Stage Builders Guide Part III - Sections D E and F

(D) Good Platform Connections

Let’s say you have two solid structures, and you want to connect them with a platform. There are a few techniques that I’ve used at various times, but I feel that I’ve actually finally found the best way to do this. These techniques also apply to a platform that is only connected on one side. First I’ll go over my previous methods. I’m sure that lots of people have done it all of these ways, I don’t claim to have invented anything here; I’m just sharing my experience with you. Below is a picture of what we’re starting with.

(1-D) The Overlay Method): This is where you start the platform line on the outside edge of one of the structures, and finish on the outside edge of the other one (note the green line in the example below). This causes the platform to go all the way across, appearing to be one solid sheet when completed. Depending on certain elements, the platform may sometimes be finalized slightly below the surface, rather than just above if the grid is on.

This method looks really nice, but it poses some playability problems. When hanging on a ledge and doing a get up attack (press either attack button or the grab button), or by popping up (press the joystick in the direction of the ledge), or by dodge rolling onto the stage (press the shield button), you are now standing on the solid mass, and not the platform. This means that when you try to run into the center of the platform, you will simply run right off the solid mass, and through the platform. See below.

This method has its place (as do all probably). For instance, if you have a ledge that is not grab able, (one that has to be landed on) the player would have to be standing on the platform and press down to drop to the solid piece underneath. This can either be used as a battle tactic to confuse your opponent, or as an easy means to access an area below, but with grab-able edges it can be a nuisance.

This problematic technique led me to my second method.

(2-D) GrOffO (Grid Off Overlay): This method is the same as the Overlay except that the grid is off, allowing you to attempt to draw the line a tiny bit lower. This method can work, but not always. The problem is with the non-reliable point placement. Sometimes it’s just right, and you can pop up to the ledge from a hang, and run in without falling through, other times it’s just a touch too high or low, and it will not let you draw the platform in the exact right spot. Being too high is the same problem as the first method of course, but being too low presents its own problems. I’d like to re-iterate that there seems to be certain times when, for one reason or another, you can not get it just right, as in, it is literally not possible to draw a line that is just the right height.

The problem with the platform being too low is that when walking slowly, your character will treat the solid structure as an edge, and they will do their arms-flailing, off balance animation that they do at any edge, even if they are facing the platform. This won’t affect running or dodge rolling, but to me, it is very annoying, and it can lead to some more character specific problems. For instance Greninja’s Shadow Sneak (side special) will stop at any raised surface, instead of traveling it’s full distance. He can do a hop or jump to cause the shadow to continue on, but he shouldn’t have to.

(3-D) BUTT: This is where you draw a line that butt’s up against the two structures. This isn’t as pretty as the overlay method, but it doesn’t hinder most movement or getting back onto the platform from a hanging position. Sometimes it will stop Shadow Sneak, and other times it won’t, depending on certain factors.

The problem with this method is that one of the points always seems to have the smallest gap between the platform and the solid piece. Running isn’t hindered, nor any fighting or getting back from a hang, but if you land from the air on that tiny little sliver between the two pieces you will fall through. Sometimes, when butting up against only one other structure, you will have the gap, without the platform being raised. This will mean that Greninja’s shadow will not be hindered, but a character could still fall through when attempting to land on the platform.

Which led me to my next method.

(4-D) Miagi Method (Grid On, Grid Off): This is where I turn the grid on and click the point that does connect properly, in this case the right edge of the platform (see diagram (a) in the example below). Then I turn the grid off, and finish the line just slightly past the inner edge of the other block (see diagram (b).

This method eliminates the fall through issue, but can still result in problems for Greninja’s shadow. EDIT 8/10/15 Apparently they must have fixed this in one of the updates, because Greninja’s shadow will no longer get stuck on a connection like this, and the characters also don’t go into their edge wobbling animation when walking up to the edge of the soft platform, so use this method to your hearts content. I now see this as your best option.

(5-D) The Dual Line Method (DL): This is where I use two platforms to solve all known problems. Looking at the image below, (a) is the first line, and it is drawn with the grid off. I draw a line that doesn’t quite touch either solid, so there is a tiny gap on each side, the smaller the gaps, the better; if they are too wide, characters will fall through just by walking over them. The most important thing to be sure of is that the platform is perfectly level with the pieces it is meant to connect to. (b) Shows the second line (the first line has been deleted just to give a better look at what has been drawn). Here you are drawing a platform as close to the top as possible without going above the upper surface. And (c) shows what both platforms look like together. This way Greninja’s shadow is not hindered, because the surface is level, and if someone happens to fall through the tiny gap, they will land on the lower platform, where simply walking left or right will get you back onto the main surface. While on the lower platform, the shadow will get stuck if it hits one of the raised solid pieces.

The only real problems with this method that I can see is that it takes up a bit more weight, and that you have to hold down longer to fall through both platforms, which can be annoying until you get used to it. So, if your weight is full and you can’t get this construction, you can either find other ways to make space for it, or else you can choose from the previous methods of making platforms that you feel presents the least offensive problems. Since the fixes have been made, I recommend going with the Miagi method, because in my opinion, playability should take precedence over visual design.

(E) Problems With Sloping Platforms

Making a sloping platform comes with it’s own set of weird problems. The game will allow you to draw a solid mass with a 45 degree angled slope (seen below) that can be walked on; but try that with a soft platform and you will be sorely disappointed. Either it will not allow the piece to be made in the case of a straight line, or if your line has two or more segments, it will turn your line into a solid shape, connecting the two ends with a straight line.

While you cannot get a 45-degree angle with a soft platform, you can get some angles of course. You can get a steeper angle if you start at the bottom and draw your way up, as opposed to starting up top and drawing down.

Now I’ll share what I have found in regards to this allowance. This formula will be written as such: horizontal range of distances / vertical distance, for example 3-5 / 2. This means that a line with a horizontal range of 3 to 5 grid blocks and 2 vertical can only be drawn from the bottom to the top (it cannot be drawn from the top down), while 6 or more horizontal and 2 vertical can be drawn up or down. The horizontal range represents the two extremes (the least and the most) blocks in the horizontal number for a line to only work when drawn upward. One below the lowest number in the horizontal range and you cannot draw from either direction, and one or more above the highest number in this range is when you are now able to draw going up or down.

Only the first example will be accompanied by an illustration. After that you should fully understand what the information means. You do not need to memorize these numbers; they are just to illustrate the problem, but you do need to remember the formula in that the first number represents a horizontal distance, while the second represents a vertical one. This of course only pertains when the grid is on, but this formula will be presented later in this guide with the assumption that you are already familiar with it. In some instances outside of this section, if the direction is specific, each number may be accompanied by a directional key (L) = Left, (U) = Up, etc.

2-or more / 1, (2 or more horizontal / 1 vertical)

This can be drawn going up or down, so it will be excluded from our list, since we are looking for the range that limits you to only drawing in an upward trajectory.

(1) 3-5 / 2

Diagram 1 depicts a 3 / 2 line drawn upward, which will work, while diagram 2 shows the downward drawn version of an identical line, which will not work. Go 3 over and 2 up, you will get your line. Go 3 over and 2 down, you will not get your line.

Below is a list showing what can only be drawn going up. I cannot spot a pattern in the data below, so if you can, then please share in the comments!

(1) 3-5 / 2
(2) 4-8 / 3
(3) 5-10 / 4
(4) 6-13 / 5
(5) 8-16 / 6
(6) 9-19 / 7
(7) 10-21 / 8
(8) 11-24 / 9
(9) 12-27 / 10
(10) 12-28 / 11

(F) How to Make a Circle

Making a circular mass is better done with the grid than it is by freehand. It is nearly impossible to draw a nice looking, freehanded circle without a wonky portion, but if you are dedicated to it, you will find that it can be done, just be ready to try about 1,000 times.

With the grid turned on it is pretty easy, and I’ll show you how I do it. As with all of my methods, mine is not the only way, and there may be an even better means to get things done, so use this as a starting place, not as a finishing point.

The basic concept is to take a number and make each of the slopes I show you to that number of blocks. The one exception is what you might call the “corner” angles (the 45-degree angles), and they are always one less than the number you pick. Let’s use the number 2 for our example. Every single line segment is 2 blocks, either horizontally or vertically, except the “corners” which are one less than 2. Below is a step-by-step diagram of the process.

(1) Start by drawing a horizontal line that is 2 blocks long.
(2) 2 / 1: that is 2 horizontal / 1 vertical
(3) Next is the 45-degree angled “corner”, which is always one less than your dedicated number. Since our number is two, this corner should only be 1 block.
(4) 1 / 2
(5) 2 straight down.
(6) Now continue the process all the way around. You can easily start your circle at any point once you get used to the formula.

Note that if you choose the number three, the formula is exactly the same, but if you do 4 or 5 then you need to use 2 as the opposing distance of each step. For example, if your dedicated number is 4, then in step (2) you would go 4 / 2, instead of 4 / 1. You’ve replaced the accompanying distance of 1, with 2 and you need to do this in step (4) as well. If your dedicated number is 6 or 7, then use 3 for the accompanying distances; for 8 and 9 use 4, and so on. The rule of making the 45-degree angled corners one less than your dedicated number is always true.

But hey, if you want a really beautiful perfect circle, and you can afford the space, then use a stencil! That’s right, your basic everyday stencil can be used with stage builder. Just place them on the screen and draw. I got the idea from an absolutely hilarious youtube video by ThePandaBrothers. Just remember, this will take up a lot more space in your weight bar than the plot point method above. Also, it will still be difficult if not impossible to accomplish a perfect circle because if any part of the stencil touches the screen, it will plot a point, and also because it will be impossible to hold your stylus perfectly straight up for the entire circle. The resulting circle may look nice, but it won’t be perfect, and it will take up a lot of space. Here’s the video. It’s still a fantastic watch, even though you already know what it teaches you. It’s really hilarious.