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\layout Title
\added_space_top vfill \added_space_bottom vfill
SS5 Tactical Analysis: Rimururu
\layout Date
2004.04.06, 2004.05.17
\layout Author
\begin_inset ERT
status Collapsed
\layout Standard
\end_inset
Frederick
\begin_inset ERT
status Collapsed
\layout Standard
\end_inset
Lee
\begin_inset ERT
status Collapsed
\layout Standard
\end_inset
\layout Abstract
An analysis of tactics of Rimururu in Samurai Shodown V.
\layout Revision
2004.05.17 Updated description of Disarm.
\layout Revision
2004.05.15 First post.
\layout Revision
2004.04.06 Document start.
\layout Section
Introduction
\layout Subsection
Copyright
\layout Standard
Copyright (C) 2004 Frederick Lee <
\begin_inset LatexCommand \url[phaethon@linux.ucla.edu]{mailto:phaethon@linux.ucla.edu}
\end_inset
>.
\newline
Permission is granted to copy, distribute and/or modify this document under
the terms of the GNU Free Documentation License, Version 1.2 or any later
version published by the Free Software Foundation; with no Invariant Sections,
no Front-Cover Texts, and no Back-Cover Texts.
A copy of the license is included in the section entitled
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\end_inset
\begin_inset LatexCommand \ref[GNU Free Documentation License]{sec-GNU-Free-Documentation}
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.
\layout Subsection
Acknowledgements
\layout Itemize
\begin_inset LatexCommand \url[LyX]{http://www.lyx.org/}
\end_inset
document processor, used in preparing this document
\layout Itemize
\begin_inset LatexCommand \url[GNU Project]{http://www.gnu.org/}
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for too much stuff to list.
\layout Itemize
The SS5 Movelist by Kao Megura, obtained via
\begin_inset LatexCommand \url[GameFAQs]{http://www.gamefaqs.com/}
\end_inset
, from which the names of Rimururu's techniques were taken (I would include
a direct URI if it weren't so ridiculously long and apparently anti-deep-linkin
g scrambled; search GameFAQs for
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\end_inset
Samurai Shodown V
\begin_inset Quotes erd
\end_inset
for first hit,
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\end_inset
FAQ
\begin_inset Quotes erd
\end_inset
link).
\layout Itemize
SNK Playmore and/or Yuki Enterprises, the copyright holder(s?) of Samurai
Shodown 5 (someone needs to explain their relationships to me; I lost track
after Playmore merged SNK).
\layout Subsection
Source Format
\layout Standard
This document's original source format is a LyX file, exported to DocBook
SGML, then converted to HTML (chunked and unchunked) with docbook-utils.
\layout Standard
The canonical URI (
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\end_inset
original publishing
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\end_inset
) for this document is
\begin_inset LatexCommand \htmlurl{http://www.icculus.org/~phaethon/ss5/rimururu.html}
\end_inset
.
\layout Section
Presentation
\layout Subsection
Layout
\layout Standard
Most descriptions are in the format of the joystick input, a visual description
of what Rimururu does, description/discussion of effects upon the opponent
(damage, stun time, etc.), description/discussion of effects upon Rimururu
(lag, range, etc.), and description/discussion of application (
\begin_inset Quotes eld
\end_inset
how to use
\begin_inset Quotes erd
\end_inset
).
\layout Subsection
Notation
\layout Description
b,\SpecialChar ~
f back, forward.
Forward is towards your opponent, back is away from opponent.
\layout Description
u,\SpecialChar ~
d joystick in the up, down position.
\layout Description
n joystick in the neutral position.
\layout Description
A,\SpecialChar ~
B,\SpecialChar ~
AB weak, medium, and strong slash (from the button names).
\layout Description
C the C button, for kick.
\layout Description
D the D button, for extra movement.
\layout Description
| (vertical bar) alternative.
\begin_inset Quotes eld
\end_inset
A|B
\begin_inset Quotes erd
\end_inset
means either A or B.
\layout Description
, (comma) a sequence.
\begin_inset Quotes eld
\end_inset
A, B
\begin_inset Quotes erd
\end_inset
means A then B.
\layout Description
+ (plus) combined.
\begin_inset Quotes eld
\end_inset
f + A
\begin_inset Quotes erd
\end_inset
means forward and A together.
\begin_inset Quotes eld
\end_inset
AB
\begin_inset Quotes erd
\end_inset
is a shorthand for
\begin_inset Quotes eld
\end_inset
A + B
\begin_inset Quotes erd
\end_inset
\layout Subsection
Terminology
\layout Description
Spin The character rotates parallel to the ground.
\layout Description
Flip The character rotates perpendicular to the ground, parallel with the
screen surface.
\layout Description
Rebound\SpecialChar ~
Stun The stun animation as a result of slashing at a blocking opponent
(the sword bounces off due to reversed momentum).
\layout Description
Block\SpecialChar ~
Stun The stun animation as a result of blocking a hit.
\layout Description
Hit\SpecialChar ~
Stun the stun animation as a result of being hit.
\layout Description
Combo (from
\begin_inset Quotes eld
\end_inset
combination
\begin_inset Quotes erd
\end_inset
) A sequence of attacks where the opponent does not have a chance to block
nor evade between hits.
Some combos are canned (multiple hits are
\begin_inset Quotes eld
\end_inset
automatic
\begin_inset Quotes erd
\end_inset
), as such the Upun Opu (icicle barrage).
Other combos are the result of interrupting or stun followup (e.g.
medium slash followed by Konru Nonno).
\layout Description
Rush\SpecialChar ~
Hits A sequence of attacks in quick succession which rewards you with
a count of form
\begin_inset Quotes eld
\end_inset
\emph on
X
\emph default
Slashes
\begin_inset Quotes erd
\end_inset
, where
\emph on
X
\emph default
is the number of rush hits.
Rush hits and combos are not the same thing (you can get rush hits even
if you pause long enough to let your opponent start blocking, but doesn't).
\layout Description
Interrupt To introduce another move before the prior one finishes properly.
Also known as
\begin_inset Quotes eld
\end_inset
cancelling
\begin_inset Quotes erd
\end_inset
.
\layout Description
Trade\SpecialChar ~
Hits\SpecialChar ~
(hit-trading) When both fighters successfully hit each other simultaneo
usly (both fighters take damage).
\layout Description
Counter To successfully attack your opponent before he/she/it finishes an
attack.
May also result in hit-trading.
\layout Description
Wire-Effect\SpecialChar ~
Knockdown When a character is knocked horizontally across the
screen until he/she/it hits the screen edge and bounces off to the ground.
\layout Description
Low\SpecialChar ~
Hit An attack that must be blocked low (crouching), or avoided by hopping.
\layout Description
Middle\SpecialChar ~
Hit An attack that may be blocked low (crouching) or high (standing),
and may be avoided by laying down.
\layout Description
High\SpecialChar ~
Hit An attack that must be blocked high (standing), or avoided by laying
down.
\layout Description
Overhead\SpecialChar ~
Hit An attack that must be blocked high (standing), typically cannot
be avoided by laying down (sometimes hopping works).
\layout Description
Grapple An attack that involves close proximity, grabbing opponents, and
manipulating their momentum (shoving, pulling, throwing, dropping, etc.).
\layout Description
far A long distance, beyond about a character's width.
\layout Description
near A short distance, within about a character's width.
\layout Description
close Right next to each other.
\layout Description
Tick\SpecialChar ~
Damage Damage done while blocking.
\layout Description
e.g.
\begin_inset Quotes eld
\end_inset
Exempli Gratia
\begin_inset Quotes erd
\end_inset
(Latin), meaning
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\end_inset
for example
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\end_inset
.
\layout Description
i.e.
\begin_inset Quotes eld
\end_inset
Id Est
\begin_inset Quotes erd
\end_inset
(Latin), literally
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\end_inset
that is
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\end_inset
; synonymously
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\end_inset
in other words
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,
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\end_inset
to be exact
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\end_inset
,
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literally
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\end_inset
,
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specifically
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\end_inset
,
\begin_inset Quotes eld
\end_inset
what I mean is
\begin_inset Quotes erd
\end_inset
.
\layout Description
corner either far edge of the stage, where the screen can no longer scroll
horizontally.
\layout Section
Appearance
\layout Standard
Rimururu (Rimnerel) wears a loose long-sleeved blouse with a sash around
the waist (which also holds her sword sheath?), shorts, and fluffy (snow?)
boots.
On each hand she wears some kind of gloves (gauntlets?) which leave her
fingers exposed.
She still has her hair cloth (what is it called? It's not a bandana) tied
over her head.
This outfit is similar to what she had in Samurai Shodown 64 (and 64-2?).
Her prior outfit was a thick robe/kimono type outfit, similar to Nakoruru's.
\layout Standard
Konru (Konril) is a diamond-shaped ice entity that hovers behind Rimururu
and assists in creating the ice in many of Rimururu's attacks.
\layout Standard
\begin_inset LatexCommand \url["The Fighter's Generation" page on Rimururu]{http://www.fightersgeneration.com/fightgen/characters/rimururu.html}
\end_inset
has images of Rimururu in her old and new outfits, animated images of some
of her attacks, and images of Konru.
\layout Section
Movement
\layout Quotation
\emph on
There is no combat without movement.
\emph default
--Ender Wiggins,
\begin_inset Quotes eld
\end_inset
Ender's Game
\begin_inset Quotes erd
\end_inset
by Orson Scott Card
\layout Subsection
Stance
\layout Standard
Rimururu stands with her fore arm straight ahead, rear arm ready at the
sword.
Her sword's sheath is tied to her back, hilt pointing towards her rear
[arm].
\layout Subsection
Forward
\layout Standard
(f) Rimururu marches forward.
\layout Subsection
Backward
\layout Standard
(b) Rimururu marches backward.
\layout Subsection
Crouch
\layout Standard
(d) Rimururu crouches.
\layout Subsection
Lay
\layout Standard
(d + D) Rimururu lies close to the ground.
This move can avoid most air, high, and middle hits, but not low/ground
attacks.
\layout Subsection
Roll backward
\layout Standard
(db + D) Rimururu tucks into a backward roll.
This move can be interrupted by a special technique.
\layout Subsection
Roll forward
\layout Standard
(df + D) Rimururu tucks into a forward roll.
The very beginning has some invulnerability (
\begin_inset Quotes eld
\end_inset
dodging
\begin_inset Quotes erd
\end_inset
) properties (but not against grapples?).
This move can be interrupted by a special technique.
\layout Subsection
Hop
\layout Standard
(b + D) Rimururu hops in place, about half her height.
Avoids most low/ground attacks, but not higher attacks.
\layout Subsection
Leap
\layout Standard
(f + D) The forward counterpart to the backstep, Rimururu leaps forward.
This move can send Rimururu to the other side of her opponent (a mix of
the Hop (b + D) in this game and the Turn (close f + AB) in SS3/SS4).
\layout Subsection
Backstep
\layout Standard
(b, b) Rimururu hops backward quickly and backflips.
During this move, Rimururu can invoke Konru Shiraru (ice platform) while
still off the ground.
\layout Subsection
Dash
\layout Standard
(f, f-) Rimururu runs forward.
This move can lead into a running slash, running kick, a special technique,
a Guard Crush, or revoked by letting go of forward (Rimururu skids to a
stop).
\layout Subsection
Stop [Dashing]
\layout Standard
(dash: n | b) Rimururu skids to a stop, spreading and swinging her arms
for balance.
\layout Standard
Interruptible.
\layout Subsection
Jump
\layout Standard
(u | ub | uf) Rimururu jumps into the air.
This move can lead into Wall Jump (off the edge of the screen).
\layout Subsection
[Dashing] Jump
\layout Standard
(dash: ub | u | uf) Rimururu jumps into the air.
(extra horizontal speed?)
\layout Subsection
Wall Jump
\layout Standard
(screen edge, air: f | b (joystick away from screen edge)) Rimururu jumps
off the edge of the screen while still airborne.
\layout Section
Basic Assaults
\layout Subsection
Armed, Standing, Far
\layout Subsubsection
Weak Slash
\layout Standard
(b|n|f + A) Rimururu quickly slashes her sword forward with her forward
arm at about neck height
\layout Standard
Short lead-in, short recovery.
\layout Standard
This attack is quick enough to counter many opponent attacks.
\layout Subsubsection
Medium Slash
\layout Standard
(b|n|f + B) Rimururu takes a step forward, with a backside spin, as her
sword arm (which would be her rear arm, but now becomes forward due to
the backside spin) swings overhead and down forward.
\layout Standard
Long lead-in, short recovery.
Interruptible.
\layout Standard
This move has considerable delay as a forward attack, limiting it's usability
in combos.
On the other hand, this attack can be interrupted at any time from start
to finish -- you can even interrupt before the sword strikes.
\layout Subsubsection
Strong Slash
\layout Standard
(b|n|f + AB) Rimururu grabs her sword with both hands and steps into a deep
horizontal lunging two-handed sword thrust.
\layout Standard
Long lead-in, long recovery.
\layout Standard
This attack is horizontally forward at about belly level.
\layout Subsection
Armed, Standing, Near
\layout Subsubsection
Weak Slash
\layout Standard
(b|n|f + A) Rimururu slashes inward at about chest height with her rear
arm.
\layout Standard
Quick lead-in, quick recovery.
\layout Subsubsection
Medium Slash
\layout Standard
(b|n|f + B) Rimururu slashes at about chest height with her rear arm as
she finishes a complete turn.
\layout Standard
Quick lead-in, slow recovery.
Interruptible.
\layout Standard
The short distance of this attack limits the ability to combo into and out
of this attack (e.g.
jump AB, B, f, d, df + A (jump strong slash, medium slash (miss), K.
Nonno)).
\layout Subsubsection
Strong Slash
\layout Standard
(b|n|f + AB) Rimururu takes a step forward as she uses both hands to swing
her sword upward.
(two hits?)
\layout Standard
Slow lead-in, slow recovery.
\layout Standard
The upward arc of this attack permits hitting airborne opponents, but the
long lead-in time and very short distance requirement severely restricts
use as an anti-air attack.
\layout Subsection
Armed, Crouching
\layout Subsubsection
Weak Slash
\layout Standard
(d + A) Rimururu slashes horizontally with her rear arm.
\layout Standard
Quick lead-in, quick recovery.
\layout Subsubsection
Medium Slash
\layout Standard
(d + B) Rimururu slashes down diagonally towards the ground with her rear
arm.
\layout Standard
Quick lead-in, moderate recovery.
Interruptible.
\layout Subsubsection
Strong Slash
\layout Standard
(d + AB) Rimururu spins around with a ground-hugging sword slash, knocking
down her opponent.
\layout Standard
Quick lead-in, slow recovery.
Knocks down.
\layout Subsection
Armed, Running
\layout Subsubsection
Weak Slash
\layout Standard
(dash: A) Rimururu quickly slashes horizontally with her forward arm (much
like standing far A).
\layout Standard
Short lead-in, short recovery.
\layout Subsubsection
Medium Slash
\layout Standard
(dash: B) Rimururu delivers a chest-height double-palm strike.
\layout Standard
Moderate lead-in, moderate recovery.
\layout Standard
Since this attack does not involve the sword, Rimururu does not enter rebound
stun if the opponent is blocking.
\layout Subsubsection
Strong Slash
\layout Standard
(dash: AB) Two-handed upward swing for knockdown damage (similar to standing
near AB).
\layout Standard
Moderate lead-in, moderate recovery.
Knockdown.
\layout Subsubsection
Double Kick
\layout Standard
(dash: C) A shin kick (similar to f+C), followed by a crouching kick (similar
to df+C), then Rimururu flips away backward.
During the backward flip, Rimururu can invoke Konru Shiraru (d + A | B
| AB).
\layout Subsection
Armed, Jumping
\layout Subsubsection
Weak Slash
\layout Standard
(air: A) Diagonally downward short-range rear arm sword slash.
\layout Subsubsection
Medium Slash
\layout Standard
(air: B) Horizontal short-range rear arm sword slash.
\layout Subsubsection
Strong Slash
\layout Standard
(air: AB) Large one-handed upward swing.
\layout Subsection
Armed, Other
\layout Subsubsection
Deflect
\layout Standard
(d, db, b, f + D) Rimururu makes a wide sideways swing with her sword pointing
upwards.
If the opponent slashes Rimururu during her swing, the opponent is stunned.
\layout Standard
The strength of the opponent's attack determines the type of stun.
Attacks with Weak Slash (A) induce a short stun.
Attacks with Medium Slash (B) induce a long stun.
Attacks with Strong Slash (AB) induce a long stun and a weapon disarm (opponent
loses sword).
\layout Standard
The long stun animation last long enough to invoke Emushi (d, df, f + CD),
which also means you can use any combo of your choice instead.
\layout Subsection
Kicks (armed or unarmed)
\layout Subsubsection
Stepping kick
\layout Standard
(b|n + C) Rimururu hops forward and delivers a side kick.
\layout Standard
Long lead in, quick recovery.
\layout Standard
The little hop in the kick may help avoid low attacks.
\layout Standard
If your opponent has stepped forward deeply for an attack, this move can
actually put you on the other side of your opponent.
Although this attack cannot be interrupted, the recovery is quick enough
to land a combo.
\layout Subsubsection
Shin(?) kick
\layout Standard
(f + C) Rimururu kicks with her rear leg to shin height (low roundhouse?).
\layout Standard
Hits low, quick lead-in, quick recovery.
Interruptible.
\layout Standard
Since this kick hits low and does not suffer from rebound stun, it becomes
the preferred leading attack into a combo when unarmed.
The opponent does not suffer as much hit stun as with a B slash, making
combos a tad more difficult.
Also with misjudged distance, this attack may inadvertently transform into
a (whiffed) Guard Crush.
\layout Subsubsection
Flying kick
\layout Standard
(air: C) Rimururu sticks her forward leg diagonally down and forward at
an angle.
\layout Subsubsection
Low kick
\layout Standard
(d|db + C) Quick kick along the ground.
\layout Subsubsection
Sweep kick
\layout Standard
(df + C) Rimururu swings forward a bit as her rear leg strikes out for knockdown
damage.
\layout Standard
Moderate lead-in, moderate recovery.
Interruptible.
Knocks down.
\layout Standard
Her foot sticks upwards diagonally, so this attack can be used against airborne
opponents that are close to the ground (however, most other fighters have
swords longer than her leg).
\layout Standard
This attack can be interrupted by a pursuit (u + B+C or df + B+C), which
makes up for the fact the kick does next to no damage.
\layout Subsection
Unarmed, Standing
\layout Subsubsection
Jab
\layout Standard
(A | B | AB) Rimururu jabs with her forward fist.
\layout Subsection
Unarmed, Crouching
\layout Subsubsection
Jab
\layout Standard
(d + A | B | AB) Rimururu jabs with her forward fist.
\layout Subsection
Unarmed, Jumping
\layout Subsubsection
Jab
\layout Standard
(A | B | AB) Rimururu jabs with her forward first (see a pattern yet?).
\layout Subsection
Unarmed, Running
\layout Subsubsection
Jab
\layout Standard
(dash: A | B | AB) Rimururu punches with her forward fist.
\layout Subsubsection
Sliding Sweep
\layout Standard
(dash: C) Rimururu slides along the ground a short distance, with her forward
leg extended, for knockdown damage.
\layout Subsubsection
Rupushi Kamui Weisanpekoru, Head (head stumble)
\layout Standard
(dash: A+C) Rimururu stumbles face-forward (face-plant) for an overhead
attack.
\layout Standard
This attack does negligible (very small) damage.
This attack must be blocked high (overhead attack).
If hit, the opponent is slammed into the ground face-first.
This attack can hit airborne (but close to the ground) opponents.
\layout Standard
Once Rimururu lands on the ground, she can't roll away.
But at least her recovery is while she's supine (avoids high/middle attacks,
including most grapples).
\layout Standard
For such a quick and mild attack, it sure has a long name.
\layout Standard
This attack changes if POW is maxed.
\layout Standard
Great for humor value, especially as the final blow.
\layout Subsubsection
Rupushi Kamui Weisanpekoru, Foot (foot stumble)
\layout Standard
(dash: B+C) Rimururu slips with both feet flying forward and up, for a middle
attack.
\layout Standard
This attack does negligible (very small) damage.
This attack is not an overhead, nor is it a low attack.
If hit, the opponent is slammed into the ground face-first.
This attack can hit airborne opponents.
\layout Standard
Once Rimururu lands on the ground, she can't roll away.
Her recovery time is spent prone (avoids high/middle attacks).
\layout Standard
This attack changes if POW is maxed.
\layout Subsection
Unarmed, Other
\layout Subsubsection
Disarm
\layout Standard
(d, db, b, f + D) Rimururu holds her hands up to chest level.
When hit with a sword, Rimururu grabs the opponent's sword with her hands(!)
and pulls it out of her opponent's hands for a disarm, then shoves (double-palm
strike?) the opponent away for knockdown.
\layout Standard
The timing is similar to that of the Deflect.
\layout Subsection
Other (Armed or unarmed)
\layout Subsubsection
Wall Drop
\layout Standard
(air, screen edge: b + A | B | AB | C) Rimururu cancels a wall jump with
an attack.
\layout Standard
This move is probably one of the more disorienting obscure moves in the
game available to any wall-jumper.
Rimururu must be facing towards the screen edge off which she is wall-jumping
(typically by jumping over a cornered opponent).
Just as soon as the wall jump starts (as she
\begin_inset Quotes eld
\end_inset
sticks
\begin_inset Quotes erd
\end_inset
to the screen edge), invoke an attack.
Instead of a wall jump, Rimururu continues dropping down, as if merely
bouncing horizontally off the screen edge.
This move is the closest you'll get to a midair about-turn.
\layout Subsubsection
Guard Crush (throw)
\layout Standard
(close, b|f + C) Rimururu grabs her opponent and shoves.
\layout Subsubsection
Guard Crush Followup
\layout Standard
(after Guard Crush, A|B|AB) Rimururu follows up a Guard Crush with an upward
two-handed slash (near standing AB), or two handed deep lunge (far standing
AB), depending on distance.
When unarmed, a sweep kick.
All these follow-ups knock down the opponent.
\layout Subsubsection
Taunt/Weapon Toss
\layout Standard
(armed: Start, Start, Start) Rimururu abandons her sword with an underhand
toss.
The dropped sword does (tiny) damage when it lands on a downed opponent
(pursuit attack).
All of Rimururu's specials and her super are usable without her sword (Rimururu
's true weapon is Konru!).
\layout Subsubsection
Weapon Pickup
\layout Standard
(unarmed, close to sword: A) Rimururu picks up her sword with a sideways
swing (the way she swings when Deflecting, but doesn't actually deflect
swords).
\layout Subsubsection
Big Pursuit
\layout Standard
(u + B+C) Rimururu jumps high into the air, falling with Konru underneath
(as an ice platform; as in the Shiraru) onto the enemy.
Maximum forward distance is about one or two character widths (but otherwise
Rimururu homes in on the downed opponent).
\layout Standard
Slow lead-in, slow recovery.
\layout Subsubsection
Small Pursuit
\layout Standard
(df + B+C) Rimururu drops to a crouch as she puts her weight into a two-handed
downward stab (not the wimpy-looking bend-over stab in SS3/SS4).
When unarmed, Rimururu flips forward, landing on the opponent with a two-foot
stomp, then bounces back.
\layout Standard
Moderate lead-in, moderate recovery.
\layout Subsubsection
Overhead Attack
\layout Standard
(BC) Rimururu hops and thrusts Konru diagonally down and forward.
This attack cannot be blocked low.
This attack can also avoid low attacks (it's a hop).
\layout Standard
Slow lead-in, slow recovery.
\layout Subsubsection
Meditation
\layout Standard
(partial POW: n + hold/tap D) Rimururu pauses (almost as if praying) as
she drains her POW meter to raise her life triangle.
\layout Standard
Meditation only works if the POW meter is partially filled.
This move doesn't work if the POW meter is empty, full, or sacrificed for
a different meter.
\layout Standard
Raising the life triangle helps reach the ability to use Enlightenment (Bullet
Time) sooner and longer.
\layout Subsubsection
POW Explode
\layout Standard
(armed: A+B+C) Rimururu strikes a pose (not sure how to describe
\emph on
that
\emph default
...) as a large semicircle (hemisphere) explodes around her.
The explosion is unblockable, but does no damage.
The POW meter sacrifices itself for a red-gradient RAGE meter, and the
timer suspends.
\layout Standard
This move can be invoked while Rimururu's feet are on the ground; the upshot
is that many opponent combos can be interrupted if Rimururu remains on
the ground.
\layout Standard
While the RAGE meter is not empty, the timer stops counting down (but the
chronometer/total-time-elapsed continues), the Kenki Meter (Damage Meter,
just under life bar) enlarges (extra damage bonus), you have all capabilities
of a full POW meter (Rimururu's stumbles and Super attacks), and the RAGE
meter continually decreases with [real] time.
If the Super connects, the RAGE meter drops to zero (empties immediately)
(read: don't use with 1 second on the timer if you want to connect with
the Super -- the round ends before the Super can deal any damage), but
otherwise a missed Super does not empty the RAGE meter.
\layout Standard
Must be armed to invoke.
\layout Subsubsection
Enlightenment (Bullet Time)
\layout Standard
(flashing blue life: d, db, b + C+D) A profile image of Rimururu scrolls
across the screen.
The background turns whitish as the POW meter sacrifices itself for a blue-grad
ient meter.
The opponent slows down.
\layout Standard
This move can only be invoked after losing one round (or when your opponent
is one round away from Conclusion?), and when the lifebar falls past the
small white life triangle (which coincides with the lifebar flashing blue).
The life triangle can be raised by Meditation (n + D with partial POW meter).
\layout Standard
This move sacrifices the POW meter for a blue Enlightenment Meter.
The size of the new meter is proportional to the distance of the life meter,
so meditating after your lifebar turns blue is still productive.
\layout Standard
While the Enlightenment Meter is not empty, your opponent moves very slowly,
you have the Issen move at your disposal, and the meter continually decreases
with time.
The meter drops to zero (empties immediately) when you get hit or use Issen.
\layout Standard
The timer does not stop nor slow down.
\layout Standard
You can invoke this move even after your opponent has, too.
In this case, both of you move just as slowly (i.e.
the slowness is not cancelled) until someone runs out of meter (the one
with remaining meter moves faster).
\layout Standard
Can be invoked armed or unarmed.
\layout Subsubsection
Issen (Flash)
\layout Standard
(armed, enlightenment: B+C+D) Rimururu suddenly slides across the screen.
If Rimururu hits a non-blocking opponent, she lands a slash for extreme
damage, and the blue Enlightenment Meter drops to zero as the opponent
collapses to the ground.
If the opponent blocks, Rimururu flips away for no damage as the blue Enlighten
ment Meter drops to zero.
If Rimururu completely misses the opponent, she slides all the way to the
other side of the arena, then the blue Enlightenment Meter drops to zero.
Basically this move is a double-or-nothing gambit.
\layout Subsubsection
Suicide
\layout Standard
(armed: b, f, df, d + Start) The screen darkens as Rimururu summons Konru
overhead to form a giant ice boulder.
Then the ice boulder lands on Rimururu, crushing her.
\layout Standard
I have not managed to invoke this while unarmed, although one would think
doing so is possible.
\layout Section
Techniques (Special Assaults)
\layout Subsection
un-POWed
\layout Standard
Techniques available to Rimururu.
Rimururu can invoke these techniques whether or not she is armed.
Techniques are invoked with a specific sequence of input, and most of them
cause damage even if blocked.
Rimururu cannot invoke a special unless Konru returns and is ready at her
side.
To an extent, this prevents spamming, but also means her techniques have
lingering effects (Rimururu can move before her technique has technically
finished).
\layout Subsubsection
Rupushi Kuare/Quall, Nishi (arcing iceball)
\layout Standard
(d, df, f + A | B) With Konru's help, Rimururu heaves an iceball arcing
forward through the air.
The iceball billows into an ice flower, for ice damage, upon touching the
ground.
\layout Standard
Slow lead-in, moderate recovery (or negative-time recovery, relative to
when the ice actually billows and can actually cause damage).
\layout Standard
The weaker technique (+ A) sends Konru about one character's width.
The stronger technique (+ B) sends Konru about four character's widths
(the distance between the players at round start).
The technique does no damage while airborne.
Once the iceball connects, the opponent is stunned long enough for Rimururu
to follow up with a decent combo.
In fact, the stun time is long enough for Rimururu to follow up with the
Super, Emushi (d, df, f + CD).
\layout Standard
In either case, Rimururu can move again a fraction of a second before the
iceball billows.
\layout Subsubsection
Rupushi Kuare/Quall, Toitoi (sliding iceball)
\layout Standard
(d, df, f + AB) Rimururu hurls Konru along the ground (
\begin_inset Quotes eld
\end_inset
bowling
\begin_inset Quotes erd
\end_inset
comes to mind).
Konru slides all the way across the screen, doing damage on impact at any
time (even when fresh out of Rimururu's hands).
\layout Standard
Slow lead-in, moderate recovery.
\layout Standard
As a Kuare attack, when the iceball connects, the opponent is stunned with
ice damage.
\layout Standard
Early in the path, the iceball can be blocked high (middle attack).
Later, the iceball must be blocked low (low attack).
The exact point of transition is not clear, but I'm guessing it's around
when Rimururu can move again (about four character widths out).
\layout Standard
When Konru reaches a full screen's width, it billows into an ice flower
on the ground.
In a long-distance projectiles war, this means an opponent trying to avoid
the Kuare by jumping upwards lands on a damaging ice flower.
\layout Subsubsection
Konru Nonno/Nono (rising ice flower)
\layout Standard
(f, d, df + A | B | AB) Rimururu drops to a crouch while slamming Konru
into the ground, forming an ice flower that rises straight up into the
air for knockdown damage.
\layout Standard
Short lead-in, slow recovery.
\layout Standard
This technique has a deceptively long range.
Even the very edge of the ice flower can knock down, though for minor damage.
Catching the opponent in the middle of the ice flower delivers additional
rush hits (up to 7) and consequently more damage.
\layout Standard
This technique is useful as an anti-air attack: Rimururu heads for the ground
as Konru heads for the sky.
However, if Rimururu whiffs (misses), her recovery time is long enough
to suffer a hard slash counterattack (otherwise, a hit results in a knockdown,
rendering the recovery time moot).
In SS4, the recovery time wasn't too much of a concern with max POW, as
the powered-up Nonno came out triple in size, and pushed a blocking opponent
farther away accordingly, but not in SS5.
\layout Subsubsection
Konru Memu/Myu (ice puddle)
\layout Standard
(d, db, b + A | B | AB) Rimururu hurls Konru over her head at the ground,
forming an ice puddle.
\layout Standard
Low attack, (almost?) no damage.
Long lead-in, moderate recovery.
\layout Standard
If the opponent does not block low, the opponent slips and loses balance,
opening a combo opportunity.
If the opponent blocks, the ice puddle no longer has any effect.
Rimururu cannot invoke another technique until Konru returns to ready position.
\layout Subsubsection
Kamui Shitouki (ice mirror)
\layout Standard
(b, d, db + A | B | AB) Rimururu thrusts Konru forward, forming a large
flat ice mirror, then shooting a large horizontal icicle for Wire-Effect
Knockdown.
\layout Standard
Short lead-in, short recovery (or very slow, depending on how you look at
it).
\layout Standard
This technique is extremely versatile (for Rimururu) and annoying (for the
opponent).
\layout Standard
While the mirror is still forming, the mirror can reflect projectiles.
Once the mirror finishes forming, projectiles are merely cancelled.
A short while later, a large horizontal icicle shoots out for Wire-Effect
Knockdown.
\layout Standard
This technique cannot hit twice.
If the opponent was hit by the mirror, they either fall (if airborne) or
stun for ice damage (on ground), and the icicle does not hit.
Or if the mirror misses, the icicle can hit.
If the mirror is cancelled by a projectile, the icicle does not hit (although
you still see a large icicle shoot out).
If the mirror reflected a projectile, neither the mirror stuns, nor cancels,
nor stuns, and the icicle has no effect (i.e.
reflecting counts as cancelling the projectile).
In short, Rimururu only has one chance to hit with this technique.
\layout Standard
This mirror blocks middle and high sword slashes and some low slashes, and
is not cancelled by such.
The upshot is that an opponent attempting to slash through the mirror ends
up hitting a sword obstacle, and goes into block stun, just in time for
the icicle to send them across the screen.
\layout Standard
The size of the mirror makes this an excellent anti-air attack, especially
since the input starts from the defensive position (b, ...).
Hitting with the mirror does very tiny damage, but causes knockdown.
The recovery is quick enough to permit Rimururu to follow with a Big Pursuit
(u + BC).
\layout Standard
The button used does not appear to alter this technique in any noticeable
manner.
\layout Subsubsection
Upun Opu (icicle barrage)
\layout Standard
(f + tap A | B | AB) Rimururu thrusts Konru forward, creating a barrage
of jabbing icicles for rush hits, followed by a large horizontal icicle
for Wire-Effect Knockdown.
\layout Standard
Long lead-in, moderate recovery.
\layout Standard
The second phase of this technique (icicle) sends the opponent flying backwards,
bouncing off the far edge of the screen (Wire-Effect Knockdown).
\layout Standard
The attack strength changes the duration of the rush hits (and thus the
number of rush hits) before the large icicle shoots out.
The weak attack has the shortest time (least hits), the strong attack has
the longest time (most hits).
\layout Subsubsection
Konru Shiraru (ice platform)
\layout Standard
(air: d + A | B | AB) Konru creates a floating ice platform for Rimururu
to sit on for up to three or four seconds.
After a short while, Konru stops supporing the ice platform, which soon
after shakes then falls on its own.
This technique is easiest to invoke at the peak of a jump.
\layout Standard
Short lead-in, quick recovery.
\layout Standard
Once invoked, Rimururu has four followups: jump forward, jump up, jump backwards
, or sit until the ice platform falls.
Regardless of the followup, the (falling) ice platform always remains underneat
h Rimururu; she can't touch the ground before the ice platform.
In the final case (sitting until falling), Rimururu ends up knocking herself
down (no damage), vulnerable to attack.
\layout Standard
If the opponent runs into (jumps into) the ice platform, the ice platform
drops immediately.
If Rimururu hasn't jumped off in this event, she falls to the ground, knocked
down (i.e.
she stayed on the ice platform until it fell).
\layout Standard
This technique can also be invoked during the backstep (b, b), before Rimururu
touches the ground.
Useful against deep-diving attackers (e.g.
Rera, Genjuro).
\layout Standard
This technique can also be invoked at the end of a running kick (dash +
C), during the peak of the backflip (but the timing is more difficult than
with the backstep).
\layout Standard
Combined with wall jumps, this technique can be used as an annoying delaying
tactic.
Proper abuse of wall-jumping permits Rimururu to remain off the top of
the screen for the better part of seven-second flight (jump back, wall
jump, Shiraru, pause, jump backwards (offscreen), late wall jump.
\layout Subsection
Max POW
\layout Standard
Techniques available to Rimururu only after a full POW meter or a non-empty
red RAGE meter.
\layout Subsubsection
Rupushi Kamui Emushi, Toitoi (sliding ice boulder)
\layout Standard
(d, df, f + CD) Rimururu summons Konru overhead, creating a giant ice boulder.
Then the ice boulder slams down in front of Rimururu.
Then Rimururu shoves the giant ice boulder, sending it sliding across the
ground, violently shaking the screen.
\layout Standard
In the first phase, as Rimururu summons Konru, Rimururu is invulnerable
until the ice boulder solidifies.
\layout Standard
In the second phase, the grounded ice boulder can catch opponents as if
flypaper.
Since SS5 has no air blocking, a well-timed backward roll cancelled into
this technique against an airborne opponent can lead to a decisive turn
of events.
However, the ice boulder here only gets once chance to hit during this
phase.
If the (grounded) opponent blocks the ice boulder, the ice boulder is moot
until the third phase.
In the meantime, Rimururu is open to attacks; any hits suffered cancels
the ice boulder (no third phase, ice boulder disappears).
\layout Standard
In the third phase, Rimururu pushes the boulder after a short pause.
The boulder slides across the screen, like a grossly enlarged version of
the Kuare Toitoi.
The ice boulder can still catch airborne opponents, and deal damage to
opponents that blocked the second phase (when the ice boulder was not moving).
An opponent caught by the ice boulder, in either the second or third phase,
is dragged across the screen by the ice boulder until the edge of the screen,
where the ice boulder shatters, dealing severe ice damage and shaking the
screen violently for a few seconds afterwards.
The opponent loses his/her/its sword if caught by the ice boulder at any
time (but the sword goes flying after the boulder shatters).
\layout Standard
Hit or miss, the screen continues shaking for a while afterward (more violent
and longer shaking if the ice boulder connects).
You can utilize the ensuing confusion to your advantage.
If you intend to follow with a Pursuit Attack (big or small), I recommend
you time your attack based on the time passed since the ice boulder shattered
(the sound of it), since the screen shakes so much that at times the falling
and flipping opponent can appear to be standing on solid ground.
\layout Subsubsection
Rupushi Kamui Weisanpekoru Ruyanpe, Head (enraged head stumble)
\layout Standard
(
\series bold
\emph on
unarmed
\series default
\emph default
, dash: A+C) Rimururu stumbles face-forward for a middle attack.
Rimururu continues tumbling forward four times, for up to nine non-combo
hits total (one on the initial face-plant, two per tumble).
The final hit knocks down (is it an overhead?).
\layout Standard
At the end, Rimururu recovers while supine.
\layout Standard
Despite being a Max POW attack, this technique does not disarm the opponent.
\layout Subsubsection
Rupushi Kamui Weisanpekoru Ruyanpe, Foot (enraged foot stumble)
\layout Standard
(
\series bold
\emph on
unarmed
\series default
\emph default
, dash: B+C) Rimururu slips with both feet flying forward and up for a middle
attack.
Rimururu continues stumbling forward (but
\begin_inset Quotes eld
\end_inset
facing
\begin_inset Quotes erd
\end_inset
backwards) four times, for up to nine non-combo hits total.
Final hit knocks down.
\layout Standard
At the end, Rimururu recovers while prone.
\layout Standard
Despite being a Max POW attack, this technique does not disarm the opponent.
\layout Section
Movelist (Specials, Descriptive)
\layout Standard
\begin_inset Tabular
|
\begin_inset Text
\layout Standard
input
\end_inset
|
\begin_inset Text
\layout Standard
result
\end_inset
|
\begin_inset Text
\layout Standard
ASCII art
\end_inset
|
|
\begin_inset Text
\layout Standard
qcf + A | B
\end_inset
|
\begin_inset Text
\layout Standard
arcing iceball
\end_inset
|
\begin_inset Text
\layout Standard
/~
\backslash
o
\end_inset
|
|
\begin_inset Text
\layout Standard
qcf + AB
\end_inset
|
\begin_inset Text
\layout Standard
grounded iceball
\end_inset
|
\begin_inset Text
\layout Standard
\backslash
__o
\end_inset
|
|
\begin_inset Text
\layout Standard
f, d, df + A | B | AB
\end_inset
|
\begin_inset Text
\layout Standard
rising ice flower
\end_inset
|
\begin_inset Text
\layout Standard
^
\end_inset
|
|
\begin_inset Text
\layout Standard
qcb + A | B |AB
\end_inset
|
\begin_inset Text
\layout Standard
ice puddle
\end_inset
|
\begin_inset Text
\layout Standard
_
\end_inset
|
|
\begin_inset Text
\layout Standard
b, d, db + A | B | AB
\end_inset
|
\begin_inset Text
\layout Standard
ice mirror
\end_inset
|
\begin_inset Text
\layout Standard
|-
\end_inset
|
|
\begin_inset Text
\layout Standard
f +
\emph on
tap
\emph default
A | B | AB
\end_inset
|
\begin_inset Text
\layout Standard
icicle barrage
\end_inset
|
\begin_inset Text
\layout Standard
»
\end_inset
|
|
\begin_inset Text
\layout Standard
\emph on
(air)
\emph default
d + A | B | AB
\end_inset
|
\begin_inset Text
\layout Standard
ice platform
\end_inset
|
\begin_inset Text
\layout Standard
v
\end_inset
|
|
\begin_inset Text
\layout Standard
\emph on
(POW)
\emph default
qcf + CD
\end_inset
|
\begin_inset Text
\layout Standard
ice boulder
\end_inset
|
\begin_inset Text
\layout Standard
\end_inset
|
|
\begin_inset Text
\layout Standard
\emph on
(unarmed)
\emph default
dash + AC
\end_inset
|
\begin_inset Text
\layout Standard
head stumble
\end_inset
|
\begin_inset Text
\layout Standard
°
\backslash
\end_inset
|
|
\begin_inset Text
\layout Standard
\emph on
(unarmed)
\emph default
dash + BC
\end_inset
|
\begin_inset Text
\layout Standard
foot stumble
\end_inset
|
\begin_inset Text
\layout Standard
./
\end_inset
|
\end_inset
\layout Section
Odds and Ends/Miscellaneous/Wishlist
\layout Standard
In SS64, Rimururu.Shura had an attack that froze her opponent and sent them
sliding away, far away; it wasn't exactly a command throw (it was blockable),
but it was an excellent technique for shoving your opponent over the arena
edge and winning with a Ring-Out.
In SS3, Rimururu.Rasetsu had a similar attack, as a command throw.
\layout Standard
In SS3, SS4, and SS64, Rimururu.Rasetsu had Konru Nonno replaced with Rupushi
Tomu, where Rimururu slashes forward and upward as Konru creates protruding
icicles for multiple hits.
This move had better tactical applications (pushes back, hits high, quick
recovery), however, the K.
Nonno is a far more defining technique (a better
\begin_inset Quotes eld
\end_inset
trademark move
\begin_inset Quotes erd
\end_inset
) for Rimururu.
I think it would be nice to see Rimururu re-equipped with this technique
as perhaps a C attack, or, like the Kuare (A|B = Shura, AB = Rasetsu),
as the AB version of the K.
Nonno.
\layout Standard
Apparently
\begin_inset LatexCommand \htmlurl{http://www.samurai-zero.jp/}
\end_inset
is the official home page for SS5 (Samurai Spirits Zero), and all in Japanese.
Generic/common movelist is
\begin_inset LatexCommand \htmlurl{http://www.samurai-zero.jp/sousa.html}
\end_inset
(in Japanese).
Rimururu's movelist is
\begin_inset LatexCommand \htmlurl{http://www.samurai-zero.jp/chara/02.html}
\end_inset
(also in Japanese).
Most of Rimururu's techniques are spelled out in katakana, so I may dig
up a pronunciation chart and romanization rules from some place and straighten
out the spellings one day.
\layout Section
\begin_inset LatexCommand \label{sec-GNU-Free-Documentation}
\end_inset
GNU Free Documentation License
\layout Code
GNU Free Documentation License
\newline
Version 1.2, November 2002
\newline
\newline
\newline
Copyright (C) 2000,2001,2002 Free Software Foundation, Inc.
\newline
59 Temple Place, Suite 330, Boston, MA 02111-1307 USA
\newline
Everyone is permitted to copy and distribute verbatim copies
\newline
of this license document, but changing it is not allowed.
\newline
\newline
\newline
0.
PREAMBLE
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The purpose of this License is to make a manual, textbook, or other
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This License is a kind of "copyleft", which means that derivative
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It
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We have designed this License in order to use it for manuals for free
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copying of the copies you make or distribute.
However, you may accept
\newline
compensation in exchange for copies.
If you distribute a large enough
\newline
number of copies you must also follow the conditions in section 3.
\newline
\newline
You may also lend copies, under the same conditions stated above, and
\newline
you may publicly display copies.
\newline
\newline
\newline
3.
COPYING IN QUANTITY
\newline
\newline
If you publish printed copies (or copies in media that commonly have
\newline
printed covers) of the Document, numbering more than 100, and the
\newline
Document's license notice requires Cover Texts, you must enclose the
\newline
copies in covers that carry, clearly and legibly, all these Cover
\newline
Texts: Front-Cover Texts on the front cover, and Back-Cover Texts on
\newline
the back cover.
Both covers must also clearly and legibly identify
\newline
you as the publisher of these copies.
The front cover must present
\newline
the full title with all words of the title equally prominent and
\newline
visible.
You may add other material on the covers in addition.
\newline
Copying with changes limited to the covers, as long as they preserve
\newline
the title of the Document and satisfy these conditions, can be treated
\newline
as verbatim copying in other respects.
\newline
\newline
If the required texts for either cover are too voluminous to fit
\newline
legibly, you should put the first ones listed (as many as fit
\newline
reasonably) on the actual cover, and continue the rest onto adjacent
\newline
pages.
\newline
\newline
If you publish or distribute Opaque copies of the Document numbering
\newline
more than 100, you must either include a machine-readable Transparent
\newline
copy along with each Opaque copy, or state in or with each Opaque copy
\newline
a computer-network location from which the general network-using
\newline
public has access to download using public-standard network protocols
\newline
a complete Transparent copy of the Document, free of added material.
\newline
If you use the latter option, you must take reasonably prudent steps,
\newline
when you begin distribution of Opaque copies in quantity, to ensure
\newline
that this Transparent copy will remain thus accessible at the stated
\newline
location until at least one year after the last time you distribute an
\newline
Opaque copy (directly or through your agents or retailers) of that
\newline
edition to the public.
\newline
\newline
It is requested, but not required, that you contact the authors of the
\newline
Document well before redistributing any large number of copies, to give
\newline
them a chance to provide you with an updated version of the Document.
\newline
\newline
\newline
4.
MODIFICATIONS
\newline
\newline
You may copy and distribute a Modified Version of the Document under
\newline
the conditions of sections 2 and 3 above, provided that you release
\newline
the Modified Version under precisely this License, with the Modified
\newline
Version filling the role of the Document, thus licensing distribution
\newline
and modification of the Modified Version to whoever possesses a copy
\newline
of it.
In addition, you must do these things in the Modified Version:
\newline
\newline
A.
Use in the Title Page (and on the covers, if any) a title distinct
\newline
from that of the Document, and from those of previous versions
\newline
(which should, if there were any, be listed in the History section
\newline
of the Document).
You may use the same title as a previous version
\newline
if the original publisher of that version gives permission.
\newline
B.
List on the Title Page, as authors, one or more persons or entities
\newline
responsible for authorship of the modifications in the Modified
\newline
Version, together with at least five of the principal authors of the
\newline
Document (all of its principal authors, if it has fewer than five),
\newline
unless they release you from this requirement.
\newline
C.
State on the Title page the name of the publisher of the
\newline
Modified Version, as the publisher.
\newline
D.
Preserve all the copyright notices of the Document.
\newline
E.
Add an appropriate copyright notice for your modifications
\newline
adjacent to the other copyright notices.
\newline
F.
Include, immediately after the copyright notices, a license notice
\newline
giving the public permission to use the Modified Version under the
\newline
terms of this License, in the form shown in the Addendum below.
\newline
G.
Preserve in that license notice the full lists of Invariant Sections
\newline
and required Cover Texts given in the Document's license notice.
\newline
H.
Include an unaltered copy of this License.
\newline
I.
Preserve the section Entitled "History", Preserve its Title, and add
\newline
to it an item stating at least the title, year, new authors, and
\newline
publisher of the Modified Version as given on the Title Page.
If
\newline
there is no section Entitled "History" in the Document, create one
\newline
stating the title, year, authors, and publisher of the Document as
\newline
given on its Title Page, then add an item describing the Modified
\newline
Version as stated in the previous sentence.
\newline
J.
Preserve the network location, if any, given in the Document for
\newline
public access to a Transparent copy of the Document, and likewise
\newline
the network locations given in the Document for previous versions
\newline
it was based on.
These may be placed in the "History" section.
\newline
You may omit a network location for a work that was published at
\newline
least four years before the Document itself, or if the original
\newline
publisher of the version it refers to gives permission.
\newline
K.
For any section Entitled "Acknowledgements" or "Dedications",
\newline
Preserve the Title of the section, and preserve in the section all
\newline
the substance and tone of each of the contributor acknowledgements
\newline
and/or dedications given therein.
\newline
L.
Preserve all the Invariant Sections of the Document,
\newline
unaltered in their text and in their titles.
Section numbers
\newline
or the equivalent are not considered part of the section titles.
\newline
M.
Delete any section Entitled "Endorsements".
Such a section
\newline
may not be included in the Modified Version.
\newline
N.
Do not retitle any existing section to be Entitled "Endorsements"
\newline
or to conflict in title with any Invariant Section.
\newline
O.
Preserve any Warranty Disclaimers.
\newline
\newline
If the Modified Version includes new front-matter sections or
\newline
appendices that qualify as Secondary Sections and contain no material
\newline
copied from the Document, you may at your option designate some or all
\newline
of these sections as invariant.
To do this, add their titles to the
\newline
list of Invariant Sections in the Modified Version's license notice.
\newline
These titles must be distinct from any other section titles.
\newline
\newline
You may add a section Entitled "Endorsements", provided it contains
\newline
nothing but endorsements of your Modified Version by various
\newline
parties--for example, statements of peer review or that the text has
\newline
been approved by an organization as the authoritative definition of a
\newline
standard.
\newline
\newline
You may add a passage of up to five words as a Front-Cover Text, and a
\newline
passage of up to 25 words as a Back-Cover Text, to the end of the list
\newline
of Cover Texts in the Modified Version.
Only one passage of
\newline
Front-Cover Text and one of Back-Cover Text may be added by (or
\newline
through arrangements made by) any one entity.
If the Document already
\newline
includes a cover text for the same cover, previously added by you or
\newline
by arrangement made by the same entity you are acting on behalf of,
\newline
you may not add another; but you may replace the old one, on explicit
\newline
permission from the previous publisher that added the old one.
\newline
\newline
The author(s) and publisher(s) of the Document do not by this License
\newline
give permission to use their names for publicity for or to assert or
\newline
imply endorsement of any Modified Version.
\newline
\newline
\newline
5.
COMBINING DOCUMENTS
\newline
\newline
You may combine the Document with other documents released under this
\newline
License, under the terms defined in section 4 above for modified
\newline
versions, provided that you include in the combination all of the
\newline
Invariant Sections of all of the original documents, unmodified, and
\newline
list them all as Invariant Sections of your combined work in its
\newline
license notice, and that you preserve all their Warranty Disclaimers.
\newline
\newline
The combined work need only contain one copy of this License, and
\newline
multiple identical Invariant Sections may be replaced with a single
\newline
copy.
If there are multiple Invariant Sections with the same name but
\newline
different contents, make the title of each such section unique by
\newline
adding at the end of it, in parentheses, the name of the original
\newline
author or publisher of that section if known, or else a unique number.
\newline
Make the same adjustment to the section titles in the list of
\newline
Invariant Sections in the license notice of the combined work.
\newline
\newline
In the combination, you must combine any sections Entitled "History"
\newline
in the various original documents, forming one section Entitled
\newline
"History"; likewise combine any sections Entitled "Acknowledgements",
\newline
and any sections Entitled "Dedications".
You must delete all sections
\newline
Entitled "Endorsements".
\newline
\newline
\newline
6.
COLLECTIONS OF DOCUMENTS
\newline
\newline
You may make a collection consisting of the Document and other documents
\newline
released under this License, and replace the individual copies of this
\newline
License in the various documents with a single copy that is included in
\newline
the collection, provided that you follow the rules of this License for
\newline
verbatim copying of each of the documents in all other respects.
\newline
\newline
You may extract a single document from such a collection, and distribute
\newline
it individually under this License, provided you insert a copy of this
\newline
License into the extracted document, and follow this License in all
\newline
other respects regarding verbatim copying of that document.
\newline
\newline
\newline
7.
AGGREGATION WITH INDEPENDENT WORKS
\newline
\newline
A compilation of the Document or its derivatives with other separate
\newline
and independent documents or works, in or on a volume of a storage or
\newline
distribution medium, is called an "aggregate" if the copyright
\newline
resulting from the compilation is not used to limit the legal rights
\newline
of the compilation's users beyond what the individual works permit.
\newline
When the Document is included in an aggregate, this License does not
\newline
apply to the other works in the aggregate which are not themselves
\newline
derivative works of the Document.
\newline
\newline
If the Cover Text requirement of section 3 is applicable to these
\newline
copies of the Document, then if the Document is less than one half of
\newline
the entire aggregate, the Document's Cover Texts may be placed on
\newline
covers that bracket the Document within the aggregate, or the
\newline
electronic equivalent of covers if the Document is in electronic form.
\newline
Otherwise they must appear on printed covers that bracket the whole
\newline
aggregate.
\newline
\newline
\newline
8.
TRANSLATION
\newline
\newline
Translation is considered a kind of modification, so you may
\newline
distribute translations of the Document under the terms of section 4.
\newline
Replacing Invariant Sections with translations requires special
\newline
permission from their copyright holders, but you may include
\newline
translations of some or all Invariant Sections in addition to the
\newline
original versions of these Invariant Sections.
You may include a
\newline
translation of this License, and all the license notices in the
\newline
Document, and any Warranty Disclaimers, provided that you also include
\newline
the original English version of this License and the original versions
\newline
of those notices and disclaimers.
In case of a disagreement between
\newline
the translation and the original version of this License or a notice
\newline
or disclaimer, the original version will prevail.
\newline
\newline
If a section in the Document is Entitled "Acknowledgements",
\newline
"Dedications", or "History", the requirement (section 4) to Preserve
\newline
its Title (section 1) will typically require changing the actual
\newline
title.
\newline
\newline
\newline
9.
TERMINATION
\newline
\newline
You may not copy, modify, sublicense, or distribute the Document except
\newline
as expressly provided for under this License.
Any other attempt to
\newline
copy, modify, sublicense or distribute the Document is void, and will
\newline
automatically terminate your rights under this License.
However,
\newline
parties who have received copies, or rights, from you under this
\newline
License will not have their licenses terminated so long as such
\newline
parties remain in full compliance.
\newline
\newline
\newline
10.
FUTURE REVISIONS OF THIS LICENSE
\newline
\newline
The Free Software Foundation may publish new, revised versions
\newline
of the GNU Free Documentation License from time to time.
Such new
\newline
versions will be similar in spirit to the present version, but may
\newline
differ in detail to address new problems or concerns.
See
\newline
http://www.gnu.org/copyleft/.
\newline
\newline
Each version of the License is given a distinguishing version number.
\newline
If the Document specifies that a particular numbered version of this
\newline
License "or any later version" applies to it, you have the option of
\newline
following the terms and conditions either of that specified version or
\newline
of any later version that has been published (not as a draft) by the
\newline
Free Software Foundation.
If the Document does not specify a version
\newline
number of this License, you may choose any version ever published (not
\newline
as a draft) by the Free Software Foundation.
\newline
\newline
\newline
ADDENDUM: How to use this License for your documents
\newline
\newline
To use this License in a document you have written, include a copy of
\newline
the License in the document and put the following copyright and
\newline
license notices just after the title page:
\newline
\newline
Copyright (c) YEAR YOUR NAME.
\newline
Permission is granted to copy, distribute and/or modify this document
\newline
under the terms of the GNU Free Documentation License, Version 1.2
\newline
or any later version published by the Free Software Foundation;
\newline
with no Invariant Sections, no Front-Cover Texts, and no Back-Cover
Texts.
\newline
A copy of the license is included in the section entitled "GNU
\newline
Free Documentation License".
\newline
\newline
If you have Invariant Sections, Front-Cover Texts and Back-Cover Texts,
\newline
replace the "with...Texts." line with this:
\newline
\newline
with the Invariant Sections being LIST THEIR TITLES, with the
\newline
Front-Cover Texts being LIST, and with the Back-Cover Texts being LIST.
\newline
\newline
If you have Invariant Sections without Cover Texts, or some other
\newline
combination of the three, merge those two alternatives to suit the
\newline
situation.
\newline
\newline
If your document contains nontrivial examples of program code, we
\newline
recommend releasing these examples in parallel under your choice of
\newline
free software license, such as the GNU General Public License,
\newline
to permit their use in free software.
\the_end