Block the incoming attack with your P1 character and attempt to punish the move. As mentioned earlier, you might want to set your starting Training Mode and state as No. This w ill let you test which attacks are actually guaranteed after a combo starter. The Combo Hit Counter, which displays the number of hits in a combo after you end it, can be misleading, because it w ill sometimes count attacks as part of a combo that in fact could have been avoided.
So using the above settings w ill ensure you r combo is guaranteed. You should also set some Ukemi and Aerial Control parameters. Players will tend to Ukemi either to the rig ht or left if at all , and AC back and to either side, to avoid combo damage. By setting an Ukemi direction and Aerial Control, you should be able to q uickly identify whether the combo you're performing can be dodged half w ay.
It is important to use truly guaranteed combos in general, or you could open yourself up to punishment, or at the least. It IS a good idea to adjust these settings for your main combos. In particular, you should try your combo with Ukemi set to Left, Right, Back, and Off for any important combos, to see whether extra damage can be avoided, or indeed incurred, by attempting an Ukemi in various directions.
Front Ukemi is not so important because, usually, a Front Ukemi will only expose the grounded character to more damage. You can use the Random setting if you want to try to CH-confirm your attacks. Try to press only w hen you recognize the different visual effect and sound distinctive of a CH. Use the Reset Position sub-menu to easily realign th e characters next to the wall at any time, so you can practice your wall combos from different angles.
You should still use the Free Mode settings for practicing combos as described above. The angle at which you begin a wall combo can be crucial. Many wall combos w ill only work from a certain angle or a certain distance. You may need to make little adjustments, by moving the characters, to work on a given wall combo. The quickest w ay is just to move P2 by shuffling close using P1 and nudging the CPU character over to the desired position.
To make the f inest adjustments, quickly switch to one of the Record States and move P2 manually. Some combos w ill only be possible in a corner against perpendicular walls, and the same goes for more shallow angles. Return to the game, initiate your chosen knockdown on the opponent, and then try to catch them with an attack during the Ukemi. Ukemi traps can be devastating, because the damage scaling normally associated with combos is reset after and Ukemi.
Therefore it's worth trying to fin d Ukemi traps in situations where your opponentjs likely to tech, especially if teching in a particular direction will avoid otherwise guaranteed damage following a knockdown. Remember that some Ukemi traps can become more effective or less reliable near the ring edge. Some may also lead into Ring Ou t or w all combos. Make sure that you are near the edge only if you actually want to be when practicing Ukemi traps, or you may get some irregular results.
Also bear in mind that some characters are able to avoid attacks that other characters cannot with an Ukemi. You may need to practice your trap against a specific character to make sure it works against them. This is one of the most important aspects of Training. Instead, try to remember the tactics or specific moves which are giving you trouble in a matchup.
Then, set some of them to the P2 player in Training 10 to learn how to deal with them outside of the pressure of an actual match. First you will need to record the moves, tactics or strategies w hich are giving you troubl e. Let's take Xiba's Critical Edge as a case in point. J combos, as described above.
If you are not punishing this move, your opponent can throw it out whenever they have 1 bar of Critical Gauge at no risk. Record Xiba doing.! Press Back I Select once he has finished the startup animation. Be sure to stop recording once he has actually hit your P1 character. This kind of play is not spectacular, but it is the foundation that enables you to use your more impressive moves when you need them.
It will be d ifficult to get a chance to use your favorite moves if the other player knows you won't use the more basic attacks. Most of all, remember that whenever you move, it should be for a reason. Random or thoughtless movement makes you more vulnerable, as you cannot guard, and you can be caught by Counter Hit attacks, which sometimes deal very high damage. Relentlessly and recklessly attacking w ill earn you victories against weaker players who are more cautious, but against another aggressive player the outcome will be entirely random, and against a player capable of defending properly and exploiting your mistakes, you will have absolutely no chance.
To begin with, try attempting a basic poke, and then wait to see wh at happens. If you hit, by all means try another attack. But if you missed, or your attack was blocked, or you were hit yourself, your first instinct should always be to block.
Then wait to see if your opponent manages to hit you: if not, attack back, but otherw ise continue to block and wait for an opening. This style of play can be counter-intuitive. Beginners will initially benefit from playing aggressively, especially against other novices. Also, expert players can often be found to repeatedly attack even when they failed to hit their opponent. However, such players are using different kinds of attacks to suit the situation.
While you are still learning about the competitive environ ment, try to remember that when being pressured, blocking is almost always the best overall option. You w ill improve much faster with this in mind. Move forw ard into range to make sure your next attack hits. This is always a bad position to be in, as your opponent can continue to attack, and you cannot retaliate until you get up, which takes time. The best general option is to simply block, as you can do so even as you are just beginning to stand, and you w ill be protected against most attacks.
You can also w ait on t he ground, or roll to the sides to try and avoid your opponent's next move. This is more risky, but can save you from more linear attacks, or attacks w h ich pass over you while grounded. Another way to rise is to Tech Roll. Sometimes you will be slammed onto the ground forcefully: in this situation you can often Ukemi forwa rds, backwards, or to the side to get up much faster. This can be useful to fight back as fast as possible, or to prevent your opponent from pressuring you while on the ground, but is also very risky against more knowledgeable players.
Back Ukemi is also ris ky, but can be useful to try and escape from your opponent and put some space between yourselves. Left and Right Ukemi are usually the best choices, as these can evade many powerful attacks and allow you to instantly counter.
However, be aware that your opponent may be able to punish you w ith very powerful attacks that catch you as you rise. These setups are known as Ukemi Traps or 'Tech Traps'. Ukemi Traps will often deal more damage than guaranteed grounded hits, so against an experienced player. Try to move around in such a way that your opponent is caught in precarious positions.
Range is a crucial factor for every attack. You must always bear in m ind the overall range of your main attacks. Conversely, when defending, you should try to move back out of your opponent's range, in the hope that they miss their next attack. Missing, or 'whiffing; is really dangerous, as it leaves you open to any attack while you recover from the whiff.
If you can make your opponent whiff, you can then try your more powerful attacks, or just use the advantage to hit them quickly at no risk to yourself. To begin with, you can try experimenting against different characters and players to. To attack with anything more than basic pokes, you wi ll need to learn the numerous attacks, techniques, and combos available to your character.
The more you play, the more you will start to execute the moves you want without having to think abou t how to do them. The game can become really satisfying when you are playing w ithout having to think about the commands; that is w hen it ca n really start to feel not just that you're in control of your character, but t hat you are that character.
With 4 stocks you have a full bar indicated by the number 1 within the Gauge and can unleash your character's ultimate attack, the Critica I Edge. These powered up moves can turn the match quickly in your favor. In time you will get a feel for how they can be best used. Some characters w ill benefit from using their Gauge attacks differently: Mits urugi and Tira gain a real advantage by using their 1m!
Head to the Vs Play chapter for details on the best way to use your character's Critical Gauge options. Now you can start getting into some of the more technical aspects of the game, and combine them with the some of the stuff you already have 9 grasp of. Speed and range are the primary factors in determining w ho wi ll succeed w hen both characters strike. Basic movement enables cha racters to dynamically shift the situation and defeat dominance by speed or range.
Evasive maneuvers, fakes, counter-attacks, and anti-step techniques further enrich the playing experience. Once you've come to grips with a II the things your character can do, you then need to work on how best to use them. This kind of mix-up is especially effective for characters like a Patroklos and Yoshimitsu, who can knock opponents down with fast Low attacks.
Because the most devastating attacks for every cha racter are generally Mids, your inclination is to block standing. But you can't let your opponent hit you with Lows every single time. So you must guess when your opponent is most likely to attempt a Low attack, and thwart it. You will be rewarded if you can guess correctly very often, but you must also consider w hat the risk and reward of each option is.
This is absolutely crucial. A simple poke like.. Most characters also gain little reward fo r successfully blocking it. So when an opponent is within range to use.. You may block many Low kicks in a row, but if you guess wrong once and your opponent launches you w ith a Mid for high damage, you lost all the advantage you gained from all your correct guesses.
Here the risk was not worth taking. Because they involve guessing games, mix-ups are important right UJP to the very highest level, because there is no way to counter a complete guess.
As such, using mix-ups well and applying intelligent mind games is something you w ill want to practice as early as possible, and continue for all the time you play the game. MIX-UPS More advanced players will be familiar with your basic and most powerful attacks, and while defending, they will be primarily focusing on protecting themselves f rom these attacks.
To combat this,. The key idea of a mix-up is to ascertain what your opponent is trying to defend against, and then use an attack that beats t. Kis defensive position. The most basic is a throw mix-up. If you use a throw within range, unless they crouch, they must break either or , but can't do both. So you must decide fi rst which throw they will expect, and then use the other. Even with something as simple as a throw, there are many other mix-ups happening simultaneously even in this situation.
For a start. Then you must guess that your opponent doesn't expect the throw, or they will duck. Then you have to decide whether your opponent is prone to escaping throws: mariy weaker players will not even attempt to, as they are focused on other aspects of the fight. Finally, you have to consider how your opponent decides about throw escaping: Do they always escape grabs? Will they try to escape your most powerful throw?
Will they try to escape your Ring Out throw? Will they try to escape the grab you used last time? Another fundamental example is the Mid I Low mix-up. Mid-level attacks must be blocked standing, w hile Lows can only be blocked crouching.
If you have moves fast enough that they cannot be re-. The exact amount w ill determine which options are more likely to succeed afterwa rds. At large advantage, you can press w ith almos t any attack. At near neutral advantage, faster characters have more option s, w hile others may consider moving o ut of range or just blocking.
At disadvantage, you w ill have to con sider w hat your opponent is likely to do, and then make an appropriate choice, such as using an evasive attack or a sidestep. Every time you attack or block, you and your opponent will have to recover be fore either can attack again. Whichever character recovers the quicker is at advantage. This character will beat the other character if they then try attacks at the same speed. This is why blocking is a good option at d isadvantage: because your attacks are more likely to be interrupted by your opponent's than vice versa.
Nonetheless, always attacking at advantage and blocking at disadvantage can make you very predictable, and w holly ineffective against a skilled opponent. Once you can attack and d efend effectively using basic pokes at opportune times, you w ill easily beat overly aggressive opponents.
Now you need to devise ways of attacking repeatedly without putting yourself at unnecessary ri sk, to increase the chances of hitting opponents w ith better defense. One way is simply to use your fastest attacks at disadvantage.
Leixia and Natsu have very fast strings designed to interrupt opponents for a CH, leading to small damage but big annoyance. At low disadvantage, many characters will have very few options tha t w ill beat fast attacks, meaning the risk is not actually that high. A second way is to use attacks t hat give advantage on block. The best examples are Break Attacks, which are accompanied by a blue visual and an electrified sound effect. You can continue to attack relatively safely after these attacks, making them excellent options if yo ur opponent is affording you the leew ay to use t hem, as they reward you w hether they hit or are blocked.
Astaroth can use his trademark Bullrush attack to move under any High or throw attem pt. Other characters w ill sidestep during some attacks, like Valda's BT throws, and may be rewarded by evading a Vertical blow. You can. You can also use t he stage space to keep the advantage. A long range character like Siegfried can use his huge weapon to persistent ly attack from a distance.
Characters without effective long range attacks will be forced to dash in before they can attack, meaning Siegfried can continue to pressure them until they succeed in running the gauntlet and get close enough to hit him first.
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