You are getting warmer detective. Keep it up👍
'The Official Book of Wall-Bounce': "Finally! after years of game-testing, I solved the mysterious mechanics of wall-bounce!"
Why do I feel like ur trolling him so hard
Shhhhhh. I wanna see how long we can keep this up
Right behind the ears and temple, I have a holy souly temple, that surely resembles shirly temple, with the diversity & nuance of salt & pepper, a cursed verse never rocks my boat off kilter, from a board or any abode; nor can an weilder ‘tan my hide’ from a spank , ‘apple pie high in the sky’ is still in my tank, just ain’t only swimming w/the fishies dieing naturally under the weather, & over yonder an estate of pocket full of sunshine left behind yet sublime w/my neon count sub-dime, more like 9, inners went to science to dissect the unraveling jest of death w/ disassembled disavowed pride & will in tact but thee stench of dieing dying corpse color still a fact.
No problem boys I have the innocence like shirly temple; just rate this above verse out of 10 if you can. I thought about after watching shirly temple movies w/grandma.
Oh gracious. I’m lost
I think good gracious is more southern of a response
Well, I’m from redneck country
Replying later I guess got to go to granmas now didnt expect you to reply so fast lol but its cool cant be late to grandmas.
Try rating out of 10 for me plz, I tried to make every word eventually ryme with something somwheres down the line
Don’t go. Grandma has a long snout and a big appetite
I think I would know if Grandma was the big bad wolf or not after all in that children’s book He did have a big long snout but then again, if that child who had the innocence like Shirley Temple, then maybe I wont either; ok figured it out now gotta run away from hotspots and wifi so i dont get distracted by any more of your replys lol
What the heck just happened here?
The Clown happened. Thats what
Well I think you and lord shepard were destined to be friends
Can i get cliff notes of this?
That’s the only explanation
I’m going to have a blast reading this. hopefully I retain some of the points in this and I can improve.
The 7th edit i corrected everything but that apparently didnt mean that i was done editing. So with this 9th edit I worded it differently or added more detail so after 1 read, everyone could understand it, b/c some things werent before this 9th edit; now whether you can maintain it all is ‘another story’ lol.
Neithertheless try reading it now. I’ll appreciate it & I think youll understand this one better b/c its more understandable. Thanks anyhow eventually im gonna reply to that one guy with cliff notes; but that should be all i need to do pretty much from now on.
Very well written.
Please convert to PDF for better reading experience
Ideally always get the angle ahead of time needed to transition to next location, while maintaining the middle alignment, of 2 adjacent walls, (see book) plus having your character position far from center of camera’s screen (character-camera ratio: in book) when at middle alignment of 2 adjacent walls, because to maintain alignment of 2 walls (middle alignment) you need to do your wall cancels and transitions at that spot, meaning pressing A and moving your joystick(s) at that spot as well. Why do you need to do that? because the further away from middle alignment, the more your transitions will be more to the side, propelling you in a directional line more to the side and thus slower forward. Why do you got to move camera to the point where your characters off center from the middle of the camera but while still maintaining middle alignment? because middle alignment puts you at an advantage already and the game registers you r character at center-screen, at all times so the further away you are in a ‘character to camera ratio format’, (on these speaking terms) you will have your character reach a farther trajectory transition line from where the character was before. Take in consideration how little is needed for your stick(s) to be moved to maintain middle alignment, and when in the furthest distance side before transitioning to next side is when you want to get a bigger difference from camera angle and character angle off center screen, but that’s only when the next wall is separate and not parallel; and why’s that? because you want to be closest to the wall that your gonna transition to the next wall, to avoid rolling when starting next transition to separate non parallel wall, to get the furthest distance ready to attain from non parallel wall’s transition, and because since your in the midst of non parallel walls you can use a bigger character to camera ratio to your advantage w/out sacrificing middle alignment by using it in the middle of 2 non-parallel walls, and not parallel walls, also the fact you don’t want to get closer to another one side of a wall more than the other of parallel walls.
You only have a slow switch/hold of a joy stick(s), position in wall bouncing, if you want to avoid getting into a wall/walls direction, or want to get into a wall/walls direction. other then that always have a fast switch of joy sticks movement: as fast as it takes to have a fast roadie run directional change and cancel, but now implemented within wall bouncing.
To get out of rolling faster, You use the wall, by getting into cover having your character facing the opposite way you want the camera, (as in a suction bounce/changing character-camera ratio) and move your camera around while ‘in’ roll to go back to the opposite direction after rolling.
You need 2 opposing directions to wall cancel, you can remain in a direction to initiate the 2 opposing directions needed beforehand. In this case up on left joystick, as left stick will register faster then right anyways, so always include the left or have what the left’s doing in mind, as it is the main factor of what or where you’ll go/do next. This 2 opposing direction explanation explains why including all the way up and back directional strokes on your left thumbstick causes a cancel faster then not including that motion.
To ‘Suction Bounce’ (see book) you acquire it when changing your character to camera ratio around and ‘drawing’ some help from a body bounce(es); then once the wall helps you start out facing backwards going forward, you then can have that angle untill you bounce back around: everytime you turn around you want to body bounce using a wall to maintain the backwards facing going forward placement, or just use a quick 360 degree to have and start from that angle - character ratio, until you rotate again having to do the same thing. To wall bounce backwards facing forward its acquired by having long or far movement(s) on joystick(s) to propel more side to side rather forward.
Some tricks are: roadie canceling directions fast and using a circle bounce camera ahead of time to transition from roadie run to circle bounce/wall bounce fast. doing a circle bounce camera after a fast roadie run
changed directional, during a wall swap animation.
Ideally, always shoot fast out of cover and go fast into cover, with one of the ways the book ‘out lays’ and describes. ( w/a camera spin, w/a diagonal downward on LFT thumbstick, or w/a back A w/aim ) If needed you can avoid getting shot from one side of a wall by staying ‘stuck out’ from the other end of the wall.
Ideally you only rush someone in a 1v1: if you land shots on them first, you’re not too damaged and they are running away not positioning themselves behind ‘close by cover’. As same goes for you; don’t try to make a far distance away from cover to reach cover. use back A shots with slap shots, because sometimes when there’s enough cover covering you; you can get shots a slap shot can’t. Ideally with public matches w/a bunch of enemies you always want to take a few secs to check your surroundings, w/a fast roadie run changed directional to get fast views. Urgently, eliminate getting yourself in any life or death situations that require a shot you’re bad at and/or rarely get, or just eliminate it entirely. You will get into cover faster if you don’t shoot, before making a transition in reaching cover. Thus urgently know that sometimes in seeking cover you need to not shoot before or at all until you are protected, enough.