Editing Ganondorf (SSBU)
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|dsdmg=14% (ground leg), 16% (ground foot), 15%/14% (air, clean/late), 8% (landing) | |dsdmg=14% (ground leg), 16% (ground foot), 15%/14% (air, clean/late), 8% (landing) | ||
|dsdesc=A dark magic-infused flying kick. On the ground, it has good damage that beats most weak projectiles and high knockback that KOs around 93% near the edge. In the air, Ganondorf flies diagonally downward and performs a powerful [[meteor smash]] during its startup, while its late hit launches opponents vertically instead. A small shockwave is formed around Ganondorf when he lands on the ground, which does a small amount of knockback. Deals relatively high [[shield damage]] in the air, bringing shields to a sliver of their health if all of its hitboxes connect. Slows down significantly on impact with anything, has moderately slow startup (16 frames), moderate ending lag (26 frames), very high [[landing lag]] (45 frames), very small hitboxes, and is extremely risky to use off-stage. | |dsdesc=A dark magic-infused flying kick. On the ground, it has good damage that beats most weak projectiles and high knockback that KOs around 93% near the edge. In the air, Ganondorf flies diagonally downward and performs a powerful [[meteor smash]] during its startup, while its late hit launches opponents vertically instead. A small shockwave is formed around Ganondorf when he lands on the ground, which does a small amount of knockback. Deals relatively high [[shield damage]] in the air, bringing shields to a sliver of their health if all of its hitboxes connect. Slows down significantly on impact with anything, has moderately slow startup (16 frames), moderate ending lag (26 frames), very high [[landing lag]] (45 frames), very small hitboxes, and is extremely risky to use off-stage. | ||
|fsname= | |fsname=wtf | ||
|fsdmg= | |fsdmg=none | ||
|fsdesc= | |fsdesc=In the early days of hand drawn animation in the 1920s, the studios' main areas were not in Hollywood, but New York City. Back then, animation was a new phenomenon and there were no experienced animators around; yet there were skilled artists working on newspapers, creating comic strips in a time when even the comic strips themselves were relatively new where the earliest animated cartoons were originally drawn by comic strip artists.[3] Many of them became fascinated with the introduction of moving drawings, and saw them as new possibilities and challenges to use their skills on something they found more exciting than the newspaper strips. | ||
For this reason, many of the first cartoons had similarities with moving comic strips,[3] they didn't have color, lines of action, construction, everyone tended to move the same, not much characterization.[4] The artists experimented with what worked and what did not, and what they could and could not do. In the strips, they had no need to think of their work in three dimensions or how they moved, but at the same time this extra aspect gave them the opportunity to introduce gags and elements not possible in comic stills. Moreover, because the drawings had to be mass-produced to create the illusion of movement, they had to come up with a compromise where characters were less detailed and time-consuming, but at the same time alive and complex enough because many animators have strong individual styles and encouraged to showcase them can add a lot of fun and entertainment to the cartoons.[4] As animators gained experience through trial, error and collaborations, cartoons became more professional and dominated by specific rules of how to make them. | |||
The studios had to be sensitive to any new business trend to survive the competition. A consequence of this was that the style and design of the most successful and popular cartoons had a great impact on the rest of the animation business. One of the earliest examples was Otto Messmer's Felix the Cat, who quickly spawned imitators at different studios. Combined with the natural evolution of animation, this resulted in a dominating design that would be now known as the rubber hose style, despite individual differences between the studios. Bill Nolan is credited with the introduction of this animation style.[5] | |||
}} | }} | ||
