me: "i should do something productive this evening" also me:

Sarah progress but it's a run-on

Sarah boasts swift movement, which is pretty necessary for a life of raiding ancient Egyptian tombs, and she’s as tall as Marth, and has above-average dash speed, jump height, and wall jump height, and her air speed is below-average, though, and sarah is a fast-faller, which has its own strengths and weaknesses, but primarily serves to allow her to return quickly to her home turf: the ground, and sarah is a midweight, so she’s not too polarized either way in terms of survivability, and geoff, the animate pile of sand, usually swirls around Sarah’s right arm in a double helix pattern (his equivalent of a parrot resting on its pirate owner’s shoulder), and when Sarah turns into a serpent during her Special Moves, Geoff instead swirls around her long body in the same fashion, and whenever Sarah uses a Tilt Attack or Neutral Air, she throws Geoff in the form of a pile / clump of sand, an arcing projectile which deals 7% and mild knockback, and forward Tilt version is Sarah flings Geoff forward at a slight upward arc, traveling a total of 1.25 platform distances before landing if thrown on flat ground, and up Tilt: Sarah throws Geoff straight upward, traveling 1.25 Ganon heights above her head before falling back down, and even if Sarah has existing horizontal momentum (e.g. from a perfect pivot), Geoff ignores that momentum and still flies straight up, and down Tilt version is Sarah throws Geoff directly downward where she stands, creating a hitbox all around her that deals the same damage and knockback as the normal projectile, and neutral Air version is Sarah spins around similarly to Marth’s nair, dealing one hit of 7% and moderate knockback, and then flings Geoff forward in an arc just like Forward Tilt, and by holding left or right during the spin, you can cause Sarah to fling Geoff in that direction (instead of always throwing in front) and also continue facing that direction after the move ends, and tap up or down on the Control Stick to throw Geoff straight up or straight down, which ignores horizontal momentum just like Up Tilt, and geoff is a piercing projectile, meaning that he does not disappear upon hitting an opponent in the same way that something like Samus’s beam would, and one example of a piercing projectile in Smash is Rockman’s Metal Blade, which keeps going even after hitting its target, and this is actually very important in Geoff’s case, since his primary purpose is to become a small (roughly Kirby-width) pile of sand on the stage when he lands, and this piercing property, then, allows Geoff to continue on his merry way and become a sand pile even if an opponent is in his line of fire, and geoff lasts forever as a construct, and has no direct effect on opponents, and when Sarah strikes Geoff with her Sol Hammer, she turns him into a different glass sculpture depending on the move used, and geoff also buffs Sarah’s attacks in other ways, and sol Hammer strikes and other Geoff interactions can be performed even before Geoff lands on the ground, and glass sculptures created in this way continue flying in Geoff’s prior arc, and geoff himself (i.e. the sand pile) can only be in one place at once, but any number of glass structures can be present, and glass structures break with any single flinching hit, exploding in a small burst of glass shards to deal 3% and mild knockback to nearby characters, and only the character who struck the glass is immune, meaning this can be potentially used against Sarah in some cases, and when Sarah turns Geoff into a glass structure, his “spirit” returns to her side and swirl around her arm again, and until then, Sarah cannot throw Geoff again using a Tilt Attack or Neutral Air, and instead, Sarah gains different attacks on these inputs when Geoff is a sand pile, and before covering those, we’ve got some Special Moves to check out, and sarah throws the Sol Hammer straight up in the air as it spins rapidly, dealing hits that add up to 9% over the course of its 1.5-Ganon-height ascension, and after it reaches this height, the Sol Hammer lets out a small burst of the sun’s energy, dealing 11% and radial knockback which can KO at high damage levels, and this part of Up B covers a big vertical area with a confirm into a strong KO launcher, but has noticeable startup and leaves Sarah open, and speaking of leaving Sarah open, upon throwing the Sol Hammer, she immediately turns into the serpent and opens her snake hood, and the Sol Hammer, after the initial burst, emits a ray of sunlight straight downward, which Sarah’s hood reflects and turns into a concentrated, damaging beam, and by default, it’s aimed straight forward, but you can angle it up or down by holding the control stick during startup (max of 45 degrees), and the beam keeps going until it hits a solid surface; otherwise, it has infinite range, and the beam deals 15% and a pretty strong semi-spike initially, and lingers for three-quarters of a second after that to deal 10% and moderate upward knockback, and after that, Sarah returns to human form and catches the Sol Hammer again, and during the time when Sarah’s hood reflects the beam, Sarah has invincibility, and however, the move’s startup and endlag still leave plenty of time for the opponent to punish, and up B, either the beam or the spinning Sol Hammer, can strike Geoff to sculpt him into a three-way pipe intersection made of glass, and y’know, this kind, with one end facing up and the other two facing left and right, and the difference is that it’s a bit more “curved,” so that anything approaching from the left or right would be directed into the top, and vice-versa, and might seem like an odd sculpture to make, but hey, plumbing for clean water IS a pretty useful thing to sculpt in an arid desert, and the T-pipe does what any glass structure can: shatters on hit, frees up Geoff to be thrown again, all that jazz, and it also redirects stuff, as its shape might imply, and launched fighters coming in from the side are forced out the top, preserving their knockback / hitstun upon entering the pipe but redirecting it, and same thing happens in reverse, but here, the opponent can choose which direction they want to appear out of by holding left or right, and in exchange, the opponent cannot tech on the ground after flying out of the pipe, and projectiles and items also travel through the pipe in a similar way, and when coming in from the top, projectiles and items exit out the side in which the person who threw the projectile or item was facing at the moment it was thrown, and when coming from the side, of course, projectiles will always exit out the top (Try throwing Geoff into the T-pipe), and Up B’s beam, upon striking ANY existing glass structure, shatters the glass more forcefully, causing the radiant blast to deal the same 15% and semi-spike as the beam’s initial hitbox, and the beam’s power also increases to 20% if it’s passed through at least one glass structure, and has stronger knockback to boot, and in the air, fortunately, Up B works a bit differently, and everything up to and including the Sol Hammer’s throw and sun-powered explosion is the exact same, and instead of the Sol Hammer casting a beam downward, however, Sarah leaps upward in snake form to deal 10% and mild upward knockback, then returns to human form and catches the mallet, and like the grounded version, aerial Up B is still a powerful disjointed attack above Sarah, and grants her invincibility during the upward movement, and she can’t snap to the ledge during the rise, however, and enters special fall after completing the Up B, and so opponents, if they’re not deterred by the hammer’s hitbox, can punish Sarah after she inevitably recovers past the ledge, and sarah turns into serpent form and slithers forward across the ground in a command-dash, and side B boasts speed surpassing that of Sarah’s normal dash, quick-ish startup and end lag, variable distance based on how long you hold B (release to end the dash), and a low hurtbox thanks to the snake transformation, and side B actually has no hitbox by default, so it’s instead a lightning-quick mobility tool to traverse the stage, and if you Side B over the edge of a platform or the main stage, you’ll cancel it entirely while retaining the dash’s momentum, making for some fancy platform movement or a quick way to get offstage for a deep edgeguard, and by hitting Geoff with Side B, either by starting the move on top of him or “running him over” midway through the command dash, you can empower this move as Geoff flies to both sides like the waves made by a speedboat ripping through the ocean, and side B now has a hitbox, dealing 10%, high hitlag, and moderate upward-forward knockback, and upon landing this hit, Sarah can cancel the command dash into any grounded move, or into a jump, while retaining all of the Side B’s momentum, and perfect for combos off of the Side B’s newfound hitbox, and if you hit a glass sculpture with Side B, you can cancel it to use the momentum for an approach, and after an empowered Side B, Geoff returns to Sarah’s side, swirling around her arm and ready to be lobbed at an opponent or onto the ground, and any move used out of an empowered Side B is treated as “hitting” Geoff, or as being used “on top” of him, and for example, Sol Hammer moves create their glass sculptures, and when Sarah enters the side of a glass T-pipe during Side B, she uses her narrow, flexible body to travel through it and come out the top, and she’s then free to cancel it into any aerial, and gains TONS of upward momentum, and if you’ve absorbed Geoff into the move to get a hitbox, you’ll also keep it after traveling through the pipe, and by using the pipe, Sarah can add safety to her Side B thanks to the mixup of stopping short of the pipe vs emerging from the top of the pipe, and in the air, Side B is a more “canned” command dash, in the sense that Sarah travels a fixed distance in the blink of an eye while halting her vertical movement, and she covers one platform’s worth of distance with an aerial Side B, and can use the move only once before landing, grabbing the ledge, or receiving a flinch / knockback, and side B has no helpless state attached, and allows ledge-snapping in the middle of the dash, and on the topic of ledge-snapping, the two versions (ground and air) of Side B give Sarah a mean ledge trump, and side B on the ground to dash all the way to the ledge at a blinding speed, slip off the ledge to cancel the dash animation, and immediately use an aerial Side B toward the ledge to give the boot to anyone trying to claim that edge as his own, and like most Geoff-based techniques, Side B can catch Geoff even if he’s in midair after being flung, and aerial Side B can absorb Geoff just like the grounded version, gaining a 10% hitbox with combo knockback and on-hit canceling, and in the air, Sarah dashes straight downward in serpent form, head first, and down B travels the same distance as Corrin’s down air, and deals 10% and a mild meteor smash to bring foes down with Sarah, and it has quick-ish startup, but Sarah can’t often recover after using Down B offstage for gimps, and clever use of platforms or upward momentum from using Side B into the T-pipe, however, can give her enough height to be able to recover back to the stage, and speaking of the T-pipe, Sarah can Down B into it from the air in order to emerge out the side of her choice, and this gives Sarah momentum from the Down B, and she retains the 10% hitbox until she returns to human form moments later, and the usefulness of any stall-then-fall, though, is largely determined by its landing lag, and it’s getting its own paragraph here – and indeed, most of the rest of this move’s writeup – because Down B’s “landing lag” is actually just the radically different grounded version of the move, and on the ground or upon landing during an aerial Down B, Sarah (in serpent form) burrows through the ground as if it’s loose sand, disappearing into the stage below with noticeable startup, and moments later, Sarah then emerges one platform distance in front of her starting position, dealing 9% and popping nearby opponents up for a combo, and burrowing has decently low ending lag for follow-ups, and you can hold forward or back on the control stick to multiply the distance by 2.0x or 0.2x, and another trick is that you can tap backward on the stick during the very first frames of Down B to turn around before starting the move, opening up another range of target locations, and thanks to all of these properties, burrowing is only really punishable if you get predictable and the opponent is able to read where and when you’ll burrow, and if the foe does get that read, though, it’s not hard to punish unless your character is memetically slow like Ganon, and on a drop-through platform, due to the distinct lack of ground in which to burrow, Sarah simply drops through the platform instead, and immediately starts an aerial Down B, and this means that from a platform on a traditional stage like Battlefield, using Down B brings Sarah right down to the main ground of the stage to burrow, and start a burrow on top of Geoff (or catch him as he flies through the air by means of an aerial Down B), and you’ll carry the chap with you through your burrowing tunnel, creating a large, disjointed “splash” hitbox to either side when you emerge, and it deals 7% and Sakurai Angle knockback, preventing foes from easily punishing, and you’ll also create this hitbox if you END the burrow at Geoff’s location, and either way, Geoff returns to Sarah’s arm after forming the splash hitbox, and glass sculptures also serve this kinda purpose, thanks to their natural burst upon getting hit, and in fact, burrowing is one of the most convenient and quick ways for Sarah to dispose of unwanted glass sculptures, and most stall-then-falls are punishable on shield, and sarah, though, quite loves using her aerial Down B onto a shielding opponent, since it leads to a scary mixup, and sarah can choose to hold back on the control stick in order to emerge in practically the same spot she entered the ground, which in this case means hitting the opponent’s shield a second time with the emerging hitbox, and this part actually IS punishable if the foe keeps shielding, and the cool part is that by holding forward on the stick, Sarah can choose to instead emerge far away from the opponent, making for a free escape if they keep shielding, and many fighters are quick enough to punish this by dropping shield and dashing toward Sarah’s destination with an attack… but Sarah can punish that with the option described in the previous paragraph, or by using the non-modified, “medium” burrow distance to intercept the opponent mid-dash, and sarah turns into serpent form and spins around as she forms a loop with her body, either slithering on the ground if grounded or hovering in place if airborne, and this motion deals rapid hits which add up to 7%, ending with moderate Sakurai Angle knockback, and this move has extremely low ending lag, but has a cooldown of one second, and use that quick ending for awesome combos, and the rest of this move revolves entirely around Geoff, and if Geoff is a pile of sand on the ground, he does the action remotely when you use Neutral B (I’ll get to WHAT he does in a second), and if he’s swirling around Sarah’s arm, he’ll drop to the ground below and then do the action, and if he’s flying through the air as a projectile, he’ll do the action immediately upon landing, and if he’s already in the middle of doing the Neutral B action, nothing will happen, and the action lasts longer than Neutral B’s one-second cooldown, meaning you can use the spinning attack described in the first paragraph even if Geoff is already doing the action (but the cooldown on Neutral B itself still applies), and still with me, and alright, so “the action” is that Geoff spreads himself out over a two-platform wide area of the ground and begins to swirl around like a pancake-flat whirlpool of quicksand, and this lasts for two seconds, during which Geoff cannot be interacted with in any other normal way, such as with the Sol Hammer, and moves like Side B or Down B which benefit from Geoff, though, will gain that benefit when used on top of the whirlpool, and down B has the added splash hitbox, and Side B has its hitbox too (until you leave the whirlpool), and the real purpose of this, though, is to make like quicksand and pull things in, and any grounded opponents, minions, items, or constructs get pulled in by the whirlpool, ranging from 0.5x Ganon’s walk speed at the edge to 1.5x Ganon’s walk speed near the center, and sarah herself is immune thanks to her days of navigating the dunes, and that extends to ditto matches, and her glass sculptures aren’t, though, and in fact, if two glass structures collide due to the pull of the quicksand, they’ll instantly explode, dealing 12% and knockback that KOs vertically at around 150%, and that hitbox size is impressive too, so really do watch out, and the whirlpool is awesome for spacing-related tactics, and pull a foe in toward you to force a reaction and limit escape options, or keep them away by having Geoff pull the foe to the opposite side of the stage, and yet another thing to consider when choosing where to place Geoff, and also, there is one property of Sarah’s glass sculptures that I haven’t touched on: their semi-solidity, and rather than walls, they act more like Pacman’s fire hydrant, and specifically, they block any foe from passing through unless they use a dash, a dodge, or a Special Move / etc which grants quick movement like a command dash, and characters who are in hitstun from being launched are also immune to the semi-solidity of sculptures, and in the context of the whirlpool, then, you can use glass structures to augment the quicksand’s ability to limit the foe’s movement, and and whereas the quicksand only affects grounded foes, glass sculptures extend upward enough to potentially push around airborne foes as well, and tap A, and Sarah delivers a high roundhouse kick which boasts awesome vertical reach but can be crouched under by a good number of characters, and this first hit deals 5%, and leads into a decisive crouching punch for 5% more and moderate launching knockback, and jab is slower than most moves of its kind, but covers a useful high angle and can defuse pressure by launching the opponent away, and the first hit of Jab actually has a different effect on aerial opponents, and while grounded opponents receive a flinch similar to the first hits of other jab combos, aerial opponents are dealt weak downward knockback, and that ends up stunning the opponent for longer, meaning that Sarah can choose to follow up with another attack instead of continuing the Jab, and you can true combo into a grab or any of your Tilt Attacks, or you can use a Smash Attack to hard-read the opponent’s attempted escape from this sticky situation, and thanks to this odd property, Jab is Sarah’s premiere way of punishing an opponent who tries to jump, and opponents might try to jump if you trick them into thinking you’ll use an empowered Side B, for example, since a shorthop can often evade that move’s low hitbox, and or they might try to jump in order to circumvent the pull of your quicksand, and they could try jumping over one of your glass sculptures, the list goes on, and at the ledge, of course, that downward knockback has a whole new set of applications, such as punishing jumps back onto the stage with downward knockback, and sarah quickly spins around and angles her body forward, attacking with a whish of her flowing robe at a 45* downward angle, and neutral Air boasts disjointed reach at an unusual angle, and is awesome for air-to-ground combat, and on hit, it deals 10% of slashing damage and upward knockback at a slight forward angle, and neutral Air has noticeable windup, and does not autocancel from a shorthop, and however, its ending lag and landing lag are both quite low, so Sarah has no trouble following up on Neutral Air if she connects with it, and neutral Air is mainly a good all-purpose attack, excellent for starting or continuing combos, and you might also use it to destroy glass sculptures, thanks to its range and low ending lag / landing lag, and if you time it so that the hitbox comes out moments before landing, the cloak can actually “clip” through the floor, and use that near the ledge as a surprise edgeguard, and Sarah leans into the attack as she stabs forward forcefully with the Sol Hammer as it glows a bright red-orange, a visual effect shared amongst all Sol Hammer attacks, and a direct hit with Forward Tilt’s initial hitbox deals 10% and moderate knockback at a semi-spike angle, and quite unusually among grounded moves, this move also has the lingering hitbox of a sex kick, dealing 7% and Sakurai Angle knockback for half a second after the strong hit ends, and in exchange, Forward Tilt has noticeable ending lag, and its duration on top of that means that opponents have plenty of time to plan out a deliberate punish, and forward Tilt is designed to catch dodges, and spotdodges at melee range will never last long enough to avoid the entire lingering hit, due to sheer frame data (No spotdodge in the game has more than half a second of ANIMATION time, much less intangibility), and it’s also awesome for punishing rolls, landing airdodges, getup animations, and other things which might otherwise be tricky to time, and try using Forward Tilt to catch out anyone trying to dodge past a glass sculpture, and it’s also effective on quicksand, since opponents might try to roll or shorthop airdodge to counteract the pulling effect, and as a Sol Hammer Attack, Forward Tilt also creates a glass sculpture upon hitting Geoff, and it’s a small, jagged glass “spire” which bursts forward at a small upward angle, one Bowser wide and one Kirby tall, and initially, the Forward Spike deals 9% of damage and moderate diagonal knockback to opponents it hits upon being created, adding immense reach to a Forward Tilt, and after that, it deals 5% and sideways knockback to any opponent who touches it while in hitstun or tumble (Tumble is the special fall state a character enters after receiving very strong knockback, and note that this “lingering” hitbox can launch the foe to either the left or the right, depending on which side they touch the spike on, and the initial hit, conversely, only launches forward, and the lingering bit of Forward Spike is an awesome way to trap an opponent’s landing, and basically eliminates the option to tech on that spot of the ground after being launched, and teching requires a either hitstun or tumble, and both of those activate Forward Spike, and as such, placing a Forward Spike on the stage allows Sarah to control that portion of the stage in a direct and powerful way, and the same goes for the “A-landing” technique that some characters benefit from, and separately, the sheer width of the construct augments the semi-solidity shared by all glass sculptures, since it may be more difficult to get past, and much like in Forward Tilt, Sarah reaches forward with her whole body and juts the Sol Hammer in front of her, dealing 11% and a semi-spike, and forward Air has outstanding reach and only moderate lag, and like Forward Tilt, it has a “glowing” lingering hit which deals 7%, and in exchange for the range and duration, there is some punishable landing lag, and so while this move is a cornerstone of Sarah’s spacing game, it’s not unpunishable at all, and interestingly, though, whereas Forward Tilt’s entirety and Forward Air’s initial hit launch the foe in front, the lingering hitbox on Forward Air sends opponents backward with mild Sakurai Angle knockback, and at very low percents against grounded opponents, this keeps them just in front of you, especially if you drift back during the move, and you can then connect a grab or some other grounded moves, gaining a bigger frame advantage when the opponent’s percent and Sarah’s own rage grow, and at high percents, you can use the lingering hit to drag an opponent into your setup, such as a maze of glass sculptures that you’ve placed behind yourself where the opponent cannot interfere, and in this way, Sarah benefits from launching opponents behind herself even more than she does from launching them in front, and all three of Sarah’s Tilt Attacks use the Sol Hammer, creating glass sculptures, and three of Sarah’s Aerials do the same, and they share sculptures with their Tilt counterparts, and forward Tilt and Forward Air make the same sculpture, and the same goes for Up and Down, and so you can make any of the three sculptures no matter where you happen to be, but of course you have to consider the hitbox of each move, and so, Forward Air creates the same glass sculpture as Forward Tilt, and one different property is that the late, lingering hit of Forward Air actually creates the sculpture behind Sarah instead of in front, just like it launches opponents backwards, and in fact, after buffering Forward Air out of a shorthop, you can just let Sarah fall regularly to have her end up in the late hit of the move by the time she falls low enough to hit Geoff, creating a backward Forward Spike, and if you fastfall, Sarah will fall quickly enough to only have performed the initial strong hit of the move, instead creating a forward Forward Spike, and so after you shorthop, you can choose which option to use based on what the opponent does, and if they roll behind you, for example, you could just fall normally and hit them with a backward Forward Spike, and you can of course punish things the foe does in front of you by fastfalling for a front-facing sculpture, and sarah holds the Sol Hammer in a two-handed reverse grip and swings it in upward in a frontward arc, and up Tilt’s reach is lower than that of Forward Tilt due to the reverse grip, and it has noticeable startup lag, and in exchange, it packs a meaty 15%, and launches opponents straight upward to pressure landings at low percents or KO at higher percents, and Sarah has among the strongest up tilts in the game, and its low-ish ending lag makes it viable as a shield pressure tool with high shield damage and pushback, and just watch out for that startup lag, and it’s also awesome for trapping some landing options, and can be pretty scary if used out of an empowered Side B, and also of note is Up Tilt’s hitbox, which actually hits a bit below the ground at the very start of the swing and can be used to catch foes below a platform or on the ledge, and as for the glass sculpture, Up Tilt and Up Air create a massive pillar of glass, 1 SBB wide and 2 SBB tall, and unlike other glass sculptures, the Up Pillar acts like a proper solid wall, meaning it has a standable floor and completely impassable sides (Good thing Sarah has that handy burrow to bypass her wall), and when it’s first created, Up Pillar deals 4% of damage to opponents in its way and drags them to the top, but only deals a tiny amount of hitstun and no knockback, and if Sarah spaces herself right on top of Geoff when using Up Tilt or Up Air, she herself can also ride the pillar to the top, gaining high ground and the ability to act immediately, and note that when Up Pillar is destroyed, its shattering hitbox extends across the entire vertical height of the pillar, hitting anyone on top or near the sides, and so while hugging the pillar might seem like a good strategy, it’s easy to counter, and this verticality, of course, also makes it super handy for controlling the air with low effort, and the “solid wall” properties lend themselves to some interplay, and the height and solidity make Up Pillar an even deadlier trap inside of quicksand, and the pillar also gives Sarah a way to perform wall combos even on legal stages, and the opponent can potentially tech, which grants a huge amount of intangibility and basically removes follow-up potential, and sarah’s answers to this include using weak-knockback moves which don’t put the opponent into the full “launched” state, trapping an opponent’s landing after they try getting back to the ground post-tech, or mixing up her attack timings to make it harder for the opponent to tech, and sarah swings the Sol Hammer up in an arc similarly to Up Tilt, but with more of a presence below Sarah, and up Air deals 11% and moderate upward knockback, in exchange for quicker lag than its grounded counterpart, and it’s an awesome juggle or combo tool, and can scoop up opponents who are below Sarah with upward knockback, and it doesn’t cover a wide area above your head, though, so be mindful of that, and a quick, combo-friendly Up Air lends itself well to ladder combos, aided by standing on either a platform or the Up Pillar, and you can also use Up Air for frame traps, forcing an airdodge with the Up Air and then using its low lag to punish the airdodge’s ending lag with another move, and note, however, that Up Air’s low horizontal coverage means that opponents can choose to DI behind Sarah and avoid the Up Air, so you’ll need to punish that with something like a Back Air (More on that move later), and Up Air creates the same Up Pillar as Up Tilt does, with its most notable advantage being its speed in creating the construct, and if you want, you could use Up Air from a running shorthop and end up in front of the Up Pillar instead of behind it, and then try and launch the opponent backward into it for a wall combo, and also, it seems fitting here to talk about what happens when you make an Up Pillar out of a Geoff who’s still flying through the air after being thrown, and it’s not anything you wouldn’t expect: it just acts like a moving collision, pushing foes along unless they destroy it and covering a big vertical area, and that’s a strong edgeguard, but requires some forethought and commitment, and also note that in the air, it takes longer for the pillar to form, and and try not to use it against characters with a wall jump, for obvious reasons, and sarah herself has a wall jump too, actually, now that I think about it, and so the Up Pillar in general is really good for bolstering Sarah’s mobility with another midair movement option, and uniquely, her wall jump gives her a lot of horizontal momentum, granting burst mobility across the stage, and Sarah brandishes the Sol Hammer above her head and then slams it down onto the ground, releasing sparks as the bronze mallet strikes the earth, and at first, Down Tilt deals 10% and forward semi-spike knockback to opponents above Sarah, and in front, opponents take 11% and diagonal knockback which launches opponents far away but won’t KO until very high percents, and the sparks deal 3% of non-flinching damage, but this added reach in front won’t do much to stop foes from punishing Down Tilt’s slow lag, and down Tilt is mainly handy for covering a wide area, in exchange for its startup and ending lag, and combined with a perfect pivot, it’s a handy spacing tool, and Down Tilt also hits opponents who are below the ledge, and in fact has a little hitbox below the ground which deals a semi-spike instead of diagonal knockback, and it’ll never hit opponents standing on the same ground as Sarah, but can hit foes underneath a drop-through platform.