[0:01] [Music]
[0:08] we as humans
[0:09] tend to like stereotypes it helps us put
[0:11] things in easily understandable
[0:13] categories
[0:14] and more easily make predictions and
[0:15] guesses based on what we think we know
[0:17] it makes sense that these stereotypes
[0:19] would find their way into popular
[0:20] culture as well
[0:22] many people would call batman a
[0:23] vigilante but less people would consider
[0:25] superman a vigilante
[0:26] even though technically he is that's
[0:29] because our idea of a vigilante is a
[0:31] small time hero protecting his community
[0:33] and not a space warrior fighting gods
[0:36] stereotypes also find their way into
[0:38] video games but appear in a slightly
[0:40] different form
[0:41] a stereotype is usually about a
[0:43] character's well
[0:44] character obviously one's personality
[0:47] can only affect gameplay so much
[0:49] which is why oftentimes video game
[0:51] characters fall into archetypes
[0:53] think of the tank a strong powerful
[0:56] character who specializes in protecting
[0:58] himself and his teammates while the
[1:00] glass cannon kills quickly but dies just
[1:02] as fast
[1:03] these archetypes play a big role in many
[1:05] popular video game franchises but in
[1:07] fighting games the scene is a little bit
[1:08] different
[1:10] it's not as easy to assign archetypes to
[1:12] characters who exist in such limited
[1:13] spaces
[1:14] being on a 2d plane instead of a
[1:16] battlefield or a capture point
[1:17] that's why character archetypes in
[1:19] fighting games tend to fit a little
[1:20] looser than
[1:21] roles in an fps usually a character
[1:24] archetype in a fighting game refers to
[1:26] the general game plan the character
[1:28] wants to run
[1:29] for example a grappler wants to get
[1:30] close up and grab you
[1:32] that being said in most cases one
[1:34] archetype doesn't encompass a character
[1:36] fully
[1:36] lots of times you'll see combination
[1:38] characters who do one or more things
[1:40] exceptionally well
[1:42] i like to envision fighting game
[1:43] characters as a recipe
[1:45] each character takes varying amounts of
[1:47] ingredients from their archetypes
[1:48] and then are prepared in a way that
[1:49] makes them unique for example if you
[1:51] were to cook a soul bad pie you would
[1:54] need fifty percent rush down
[1:55] thirty percent grappler twenty percent
[1:57] shadow and a hint of states change
[2:01] for this video i will briefly discuss
[2:03] what i think each type
[2:04] is and what i believe to be their
[2:06] strengths and their weaknesses
[2:15] first up we have shoto's named after ryu
[2:18] and ken from street fighter's fighting
[2:19] style of shotokan karate
[2:21] shoto's are designed to be all-around
[2:23] characters they are usually the type of
[2:25] character who generally falls into the
[2:27] jack of all trades master of none
[2:29] stereotype and generally excel at
[2:31] footsies using their wide array of tools
[2:33] to win the mid-range game
[2:35] most shadows typically have access to a
[2:38] strong fireball
[2:39] an invincible reversal a strong anti-air
[2:42] a projectile invincible attack good and
[2:45] honest buttons
[2:46] and finally a decent walk speed and
[2:48] health pool
[2:50] examples of the shoto archetype would be
[2:51] ryu from street fighter
[2:53] kai from guilty gear or even mario from
[2:55] [Music]
[3:02] smash
[3:09] grapplers are a powerful bossing class
[3:12] that specialize in getting up close to
[3:13] the opponent and dealing massive damage
[3:15] with just one mix-up
[3:17] the name grappler comes from their
[3:18] trademark command gram which is a main
[3:21] staple of practically every grappler's
[3:23] toolkit
[3:24] grapplers are designed to strike fear in
[3:26] the hearts of their opponents
[3:27] then squeeze the most they can out of
[3:28] their opponent's every mistake
[3:31] usually these characters have a tough
[3:32] time getting close to an opponent but
[3:34] once they do
[3:34] it's game over a grappler's major
[3:37] weakness tends to be its lack of range
[3:39] grapplers are usually slow and tend to
[3:41] not have moves to circumvent projectiles
[3:43] or keep away
[3:45] because of this grapplers lives hard to
[3:47] the zoner archetype
[3:48] that being said grapplers tend to
[3:50] perform very well against the rushdown
[3:52] character archetype
[3:53] as both need to be close range to
[3:55] function well and the rushdown character
[3:57] often does the work of closing in on the
[3:58] grappler for them
[4:00] examples of grapplers would be zangief
[4:02] from street fighter
[4:04] potemkin from guilty gear and cerebella
[4:07] from skullgirls
[4:30] zoners love to keep their distance while
[4:32] a grappler excels at close range
[4:34] zoners like being half screen or more
[4:35] from their opponent
[4:37] zoners typically have lots of long range
[4:40] attacks at their disposal to pressure
[4:41] their opponent from afar
[4:43] a very strong projectile and a tool used
[4:45] to knock the opponent back once they've
[4:47] closed in
[4:48] inside the zoner archetype there are two
[4:50] smaller categories of zoners those being
[4:52] projectiles owners and normal based
[4:54] sellers
[4:55] the key difference between these two
[4:56] archetypes are the tools that they use
[4:58] to sell
[4:59] the projectiles owner uses two or more
[5:01] strong fireballs to keep the opponent at
[5:03] bay
[5:04] then they abuse these strong fireballs
[5:06] by making the opponent want to jump in
[5:08] then countering with a powerful anti-air
[5:10] attack
[5:11] the normal base zoner usually uses long
[5:13] range normals
[5:14] by way of a long-range weapon or
[5:16] extendable limbs to make sure the
[5:17] opponent can't close in
[5:19] these characters tend to have extremely
[5:21] slow attacks but ones that cover pretty
[5:23] much anywhere on the screen if you know
[5:24] how to use them
[5:25] a unique weakness of the normal bass
[5:27] sonar is that their extended hitboxes
[5:29] can normally be attacked by the opponent
[5:31] leading to a counter hit that allows the
[5:32] opponent to close it
[5:34] zoners tend to struggle when the enemy
[5:36] gets in usually lacking strong up close
[5:38] buttons or a reversal of any kind
[5:40] because of this the rushdown character
[5:42] archetype tends to be designer
[5:44] adversely the zoner dominates over the
[5:46] grappler keeping him at bay
[5:48] and forcing him to take what the zoner
[5:50] dishes out
[5:52] examples of a projectiles owner would be
[5:54] guile from street fighter
[5:55] or peacock from skullgirls examples of a
[5:58] normal base owner would be dalson from
[6:00] street fighter or axel from guilty gear
[6:19] [Music]
[6:24] they want in and they want in now
[6:28] rush down or the less flattering unga
[6:30] bunga play style revolves around
[6:32] charging headfirst at your opponent
[6:34] with little regard for your own safety
[6:36] rush down characters want to close in on
[6:38] their opponent similar to a grappler
[6:39] but functions differently in the fact
[6:41] that a rushdown character tends to need
[6:42] to get in multiple times to win
[6:44] and usually has more tools to do it than
[6:46] a grappler a grappler's main
[6:48] weakness is getting in but once they're
[6:49] in they win
[6:51] a rushdown's main strength is getting in
[6:54] but this is usually balanced out with a
[6:55] low health bar poor footsies and poor
[6:58] range
[6:58] rushdown characters typically have very
[7:00] fast buttons
[7:02] lots of ambiguous cross-ups and mix-ups
[7:04] a way to negate the effects of a
[7:06] fireball
[7:07] extremely fast movement speed and strong
[7:09] up close pressure
[7:11] the matchups for a rushdown character
[7:13] typically are dependent on the game
[7:14] you're playing
[7:15] as in some games grapplers shut down the
[7:17] rushdown's close game
[7:18] and in other games it's the exact
[7:19] opposite generally though
[7:21] rushdown loses to grapplers and beats
[7:23] his owners and shoulders
[7:25] examples of rushdown characters would be
[7:27] kami from street fighter
[7:28] leo from guilty gear and everyone from
[7:31] dragon ball fighters
[7:37] puppet characters only for the most
[7:40] skilled of players
[7:41] truly the most difficult fighting game
[7:44] archetype
[7:45] and no bash did not pay me to saints
[7:49] puppet characters are unique in that
[7:51] they control two characters with just
[7:53] one controller this can be done in many
[7:55] different ways but typically we see both
[7:57] characters moving at different spots
[7:58] with the same inputs
[7:59] for example you input a move to summon a
[8:01] dummy full screen then make both
[8:03] characters walk forward
[8:04] press punch and the dummy and you both
[8:06] attack covering two different positions
[8:08] the enemy could be in
[8:09] this simple concept builds on itself so
[8:11] much and ends up becoming an incredibly
[8:13] difficult concept to master
[8:15] as characters with this strength usually
[8:17] have major weaknesses elsewhere
[8:19] puppet characters generally excel at
[8:21] pressure from anywhere and everywhere
[8:23] while they tend to have extremely poor
[8:24] defense it also doesn't help that by
[8:27] themselves
[8:28] each character's normals and specials
[8:29] tend to be underwhelming at best
[8:31] you really have to learn how to use your
[8:33] characters in tandem with each other to
[8:35] get the most out of them
[8:36] puppet characters tend to lose to rush
[8:38] down characters and win against
[8:39] grapplers
[8:40] examples of a puppet character would be
[8:42] zotto one from guilty gear
[8:44] misfortune from skullgirls and rosalina
[8:47] and luma from smash brothers
[9:00] an admittedly similar archetype to the
[9:02] puppet character
[9:03] stance characters split their utility
[9:05] not between two bodies but between
[9:07] two modes usually stance characters will
[9:10] be focused around a single input that
[9:12] changes most if not all of their moveset
[9:14] a stance character could be a rushed
[9:16] down character one second but transition
[9:18] into a grappler or his own or the next
[9:21] the weakness of a stance character tends
[9:22] to come from being in the wrong place at
[9:24] the wrong time
[9:25] as it takes time to switch move sets and
[9:27] in a genre where matches can be decided
[9:28] in seconds
[9:29] usually is not a good thing to waste to
[9:32] help balance this out
[9:33] stance characters are usually given
[9:34] overwhelmingly strong tools for the
[9:36] function they try to perform in their
[9:37] stance
[9:38] while having next to no tools for
[9:39] anything else because of the nature of
[9:42] stance characters being a combo of two
[9:43] archetypes there are no really
[9:45] any good matchups or bad matchups for
[9:47] the archetype
[9:48] that will come down to what two move
[9:50] sets they switch between
[9:52] examples of a stance character would be
[9:53] gen from street fighter
[9:55] vega also from street fighter and leo
[9:58] again
[9:58] from guilty gear
[10:08] another very niche archetype composite
[10:10] characters are characters that are made
[10:12] out of other characters
[10:14] now you might be tempted to think that
[10:15] these are clone characters or that i
[10:17] might be saying the word character too
[10:18] much
[10:19] but you would actually be incorrect
[10:20] idiot a clone character takes
[10:23] one character's toolkit and animations
[10:24] and repurposes them slightly to fit a
[10:26] different set of skills
[10:28] a composite character takes exactly the
[10:31] same attacks of many characters
[10:33] and matches them all together in one big
[10:35] goopy pile
[10:37] these characters are rarely seen as it
[10:39] is hard to make them make sense by a
[10:41] lore perspective
[10:42] how can you have one character that is
[10:44] 18 different characters
[10:47] these characters typically have attacks
[10:49] with the exact same animations and frame
[10:51] data as the character they're ripped
[10:52] from
[10:53] but function entirely differently in the
[10:54] context of their move kit as a whole
[10:57] the only real notable example of a
[10:58] composite character would be double from
[11:00] skullgirls
[11:01] while some lesser examples include kirby
[11:03] from smash and seth
[11:04] specifically his street fighter iv
[11:06] appearance from street fighter
[11:08] okay i'm done saying character so much
[11:10] you can you can rest
[11:11] now sorry i didn't mean to call you an
[11:14] idiot either
[11:15] sorry subscribe
[11:17] [Music]
[11:24] a much rarer archetype the mix-up
[11:27] character is built around hitting the
[11:28] opponent in ways they don't expect to be
[11:30] hit
[11:30] this includes lots of high-low mix-ups
[11:33] cross-ups and unders
[11:34] and grabs or unblockables usually these
[11:37] moves will share a similar animation to
[11:39] each other to make it hard for the
[11:40] opponent to tell which one they're going
[11:42] for
[11:43] a general weakness of the school of
[11:45] design is that the new player
[11:47] won't understand what a mix-up character
[11:48] is doing and will get frustrated
[11:51] while the high-level player will see
[11:53] through all of the mix-ups and destroy
[11:55] that same character
[11:56] because of this mix-up characters tend
[11:59] to be avoided by fighting game
[12:00] developers
[12:02] examples of mix-up characters would be
[12:04] el fuerte from street fighter
[12:06] lohane from grambling fantasy versus and
[12:09] anji from guilty gear
[12:11] although anji was the only one that was
[12:13] actually done right
[12:14] but that's a topic for another video
[12:24] many people define a gimmick character
[12:26] as one that abuses one or two strong
[12:28] options in a kit that makes them strong
[12:29] but i believe this definition to be
[12:31] false my definition of a gimmick
[12:33] character
[12:34] is one that relies on a mechanic not
[12:35] defined by the universal mechanics of
[12:37] the game
[12:38] for an example say you walk outside and
[12:41] you expect to be
[12:42] following the rules of gravity right but
[12:44] then old jimbulis iii comes up
[12:47] and he has a special meter that lets him
[12:49] float for a certain amount of time
[12:51] disregarding everything you previously
[12:53] knew about how the world works
[12:56] jongulus or whatever i said would be a
[12:58] gimmick character
[12:59] gimmick characters in my opinion are
[13:02] characters that
[13:03] don't follow the rules previously set by
[13:05] the game
[13:06] now lots of people would tell you this
[13:08] is a bad thing but i personally don't
[13:10] believe that to be true
[13:11] i think gimmick characters if done
[13:13] correctly can be really fun to play as
[13:16] and extremely fun to watch
[13:19] examples of gimmick characters would be
[13:21] bed man from guilty gear
[13:24] actually just a lot of the characters
[13:26] from guilty gear
[13:37] our final fighting game character
[13:39] archetype set play characters generally
[13:41] have very strong options for any
[13:43] situation
[13:44] with the drawback being that they have
[13:45] to set them up by way of a separate
[13:47] special move input or specific
[13:48] application
[13:50] these characters tend to fish for early
[13:51] knockdowns in the neutral with which
[13:53] they use the free time from to set up
[13:55] their abilities
[13:55] making it hard for the opponent to deal
[13:57] with them a major weakness of this
[13:59] character type is that if the enemy
[14:01] never lets them get set up
[14:02] they tend to have pretty weak options in
[14:04] general setplay characters want to
[14:06] snowball on you
[14:07] and you want to snowball on them
[14:10] examples of set play characters would be
[14:12] jacko from guilty gear
[14:13] answer also from guilty gear and jury
[14:16] from street fighter
[14:21] understanding each of these archetypes
[14:22] and how they apply to the characters you
[14:24] play
[14:24] can help new players figure out what
[14:26] types of characters they enjoy
[14:28] as well as how to deal with certain
[14:29] other characters i'm planning on making
[14:32] a character guide slash recipe book for
[14:34] guilty gear exart rev2 in the future
[14:36] and we'll go in more detail about what
[14:38] each of these archetypes mean to each
[14:39] character it applies to
[14:41] for now though that's all this has been
[14:43] adventure and i hope to see you in the
[14:45] next one
[14:56] peace
[15:05] [Music]
[15:10] [Music]
[15:22] [Music]
[15:40] you