Friday, May 13, 2011

Buy Pokemon Doujinshi Online

Response to Situations and Response Time (On Reaction)



Another little gem of Blog Saunic I take the time to translate. It goes without saying, the title says it all, and more the rich text content with videos as an example. Recommended not only for those who want to improve on fighting games, but for those who enjoy a great read. Not noted for its size but for its clarity.

If you have any questions, you always have available the Glossary of Terms and Notations Manual.


Link to original: Click


Enjoy reading. All credits to Saunic for such valuable input.

Many people admire the response time of the best players, like running a anti-air , Ultra Combo or just a Whiff-Punish . But in reality it is more of mental preparation and play.


When we say that Street Fighter IV is a game quite square, this means you will be exposed to situations and problems that sometimes can only be settled by a single path or solution, and not always that way or solution will be most helpful, in fact, have to strive to avoid certain situation or problem, limiting its scope. The typical example is Zangief : If your character is very close to the Russian wrestler (enough to be struck by its powerful prey), the reaction more quickly comes to mind is removed from the danger zone. For some characters this means off. If Zangief SPD Low ago, his character can avoid this action and attack, whether it be jumping or away from the reach of Special Move. But there are certain characters with the same solutions, the combat will be like throwing a coin into heaven and avoid complicated situations at all costs.


Returning to the subject of reflexes and reactions, there are actually be able to distinguish between rival options depending on the situation and focus on those higher priority, ie those in which the rival attempt make or cause more frequently. Once built and understood these options, your brain will be better prepared to react.


A player Ryu that achieves the hit Ultra Combo I, Metsu Hadouken , will have been able to wait for the situation, take advantage and have not hesitated for an impromptu or fraction of a second. This also explains well why some players are capable of doing contras in difficult situations but do not take situations with gross errors in their favor.


Example: Haneyama failed to take advantage of repetitive Hadouken of Daigo to use the Ultra Combo Chun Li, when he had several opportunities to do so since the bar was 100% Ultra and Daigo could do no more than a Hadouken FADC. He could not for the simple reason that it rejected the idea that having available the Ultra, Daigo not use more Hadouken. Instead focused on countering the overtures of Daigo, and does it very well (hit the jump Ryu with HP * 2 and combined EX and EX Hyakurestu Kyaku Spinning Bird Kick). But the air against requires more reflexes that make it simply an Ultra Combo. Daigo soon understand the strategic game Haneyama and proceeds to find and exploit the weaknesses of the opponent.





Never happened to feel sorry for the rival game "that makes any thing ", ie, does nothing of what you expect and over not in a position or condition to do them? This happens because it ignores considers options and answers that will not happen. For example, if a player Zangief is with you constantly avoid the melee, exclude the idea of \u200b\u200battacking with SPD. But if you attempt to come and have a melee, Zangief can doubt or confused, and I did not expect such a response.


This improved knowledge of the game options is also reflected in a better game on the ground. For example Ibuki and after his LK Tsumuji to Ryu, one of the most common reactions of the opponent will attack with the best poke, namely cr.MK , which can be countered by Ibuki with St.MK after stepping back a bit.


vs Ryu Ibuki


Obviously if Ryu does a Shoryuken counteract the st.MK of Ibuki, but would be a risky choice because it expose too much in case of failure. It could also make a cr.HK (the second option would be logical Ryu), but Ibuki also could counter this attempt with f + HK. It is for this reason that I usually take a round to understand the reactions of rival Tsumuji before doing anything after the Special Move. mode Training (Training) must consider all possible cases not to be caught in a fight. It can help to know how far his character, even driving all Select Option and combos.


However it is not important to read this, there are players with reflections sickly, able to calculate the millimeter a situation and react in a very short time. This is significant in the case of some confirms, with a good mental preparation (such as an attack with cr.MK, then double quarter-circle and press P if the first blow was successful, otherwise do nothing), some proved to be able to succeed in situations where only confirms it was possible.


Example Street Fighter III 3rd Strike: Boss (Makoto) achieves st.HP to SA2 (Abare Tosanami Kudaki) when Urien was mil guard position before.


Boss (Makoto) vs Ushi (Urien)


Grossomodo, if you want to improve your game must:

* know all possible situations or at least know the situations that usually occur. Know your options as those of rival and to distinguish the situations are not the same as the character's rival, and sometimes are not equal with the player we have in front regardless of the character.

* Learn how to counter the rival options.

* know that options can be neglected, in other words, those who ignore them because the opponent can not generate or provoked. This will make your reaction time and improves concentration more precisely. Still have to keep an open mind to other situations because it obviously is not immune to everything.

* Feel free to exploit the Training Mode (Training) in depth, serves very well for this and much more.

* If in combat is facing a problem that can not resolve, change a bit the way they play: try to avoid the problem instead of closing on your game. It is one of the best ways to know your character, do what is not used to doing.

* And if you lose, it's your fault! "I had to know."

Tuesday, May 10, 2011

Where Can I Get A Bomba Alarm Clock

NIÑOS ENVUELTOS

This is one of my favorite recipes for practice and rendidira.

INGREDIENTS (serves 6)
  • 12 rump roasts or steaks to the famous Milanese.
  • salt and pepper to taste
  • 1 can of pate de foie
  • the crumb of a loaf of bread (soaked in milk)
  • 1 clove garlic 1 tablespoon
  • cheese
  • 1 egg 1 / 2 cup oil
  • 1 large onion 1 bay leaf
  • 2-tbsp finely chopped parsley 1 teaspoon
  • flour 2 tablespoons of broth or hot water PREPARATION

  • Flatten the steaks with a broadleaf knife, season with salt and pepper.
  • Place in a bowl the bread crumbs and undo it to a paste. Adding
  • paste, mix and season with cheese, salt and pepper.
  • then add the egg, attached on each steak and place a spoonful of this preparation, Arrol and fasten with a toothpick.
  • Heat oil with bay leaf, put the children involved y dorarlos por ambos lados.
  • Retirarlos. En este mismo aceite freir la cebolla y el ajo picado muy fino.
  • Cuando esten cocidos agrfegarle la harina, revolviendo con la cuchara de madera y enseguida, el caldo o agua caliente. Añadir el perejil, la sal y la pimienta.; dejar hervir unos 2 o 3 minutos.
  • Colocar los niños envueltos dentaro, cocinando sobre fuego lento con cacerola a medio tapar, durante 50 minutos.
  • Servir: Con alguna ensalada o con papas fritas cortadas en bastones finos.
Variente: Tambien se pueden cocinar en salsa de tomate  para reemplazar la salsa blanca.

Tuesday, May 3, 2011

Does Tea Tree Oil Cure School Sores

Techniques: Part 9



is nearing the end of the first stage of Technical Guide. Turn came only characters Arika who accompanied the famous Capcom fighters in their first foray into 3D.
not include Cycloid Beta and Gamma to be characters that have no original techniques, only two models without expression whose grace is customize them with certain techniques. As Ace, technical features set it apart from the rest, but will be hereinafter and which is also an ability to customize character movements as both Cycloids replaces, its range is doubled.
Allen Snider, Blair Dame, Cracker Jack, Doctrine Dark, Darun Mister, Pullum Purna, and Shadowgeist Skullomania.




ALLEN SNIDER
Special Moves
Japonés Romanización Adaptación Origen
Sourufosu Souru Foose Soul Force EX1
Raijingudoragon Raijingu Doragon Rising Dragon EX1
Justice Fist Jasutisu Fisuto Justice Fist EX1
Vorutingukikku Vorutingu Kikku Vaulting Kick EX1

Super Moves
Japonés Romanización Adaptación Origen
Faiyafosu Faiyaa Foosu Fire Force EX1
Toripurubureiku Toripuru Bureiku Triple Break EX1
Rasshinguasaruto Rasshingu Asaruto Rushing Assault FL
Rasshingureido Rasshingu Reido Rushing Raid FL


Kick shot
BLAIR DAME
Special Moves
Japonés Romanización Adaptación Origen
Upper Chute Shuuto Appaa Shoot Upper EX1
Arrow sliding Suraidingu Aroo Sliding Arrow EX1
Raitoninguni Raitoningu Nii Lightning Knee EX1
Shuuto Kikku Shoot Kick EX1

Spin Side Shoot
Super Moves
Japonés Romanización Adaptación Origen
Miller Jukonbokikku Miraaju Konbo Kikku Mirage Combo Kick EX1
Supin Saido Shuuto Spin Side Shoot EX1
Gift Fairy Fearii Gifuto Fairy Gift FL


CRACKER JACK
Special Moves
Japonés Romanización Adaptación Origen
dash straight Dasshu Sutoreeto Dash Straight EX1
upper dash Dasshu Apaa Dash Upper EX1
final punch Fainaru Panchi Final Punch EX1
batting hero Battingu Hiiroo Batting Hero EX1
Sakkaborukikku Sakkaa Booru Kikku Soccer Ball Kick EX1
Feint Dash Feinto Dasshu Feint Dash EX2 +
Jackhammer Jakku Hanmaa Jack Hammer EX3

Super Moves
Japonés Romanización Adaptación Origen
Kureijijakku Kureijii Jakku Crazy Jack EX1
Reijingubaffaro Reijingu Baffaroo Raging Buffalo EX1
home run hero Hoomu Ran Hiiroo Home Run Hero EX1
Gurandosuramusumassha Gurando Sumaru Sumasshaa Grand Slam Crusher EX2
Home Rankings Hoomu Ran Kingu Home Run King EX2 +


DARK DARK
DOCTRINE DARK
Special Moves
Japanese Romanization Adaptation Source
ワイヤー Waiyaa DARK Wire
EX1
スパーク DARK DARK DARK Spark Supaaku EX1
ホールド DARK DARK Hoorudo DARK Hold EX1
KILL blade KILL Bureedo KILL Blade EX1
EX-Puroshibu EX-Puroshibu EX-Plosive EX1
KILL wire KILL Waiyaa KILL Wire EX2

Super Moves
Japonés Romanización Adaptación Origen
KILL Trump KILL Toranpu KILL Trump EX1
DARK Shackle DARK Shakkuru DARK Shackle EX1
EX-Prominence EX-Purominensu EX-Prominence EX2
DEATH Trap Death Trap Death Torappu EX2 +


DARUN MISTER
Special Moves
Japanese Romanization Adaptation Source
ラリアット Rariatto Lariat EX1
ガンジス DDT Ganjisu DDT Ganges DDT EX1
ブラフマボム Burafuma Bomu Brahma Bomb EX1
インド ラ 橋 Indora Hashi Indra Hashi EX1
ダランキャッチ Daran Kyacchi Darun Catch EX1
大 覚 Daikaku - EX2 +
成就 Jouju - EX3

Adaptation EX1
Super Moves
Japanese Romanization Source
黄昏 ラリアット Tasogare Rariatto Twilight Lariat
超絶 鬼神 ボム Chouzetsu Kishin Bomu Chouzetsu Kishin Bomb EX1
インド ラ ~ 桥 Indora ~ Hashi Indra ~ Hashi EX1
GOD GOD - EX2 +


Pullum PURNE
Special Moves
Japanese Romanización Adaptación Origen
pull drill Doriru Purusu Drill Purrus EX1
pull air drill Kuuchuu Doriru Purusu Air Drill Purrus Prim kick EX1
Purimu Kikku Prim Kick EX1
kick Tennelle Teneru Kikku Tenelle Kick EX1
Feminauindo Femina Uindo Femina Wind EX2 +
air Feminauindo Kuuchuu Femina Uindo Air Femina Wind EX2 +

Kind Wind
Super Moves
Japonés Romanización Adaptación Origen
Karna Resuaru Resuaru Kaana Resuaru Karna EX1
alarm Puraeku Puraeku Raamu Praec Larm EX1
Kaindo Uindo Kind Wind EX2 +
Guradusu Pearl Guradusu Paaru Gradus Pearl EX2 +


EX1 Los riders
SKULLOMANIA
Special Moves
Japanese Romanization Adaptation Source
スカロクラッシャー Sukaro Kurasshaa Skull Crusher
ska Sukaro Suraidaa Skullo Slider EX1
Sukaroheddo Sukaro Heddo Skullo Head EX1
Sukarodaibu Sukaro Daibu Skullo Dive EX1
Sukarotokachefu Sukaro Tokatyefu Skullo Tkachyov EX1

Super Moves
Japonés Romanización Adaptación Origen
Supasukarokurassha Suupaa Sukaro Super Skullo Crusher EX1
Supasukarosuraida Suupaa Sukaro Suraidaa Super Skullo Slider EX1
Sukarodorimu Sukaro Doriimu Skullo Dream EX1
Sukaroenaji Sukaro Enajii Skullo Energy EX2
new device Karodorimu Shin Sukaro Doriimu Shin Skullo Dream EX2
Sukaroboru Sukaro Booru Skullo Ball EX2 +
スーパースカロエナジー Suupaa Sukaro Enajii Super Skullo Energy EX2 +
NEO NEO スカロドリーム Sukaro Doriimu NEO Skullo Dream EX 3


SHADOWGEIST
Special Moves
Japonés Romanización Adaptación Origen
Desukurassha Desu Kurasshaa Death Crusher EX2
Desubureiku Desu Bureiku Death Break EX2
Desupuresu Desu Puresu Death Press EX2
デスソードキック Desu Soodo Kikku Death Sword Kick EX2
デスサマー Desu same Death Sommer EX2
デスショック Desu Shokku Death Shock EX2

Super Moves
Japonés Romanización Adaptación Origen
Supadesukurassha Suupaa Desu Super Death Crusher EX2
Desugabamento Desu Gabamento Death Government EX2
Desuenaji Desu Enajii Death Energy EX2
Desudorimu Desu Doriimu Death Dream EX2
air Desudorimu Kuuchuu Desu Doriimu Air Death Dream EX2
Supadesuenaji Suupaa Desu Enajii Super Death Energy EX3


Friday, April 29, 2011

Milena Velba Stimulations

Why is it important to see videos

Excelente article Billy Kane, French player of sublime level Street Fighter III Third Strike , undoubtedly one of the best and most popular European Yun. He also has his hand at Street Fighter IV . Faces a thorny issue that can be for some, the importance of viewing videos and learn how to get all the juice they . The link to the original , Billy Kane's blog where you will find mostly strategies Street Fighter III characters and IV.


At the end of the text, Saunic , also of French origin and a major European player with Ibuki wide a little original with your opinion and advice . You will also find the article, expanded and published here in his blog dedicated to Ibuki, the main character in Super Street Fighter IV.


Enjoy reading, the article is long but goes straight to the point and is very wise and very profitable. Do not commit the sin of losing a very helpful article for a great player like Billy Kane.



The art of learning to see videos.

Currently, many players see the videos where fights are held like a television show. They only want one thing: be surprised or amazed at what can happen in the video, as if they had forgotten that the true aim of the game lies in obtaining victory. Very often these players are impressed by the Combos Flashy or Ume-Shoryus and overlook what in my opinion is the main attraction of the games high-level control: interaction between players and the intensity of the fighting.


These same players "viewers" are the majority of communities in fighting games, yet are usually the laughing stock in those communities (not all, of course). Many messages in Boards Americans speak of "vidscrubs" and even more, of the great dishonor to the "Theory Fighters." Obviously it is impossible to deny the interest of the video in terms of strategy, especially when you can see how great players are preparing for tournaments. And then, where does this paradoxical reaction to the videos of fights?


Not long ago, high-level fighting were scarce and rare to see players getting a Japanese video VHS felt a great pleasure, though the video quality was very bad. Today you can easily see and find videos from across the web, while the expectations of the players developed and many of them lost sight of the real interest in these videos.


In some sense, these videos of fights are like a double-edged sword for communities. At first glance you can see the control and technique of a player and variety of his game in a video. Yet it is extremely difficult to judge the real level of a player because some aspects of the game can not be seen: Adaptation, Mind Game, Concentration, etc ... It all seems so simple that it takes a passive observer role because it is not involved in combat or play. Not suffer from any kind of pressure or the decision to be taken in a situation. The player, because at this distance, no benefits at all about what happens in a fight and then make mistakes. That is why they are two very different things to see a video player in a fight against him. To take advantage of the videos of fights you have to put in place for players to eliminate all references to trial.


The first level of reading is to ask why a player performs a specific action in a given situation. Try to emulate the action to see if we can understand its usefulness and if you can increase your knowledge in a specific point. Most players have already reached this level of reading of the game.


The second level of reading, and by far the most important is to ask (or ask someone) why a player performs a specific action in a given situation. This is the stop key to understand the changes of rhythm and timing during the fighting. Therefore it is essential to pay attention to what you do not see on the screen to have a comprehensive understanding of the gaming system. Only good players are able to decode a video this way, because first you should have a large domain on the basics of the game and if any assimilated.


must try to understand what happens in the heads of the players at all times, not to judge, but to find solutions and develop their own game. You can view the same video ten times and miss a key psychological element, as one can see the same movie ten times over a long period and discover new things every time you look. If the videos of fighting in a good way help you in your progression in the game, it still does not replace the training and versus battles.


Source: http://bkichiban.exblog.jp/3344373/


Despite this I mean that, unlike the time, and means such as Live, Stream, etc., never have so many videos circulating on the web, but never have so many videos not bad. Record videos in training mode is not super Interestingly, I understand that there is an indifference to the video when watching videos a bygone era was almost a sign of high level. Yet the videos are great tools of inspiration to improve your game, complete and complement their knowledge.


not forget that the Japanese arcade community not all laugh like idiots all the time in a friendly and sharing everything. If a player is progressing because it has a chance to see combat between players and learn new things. Sharing is not necessarily act directly, sometimes it does so indirectly. Never hesitate to seek information rather than have to wait and stay everything arrives at his feet.