Editing Hitbox

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{{anchor|Disjointed hitboxes}}
{{anchor|Disjointed hitboxes}}
[[File:Link disjoints.gif|thumb|left|150px|{{SSB|Link}} uses his forward smash on a wall in his ''Smash 64'' [[Break the Targets]] level and successfully breaks a target due to his sword's disjoint, he then uses his non-disjointed neutral air on a target above it and fails to break it.]]
[[File:Link disjoints.gif|thumb|left|150px|{{SSB|Link}} uses his forward smash on a wall in his ''Smash 64'' [[Break the Targets]] level and successfully breaks a target due to his sword's disjoint, he then uses his non-disjointed neutral air on a target above it and fails to break it.]]
Hitboxes that are separated from a character's hurtboxes are often called '''disjointed''' ({{ja|武器判定|Buki hantei}}, ''Weapon judgement''), which is usually an advantage, as they can connect from a farther distance, while keeping the attacker safer from retaliation and reducing the likelihood of trading blows. Examples of disjointed hitboxes include most weapon-based attacks, and more infamously the [[up tilt]]s of {{SSB|Kirby}} in ''Smash 64'' and {{SSBB|Snake}} in ''Brawl'', as well as some of {{SSBU|Joker}}'s moves when using Arsène.
Hitboxes that are separated from a character's hurtboxes are often called '''disjointed''', which is usually an advantage, as they can connect from a farther distance, while keeping the attacker safer from retaliation and reducing the likelihood of trading blows. Examples of disjointed hitboxes include most weapon-based attacks, and more infamously the [[up tilt]]s of {{SSB|Kirby}} in ''Smash 64'' and {{SSBB|Snake}} in ''Brawl'', as well as some of {{SSBU|Joker}}'s moves when using Arsène.


An interesting property of hitboxes in the ''Super Smash Bros.'' series is that under most conditions, they occupy not only the space where they currently are, but also the space where they were one [[frame]] ago, as well as all the space in between (in a straight line, regardless of what the animation might look like during intervening subframes). This characteristic, known as '''interpolation''', helps to prevent situations where a fast projectile may end up passing through a character in less than a frame without hitting them. On the other hand, hurtboxes do not interpolate in this way, so a fast-moving object (such as [[Fox]] during his [[Fox Illusion|Illusion]]) may be able to move through a slow or stationary hitbox without being damaged. In addition, certain hitboxes from ''Brawl'' onward use a stretch effect to create a very long hitbox, for example in {{b|Zero Laser|Samus}} and [[Aura Storm]], instead of interpolating. It is unclear how this hitbox-stretching mechanism operates when time is [[slowdown|slowed]] via Training mode or other effects, as the games render subframes, whereas ''Smash 64'' and ''Melee'' simply reduce the overall framerate.
An interesting property of hitboxes in the ''Super Smash Bros.'' series is that under most conditions, they occupy not only the space where they currently are, but also the space where they were one [[frame]] ago, as well as all the space in between (in a straight line, regardless of what the animation might look like during intervening subframes). This characteristic, known as '''interpolation''', helps to prevent situations where a fast projectile may end up passing through a character in less than a frame without hitting them. On the other hand, hurtboxes do not interpolate in this way, so a fast-moving object (such as [[Fox]] during his [[Fox Illusion|Illusion]]) may be able to move through a slow or stationary hitbox without being damaged. In addition, certain hitboxes from ''Brawl'' onward use a stretch effect to create a very long hitbox, for example in {{b|Zero Laser|Samus}} and [[Aura Storm]], instead of interpolating. It is unclear how this hitbox-stretching mechanism operates when time is [[slowdown|slowed]] via Training mode or other effects, as the games render subframes, whereas ''Smash 64'' and ''Melee'' simply reduce the overall framerate.

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