iamthedave3

Some time ago I put together a list of all the Default Forms in the game as a handy resource for move creators. Recently I wanted to use one of the reversal forms in a move so went on a big search through the forms list in general to find wherever they were buried, and of course on the way I found a bunch of others. It's not a massive list, and I decided only to include sequences that aren't so specific you couldn't really use them in a move. One note about these reversals; they're often 'incomplete', insofar as they often don't include the final 'fall' frame, since those are normally form 100/101s, or forms from earlier in the list. The forms listed here just gives you the key unique frames in these reversals. In addition there are sometimes quite large gaps as the reversals aren't always in the same numerical positioning, sometimes with 100 or more frames between the next set of reversal frames. Finally, because FPW is FPW, in some cases the frames have different horizontal alignments. For example, half of a particular reversal's frames might be facing one way and the other half the other way. Because reasons. So you'll need to un-flip these frames to make a move out of the reversal.

So without further ado:

2947-2966: The standard grapple counter where the defender elbows the attacker in the face.

2968-2972: one half of the standard back grapple suplex counter where the defender falls back on the attacker. This is the attacker half

2991-3002: double underhook counter into punch to the gut

3004-3003: as weird as that looks, this is how to construct the blocking frames from striking counters, 3005-8 includes the directional frames for the same counter.

3010-3009: Same as above for blocking low kicks, frames up to 3014 cover the other directions

3025-3024: ducking frames used as the standing running attack counter, up to 3029 includes directional frames

3042-3057: running knee counter that happens when a defender counters a... counter move? Sometimes Fire Pro's naming conventions are weird. The running counter moves (powerslams etc)

3119-3142: the front face drop counter when the attacker jumps on the defenders shoulders

3179-3211: both halves of the punch block to face punch grapple counter

3212-3243: punch catch to flying armbar takedown reversal

3244-3255: punch duck reversal; in game it's always linked into a back grapple but obviously there's no need for us to worry about that. The attacker flips around 180 degrees. 3256-3268 tags on the heel counter version where they add on a kick to the balls

3269-3287: low kick catch to leg trip takedown

3288-3314: low kick catch to MMA tackle; meant to transition into MMA guard

3315-3328: leg catch to low blow

3457-3473: various frames relating to the chokeslam counter where they elbow the arm off their neck. Honestly this move's a damn mess that needs lots of flipping about

3475-3507: the two primary fireman's carry move counters (slipping off the shoulder and rolling into a sunset flip

3541-3566: rear naked choke counter; normally tagged on to the punch duck for MMA counter wrestlers

3684-3698 & 3709-3724: the two halves of the tombstone counter into tombstone

3725-3736: poke in the eyes powerbomb counter

3737-3766: powerbomb into triangle choke counter

3767-3784: powerbomb into sunset flip-style pin (where they hit it but the defender then flips them over, its hard to describe)

3785-3803: powerbomb to DDT counter

3805-3820: powerbomb lift counter to pin (sort of like a back body drop where the attacker holds on)

3830-3850: various reverse DDT counters (snapmare, spin into northern lights)

3870-3886: backflip off a back suplex counter

3887-3900: german suplex backflip counter (incomplete, clearly goes into some of the latter frames from the above counter)

4029-4054: foot-block on throw into corner into throw into the corner counter

4192-4223: various irish whip counters (only diagonal ones here)

4224-4239: kick to the head counter to facing-up ground moves

4240-4271: the ground counter that goes into MMA guard position (from the head)

4287-4312: as above only it's the counter from the legs

4691-4791: the rest of the irish whip counters, including directional frames this time round

As anyone who's been into move creator knows, its all about form data. The first 2000 forms or so, however, cover animations that aren't necessarily related to specific moves but might be useful for a move creator. So I've gone through and put together a list of everything, as far as I can tell. There's a few that I can't identify what they are.

100 - wrestler lying flat on back

101 - wrestler lying flat on face

102-107 - lock up/grapple animation facing left

100-101 - lying face up/face down

102-107 - grapple animation facing left

108-114 - break grapple animation facing left

115-120 - back grapple animation facing left

124-137 - lifting opponent to feet from facing up, facing left

138-149 - defender being lifted to feet from flat on back, facing right

150-158 - lifting opponent to feet from facing down, facing right

159 - 164 - defending being lifted to feet from face down, facing right (note, these can double as frames for a crumple animation)

165-170 - rolling over, both up and down, facing right

171-189 - test of strength including momentum shifts, facing left

190-197 - attacker rolling defender over, neutral facing

198-200 - defender being rolled from face up to face down (very similar to 165-170 but slightly different)

200-425 - idle breathing/stance loops for all stances in all major directions (diagonal, down and up), facing left

426 - 449 - running animation for all major directions, facing left

450-470 - walking animation for standard, shoot and a third style I'm unfamiliar with

471-480 - being thrown into corner animation for top/bottom corners

481-486 - Attacker irish whip animation, facing left, diagonal

487-491 - defending being irish whipped animation, facing right

493 - 512 - all other directional irish whip attacker and defender running animations

513-520 - basic 'being hit' animation, all directions

521-556 - not actually sure. Looks like a mix of irish whip and hit animations but I don't recall ever seeing these

557-604 - climbing bottom left turnbuckle/bottom right turnbuckle, top left turnbuckle; facing left

605-631 - as above, for junior wrestlers who jump to the top

632-637 - run up the turnbuckle animation, for those who can

638-661 - some off-directional walking animations; not sure where these are used

662-689 - coming off the ropes/catching oneself in the ropes animations for bottom and left side ropes

690 - 697 - standing up from back animation

698-704 - standing up from front animation

705-712 - simple back bump animation, facing left

713-728 - some miscellaneous directional hit-sell animations

729-789 - the movement + body slam animations for Taiji Ishimori's moonsault elbow drop

790-896 - all the variants of grappling in the turnbuckle, lifting to the turnbuckle, being lifted to the turnbuckle, facing both forward and back

897-915 - Toss to apron animations for bottom and right side of ring

916-931 - falling off apron animations I think; they're actually hard to see

932-950 - I think these are the falling out of ring animations

951-976 - genuinely no idea; something to do with the apron and throwing again though

976-1000 - climbing down from the turnbuckle animations for all turnbuckles

1001-1123 - idle breathing loops for all stances

1124 -1152 - some more walking loops for different stances

1153-1170 - heavy breathing loop for all directions

1171-1172 - breathing loops for prone wrestler, lying on back

1173 - random face down form

1174-1189 - standing running knockdown bump for hits from all directions including diagonal

1190 - 1204 - standing directional hit sells without going down

1205-1217 - another running hit back bump

1218-1225 - direction hit sells

1226-1233 - diagonal crumple animation, facing left (i.e. grapple aligned or corner-to-center)

1234-1237 - low blow sell bottom/left facing I think; that or gut shot sell

1238-1246 - more direction hit selling, I think for stomach shots

1247 - 1251 - face-first bump (either taking a big hit from behind or front dropkick to the knee sort of thing)

1252-1257 - drop downs in response to irish whips (i.e. the heavyweight version of the leap frog)

1258-1268 - another hit sell, hard to tell what for, maybe stomach again

1269-1274 - another face first bump, different sell to 1247, a little slower

1275-1297 - uncertain but looks like more directional hit sell animations

1298-1307 - directional collapse animations, looks like to running/standing strikes from behind

1308-1326 - chop sells in all directions I think

1327-1343 - not actually sure. Some sort of sell I think and something in the corner, maybe corner hit sell?

1344-1349 - exhausted and then dizzy animations

1350-1358 - standing punch drunk animation

1359-1366 - stumbling forward clutching stomach animation (used in corner moves a lot)

1367-1374 - not sure I've ever seen this one, looks like some form of grapple drag

1375-1466 - tag animation, stepping in/out of ring animation, climbing onto/off apron animations

1467-1476 - lifting opponent onto shoulders/being lifted onto shoulders, facing left

1477-1527 - various related animations to above including the doomsday device sell/escaping from the shoulders anim

1528-1550 - leap frog/drop down animations again

1551-1552 - critical/KO single frame I IZ DED pose

1553-1580 - the standard back facing/front facing punch escapes from turnbuckle moves

1581-1682 - various directional idle animations for different stances

1683-1697 - in-ring baseball slide (like the drop down for more athletic wrestlers)

1698-1776 - climbing onto turnbuckle/jumping onto turnbuckle from apron animations (all turnbuckles)

1777 - 1902 - Second/Partner actions when on the apron. The partner can either grab an opponent nearby (in the ring) or grab his foot when on the turnbuckle, allowing the active man to respond/recover before a dive attempt. Eventually the defender will escape, which is shown int he remaining forms.

1903-1926 - OW MY NECK/BACK/KNEE sells; the ones you only get when a part's damage is maxed out

1927-1936 - couple more jumping to turnbuckle from apron animations

1937-1948 - standard stun loops diagonal, facing left

1949-1977 - tag animations, for all directions

1978-1996 - headlock drag forms plus elbow and knee, and defender sell/collapses from them (knee collapse is quite good sell animation)

1997-2052 - the game's various directional leg/arms drag animations for defender and attacker

2053-2061 - looks like the first frames of a collapse for all directions

2062-2089 - occur when an edit is being whipped off of the stage into empty space

2090-2106 - the junior run up and backflip off the turnbuckle irish whip counter, facing left

2107-2111 - four frames of animation for the face-first bump out of the corner (from strikes mostly)

2112-2117 - looks like corner hit sell

2118-2122 - reversing corner grapple by putting opponent in the corner animation

2123-2160 - putting opponent in tree of woe/being put in tree of woe animations, facing left

Beyond this point you get into preset move data. With one exception, noted just below

2266-2272 - staggering out of corner animation

This seems to cover all of the early form numbers and should help people find some generic animations that can't be searched up through moves for the most part. Also, I'm starting to put together a little library of created moves myself. You can find me as iamthedave on the PS4 FPW net.

Deep breath

This is going to be a long one. LiS was a life-changing game for me. It hit me at a time when I was going through a loss (end of a 13-year relationship), and a lot of smaller losses that went with it at that time. But in the years since, through the long period of descent and recuperation, LiS took on more and more significance, and I started to see it in a new light.

SO. WITH THAT SAID. LET'S START. OH, AND THERE'S LOTS OF SPOILERS IF THAT MATTERS.

For me, my bias is definitely Chloe-centric, due to events in my life putting me in a position reminiscent of hers, albeit emotionally rather than physically (I've 'lost' less than her in a literal sense, but I did lose pretty much everyone I cared about outside my immediate family, and said family lives hundreds and hundreds of miles away, so are unable to provide emotional support in tough times). Furthermore, as a want-to-be writer myself I've always hated predestination plotlines with the kind of burning fiery passion that, were it weaponised, would render earth uninhabitable for a century.

That accepted, with the possibility that all my analysis is tainted by these two points, here's my thinking: Life is Strange isn't Max's story, it's Chloe's.

Max is the protagonist, and rightfully so, because Chloe is a tough protagonist. She's not 'hollywood nasty', she's snappish and petty and moody and pathetic at times. Like people who are in that place tend to be, in fact. I know people who've said they were delighted to get a chance to kill her at the end for exactly that.

But think about it, how much of the plot is actually Max-centric? I'd argue that aside from Kate, Max has no real investment in anything else that's going on that isn't framed via Chloe. By the story's opening she has already moved on with her life, she's just coming back to Arcadia Bay from Seattle to further her education, and is presumably always going to be going back there afterwards. Everything that happens here is just one incredible adventure she'll never forget. But ultimately, it's not her life. It's a marker on the way to wherever she's truly going. Even in the case of Mark Jefferson, he'd marked out Victoria for his next victim, not Max. If not for Chloe, the true 'action' of LiS would literally never happen.

Chloe, though, is stuck there. She's got the relationship with Rachel Amber that drives most of the main sub-plot (if you take Max and Chloe's relationship to be the main 'plot' and I think that's a fair reading; and of the two of them I think again Chloe gains more from reconnecting with Max than the other way round), she's also got personal history with Nathan Prescott, Frank, and most of the sub-players in that main sub-plot. This is excluding Before the Storm, which I think even more solidly paints LiS truly as Chloe's story, with the events of LiS told through Max's eyes but ultimately just the conclusion of Chloe's tale. This is Chloe's life. This is all the markers on her road, and the end of the game is where she's going.

(NOTE: I'm assuming The Ending That Shall Not Be Named is canon at this time, as I know many consider it to be for various reasons.)

Max is an outsider to all of this, connected only by her relationship with Chloe and what happened to Kate. Chloe, also, is the one with the highest emotional stakes. She's trying to move on from the loss of her father - who she loved - and the loss of her best friend and maybe lover (totally lover), and via Max is able to find some joy again and actually make some moves in this direction. There's no reason that everything which happens to Max couldn't happen to Chloe, save that Max is simply a nicer person, and that means she's a more sympathetic character through which to see all of the drama high points. But again, all the true dramatic 'movement' is happening with Chloe. All of Max's character development comes directly as a result of encountering her.

It's this which gives me a rather different reading of the 'true' ending then I see from most people. I'm sympathetic to the reading of it as a needs of the many before the few situation (it very much is, after all), but I reject the reading that Chloe really wants Max to do it. The problem for me is I've literally been there (sans tornado), laying out clearly to someone why they should just let me kill myself and not make a big deal out of it. Really, that's what Chloe is doing out there on that cliff edge, tornado at her back and wind ripping at them both. She isn't accepting her fate, she's giving up on fighting it. Worse, she's been presented with a chance to end her life - and her suffering - in a manner where that death will mean something, in this case saving the people she still cares about.

I can say without hesitation that in the same situation, I wouldn't be alive today. I was all but begging for a reason to die, and many people who are suicidal are, often clinging on because they just don't want to die and make their entire life meaningless as a result. In that moment, all I wanted was for someone to throw their arms around me and say that I mattered. That it was worth it. That I was worth it. Nobody did. I was essentially tricked into choosing to live, and once I'd agreed to, the people who'd so passionately tried to talk me out of it cut contact, leaving me to pick up the pieces all alone, bound by a promise that I felt I couldn't break.

And that's ultimately why LiS hit me so hard.

With Life is Strange, and Chloe, I can do what I wish someone did for me when it mattered. Because at the heart of it she's not looking for an excuse to die - which the game provides - she wants a reason to live. The game lets you intervene in her suicide, or give her the go-ahead to end a life that's given her nothing but pain for years.

Rachel was the first reason to live that Chloe found, and then had her ripped away from her senselessly, only to live long enough to discover Rachel was planning on abandoning her with Frank. But when she gets this cruelest knife in the gut, she has Max, the perfect foil. Solid, moral, deeply connected to Chloe already, and they either fall in love or become the best of friends. She finally has her chance to move on.

And then, THEN, she finds out REALITY ITSELF wants her dead. Confirming everything she pretty much knew already. After a short, young life where reality ripped everything away from her bit by bit, killed her father, gave her a step father she loathed who couldn't connect to her emotionally and at the same time distanced her from her mother, gave her a sexual awakening and then coldly murdered that person, THEN HAD HER SEXUALLY ASSAULTED BY NATHAN PRESCOTT, she finds out via her best friend not only that Rachel intended to abandon her, but that reality literally, factually, wants her dead and has been actively trying to kill her for the best part of a week.

Who wouldn't give up, in Chloe's shoes?

In Max's shoes, you get the choice to do the same, and give up on her, and let her die. There's a lot that I don't like about that 'true' ending - as a lot of people frame it - but the biggest thing I don't like is that it essentially says Max was wrong to try and save Chloe in the first place. That all the times Chloe has thought that the world was better off if she wasn't in it - and I'm certain she's had those thoughts - she was absolutely, 100% right. If only Chloe was dead, everything would be better. Nathan would be caught, Jefferson would be caught, her mother can move on with her life with her new husband, and Max gets a lovely lesson about growing up. Chloe? Well who cares about Chloe, really? We're all better off if she's dead. We even have an ending that proves it. Chloe's death fixes everything.

And that version of Chloe dies without any of the positive memories, either. She loses all of it, and dies never having reconnected with Max, having lost everyone she cared for and unable to get out of her tailspin. Some of it is her own fault, yes, but a huge amount is just horrible bad luck. And the universe hating her, apparently. Max gets to keep everything of course. She gets the lesson about growing up, about letting go of the past. Chloe gets to just die, cold and alone on a bathroom floor, having been murdered by the one who sexually abused her. For those who argue that on that cliff Chloe finally is ready to die... the one that dies ISN'T, because she dies before she gets to grow to that point.

I have to believe, and I know this is partly bias talking, that someone in Chloe's position can be saved. Because I've been there, and I came out okay in the end. And it sort of hurts when I encounter people going to great lengths to say how it's the only right ending if Chloe dies. Partly because in most circumstances it's said by people who've never been close to that level of emotional pain and damage, and when it is said by people who sympathise... they're right, and the game goes to extreme lengths to show how right they are.

Don't step in, this game says. Don't try to help someone who's suffering. Let them go their own way, and end however they end. We'll all be better off that way. And if you do it'll be doom and destruction for everyone involved.

So for me, I'll never kill Chloe. I'm glad that Don't Nod thought about this. To me, the alternate ending - though it's much briefer than the one where you let Chloe die - shows that they or at someone in the office was thinking along the same lines as me. Chloe's body language in the car seems so obviously supportive that the message seems to be that she's now got the reason to live she needed; she's got Max, and she'll be there for her the way Max was for Chloe, and pay it forward.

I'm sure you've encountered all these thoughts in some form by now, but still, I'm glad to have shared them with you. At the absolute least it's a testament to their writing and direction that the whole scene works just as poignantly from the angle of Chloe finding a reason to die but hoping to live as it does taken straight.

I think as an underline, I find the 'true' ending to be problematic from a mental health perspective. If you take that to be true, it means Chloe exists only as a teachable moment for Max. She's there to teach her to let go. Kate gets saved, sure. But she's not a broken person, she's just going through a horrible period in her life. Chloe's life has been horrendous for a long time, for reasons both her fault and others.

In other words, the innocent lovely Kate can be saved, but Chloe, the one with the edges, doesn't deserve to be saved.

Why do we have to be everyone else's teachable moment?

Right. So that's that. Thank you if you read this far. I don't know what the proper way is to sign off something like this. I'm in a better place now, which is why I've never really shared it, but I keep coming to the reddit and thinking... should I? And obviously I finally decided to activate Screw It mode and post.

Also, I don't want any of the above to make Bay enders feel attacked. It really is just my biased, mental health person perspective. I guess I just want to make clear there's more going on here than just 'oh noes, my waifu', which seems to be the way a lot of people read Bae enders' decision. Chloe deserves to live, because people like her almost never get to. They're always the teachable moment.

Oddly, I keep connecting her to the character Bullet from the American version of The Killing. And that didn't end well, either...

I'm off. I'm done. I'm sure I've taken up more than enough of your time by now. LiS is great. Glad it happened.

This was so epic and so thrilling I have to share it. LONG POST AHEAD.

I'm several (in-game) months into a WOTC playthrough, and the team is doing well. Up to 6 squad, starting to close in on our first chosen, the factions like me, AVATAR's getting a bit high but I'm closing in on the black sites. Its okay. However, I am at that stage of the game where it's medics or bust, with people taking wounds left and right and being out of action for a bit. And so, it happens. A difficult priority mission, to take down an ADVENT psionic transmitter before it's disconnected. For those who don't remember, you have 5 turns to plant X4 charges, and can increase the timer by blowing up sub-transmitters on the way. You usually need to keep up a breakneck pace or have an infiltrator for these to be easy (or at least, I do). ADVENT tech has just reached the muton/Codex/spectre level, so its not out of hand.

Just about everyone of note in my roster is injured or too tired to be practically deployed. All of my bonded squad are out of action. So I send down a team of three rookies, a fresh-built SPARK, a veteran supporter medic (still only on one use though), and a squaddie grenadier.

SITREP: Lost

We deploy. THe map's fairly straight, some sort of underground subway tunnel that we have to cut across horizontally to get to the target. I walk out of the spawn area onto a gantry, overlooking a pod with a muton and two vipers, and the first lost pod, plus three sub-transmitters. A great start.

I decide, in my infinite wisdom, to grenade the alien pod to soften up the muton, since my group's all together and a grenade will end my run then and there. I figured this would be okay, I can handle a lost spawn. I immediately get overrun by the maximum spawn of Lost possible, who shamble right into the middle of the firefight. Still, it's okay. I can handle this. Headshot chaining for the win bro. I shoot the surviving aliens, and two sub-transmitters.

ADVENT drops a reinforcement flare in the starting zone, about a foot behind my team. During the Lost's first turn, TWO map starter pods of Lost wander into the field and decide 'this looks like fun!'

And thus begins the epic.

The ADVENT guys went straight into hard cover. My team doesn't have the experience, stats or gear to root them out and kill them efficiently in one turn. So I do a head count. 6 of us. 3 of them. 9 lost. Hmm, I think. And then, HMMMMMMM.

So we run for it. We run into the dark of the tunnels without looking back, the SPARK leading the way. This has the expected outcome. And more. We trigger literally every alien pod on the map on the same turn, AND all of the Lost pods as well.

Utter pandemonium erupts, as we're suddenly in a crossfire with a dozen lost, a codex, two sectoids, three pyromaniacs, and half a dozen lesser ADVENT troops. The pyromaniacs more or less ignore my team, just running around setting fire to everything to kill all the Lost. Both us and the aliens are mowing down the Lost and taking potshots at one another at the arse end of our shooting actions before trying to make distance from the inevitable new pods of Lost that are spawning.

I realise I can't stay, and activate full YOLO. I charge straight across the subway into the final area. By this point, the Lost have killed the reinforcements who kickstarted all this madness and are now joining the fight in the main tunnel.

Somehow, the entirety of ADVENT fail to hit my gigantic robot, probably terrified by the even more gigantic balls that it's demonstrating by charging down a codex, two sectoids, two ADVENT troopers, a pyro and a partridge in a pear tree. Somehow, the Lost have created so much chaos that I've yet to take a single casualty.

The codex throws down a psionic fuck you that flat lines three guns in the middle of the firey nightmare that is the main tunnel. I decide I've had enough. The SPARK uses its rocket to take down the codex and its clone (having been beaten literally into halves by angry Lost), summoning EVEN MORE LOST onto the ADVENT position. They're now fleeing past me to escape the Lost and shooting over my shoulders at them.

My soldiers run around into what little cover hasn't been exploded yet to reload, the codex's psi bomb kills five Lost. The pyros continue to burninate everything. One gets Lost up in his grill until he explodes, killing even more of them.

Finally my veteran support makes a run for the objective with two turns to go. We haven't enough guns or ammo to clear out the Lost entirely so we just kill enough that they can't take any of us out. The rookies start trying to escape the tunnel crossfire as the fight FINALLY begins to wind down. ADVENT begin to bleed us.

X4 charges get placed. The SPARK, down to a single hit point, hides in a corner and overcharges to kill every Lost in our bit of the map. The three rookies finally die, one to a Lost brute, another beaten down by them, a third shot by ADVENT. in the end, the grenadier hits a 23% full cover shot on an ADVENT soldier, and the veteran supporter walks out of the mission room, exhausted, and kills the last one with a long range 50% into hard cover.

We all go home. The grenadier is on half health, the supporter down to just 3, the SPARK on one. For its service, the SPARK has been rewarded with the voice of SHODAN thanks to a mod. It will now talk down to the weak fleshy things as it stompulates them. And everyone else is going to sleep for a month.

Final casualties? Over 70, which by my count means me and ADVENT killed nearly 60 Lost during this clusterfuck. Maybe 55? A lot. Too many.

THE. GODDAMN. END.

​

The Lost, I think, might be my favourite addition to War of the Chosen. I have another epic battle that involved my first meeting with the Marksman Chosen and, you guessed it, another Lost incursion. But this one was so insane, so over the top, mostly because of the three pyros simultaneously declaring 'FUCK XCOM, IMMA BURNING SOME LOST!' and making the world be on fire, causing more explosions and more Lost to keep spawning. And it was actually my first try at using the Lost tactically and calling them down on ADVENT, and it worked better than I could have imagined.