Posted by: Davidreamcatcha | January 31, 2014

Top 10 – Recent Final Smashes

While I won’t deny how amazing Little Mac’s final smash is despite the rest of the set being absolutely horrendous, this is a ranking of recent final smashes. The most recent ranking was made in MYM7 and when it seems that final smashes are being pushed more and more to the curb (how many comments do you see where the final smash is praised?), it’s time we give them some proper appreciation. Only final smashes from MYM8 and onwards are listed here, and final smashes that can be triggered midmatch by whatever means are not included (i.e. Trent’s). Even though you’re counting 7 different contests in one ranking, the usual number of 10 will not be increased regardless, as the first Final Smash ranking had exactly that many contests under it’s wing when it happened. This will leave many great final smashes out, so sorry if you don’t see your favorites.


Right off the bat, we have a controversial choice. While many final smashes are under-detailed, this one really takes the cake – clocking in at only 5 seconds and not even filling us in how much damage the bloody thing does! Even n8’s have more effort then that! So…why include it then? The reason, for those of you who have read the set, is the sheer hilarity/awesomeness invoked by the mental image of the final smash. Can you imagine Lobo’s voice actor from say, Injustice, wailing this thing out-of-tune in quite possibly the gruffest voice imaginable?  Or even better yet, Lobo actually KOing someone with this thing? Lobo wiping out an extremely powerful character like Deathborn, Cashman or Voldemort with an arsenal all while singing? It’s perfectly fitting for Lobo’s space biker persona and it reinforces the idea that final smashes don’t need to be detailed or complicated to be good, in fact, clogging it up with too much detail will probably bog it down more than anything.


This final smash is another demonstration – one that final smashes can oftentimes do a service to their character by incorporating additional material that isn’t able to be included in their moveset proper. It’s a cutscene-based one, as Sweeney must first grab the the foe and slit his opponent’s throat. Afterwards, he and his partner-in-crime, Ms. Lovett, proceed to throw their body into the oven and bake them into a delicious tray of meat pies. What makes this final smash so good in particular is that this is the natural kill route for this character, which unfortunately can’t be expressed in the moveset proper unless it were through some convulted kill mechanic. Not the mention the perfectly morbid humor perfectly in line with the musical, as all characters are welcome to eat the lovingly-baked remains of their fallen comrade. Nutritious and delicious.


While simplistic, this final smash helps to reinforce the theme of the moveset (that the characters are all toys, as in Smash 64) while incorporating a key scene from the film from which it’s based. Sid himself makes an appearance here, notably giant, as all the “toys” onstage play dead at the sight of a human. Sid then picks out the most heavily damaged foe, hopefully kept from being offstage by one of your many containment methods. He then straps him to a rocket and launches him high into the sky where he blows up, leaving plastic parts onstage for all the foes to throw about as items – no “falling with style” here. While a rather excellent and fitting final smash in most records, there’s a reason that this isn’t ascending higher. There is a heavily-mentioned easter egg, the toy strapped to the rocket coming to life and cancelling the final smash,  but it’s practically impossible to trigger to begin with. 10x grab difficulty would be ridiculous at a 0% character, but the final smash specifically targets out the character with the highest percentage, where escaping from grabs is made far more improbable.


KET’s final smash has an obviously Kirby-themed cursor suck up all of the random enemys onstage before spitting them on to the back of a Waddle Dee. From here, they move as one character – gaining a shiny new set of specials and being able to roll and whatever those regular characters do. This changes their gameplay completely, as they’re normaly a Hugo set and moving as separate characters. What annoys me about this final smash in particular is not the fact that it’s there, but the fact that Jun didn’t somehow find a way to make it part of the main set itself, rather than delegating it to this role when it’s such a huge (and good) change in the way you can play these characters, especially when someone might prefer to play them in unison.


Kupa, while he was actively contributing, always managed to make character a huge part of his moveset and thus never skimped on final smashes. Tigger is a prime example of this – his main playstyle, of course, revolves around his bouncing. His final smash accentuates that, managing to create an actual playstyle relevant final smash without resorting to a generic Wario Man-style buff. In it, a large tree, much like the one seen in the climax of Tigger’s own movie, spawns in the middle of the stage. This turns the stage into a scrolling stage as the camera focuses itself on the tree, scrolling upwards. This isn’t a problem in the slightest for Tigger, as his moveset allows him to nimbly move about the branches, laying down honey for his opponent to get stuck to while the camera scrolls, or outright spiking them to lower branches. To help him with this endeavor, the camera keeps up with him, meaning he can bounce off the top to eliminate heavyweights with low jumps early-on.


Nappa is a DBZ set and thus, has a stage that one might expect from a heavyweight DBZ antagonist – he destroys the entire planet! Well, no, just the stage…but it’s nearly as devastating as full-scale planet destruction would be. Once the stage is blown straight to hell, the fighters are forced to navigate on the floating remains of the stage where Nappa is king, able to move with ease by his float and easily able to destroy the floating chunks of ground. The main thing that differentiates this from other stage destruction final smashes is that the change to the stage is permanent, the stage doesn’t just magically reappear as in sets and final smashes where this sort of destruction takes place. Instead, the action will eventually transition to a generic grounded stage where the aftermath and destruction can be seen littering the background. To prevent such unwarranted destruction, while Nappa is charging this beam up, he can still have the Smash Ball knocked out of himself, creating a frantic rush to do so. It’s a necessary thing with such a gamechanging final smash.


Reynolds’ final smash is unique amongst many final smashes int that it’s perfectly placed right at the start of the moveset, making it the first thing you have to read. In this final smash, The Michael Reynolds Orchestra appears from the background, as in the false/default endings of Illbleed. No, this final smash doesn’t really help Reynolds himself much at all. Instead, the final smash rewards the opponent, as one hundred million dollars fall from the sky, rich and ready for the opponent to claim! Unfortunately for them, Reynolds has control over where it falls – and given how his entire goal is to litter the stage with traps, this is a very effective way of laughing right in his foe’s faces. The money heals foes and yet it’s impossible for them to claim, Reynolds can’t even use it himself before it just disappears. It doesn’t serve as an effective final smash at all, more a cruel joke played on the opponents once Reynolds breaks the Smash Ball. Michael Reynolds’ final smash is a piece on how a final smash can so effectively define the characterization of a moveset – and it is perhaps the moveset that best exemplifies this – something that Smady was probably aware given where exactly it is.


As the full name of the set indicates, Wario is a set that professes constant love for the Wario Land series, denouncing WarioWare right in the first paragraph. To that end, the final smash itself reflects that as well. Usage of the final smash will cause the Genie of the Lamp, the final boss of the original Wario Land, to appear.  As in the ending of said game, Wario will get a free wish from the genie. Wario could only wish for a castle in the game, but has the option of wishing for riches as well here – which come in the form of a devastating coin shower that pours across the stage and powers up Wario’s coin-based moves. More important of course, is the obvious castle wish, which will cause it to fall from the sky and land in the background. The castle’s size varies depending on how many coins Wario had prior to the final smash, encouraging the player to actually get off his ass and work before reaping the rewards. It also grants Wario a buff for the rest of his stock in that he can max out his gold bag any time he wants by entering the castle, also able to make it rain onto his foes.


Krillin’s final smash summons the namesake objects from the series he hails from – the Dragon Balls. They split off to random parts of the stage, and refuse to leave, instead just floating back on whenever they’re thrown back on. Gathering all 7 of them and placing them close together will cause them to start glowing, anyone who stands by these glowing artifacts for 3 seconds wins the match. Instantly. The final smash turns the whole match into a wild hunt for them, and a rather fun one at that. Krillin, surprisingly, gains very little advantage for this wild goosehunt – his main buff is just that he has the ability to carry one under his arm while still being able to attack. He can carry two at once, but is also unable to attack in this case. The only thing that could potentially be considered “wrong” with this final smash is that this is all quite randomly put into the hands of Krillin. But the quality of the final smash itself outdoes this relatively minor complaint, and it’s better than it being made into a separate gamemode that lord knows nobody will ever remember/care about it.


For a mode that would hypothetically see little to no final smash usage outside characters who generate them, Smady pulls out all the stops on this one, creating a perfect final smash that is both fun and extremely relevant to the character and the mode he’s in. Due to Smady’s insistence on posting the set 16 or so days after everybody else (rivaled only by Peanut, who decided to wait until the end of the contest and tell nobody), Smady gets the chance to pull commentary on other sets in the movement. And what commentary it is, as the Soldier decapitates the limbs of his opponents and attaches them to pikes, emulating Kupa’s krazy kraut moveset in order to recreate the Soldier’s introduction movie. Even getting past how hilarious a mental image this is, he succeeds in delivering both character relevance and gameplay relevance in one fell swoop, as he has the Soldier act like a deranged boot camp instructor as he rants on and on to his heads about fictitious things like his World War II killing sprees and how many medals he won. This fills up both of his meters, allowing him to service his allies by granting them buffs instead of just a self-serving attack – a very necessary thing in CTF Mode.


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