Players reporting only a “black screen” at startup.
Steam users trying to boot up the second-last installment of the Street Fighter series–Ultra Street Fighter IV–are reporting today that their game will not load, instead sticking on a blank, black screen. The specific cause is not yet clear, but this is likely not an indication that Capcom is sneakily pulling support from the game: it is not the first time a “black screen bug” has been reported for the Steam version of USFIV. Windows 10-related issues have come up in discussion as well.
A test conducted on a the PlayStation 4 version confirms its online functions appear to be operating normally.
Watch out XYZZY, there is a new Birdie in town looking to take over the ranks. While the Korean player is still the top Birdie on CFN–ranked #7, and in the Master category–Japanese player Crusher is on a rush to take that spot. He is currently ranked 40 slots behind XYZZY and rising fast.
When you see his Birdie, you’ll understand why. Crusher has amazing patience and an impeccable footsies game, that definitely puts XYZZY and other Birdies on notice.
Watch out XYZZY, there is a new Birdie in town looking to take over the ranks. While the Korean player is still the top Birdie on CFN–ranked #7, and in the Master category–Japanese player Crusher is on a rush to take that spot. He is currently ranked 40 slots behind XYZZY and rising fast.
When you see his Birdie, you’ll understand why. Crusher has amazing patience and an impeccable footsies game, that definitely puts XYZZY and other Birdies on notice.
Following a meeting of minds between many notable TOs from across the USA, a new recommended ruleset for Super Smash Bros. for Wii U has been put forward for future events. This reformed rule change mainly deals with alterations to the legal stage list and the removal of the much debated “Dave’s Stupid Rule,” which restricts players from returning to a stage they have previously won on.
The two main casualties from the new 2017 ruleset are the loss of Duck Hunt and Lylat Cruiser as counterpick stages. Many players, both high and low level, have been calling for Duck Hunt’s ban, as the stage promotes campy play due to the tree on the left side, making it a practical instant loss for characters like Little Mac and Ganondorf. The loss of Lylat is a real bone of contention, as while the stage provides well needed variety to the stage list with its titling main platform and alternative tri-platform layout, recovering players can occasionally fall through the stage when trying to recover, resulting in a loss of a stock.
The new stage list would have only three starter stages, being Battlefield, Smashville and Final Destination with Town and City, Dream Land and Omega stages acting as counterpicks. While most players seem to be receptive to the new three starters, the inclusion of Dream Land is a confusing decision, as this new proposed ruleset has a ban for Battlefield also banning Dream Land. While they both have tri-platform layouts, they have different stage attributes, which means players will pick them based on character and player match-ups, rather than it being just that they want to go to a tri-platform stage. The currently proposed list of Omega stages is also problematic, as stages like Mario Circuit Brawl and Bridge of Eldin cause recovery problems for those with teleport recoveries.
The post in question does concede that this stage list is only recommended, and that elements of it will change as 2017 continues–but the TOs listed as consultants for this document will use this rule set in future tournaments. The lack of any representatives from Europe is troubling–and I am personally fiercely against the Lylat ban–but we’ll have to see how this proposed rule change pans out at upcoming tournaments like Frostbite and 2GGC: Midwest Mayhem Saga.
Following a meeting of minds between many notable TOs from across the USA, a new recommended ruleset for Super Smash Bros. for Wii U has been put forward for future events. This reformed rule change mainly deals with alterations to the legal stage list and the removal of the much debated “Dave’s Stupid Rule,” which restricts players from returning to a stage they have previously won on.
The two main casualties from the new 2017 ruleset are the loss of Duck Hunt and Lylat Cruiser as counterpick stages. Many players, both high and low level, have been calling for Duck Hunt’s ban, as the stage promotes campy play due to the tree on the left side, making it a practical instant loss for characters like Little Mac and Ganondorf. The loss of Lylat is a real bone of contention, as while the stage provides well needed variety to the stage list with its titling main platform and alternative tri-platform layout, recovering players can occasionally fall through the stage when trying to recover, resulting in a loss of a stock.
The new stage list would have only three starter stages, being Battlefield, Smashville and Final Destination with Town and City, Dream Land and Omega stages acting as counterpicks. While most players seem to be receptive to the new three starters, the inclusion of Dream Land is a confusing decision, as this new proposed ruleset has a ban for Battlefield also banning Dream Land. While they both have tri-platform layouts, they have different stage attributes, which means players will pick them based on character and player match-ups, rather than it being just that they want to go to a tri-platform stage. The currently proposed list of Omega stages is also problematic, as stages like Mario Circuit Brawl and Bridge of Eldin cause recovery problems for those with teleport recoveries.
The post in question does concede that this stage list is only recommended, and that elements of it will change as 2017 continues–but the TOs listed as consultants for this document will use this rule set in future tournaments. The lack of any representatives from Europe is troubling–and I am personally fiercely against the Lylat ban–but we’ll have to see how this proposed rule change pans out at upcoming tournaments like Frostbite and 2GGC: Midwest Mayhem Saga.
When Capcom released its first Marvel-based fighting game, X-Men: Children of the Atom, back in 1994, it had one feature that quickly differentiated it from other fighting games of the day: its super jump height. Children of the Atom’s stages had a playing field that was over twice as high as it was wide, and allowed characters to explore this space with super jumps and air combos. This verticality became a series staple for later Marvel fighting games from Capcom.
More than just differentiating the games in what would become the Marvel Versus series from other fighters, the series’ verticality brought a giant shift in how the game was balanced, compared to traditional 2D fighters.
Airspace Control
To understand why the Marvel series’ super jump height brought about such a massive shift in balance, we first need to look at one of the most important concepts behind 2D fighting games. At their core, 2D fighting games are primarily about space control. Each move controls a certain amount of space, and the properties assigned to that move, hit boxes, hurt boxes, vulnerabilities, and even frame data determine how good that move is at controlling that space.
One of the most important spaces to control in fighting games is the air, as jumping is a common way to bypass moves that control horizontal space. In most games prior to X-Men: Children of the Atom, this was a risky move since jump-ins could easily be punished by anti-airs–moves that control vertical space. There are two factors in these games that help make anti-airs strong. First, they start from the ground; a character does not have to jump to perform them. Second, the vertical space of the game is itself quite low–meaning that these anti-airs don’t have to control as much space.
With the super jump height of the Marvel series’ however, traditional anti-airs are weakened. The higher vertical height makes it easier for characters to get around them. Additionally, players also must give up a lot of horizontal space on the ground when pulling them off. Combine this with the additional options in both movement and attacking that super jumps give, and being higher up can be much more advantageous in these games.
For a practical example of how the Marvel series’ vertical space affects balance, look no further than its effect on the “shoto” moveset. The shoto moveset of Ryu (and Ken) has been called by some “the perfect moveset,” with a projectile to control horizontal space, a rising uppercut to control vertical space, and third move (the tatsumaki kick) that moves them forward. In the Marvel Versus games however, this moveset isn’t quite as perfect: Ryu cannot implement his traditional zoning game because super jumping makes it so much easier to get around both his horizontal and vertical space control tools. What was “the perfect moveset” in Street Fighter II is no longer such in the Marvel games, and Ryu tends to struggle in these games as a result.
Breaking Traditional Space Control Roles
The verticality of the Marvel series required a significant rethink of how space control was implemented in the series. The solution that Capcom came up with was to break the traditional space control roles, to help fill out the void left by these weakened anti-airs.
This breaking of traditional roles can be seen in how the series reworks the tools for controlling horizontal space, projectiles and long range pokes, and uses them to control vertical space as well. Perhaps, the most straightforward example of this is how certain anti-airs, such as Cyclop’s “Gene Splice” and Charlie’s “Flash Kick,” gained projectile elements. Other characters gained a myriad of vertical and diagonal projectiles as they were brought into the series.
Yes, that’s a dragon punch that shoots a fireball.
Beams on the other hand aren’t true projectiles (they’re not separate from the character), but function as long pokes, like Dhalsim’s limbs in Street Fighter, but without vulnerable hurtboxes. These include beams that go purely vertical such as Storm’s “Typhoon,” Dormammu’s “Purification,” and of course Captain Commando’s “Captain Corridor.”
Still one of the best anti-air beams in the business.
Aside from allowing these tools to control space from the ground, the series also allows them to control space from the air–going downward, instead of upwards. This is arguably even better, as it allows a character to keep their opponent grounded while maintaining the high ground. Even more devious is when we have a projectile that does both, such as Dr. Doom’s “Hidden Missiles,” allowing for the advantages of both, making for a very useful move (this alone may be the main enabler for Morrigan’s “Astral Vision” trap).
Of course, with projectiles and pokes being given greater roles, other special moves, as well as movement itself, needed to be made stronger. Part of this was done by giving characters more aerial movement, such as multi-directional air dashes. However, that isn’t the only solution (nor the most interesting): some characters instead received aerial moves that moved quickly through the field while dealing damage.
No air dash? No problem.
Meanwhile, some characters who may not have had a lot of aerial options were given really good ground options instead. These characters, such as Vergil, Wolverine, and Strider, were designed so that they could lock an opponent down and prevent them from taking to the air. In fact, most pixie-style rushdown characters fall into this style, using a combination of fast movement, and the occasional teleport for some characters to bulldog their opponents.
Now, while traditional anti-airs have had their role lessened, they still have their place. These moves become more focused into being reversals, or combo filler. Yes, some effort was made to try to make them more effective in the early games, either by increasing their range, or just flat out giving them projectiles. However later versions seemed more in tune with making them excel in their limited roles such as making Wolverine’s “Tornado Claw” cancel-able to super.
Taking these together, we can see that a good combination of vertical space control beams or projectiles, combined with good movement or fast moving specials, would be the Marvel series’ equivalent of a “perfect moveset.” Indeed, this has become the foundation of some of the best teams in the later, assist-heavy incarnations of the series such as Justin Wong’s Storm/Sentinel/Cyclops in Marvel vs. Capcom 2, or Chris G’s Morrigan/Dr. Doom/ Vergil in Ultimate Marvel vs. Capcom 3.
Moving Forward
Now a good number of you must already be ready to type comments about how the Marvel games aren’t the only ones with a tall stages and super jumps, and you’d be right. The series may be the ur-example of this, but other games have followed suit and given their own takes on verticality in 2D fighters. This makes the concepts first explored in the Marvel games’ all the more important for both developers and players to understand.
For the developers looking to create similar fighting games with any degree of verticality, understanding the concepts first put out in the Marvel series–and then adapted by other games–can help them with their own games. Understanding how the vertical space affects balance ultimately leads to better-balanced games.
Meanwhile, for players like us, understanding these concepts can help us make better choices in-game: both in our choice of which characters to use, and the moves and tactics that we employ with these characters–leading us to be better players.
When Capcom released its first Marvel-based fighting game, X-Men: Children of the Atom, back in 1994, it had one feature that quickly differentiated it from other fighting games of the day: its super jump height. Children of the Atom’s stages had a playing field that was over twice as high as it was wide, and allowed characters to explore this space with super jumps and air combos. This verticality became a series staple for later Marvel fighting games from Capcom.
More than just differentiating the games in what would become the Marvel Versus series from other fighters, the series’ verticality brought a giant shift in how the game was balanced, compared to traditional 2D fighters.
Airspace Control
To understand why the Marvel series’ super jump height brought about such a massive shift in balance, we first need to look at one of the most important concepts behind 2D fighting games. At their core, 2D fighting games are primarily about space control. Each move controls a certain amount of space, and the properties assigned to that move, hit boxes, hurt boxes, vulnerabilities, and even frame data determine how good that move is at controlling that space.
One of the most important spaces to control in fighting games is the air, as jumping is a common way to bypass moves that control horizontal space. In most games prior to X-Men: Children of the Atom, this was a risky move since jump-ins could easily be punished by anti-airs–moves that control vertical space. There are two factors in these games that help make anti-airs strong. First, they start from the ground; a character does not have to jump to perform them. Second, the vertical space of the game is itself quite low–meaning that these anti-airs don’t have to control as much space.
With the super jump height of the Marvel series’ however, traditional anti-airs are weakened. The higher vertical height makes it easier for characters to get around them. Additionally, players also must give up a lot of horizontal space on the ground when pulling them off. Combine this with the additional options in both movement and attacking that super jumps give, and being higher up can be much more advantageous in these games.
For a practical example of how the Marvel series’ vertical space affects balance, look no further than its effect on the “shoto” moveset. The shoto moveset of Ryu (and Ken) has been called by some “the perfect moveset,” with a projectile to control horizontal space, a rising uppercut to control vertical space, and third move (the tatsumaki kick) that moves them forward. In the Marvel Versus games however, this moveset isn’t quite as perfect: Ryu cannot implement his traditional zoning game because super jumping makes it so much easier to get around both his horizontal and vertical space control tools. What was “the perfect moveset” in Street Fighter II is no longer such in the Marvel games, and Ryu tends to struggle in these games as a result.
Breaking Traditional Space Control Roles
The verticality of the Marvel series required a significant rethink of how space control was implemented in the series. The solution that Capcom came up with was to break the traditional space control roles, to help fill out the void left by these weakened anti-airs.
This breaking of traditional roles can be seen in how the series reworks the tools for controlling horizontal space, projectiles and long range pokes, and uses them to control vertical space as well. Perhaps, the most straightforward example of this is how certain anti-airs, such as Cyclop’s “Gene Splice” and Charlie’s “Flash Kick,” gained projectile elements. Other characters gained a myriad of vertical and diagonal projectiles as they were brought into the series.
Yes, that’s a dragon punch that shoots a fireball.
Beams on the other hand aren’t true projectiles (they’re not separate from the character), but function as long pokes, like Dhalsim’s limbs in Street Fighter, but without vulnerable hurtboxes. These include beams that go purely vertical such as Storm’s “Typhoon,” Dormammu’s “Purification,” and of course Captain Commando’s “Captain Corridor.”
Still one of the best anti-air beams in the business.
Aside from allowing these tools to control space from the ground, the series also allows them to control space from the air–going downward, instead of upwards. This is arguably even better, as it allows a character to keep their opponent grounded while maintaining the high ground. Even more devious is when we have a projectile that does both, such as Dr. Doom’s “Hidden Missiles,” allowing for the advantages of both, making for a very useful move (this alone may be the main enabler for Morrigan’s “Astral Vision” trap).
Of course, with projectiles and pokes being given greater roles, other special moves, as well as movement itself, needed to be made stronger. Part of this was done by giving characters more aerial movement, such as multi-directional air dashes. However, that isn’t the only solution (nor the most interesting): some characters instead received aerial moves that moved quickly through the field while dealing damage.
No air dash? No problem.
Meanwhile, some characters who may not have had a lot of aerial options were given really good ground options instead. These characters, such as Vergil, Wolverine, and Strider, were designed so that they could lock an opponent down and prevent them from taking to the air. In fact, most pixie-style rushdown characters fall into this style, using a combination of fast movement, and the occasional teleport for some characters to bulldog their opponents.
Now, while traditional anti-airs have had their role lessened, they still have their place. These moves become more focused into being reversals, or combo filler. Yes, some effort was made to try to make them more effective in the early games, either by increasing their range, or just flat out giving them projectiles. However later versions seemed more in tune with making them excel in their limited roles such as making Wolverine’s “Tornado Claw” cancel-able to super.
Taking these together, we can see that a good combination of vertical space control beams or projectiles, combined with good movement or fast moving specials, would be the Marvel series’ equivalent of a “perfect moveset.” Indeed, this has become the foundation of some of the best teams in the later, assist-heavy incarnations of the series such as Justin Wong’s Storm/Sentinel/Cyclops in Marvel vs. Capcom 2, or Chris G’s Morrigan/Dr. Doom/ Vergil in Ultimate Marvel vs. Capcom 3.
Moving Forward
Now a good number of you must already be ready to type comments about how the Marvel games aren’t the only ones with a tall stages and super jumps, and you’d be right. The series may be the ur-example of this, but other games have followed suit and given their own takes on verticality in 2D fighters. This makes the concepts first explored in the Marvel games’ all the more important for both developers and players to understand.
For the developers looking to create similar fighting games with any degree of verticality, understanding the concepts first put out in the Marvel series–and then adapted by other games–can help them with their own games. Understanding how the vertical space affects balance ultimately leads to better-balanced games.
Meanwhile, for players like us, understanding these concepts can help us make better choices in-game: both in our choice of which characters to use, and the moves and tactics that we employ with these characters–leading us to be better players.
Protect your weapon of choice and carry it with style.
Splitframe, makers of the FS Transporter fight stick bag, have partnered up with Evo to produce a new quality fight stick bag with official Evo branding: The Evolution Championship Series Transporter!
From Splitframe: “We are proud to be able to partner up with the Evo Group in 2017 to produce the best fight stick bag on the market. The Evo brand is what we see as the pinnacle of FGC esports. With this in mind we set out to once again to improve on our previous design. The result? Mission accomplished.”
As a new, limited-edition version of the FS Transporter, it features improved water-repellent and breathable fabric, waterproof zippers, adjustable internal padding, and an easy side-loading design. It sports an internal width of 19″, allowing it to be used for the following common fight sticks:
HORI Fighting Edge, RAP4, RAPV, RAP2, RAP3, RAPEX
Mad Catz TE2, TE2+, TES
Qanba Obsidian, Q2, Q4, Crystal
Razer Atrox, Panthera
This new fight stick bag is now available for pre-order, at a reduced pre-order price of $104.98 USD (regular price: $119.98 USD), and pre-orders are open now for an expected ship date of June 1st–ideally, just in time to ship to most destinations before the Evo 2017 event. According to Splitframe: “Make no mistake, this is our best effort by far and for the Evo Championship™ brand, expect nothing less. The best FGC Event receives only the best.”
While information is still scarce, this editorial lays out potential problems at design level that could put a big damper on the acceptance of Ultra Street Fighter II by the competitive community. It does seem like the Switch title is built with a casual audience in mind–which may yet result in a fun diversion, but deny a serious return of SFII to the tournament arena.
As a longtime of UDON (including the noodles, actually), Street Fighter and Darkstalkers, I’m really looking forward to this crossover series; these fantastic covers are just another incentive to get to the comic shop and pick this series up as it releases throughout 2017.
Missing Person pulls no punches in calling out a mentality that seeks patching out in-game “problems” rather than looking for solutions in the existing game’s build. The Season 2 build of Street Fighter V seems to fit this model, and the overall FGC reaction to it might help fuel a wake-up to the idea that maybe if a character is proving too powerful, maybe it’s just because the metagame hasn’t found the way to shut them down yet.
Dedicated GG fans have helpfully translated Baiken and Answer’s movesets into English, as well as the important balance changes coming in REV 2. With REV 2 being on the Evo 2017 title-card, you better start studying up!
Just in time for Evo, Bandai Namco have announced that Tekken 7 will be releasing a little later than anticipated on June 2nd. With some more time to polish everything up, expect Tekken 7 to be quite the package when it launches on console and PC.
With its recent press push, NetherRealm have confirmed that the Boy Wonder will be joining the roster in Injustice 2. Based off the fifth Robin and son of Batman Damian Wayne, this brooding hero will slice opponents in half with his gnarly sword.
Shroomed is one of those players that seem consistently on the brink of greatness, so it’s fascinating to get a bit of insight into his thought processes. He makes some particularly interesting statements about his own development, and how it might continue in the future. Frame 3: Marvel Minds Returns with an In-Depth Look at Not Enough Damage vs. K-Brad at KIT 2017
This is my first encounter with Marvel Minds, and I’m just blown away by the quality of both the production and analysis here. This has allowed met to understand a great set of Marvel in a way that I had never been able to before, and is without a doubt one of the best pieces of Marvel content I have ever seen.
Joey Cuellar took to Red Bull eSport’s Twitch channel in a special Reveal Show, and laid out what games we’ll be competing in this July in Las Vegas–minus the yet-undetermined ninth game, which is up to us to vote for through donations to Make-a-Wish International.
Editor’s note: The views expressed in this article and the selected posts are solely those of the writers, and do not reflect Shoryuken.com as a whole.
While information is still scarce, this editorial lays out potential problems at design level that could put a big damper on the acceptance of Ultra Street Fighter II by the competitive community. It does seem like the Switch title is built with a casual audience in mind–which may yet result in a fun diversion, but deny a serious return of SFII to the tournament arena.
As a longtime of UDON (including the noodles, actually), Street Fighter and Darkstalkers, I’m really looking forward to this crossover series; these fantastic covers are just another incentive to get to the comic shop and pick this series up as it releases throughout 2017.
Missing Person pulls no punches in calling out a mentality that seeks patching out in-game “problems” rather than looking for solutions in the existing game’s build. The Season 2 build of Street Fighter V seems to fit this model, and the overall FGC reaction to it might help fuel a wake-up to the idea that maybe if a character is proving too powerful, maybe it’s just because the metagame hasn’t found the way to shut them down yet.
Dedicated GG fans have helpfully translated Baiken and Answer’s movesets into English, as well as the important balance changes coming in REV 2. With REV 2 being on the Evo 2017 title-card, you better start studying up!
Just in time for Evo, Bandai Namco have announced that Tekken 7 will be releasing a little later than anticipated on June 2nd. With some more time to polish everything up, expect Tekken 7 to be quite the package when it launches on console and PC.
With its recent press push, NetherRealm have confirmed that the Boy Wonder will be joining the roster in Injustice 2. Based off the fifth Robin and son of Batman Damian Wayne, this brooding hero will slice opponents in half with his gnarly sword.
Shroomed is one of those players that seem consistently on the brink of greatness, so it’s fascinating to get a bit of insight into his thought processes. He makes some particularly interesting statements about his own development, and how it might continue in the future. Frame 3: Marvel Minds Returns with an In-Depth Look at Not Enough Damage vs. K-Brad at KIT 2017
This is my first encounter with Marvel Minds, and I’m just blown away by the quality of both the production and analysis here. This has allowed met to understand a great set of Marvel in a way that I had never been able to before, and is without a doubt one of the best pieces of Marvel content I have ever seen.
Joey Cuellar took to Red Bull eSport’s Twitch channel in a special Reveal Show, and laid out what games we’ll be competing in this July in Las Vegas–minus the yet-undetermined ninth game, which is up to us to vote for through donations to Make-a-Wish International.
Editor’s note: The views expressed in this article and the selected posts are solely those of the writers, and do not reflect Shoryuken.com as a whole.
Patching or Adaptation? Adaptation Should Always Be the First Approach
Guilty Gear Xrd REV 2: Baiken & Answer Movelists and Patch Notes from the First Location Test
What Does Bandai Namco Need to Do to Reignite the SoulCalibur Series?
Pre-Genesis 4 Interview with Shroomed: Discussing Melee Character Choices, 2017 Goals, and More
Marvel Minds Returns with an In-Depth Look at Not Enough Damage vs. K-Brad at KIT 2017