0:01 In today's video, I'm going to break
0:03 down mechanics completely. I'll talk
0:05 about all subcategories of the skill in
0:07 detail, and if you practice each and
0:09 every one of these a little bit every
0:10 day, you'll see mechanical improvement
0:12 over the next few weeks, you haven't
0:14 seen in months or even years. This video
0:16 is going to be super long, so feel free
0:18 to use the video chapters to skip around
0:20 in the video and watch detailed
0:22 breakdowns on the topics you find most
0:24 interesting and maybe best suits your
0:26 needs. If not, you're of course more
0:27 than welcome to start from the beginning
0:29 and watch all the way to the end. With
0:31 that said, let's jump right in. The
0:34 first subcategory is speed. Now, it may
0:35 seem weird that I'm not talking about
0:37 building or editing fundamentals first,
0:38 but if you don't understand the
0:40 philosophy behind speedy mechanics,
0:43 you'll never reach a truly high level. A
0:44 lot of players have fast mechanics in
0:46 that they're very good at building and
0:48 editing. So, in highlight videos, they
0:49 look insane. But in real games and
0:51 tournaments, when it matters, they're
0:53 really, really bad. How in the world can
0:56 that be the case? The answer is simple.
0:57 Their number one priority when
0:59 practicing is to become a faster builder
1:01 and editor. That's what matters most to
1:03 them. And this is a major mistake if you
1:05 want to get insane mechanics in the
1:07 context of being able to win fights
1:09 consistently in game. Beat anyone in
1:11 creative and be ridiculously good at
1:13 fighting in tournaments. To make this as
1:14 easy to understand as possible, I'll
1:16 give you the priority list that you need
1:18 to have in the back of your mind when
1:19 playing. Your first priority in fights
1:21 is to maintain awareness of your enemy.
1:23 That should always be in the back of
1:25 your mind. Your second priority is to
1:27 not mess up. You want to have clean
1:30 builds and edits without any mistakes.
1:32 And third on our priority list is to be
1:34 fast. If you want to become an
1:35 incredible mechanical player, you
1:37 obviously need to be quick. But having
1:39 speed as your number one priority when
1:41 practicing throughout your career means
1:42 you'll never get anywhere. You're
1:44 practicing upon the completely wrong
1:46 basis for this game, especially the
1:48 competitive side of it. Yes, you may
1:50 destroy your IRL friends when you're
1:52 playing creative and random people you
1:53 meet in matchmaking one rounds, but when
1:55 you're in that final game in a solo
1:57 tournament in high elo and you have an
1:59 opportunity to make some great earnings,
2:01 your quad edits and terrible awareness
2:02 won't allow you to perform in those
2:05 games. It's total awareness, mechanical
2:06 consistency, and the knowledge you've
2:08 built of what you can and cannot do in
2:10 fights since you've practiced in the
2:12 correct way that will win you those
2:13 matches. It may seem like I'm telling
2:15 you guys watching that you should be a
2:17 slow and boring mechanical player, but
2:19 that's not at all the case. You guys can
2:21 absolutely get faster and better looking
2:23 mechanics than those who exclusively
2:25 focus on speed. It will realistically
2:27 just take longer since in your mind
2:29 you're focusing on awareness first,
2:31 consistency second, and speed last
2:33 instead of only speed like the players
2:35 who never accomplish anything. Imagine
2:37 in a few months when you have worldclass
2:39 builds and edits and you're able to
2:41 maintain 100% awareness of your enemies
2:43 and fights. The game will feel so much
2:45 more fun and fights will no longer seem
2:47 like a game of chance. You'll be in
2:50 complete control and beat so to say
2:52 everyone. Quick reminder, if we hit
2:54 1,000 users on Code Marm, I'll make a
2:57 special detailed video where I'll review
2:58 five different viewers. Consider putting
3:00 in the code. Let's get back to the
3:02 video. Now that you have the threepoint
3:03 priority checklist in place, it's time
3:05 we talk about building fundamentals.
3:07 This segment is incredibly interesting
3:09 because how often have we asked the
3:11 question, what is our actual goal when
3:14 building? Is it to take high ground, to
3:16 protect ourselves, or to foolpiece our
3:18 opponent? It's a question worth some
3:20 thought. And the best answer I've found
3:22 is that the goal when building is to
3:24 create opportunities in which doing a
3:27 lot of damage is easy and taking damage
3:30 is unlikely. How you do exactly that is
3:31 of course different from fight to fight.
3:33 If someone build fights you, your goal
3:35 should be to take high ground. From high
3:37 ground, you have a major advantage since
3:39 having awareness is easier. There are
3:41 way more potential plays to go for and
3:43 you're looking down on your enemy,
3:44 meaning hitting head shot will be
3:46 significantly easier for you than your
3:48 opponent. The four fundamental moves of
3:50 taking heights in any game mode are
3:52 extremely simple. First, you want to
3:54 make sure your 90s are 100% consistent.
3:56 You don't typically use 90s a lot in
3:59 tournaments, but it is a crucial move to
4:00 have down regardless. I'd recommend
4:02 learning sprinting 90s and normal
4:05 onewall 90s. Here's how to do both. When
4:06 doing sprinting 90s, you want to start
4:09 sprinting, place your stair, and run up
4:10 on the left side of it. Then you look
4:13 90° to the right and place a flat first
4:15 and then stare as far down on the ramp
4:17 as you possibly can. The higher up on
4:19 the ramp you are when you place your
4:21 flat and stare, the slower the 90 will
4:23 be. So, when practicing this, really
4:25 challenge yourself to place these builds
4:27 as far down on the stair as possible.
4:28 When you place both of these, your
4:30 sprint will reset, and right after,
4:32 you'll need to quickly press your sprint
4:33 button again. The more robotic and
4:35 snappy this movement is, the better your
4:37 sprinting 90s will be. In the beginning,
4:39 these are really hard to get down. But
4:41 when you build a muscle memory of them,
4:42 they're completely effortless. When it
4:44 comes to normal one9s, you want to build
4:47 a stair up. Do a 90° rotation and place
4:49 two walls to your right, one on your
4:51 layer and one above. Right after you've
4:53 done that, you want to jump. Place a
4:55 flat and a stair. And here it's really
4:57 important that you try to jump up from
4:59 the lowest possible point on your stair.
5:01 Avoid jumping from the top because if
5:03 you do, the movement will be weird and
5:05 your 90s will be slow. Don't be scared
5:06 when practicing to Harry Potter
5:08 yourself. This is how you build the
5:10 perfect muscle memory around '90s that
5:13 are faster than 99% of others. When you
5:14 have this motion down, you simply want
5:17 to repeat it again. The more robotic and
5:19 snappy you are, the faster your 90s
5:21 become. The second fundamental move that
5:22 is absolutely crucial to master is
5:24 clicks ramps. This is when you place two
5:26 ramps in front of you, typically when
5:28 sprinting, and you do a 45°ree sprinting
5:31 90 with a flat and a steer. And then you
5:33 sprint jump to your front steer where
5:35 you once again place a flat and a stair.
5:37 This trick is very often used in
5:39 tournaments. And the reason this simple
5:40 yet effective high ground method is so
5:42 good is because maintaining 100%
5:45 awareness of your opponent is very easy
5:46 since you never turn your back on him.
5:48 And because of that, you get the chance
5:50 to punish any mistake your enemy may
5:52 make. And secondly, you gain a ton of
5:54 elevation in a super short time span.
5:56 You literally go up three layers in 1
5:58 second. The third fundamental is
6:00 something called high edit cones. And
6:02 it's incredibly easy to learn, but a
6:04 little bit hard to adapt into your play
6:06 style. The move goes as follows. You
6:08 build up ramps and cone above them. Then
6:10 you edit a cone, typically in the right
6:12 corner, but you can also, of course, do
6:13 the left corner. And then you use the
6:15 grid system to place high cones above
6:17 your ramps. The idea is basically that
6:19 when you go up to build fight someone,
6:20 you cut off their ability to place ramps
6:22 above you. And you can do so many plays
6:24 after doing this, like for example,
6:26 placing two walls, going out to the side
6:28 with a 90 and taking their tops and give
6:31 yourself a very favorable duel. And the
6:33 final fundamental is high walls. High
6:35 walls are mostly used when doing side
6:37 jumps to protect yourself, but they also
6:38 often give you some interesting
6:40 opportunities to deal damage to the guy
6:42 you're fighting. You can, for example,
6:44 do a side jump, place two high walls to
6:46 protect yourself, then place a wall and
6:48 a stair, place walls to your left, edit
6:50 a window, and fill piece your enemy.
6:52 This is an extremely specific move that
6:53 for some reason works time and time
6:55 again. And the beauty is that you're
6:56 doing fully protected piece control and
6:58 an amazing peak, which we'll get back to
7:00 later in the video. To do high walls, do
7:02 a side jump, hold your wall out, and
7:04 look almost as high up as you can. By
7:06 doing this, you'll place your high wall
7:08 and be protected, plus give yourself a
7:10 great opportunity to get some damage
7:12 off. And the cool thing is that this as
7:14 well is an incredibly easy move to be
7:16 extremely consistent at. If you have
7:18 these four fundamentals, 90s, clicks
7:20 ramps, high edic cones, and high walls
7:22 down to a tea, you will be able to take
7:24 height from basically everyone given
7:26 that you don't mess up your builds. But
7:29 in 2025 and soon 2026, build fights
7:31 aren't really that common in real games.
7:33 People most of the time just box up. So,
7:34 how do you build and create
7:36 opportunities where doing a lot of
7:38 damage is easy and taking damage is
7:40 unlikely? That is the million-dollar
7:42 question, and I'm going to answer it.
7:44 All good players always move when the
7:46 player they're fighting is boxed up,
7:48 like constantly moving around and
7:50 focusing on being harder to hit whilst
7:51 looking for opportunities. Low-level
7:53 players often end up standing still from
7:55 the same spot for a long time. This is
7:58 something you'll rarely, if ever, see
8:00 pros do. Top tier players also punishes
8:02 mistakes insta. Commonly, for example,
8:03 if the enemy doesn't have a corn in his
8:06 box, then you'll often see pros break
8:07 the wall, face in a stair, and piece
8:09 control out diagonally and full piece
8:11 the enemy. If the enemy is boxed up in a
8:13 jive in 2x two, like everyone plays
8:15 nowadays, the standard way of playing is
8:17 from the tops. You play from above,
8:19 constantly looking at footsteps, and
8:21 what around 50 to 60% of players do is
8:23 edit on you once you get the cone on
8:24 them. If you're ready for that edit,
8:26 you'll have a much easier shot than the
8:28 opponent. If he then decided to go back
8:30 to another box, since you want a damage
8:32 trade, you can apply pressure diagonally
8:34 and play this angle and have basically
8:36 the biggest advantage in the game when
8:37 they do a peanut butter on you. The
8:39 angle works in the same way when you're
8:41 one layer above your opponent. Just make
8:43 sure you're truly hugging the wall by
8:44 pressing A into it when you see that
8:46 he's about to do the peanut butter on
8:47 you. Because if it just goes slightly
8:49 out to the right, you'll be very
8:51 visible. Whereas, when you truly hug the
8:53 wall, it's nearly impossible to get hit
8:55 and you'll win this fight 100 out of 100
8:57 times. If you want to be an elite
8:59 in-game box fighter, the most important
9:00 thing is having full awareness of your
9:02 enemy, never losing track of him, like
9:04 we've talked about, understanding when
9:06 he'll very, very likely go for a play,
9:08 exploits, which we'll get back to later
9:10 in today's video, and angles where you
9:12 have a clear, undeniable advantage. If
9:14 you get these four honestly somewhat
9:16 simple things in place consistently,
9:18 you'll already be far ahead of almost
9:20 everyone. The next topic we're going to
9:22 talk about is editing fundamentals. And
9:24 just like we did with building, we want
9:26 to answer an important question. What is
9:28 our goal when editing? In my mind, the
9:30 goal when editing is to do edits that
9:33 give us easy shots and at the same time
9:34 makes us hard to hit. The first thing
9:36 you need to understand about editing is
9:38 that you should do edits based on your
9:40 enemy's position. This applies both for
9:42 when you're playing defensively and
9:44 aggressively. When I say this, it sounds
9:46 very obvious, but it obviously is far
9:48 from it since only a handful of people
9:50 worldwide have this skill developed to
9:51 an actual high level. What I'm talking
9:53 about is taking opportunities to shoot
9:55 people in the foot when they're having
9:57 bad movement on your wall, for example.
9:58 This is a shot you can consistently take
10:00 and the enemy will never have a chance
10:02 to hit you back. These window peak toe
10:04 shots are typically done from left hand
10:06 peaks rather than right hand peaks. And
10:08 the reason they're so powerful is due to
10:10 the fact that they're very hard to
10:12 predict and nearly nobody does them yet.
10:14 You can also do these quick edits based
10:15 on how you see that the enemy will move
10:17 in the next millisecond. In the
10:18 background footage right now, you can
10:20 see Peterbot utilizing this skill
10:22 perfectly in the most recent solo
10:24 series. Getting the timing down of these
10:26 shots is remarkably difficult, but if
10:28 you focus on it and go out of your
10:29 comfort zone to actually go for these
10:31 types of shots when you think the
10:33 opportunity is there, that intuition for
10:35 when it actually will work and not will
10:37 automatically develop too. More surface
10:38 level or right-hand peanut butter peaks,
10:40 where these ones are always best when
10:42 the enemy is either in the middle of the
10:44 box in front of you or to the left. And
10:46 the same applies for normal window
10:48 peaks. You got to do window peaks to the
10:50 right of your enemy so that he is to the
10:52 left of the peak. Another fundamental of
10:54 editing nowadays is edit resets. Edit
10:56 resets are basically when you make an
10:58 edit on an enemy, but you clearly see
11:00 that he is ready to shoot you. So, you
11:02 do an edit, quickly reset it, and when
11:04 he shoots out your build, you pre-fire
11:06 him right as the build gets destroyed.
11:07 If you're not actively trying to master
11:09 this right here, you're missing out.
11:11 This is also one of the best added
11:13 strategies you can use in fights. Later
11:15 in today's video, I'll also go over in
11:16 detail how to do perfect right-hand
11:19 peaks. So stay tuned for that. Moving
11:21 on, I'm going to touch on edit timing.
11:23 Edit timing is how effectively you're
11:24 able to do your edits, especially in
11:27 sequences like double or triple edits.
11:29 And for some reason, people just don't
11:31 practice this, although consistent edit
11:33 timing practice will get you to have top
11:34 tier edits in the matter of a few
11:37 months, if not weeks. To practice edit
11:39 timing, hop into Raiders Mechanics Map
11:41 V5. Simply search for mechanics and it's
11:43 usually the first map that pops up. When
11:45 you've loaded into the map, go to the
11:48 remote and click in on edit. Then you
11:49 want to shoot the square where you see a
11:51 lot of flats downwards. When you're
11:53 here, you want to start editing as
11:55 quickly and accurately as you can. Make
11:57 sure you really focus on trying to get
11:58 the timing perfect. Like look at your
12:00 keyboard and mouse and see how your
12:02 hands are working together. What people
12:04 don't understand is that by doing this a
12:06 few times every day, you'll improve your
12:08 edit timing by a few milliseconds each
12:09 and every day, especially in the
12:11 beginning. And if you make this a part
12:13 of your routine, you'll find that
12:15 editing becomes effortless after a
12:16 while. Even when doing sets of builds
12:18 and edits in real games, people would
12:20 categorize as very impressive. And that
12:22 is our goal. We want to make things as
12:24 effortless as possible for ourselves.
12:26 Every time you go into this map, do 10
12:27 edittonones. You can see how many
12:29 editons you've done on the left side
12:31 where this repeat symbol is. Doing 10
12:34 edits a day is good. Doing 20 is
12:36 phenomenal. And if you do 30 a day for a
12:37 few months, it can truly be
12:40 career-changing. Pros like Noah really
12:42 and I drop have both done these edits
12:45 hundreds if not thousands of times. And
12:47 it's truly a hidden gem in the context
12:49 of improving your edits. Another crucial
12:52 aspect of mechanics is mouse control, or
12:54 easier said, not overdoing your built-in
12:56 edits. A ton of young players want to
12:58 look super flashy, and because of that,
13:00 they throw their mouse around and flick
13:02 back and forth. This is terrible for
13:04 getting good mechanics that are actually
13:06 usable in highle fights. Having
13:08 awareness is harder. You'll be less
13:10 consistent, and your shots will be five
13:11 times harder to hit since you'll have to
13:13 flick onto your enemy. If you look at
13:16 any truly insane player, all of them do
13:18 very precise mouse or controller
13:20 movements to do their builds and edits.
13:22 No professional player flicks back and
13:24 forth trying to look flashy. They
13:25 understand that that is the worst thing
13:27 you can do if you want truly great
13:29 mechanics. And I'm not just saying this.
13:32 Focusing on mouse control is seriously
13:34 insanely important, guys. So important
13:36 to the point where you'll never become
13:38 truly good unless you develop it to a
13:39 high level. To practice mouse control,
13:41 you need to focus on making small and
13:44 precise mouse or controller movements.
13:45 Of course, if you practice it on
13:47 controller, it isn't really called mouse
13:48 control. If you always have the thought
13:50 that you want to make the lines to
13:52 perform edits as small and clean as
13:53 possible, you'll over time develop
13:55 incredible mechanics. And that goes for
13:56 building, too. You want to make
13:58 movements that are as small as possible
14:00 to build your pieces. Don't flick back
14:02 and forth. You guys on keyboard and
14:04 mouse should play a little bit of coax
14:06 or aim lab every day. Not only will your
14:08 mouse control become drastically better
14:09 when you do this, but your aim as well
14:11 will improve. The problem people have
14:13 with aim trainers is that they have an
14:14 all or nothing mentality towards them.
14:16 They think, "I'm going to call Vax 1
14:19 hour a day for the next 3 months." But
14:20 you shouldn't start there. Just getting
14:23 on for 15 minutes a day consistently is
14:25 enough to see genuine improvement.
14:26 Consistency is the differentiator
14:28 between players who have no PR or
14:31 earnings and those who get tons of PR
14:32 and great earnings. Even if that
14:34 consistency is just 15 minutes a day of
14:36 aim trainers to improve your mouse
14:38 control. Getting uniquely good at
14:40 anything requires you to practice in a
14:41 way that others aren't. Most players
14:44 just hop on and play matchmaking one.
14:45 maybe some ranked and then they play
14:47 attorney. And if you follow a routine
14:49 like this forever, it's guaranteed you
14:50 won't make it. Since you're not
14:52 practicing in a way that gets you to
14:54 improve faster than the competition to
14:56 everyone on keep mouse, I would also
14:58 recommend trying to build an edit with
14:59 different amounts of tension on your
15:02 mouse. Some players find that their
15:03 mouse control and overall consistency
15:06 when it comes to mechanics is much much
15:08 better when they have very low tension
15:09 on their mouse. Basically, instead of
15:11 gripping the mouse tightly, you hold it
15:12 very loosely. The reason this makes
15:14 sense is because you'll never be able to
15:16 replicate the amount of tension you
15:18 have. So, when you hold it tightly on a
15:19 day-to-day, the mouse movements you see
15:21 on screen will be different depending on
15:23 how much tension you apply. Whereas, if
15:25 you hold your mouse loosely, it's much
15:28 easier to day overday replicate the same
15:30 tension. I've personally found this to
15:31 be the case for me. When I apply a lot
15:34 of tension, I'm quite inconsistent. But
15:36 when I have a loose grip, I rarely mess
15:38 up and the game feels a lot easier. Give
15:40 it a go. Find out what tension works for
15:42 you. And just to be clear, some players
15:45 also prefer to hold their mouse tightly,
15:47 and that's also completely okay. But in
15:48 regards to mouse control, you need to
15:50 know which one is better for you because
15:52 it will truly make quite a big
15:54 difference. Next up is movement. And
15:57 this category is a bit more complicated
15:58 than people think. The difference
16:00 between great movement and bad movement
16:03 is so subtle, most people never
16:04 understand it, unless you're insanely
16:07 talented, someone tells you about it, or
16:09 you've thought about it for a long time.
16:11 The biggest flaw I see players make is
16:13 when they apply pressure to boxes and go
16:15 down diagonally with two stairs like
16:17 this. Low tier players often stand very
16:19 far to the right and apply pressure.
16:22 Whereas every single pro understands how
16:24 far to the left they can stand. The
16:25 reason being as far left as possible is
16:27 good is because the angle you'll give
16:30 your opponent when smacking and editing
16:32 is so much more difficult compared to if
16:34 you stand to the right. So, go into
16:36 creative and build your muscle memory
16:38 around taking this wall when you stand
16:40 very far to the left. This also applies
16:41 when you're smacking from a stair that's
16:43 rotated the other way. Most low-level
16:45 players show a ton of their body,
16:47 whereas pros automatically set as far
16:49 left as possible. I'd recommend
16:51 mastering both. It will make fights way
16:53 easier. Another normal example is when
16:55 you go down on an enemy's wall to
16:57 directly smack the wall on a stair. Most
16:59 players pickaxe, take the wall, and do a
17:01 peanut butter. But their movement has
17:02 put them in a spot where the peanut
17:04 butter they do isn't even a right-hand
17:07 peek. Now, it's a wide edit. I challenge
17:09 you to go into creative, jump down on a
17:10 wall, and apply pressure like you would
17:12 with the pickaxe. Take the wall and edit
17:15 a peanut butter. 99% of you will be
17:16 visible for your enemy when you do the
17:18 edit. Pros, on the other hand,
17:20 automatically pickaxe from a spot that
17:22 is protected when I get the wall and
17:24 edit it. When you get this down so that
17:26 this happens on autopilot, your movement
17:28 will already be elite in fights and
17:30 you'll experience way more confidence
17:31 since you know you're just not always
17:33 taking 50/50s like almost everyone else.
17:35 Other than that, you obviously want to
17:37 try to always have fluent movement in
17:39 the sense that you're not stopping or
17:41 moving back and forth when building and
17:42 editing. We want to be as effective as
17:44 possible so that we can capitalize on
17:46 any opportunity our enemy might give us.
17:48 But this right here is way more obvious
17:50 than movement when it comes to taking
17:51 walls. So, you'll more than likely
17:53 naturally develop very effective
17:55 mechanics in the sense that you're not
17:57 stopping or going back and forth to give
17:59 yourself more time to do edits. The
18:01 seventh subcategory of mechanics you
18:03 need to master is exploits. Being able
18:05 to get into players boxes on the first
18:07 try consistently. How consistent a
18:09 player is at exploits tell me a lot
18:10 about their skill level. It's one of
18:12 those skills that showcases the biggest
18:14 skill gap between average players and
18:16 great players. What's really nice is
18:19 that practicing exploits is super easy.
18:20 All you need to do is yet again hop into
18:22 Raider's mechanics map, click the
18:25 remote, hit comp, and select facing
18:26 practice. The main exploits you need to
18:28 learn is of course the exploit with a
18:30 stair above your head. I recommend
18:31 always placing your own stair and not
18:33 using the one on the map since this is
18:35 way more realistic than using an already
18:37 pre-placed stair. When practicing these
18:39 exploits, you should go for five in a
18:42 row. So, do the exploit. If you make it,
18:43 that's one. But if you fail the next
18:45 one, you begin at zero again. The reason
18:47 you need to do five in a row is because
18:49 of just how important these ones are.
18:50 Being able to get in on players on your
18:53 first try nowadays is absolutely crucial
18:54 if you want to become good. The second
18:56 exploit you need to master is running
18:59 into the wall. No jumping or anything
19:01 and pickaxing right into the box. This
19:03 one is a lot more difficult than the one
19:05 where you have a stair above your head,
19:07 but it's also a way better exploit since
19:09 it's way less obvious. When you place a
19:10 stair above you, your enemy knows what
19:12 you're about to do. With this one, you
19:13 can just casually get in and surprise
19:15 him if you have good enough timing. The
19:17 same rule applies for practice in
19:19 regards to this exploit. Get five in a
19:21 row, and if you fail one, you start from
19:23 zero, even if you had four in a row. You
19:25 can also practice the exploit where you
19:27 pickax in from above, but this isn't
19:29 even 10% as important as the other two.
19:31 And it's also way easier. Whether you
19:32 want to practice this one or not is
19:34 totally up to you. All right, in this
19:36 next segment, I'm going to go over the
19:38 importance of mastering the grid system.
19:40 The grid system is how your builds will
19:42 place. based on where you hold your
19:44 crosshair, how editing works when you're
19:46 holding out the blueprints or not, and
19:48 in certain scenarios, how you face
19:50 builds into your opponent's boxes.
19:52 Mastering this, I mean truly mastering
19:54 it will make you one of the most
19:56 annoying players to fight, since you'll
19:57 be able to create angles for yourself
19:59 that the majority of others can't. The
20:01 most obvious and also most important
20:03 move to first learn when it comes to
20:05 improving your understanding of the grid
20:07 system is high cones. This is when you
20:09 place a cone above your own or your
20:10 enemy's wall. Earlier we talked about
20:12 high edit cones and this is the exact
20:14 same thing just without the edit. Some
20:16 examples of really good uses of high
20:18 cones is when you're boxed up and an
20:20 enemy drops down on your wall. What you
20:22 can do then is double edit your flat and
20:24 cone and place a cone above him and gets
20:25 high ground. This is good since you're
20:27 doing it from a spot that is 100%
20:29 protected and it messes up your enemy's
20:31 momentum in your fight completely. Other
20:33 use cases is just placing them all the
20:35 time on build fighting to try to scuff
20:37 your enemy up and claim high ground.
20:38 When playing build fight one runs, for
20:40 example, you want to try to place nearly
20:42 as many icons as possible to get a real
20:44 feel for when it's beneficial because
20:47 this is a basic grid system move and
20:49 it's necessary to have down to a tea.
20:50 Another grid system move that I'm a huge
20:52 fan of is when you ramp up against an
20:54 enemy and you place a cone above you,
20:56 hold your blueprints out, edit it from
20:58 the bottom of your stair or even the top
21:00 of the stair under, place a flat, edit
21:02 that too, and shoot. This is such an
21:04 unorthodox angle that works time and
21:06 time again. People do not expect it. And
21:09 although you won't get like a 180 damage
21:10 shot off from this angle, it's a great
21:12 way to get some free damage off. We
21:13 talked about high walls earlier in
21:16 today's video, so I won't waste too much
21:17 time going over them. But these are
21:18 also, of course, a grid system
21:21 fundamental you must learn and master.
21:23 Far edits is when you edit a wall that
21:24 you wouldn't have been able to edit
21:26 without holding out your blueprint.
21:28 These edits are not used that much in
21:30 real games. But it's still really
21:31 important to have consistency when it
21:33 comes to far edits because when there is
21:35 an opportunity to do them, failing at it
21:37 would be a real shame. The cone edit
21:39 weird angle shot I talked about earlier
21:41 is actually a far edit since you need to
21:43 hold your blueprints out. And I believe
21:45 that we will see people using far edits
21:46 more and more over the coming years and
21:48 that this can be a skill that truly
21:50 showcases skill gaps in the future.
21:51 We're now going to move over to the
21:54 ninth subcategory of mechanics and that
21:56 is peaks. I'm going to go into detail
21:58 about how to do 100% perfect right-hand
22:01 peaks. If you watched last week's video,
22:02 feel free to skip to the next video
22:04 chapter since I'll be talking about
22:06 peaks in a very similar way to what I
22:08 did last week. But I of course still
22:09 need to include a how to do perfect
22:11 peaks in detail since this may be some
22:13 viewers first time watching me and a
22:15 video from my channel. I will also try
22:17 to go even more into detail about peaks,
22:19 both when you're hugging the wall and
22:21 when you're further back in your box.
22:22 First, let's talk about the peanut
22:24 butter right hand peak. To do this one
22:26 perfectly, you need to build a box with
22:28 a cone below you and a flat above. This
22:30 is crucial. The reason we need a cone
22:32 and a flat is because when doing the
22:34 peak, we're jumping. And with a cone and
22:36 a flat, we actually hit our head on the
22:38 flat, and that pushes us down faster
22:40 compared to if we don't have one of the
22:42 two. If we only had a cone, for example,
22:44 we would be in the air much longer and
22:46 be way easier to hit. When you built
22:48 your box with a cone and a flat, you
22:50 want to do the edit on your wall. I'm
22:52 using edit on release off. So, what I do
22:54 is I do the edit from the middle of my
22:56 box, but I don't confirm it. Then I run
23:00 all the way 100% into the wall, not 99%
23:03 or 98% because if you're not as far into
23:04 the wall as you can, you can get
23:07 pre-fired. So, it's super super
23:08 important that you're as close to the
23:11 wall as humanly possible. Then, before I
23:12 confirm, I make sure my head is
23:14 protected under this gray line right
23:16 here. This line shows us how the wall
23:18 will look once we confirm. So, by making
23:20 sure our head is under it, we'll be
23:22 unhitable right when we hit confirm.
23:24 When you've done all that right, you
23:25 want to confirm the edit, get a little
23:27 bit of sideways momentum before jumping
23:30 by continuously holding both W and A,
23:32 and then jump when you have just a
23:34 little bit of sideways momentum, shoot,
23:36 and reset. By doing the peanut butter
23:38 this way, you'll have peaks that are
23:39 world class. And if you can make this
23:42 peak effortless and adapt it into your
23:43 play style so that you can do it
23:45 consistently, you'll be an incredible
23:47 fighter. The main mistake you need to
23:49 avoid is pressing S when you jump and
23:51 shoot. You can press S the millisecond
23:53 the wall is reset, but not before.
23:55 Pressing S midair makes you around five
23:57 times easier to hit compared to if you
23:59 only hold W and A. If you're playing on
24:01 edit release, you want to run all the
24:02 way into the wall, just barely to the
24:04 left of this crack right here. Then you
24:07 quickly want to do the edit, hold W and
24:09 A, jump, shoot, and reset. This way the
24:12 peak is 100% as good as if you play edit
24:14 on release off. That is a little bit of
24:16 an awkward one, but you guys watching
24:18 can probably do like the craziest other
24:20 mechanical moves. So, this one with a
24:22 tiny bit of practice should be easy to
24:24 get down basically 100% consistently.
24:26 The next two peaks we're going to be
24:28 talking about are window peaks. Arguably
24:30 even better peaks than the peanut
24:32 butter. With window peaks, you have
24:34 three options. The left window, the
24:36 middle window, and the right window. The
24:37 first one I'm going to showcase how to
24:40 do perfectly is the right window peak.
24:42 And this is also objectively the best
24:44 peak to do out of all three. To do a
24:46 perfect right window peak, you need a
24:48 cone below you. I usually just always
24:50 build boxes with cones under me and
24:52 flats above. But for this one, flats
24:54 above aren't needed to do the peak
24:55 perfectly like with the peanut butter.
24:57 When you have the cone and your wall,
24:59 you want to select the window edit if
25:01 you're on a release off and run all the
25:03 way into the wall. For this peak, we
25:05 want to make sure our pencil hand is
25:07 protected behind the line that showcases
25:09 how the window peak will look. Once we
25:11 confirm, when we made sure that the hand
25:13 is protected and you're 100% hugging the
25:16 wall by holding W, you want to confirm
25:18 the edit. Then, whilst holding W all the
25:21 time, you want to press D to peak. Shoot
25:23 as soon as this red X disappears.
25:25 Mastering the timing of this is really,
25:27 really important to do good window peaks
25:28 because if you shoot too early, you'll
25:30 shoot your own wall. And if you shoot
25:32 too late, you'll be very easy to hit.
25:34 Then right as you shoot, you want to
25:36 start pressing A on your keyboard. This
25:38 move right here is called a side step.
25:40 And if you do it perfectly, you'll be
25:42 remarkably hard to hit. As you can see
25:44 on screen right now, this is how it
25:46 looks from the enemy's POV. After
25:47 shooting, you normally want to scroll
25:49 wheel reset as fast as possible. This
25:51 peak is without question one of the
25:52 strongest ones you can learn. If you
25:54 want to master this on edit on release
25:56 on, it's not actually harder at all
25:58 since the mouse movement or controller
26:00 movement to do a right window edit is
26:02 super simple. Before you do the edit,
26:03 obviously have a cone under you. And
26:05 then you want to from the middle of your
26:07 cone, hold your crosshair in the middle
26:08 of this plank right here on the wood
26:10 wall, the one that looks a bit lighter
26:12 than the other ones, and run into the
26:14 wall. Do the edit quickly and do the
26:17 sideep shot and reset. So again, from
26:18 the middle of your cone, run into the
26:20 wall whilst holding your crosshair in
26:22 the middle of this light plank. Do the
26:24 edit quickly when you hit the wall,
26:26 sidestep shot, and reset. Knowing where
26:28 to position yourself comes naturally
26:30 when you practice this on wood builds a
26:32 lot in creative. You of course don't
26:34 have the same planks on brick and metal
26:36 builds. But if you just practice on wood
26:38 a little bit every day in Creative, your
26:40 brain will 100% understand where you
26:41 should position yourself when you're
26:43 using brick and metal, too. That's why
26:45 we practice with wood. When it comes to
26:47 middle window peaks, the exact same
26:49 principles apply. Have a cone under you.
26:51 See how the edits will look and make
26:52 sure the hand you're holding your
26:54 editing pencil in is protected. Then
26:56 when you made sure of that, confirm the
26:59 edit, do the sideep shot and reset. The
27:01 middle window peak is quite a lot worse
27:03 than the right window peak because
27:06 firstly, it's almost twice as big,
27:08 giving the enemy an easier chance to hit
27:09 you. It also allows for the enemy to
27:11 shoot you from more angles than the
27:13 right window peak. But the great thing
27:15 about it is that it's much easier for us
27:17 to shoot our enemies from this one. So,
27:19 if you can do it perfectly very quickly,
27:20 it's one of the best peaks in the game.
27:23 To master this on edit release on, this
27:24 is how you need to practice. From the
27:26 back of your box, hold your crosshair in
27:28 the middle of this plank right here. You
27:30 can also easily see the plank you should
27:31 hold your crosshair on from this gap
27:33 right here on wood belts. It's not the
27:35 first plank, but the second one. Hold
27:37 your crosshair in the middle of it. Run
27:40 all the way 100% into the wall. do the
27:43 edit. Side step by holding W, pressing
27:46 D, shooting, and then pressing A and
27:47 resetting your wall. It may seem like a
27:49 lot when you're watching, but when you
27:51 go into creative and start practicing
27:53 your muscle memory around perfect peaks,
27:55 you realize it's way easier than you
27:57 think, especially now that you have the
27:59 recipe. The last window edit is the one
28:01 all the way to the left. When doing this
28:03 one, it's the exact same basically on
28:05 edit and release on and off since you
28:07 want to hug the left wall completely and
28:09 then also run all the way into the wall
28:10 in front of you. So when you do the
28:12 edit, you want to do it from as far in a
28:15 corner as you can possibly be. Then do
28:17 the edit sideep shot like we've talked
28:20 about and reset. This peak is actually
28:22 incredibly strong if you do it at the
28:23 right time. Of course, if the enemy is
28:25 to the right of you, the peak is super
28:27 bad since he'll get a right hand peak on
28:29 you. But if you do it quickly when the
28:31 enemy is on your left side, it's
28:33 ridiculous how good this one is. Before
28:36 we move on to diagonal peaks and a few
28:37 other peaks I want to include since
28:39 they're also quite underrated, we need
28:42 to talk about far right hand peaks. What
28:43 I mean by this is when you're far back
28:45 in your box and an enemy is pressuring
28:47 you. You can do really, really good
28:49 peaks from these positions. If you
28:51 understand the theory behind how they're
28:53 done perfectly. First, let's talk about
28:55 the peanut butter right hand peak. When
28:57 you're doing this one from back in your
28:59 box, you want to make sure you're far to
29:00 the left so that the wall actually
29:02 protects you. You don't need to be
29:04 hugging the wall on the left side for
29:05 this example right here to work. Since
29:07 we're going to be talking about walking
29:09 peaks first and not jumping peaks to do
29:11 far right hand peaks, the skill you need
29:13 to master is to shoot exactly when this
29:16 red X disappears. And right as you
29:18 shoot, you want to do a side step. When
29:20 peaking, you of course hold D on your
29:22 keyboard, but then the millisecond the
29:24 red X disappears, you shoot and
29:27 instantly press A to go to the left and
29:28 reset as soon as possible. The
29:30 difference of a few milliseconds in the
29:32 context of how fast you shoot and
29:34 sidestep after the red X disappears can
29:36 make these kinds of peaks go from being
29:38 incredibly good to very mediocre. So
29:41 this skill is crucial to develop to an
29:43 almost flawless extent if you want to
29:46 get top 0.00001%
29:47 mechanics. Now at times you of course
29:49 also want to do jumping peanut butter
29:51 right hand peaks from far back in your
29:53 box. When that is the case, you want to
29:55 always hug the wall to the left because
29:57 if you jump up from a spot where you're
29:59 not hugging the wall, especially when
30:00 you have a cone under you, like you will
30:02 in most scenarios, you'll be very easy
30:04 to hit. But when hugging the wall,
30:06 you'll actually be extremely hard to it.
30:08 On this one, it's crucial that you're
30:10 holding a into the wall whilst you're
30:12 jumping up and doing the beak. Make sure
30:14 you truly are as close as possible to
30:16 it. It makes a bigger difference than
30:18 you'd ever think. When it comes to far
30:20 window peaks, you want to follow these
30:22 same principles. Do the edit you want to
30:24 make, for example, a right window peak.
30:26 Then when you go out to shoot, make sure
30:28 your shot timing is perfect for when the
30:30 red X disappears. The way I would
30:32 recommend building a flawless muscle
30:34 memory around perfectly timed peak
30:35 shots, by the way, is just through
30:37 playing creative. Setting up a far
30:39 window peak or peanut butter and slowly
30:41 but surely making your way to exactly
30:44 the point where the red X disappears. By
30:45 doing this for window peaks or peanut
30:47 butters, your brain will understand what
30:49 it needs to practice. And then you can
30:51 try to peak in full speed to develop
30:53 your muscle memory to the point where it
30:55 becomes flawless in real games. The
30:57 millisecond after you shoot, you want to
30:58 once again do a side step. The same
31:00 principles apply for all three window
31:03 peaks. Peek out, shoot the nancond the
31:06 red X disappears, do a side step, and
31:07 reset. The most common mistakes people
31:09 make when it comes to doing these kinds
31:11 of peaks is that they make their edit
31:13 from a spot where their body is already
31:15 visible as soon as they confirm. When
31:16 you do right hand peaks, guys, it's
31:19 super important that you're certain that
31:20 your wall is actually protecting you
31:22 when you confirm you're at it. Then you
31:24 want to do the peak by either walking to
31:26 the right and shooting, side stepping,
31:28 and resetting, or jumping up, shooting
31:30 quickly, and resetting. If you follow
31:32 the peaking principles we've talked
31:34 about right now, you will have
31:37 worldclass peaks. All you need to do is
31:38 develop your muscle memory to the point
31:41 where perfect peaks feels as effortless
31:44 as terrible peaks feel for normal
31:46 players. All right, the last two kind of
31:47 peaks I need to talk about today are
31:49 diagonal peaks and peaks from behind the
31:52 cone. Let's start with diagonal peaks.
31:54 Let's say you full piece someone out to
31:56 your right. This is an extremely common
31:57 full piece. And a lot of people who
31:59 foolpiece here just run in on their
32:01 enemy. And this is great if you have a
32:03 heavy health advantage. But if you're
32:05 not sure how much HP your enemy has or
32:07 you're lower yourself, this is what you
32:08 should do. When you have them full
32:11 pieced, hug your wall. Then, just like
32:12 the window peaks we talked about
32:14 earlier, press D to go to the right
32:16 whilst holding W at the same time. Then,
32:18 when the red X disappears, shoot your
32:20 enemy quickly and start pressing A right
32:22 after you've shot. By doing this, you'll
32:24 be very hard to hit. And if you do get
32:26 hit, it'll be for something like 40
32:28 damage. So, this move as well is good to
32:30 have down 100% consistently. The final
32:32 peak I'm going to go over today is peaks
32:33 from behind the cone. This is when you
32:35 basically hide behind your cone, add it
32:37 to your wall, jump up, and shoot. These
32:39 peaks aren't usually as good as normal
32:41 right-hand peaks, but practicing them is
32:43 important because in a few scenarios,
32:45 this is the best move. The one thing I
32:47 recommend you practice is figuring out
32:49 when you edit the wall and when you edit
32:51 your cone when you're in first person in
32:53 your box since you're so far back. This
32:56 may seem obvious and easy to many. But I
32:58 found that the angle to edit the wall
33:00 from from the spot is very different to
33:02 any other edit. So just building your
33:04 muscle memory around looking up here to
33:06 select the wall doing the edit, jumping
33:08 up, shooting, and resetting is a good
33:09 idea because it's something you can
33:11 master in literally a few minutes. But
33:13 if you don't spend a few minutes on it,
33:15 chances are high you'll mess this one up
33:16 when it's a good idea to pull it out in
33:18 a real game because this edit angle is
33:21 super weird. Whoa, I can't believe we're
33:23 already at subcategory number 10 of
33:26 mechanics, which is crosshair placement.
33:27 Crosshair placement and mechanics have
33:29 two use cases. One for building and
33:32 editing and one for making shots as easy
33:33 as possible after doing a right-hand
33:35 peak. First, I want to touch on how you
33:37 should place your crosshair to hit
33:38 right- hand peaks extremely
33:40 consistently. Let's say you want to do a
33:42 peanut butter on an enemy that drops
33:43 down on your wall on, for example, a
33:45 cone. A lot of the time when that
33:47 happens, you want to look a bit down
33:49 since you're obviously going to jump.
33:50 not move your mouse at all and let the
33:52 jump do the movement needed to land
33:54 perfectly on the enemy's head. Sometimes
33:56 the crosshair placement you have will
33:58 look extremely weird before you jump up
34:01 and do the peak. But don't be scared to
34:03 have your crosshair in any position that
34:05 makes the shot as easy as possible for
34:06 you. When it comes to window peaks or
34:08 diagonal peaks, your crosshair placement
34:10 is a bit more straightforward. You want
34:12 to have your crosshair positioned where
34:14 your enemy's head is. Your goal is
34:16 always to only have to move your mouse
34:18 or controller horizontally and not have
34:20 to adjust vertically. Sometimes if your
34:22 enemy drops down on a stair on your
34:24 wall, that crosshair placement will look
34:26 a bit weird since you'll be looking up
34:28 in the sky before confirming your edit.
34:29 But mastering having crosshair placement
34:31 at head level and only having to do
34:33 horizontal mouse movements will make
34:35 aiming and doing more damage much
34:37 easier. So, you should really practice
34:39 it. Crosser placement and building and
34:40 editing may actually be even more
34:42 important because having good crosshair
34:44 placement allows you to have very clean
34:46 builds and edits where you're not
34:48 overdoing your mouse or controller
34:50 movements. An example of a good crosser
34:52 placement when building is someone who
34:54 edits a window and very quickly builds
34:56 two cones and two walls to fill pieces
34:57 enemy. As you can see by the background
35:00 footage, those builds were built quickly
35:01 because of how the crosser was placed
35:03 even before the edit was made. In
35:05 addition, because of a good crosser
35:06 placement, having awareness in that
35:09 situation is so easy since the mouse
35:11 movements were extremely precise. Having
35:12 good crosshair placement when it comes
35:14 to building basically just means that
35:16 you don't need to make a big mouse or
35:18 controller movement to build your next
35:20 desired piece. For editing, it's all
35:22 about placing your crosshair in a way
35:24 that makes a chain of edits, most
35:26 commonly a triple edit, consistent,
35:28 simple, and by having good crosser
35:30 placement. Having awareness of your
35:32 enemy is easy, even during very
35:34 mechanical fights. Cursor placement and
35:35 mouse control kind of go hand in hand,
35:37 and it's all about just making the most
35:39 effective builds and edits where you
35:40 don't shake around trying to look
35:42 flashy. That doesn't do you any favors.
35:44 Unless, of course, you want to become a
35:47 creative content creator, then totally
35:49 fear. Next up, we of course need to talk
35:50 about peace control. Having good peace
35:52 control alone can make you an incredibly
35:54 scary fighter. Now, I'm going to sound
35:56 like a broken record saying this, but
35:58 the number one skill you need if you
36:00 want to develop worldclass peace control
36:03 is, can you guess it? Awareness. The
36:05 reason is, of course, that if you can
36:07 maintain 100% awareness of your enemy
36:09 throughout an entire fight, I mean,
36:11 never lose track, you can take every
36:13 opportunity to peace control them, too.
36:14 So before you go out there and even
36:16 practice piecing up enemies, that needs
36:18 to be the mindset you have that you're
36:20 going to practice your peace control
36:22 based on 100% awareness of your enemy
36:24 throughout a fight. Because if this
36:26 isn't your completely fundamental
36:27 thought in fights, you'll be like so
36:29 many others that just start peace
36:31 controlling ear again and again. Piecing
36:33 up an enemy is typically done through a
36:35 few main moves. The first one is when
36:36 someone is boxed up and don't have a
36:39 cone or stair in their box. What most
36:40 good players do in this situation is
36:42 face a stare in by breaking the wall.
36:44 then the enemy will almost always go out
36:46 of their box and make a new one. There
36:48 are many ways players make new boxes.
36:51 Most low-level players go out to the
36:52 right of where the offensive player is
36:54 playing from. If this happens and you're
36:56 the guy applying pressure, simply place
36:58 a wall, two cones, and two walls, and
37:00 you'll have the opponent full beast. You
37:01 don't really have to do a perfect peak
37:03 here since you'll have the advantage
37:05 from your spa anyways, and the opponent
37:07 is often confused when he box me like a
37:09 fish. If you're really low, then it can
37:11 definitely be a good idea to do the
37:13 diagonal peak we talked about earlier.
37:15 Medium level players typically drop down
37:16 when they get a stair in their box. And
37:18 if you want to punish this, you go out
37:20 to the right, place a wall one layer
37:22 below you, open a window peak, and place
37:24 a cone. This honor piece is very simple
37:27 and effective. Good players usually just
37:28 go out behind them or simply break the
37:30 stair whilst being completely calm. If
37:32 they go out behind them, you sometimes
37:33 have time to sprint above their box and
37:35 claim doubles on them. A player that is
37:37 really good at this is a shark. The more
37:39 you play and the more times you get a
37:41 steer in your opponent's box, the better
37:43 your understanding will be of where the
37:45 enemy most likely will reposition. Top
37:48 tier players can literally tell just by
37:49 looking at the guy they're fighting
37:51 where they're most likely to go. And
37:53 this can be you as well, given that you
37:55 maintain 100% awareness of your enemy.
37:57 The second standard way of piecing
37:59 someone up is when you're playing height
38:00 and waiting for your enemy to mess up.
38:02 Often when this happens, you can get
38:04 doubles on him and piece him up. This is
38:06 especially easy if you master sprinting
38:08 and sliding during your fights. Playing
38:10 height in fights is so much better than
38:12 playing low ground. So when you're on
38:14 height, don't be scared to be patient
38:16 and wait a little bit for your enemy to
38:18 make a mistake. This is very often how
38:21 full piece 200s are done nowadays. Good
38:22 players also maintain awareness of the
38:24 guy they're fighting from height. And if
38:26 they see that he loses awareness, they
38:28 at times drop down quickly, claim an
38:30 unexpected wall, and Phil peace him from
38:32 that. The last quote unquote normal way
38:34 peace control happens in real games is
38:36 when high walls are being placed. High
38:38 walls can be quite unexpected. And if
38:40 you're good at them, you can very often
38:42 get some incredible peace control on
38:44 your enemy. The truth is that piecing
38:46 someone up is undeniably easiest when
38:47 you can tell that the enemy loses
38:49 awareness over you. That's your window
38:51 to piece them up and send them back to
38:53 the lobby. And people in real games lose
38:55 awareness way more than you think. So be
38:56 on the lookout for it and punish that
38:58 mistake when it happens. I also need to
39:00 show you guys how to do protected piece
39:02 control where you can't get hit because
39:04 how many times have you had a full piece
39:05 opportunity on an enemy and
39:08 unfortunately been pumped for a ton of
39:09 damage when going for it. Most players
39:11 have experienced that one too many
39:13 times. So, I'm going to explain how you
39:14 can fill piece your enemy but give him
39:16 no opportunity to hit you back. First,
39:18 let's talk about some common scenarios.
39:20 Let's say your enemy drops down on your
39:22 wall on a stair and starts pickaxing
39:24 your wall. This is probably the most
39:25 common scenario out of any where
39:27 protected piece control is incredibly
39:29 strong. When that happens, what you can
39:31 actually do is do a peanut butter edit
39:32 like we talked about where you hug the
39:35 wall 100% before confirming and make
39:37 sure your head is under the gray line so
39:39 that you can't get hit. Right after
39:40 you've confirmed, you want to place a
39:42 cone above him and a wall on each side
39:44 of him. The wall on the right side is
39:45 going to be very easy to place, but the
39:48 wall on the left side requires you to do
39:50 a very awkward kind of mouse or
39:51 controller movement. So, this needs to
39:53 be practiced many times in creative
39:55 before it comes natural for you. Then,
39:57 you want to do a right-hand peak Sean.
39:58 It's really important when you take the
40:00 peak shot that you get sideways
40:02 movement. Don't just jump up and down
40:04 because if you just jump up, you'll be
40:06 very easy to hit. So, make sure you hold
40:08 W A and then when you get some of that
40:10 sideways movement, that's when you jump,
40:12 shoot, and reset. If you do this,
40:14 chances are very high that you won't get
40:16 hit at all. And if you can master this
40:18 entire movement so that it becomes
40:19 effortless for you, you'll be a
40:22 disgusting fighter in no time and you'll
40:24 truly have a skill set that is unique
40:26 because almost no one has the ability to
40:28 play as perfect as this. If your enemy
40:29 decides to flip a stair when he's been
40:31 full, you can actually easily apply
40:33 pressure to the stair from behind your
40:35 peak by holding W into the wall and
40:37 either shooting the stair or pickaxing
40:39 it by looking basically straight up.
40:40 When you go to take the cone, you need
40:42 to place your crosshair on the right
40:44 wall since that's the only way it'll
40:46 actually place in the box. Again, this
40:48 is doable whilst being 100% protected.
40:50 But if you stand smacking for too long
40:52 and he sees the peak, chances are he'll
40:54 just sprint right into your box. So be a
40:56 little bit careful with this one. You
40:58 can also, of course, Philpiece an enemy
40:59 from behind a peanut butter if he's
41:01 standing on a flat. The way you do that
41:03 is you do the peak perfectly, but then
41:05 from behind it, you place two walls and
41:07 two cones. You can also get the left
41:08 wall, but the movement here is super
41:11 weird and requires a lot of practice if
41:12 you want to make this full box
41:14 effortless. As you can tell, this skill
41:15 right here is kind of an untapped one in
41:17 the Fortnite community. Very few people
41:19 know how to do this, so if you master
41:21 it, you can really become a uniquely
41:23 insane player. Another example of
41:24 perfect peace control is through the
41:26 right window peak. When doing this one,
41:28 make sure your editing hand is protected
41:30 behind the line before confirming. And
41:32 then when the edit is done, place one
41:34 cone below and above and then two. If
41:36 you can do this fast, this one is super
41:38 good in real games. The mouse or
41:40 controller movements required for this
41:41 particular protected beast control move
41:43 are actually really easy to master. So,
41:45 you can probably learn this perfectly in
41:47 a day or two. And I've found that this
41:49 is one of the moves I use the most. The
41:50 really cool thing about learning the
41:52 fundamentals of perfect peaks and peace
41:55 control like you now have, is that you
41:57 can hop into creative and think for
41:59 yourself what kind of situations perfect
42:01 peaks and peace control might be
42:03 applicable in and practice those.
42:05 because you now truly have a top 0.00001%
42:07 0.00001%
42:09 understanding of peaks and protected
42:11 piece. Our next topic and one of the
42:13 most important skills to practice to get
42:15 insane mechanics is scuffed edits. An
42:17 example of a scuffed edit is doing the
42:19 peanut butter edit perfectly when you're
42:21 playing edit on release turned on. It's
42:23 a scuffed one because the mouse or
42:26 controller movement from 100% hugging
42:28 the wall is quite difficult and it
42:30 requires a ton of reps to become truly
42:32 consistent at this one. Another set of
42:34 scuffed edits is ram flips. When you're
42:36 getting pressured, sometimes you'll need
42:37 to flip your ramp in a way that feels
42:39 very weird, and you need to do it fast
42:41 to survive in a fight. The difference
42:43 between being consistent at these ram
42:45 flips and being inconsistent is one of
42:46 the most obvious skill differences
42:49 between players who are at a low level
42:50 and those who play at a high level. So,
42:52 when you're in creative and
42:53 freebuilding, stop doing the same
42:54 pre-building moves you've been doing for
42:57 the last 2 years on autopilot. This
42:58 won't make you better mechanically.
43:01 Spend some time practicing truly scuffed
43:03 edits. Peanut butters where you're 100%
43:05 hugging the wall. Awkward stare edits
43:07 from difficult angles. Double edit downs
43:08 when you're stuck in the corner of your
43:10 box. Wall edits when you're trying to
43:13 create more space, etc. The reason this
43:16 is crucial is because it's almost 2026.
43:17 Like not being able to do scuffed edits
43:20 99% of the time isn't an option anymore.
43:22 It will get you eliminated in important
43:24 games in tournaments. Whereas if you
43:26 have it on lock, those games will be
43:28 very winnable. And if you want to become
43:30 someone truly great, it's time to lock
43:32 in and be better at scuffed edits than
43:35 anyone else. I'm being so serious. It's
43:37 time to talk about awareness, the single
43:39 most important skill in the entire game.
43:41 At the start of this video, I talked
43:43 about how you should focus first on
43:44 awareness and build on that skill. Even
43:47 if your mechanics are insanely slow for
43:48 the first two months building on your
43:50 awareness, this is much better than
43:53 focusing on speed first, like a lot of
43:55 players unfortunately do. Because if you
43:57 focus on speed first, chances are high
43:59 you'll never get elite level awareness
44:00 in fights. And if you don't have that,
44:02 you don't ever stand a chance at
44:03 becoming someone truly good at this
44:06 game. Mastering awareness is 70% of a
44:08 highle fight. Being able to do your
44:10 builds and edits consistently is around
44:12 20%. And the speed in which you do it is
44:15 10%. Of course, when playing against
44:16 low-level players, awareness,
44:19 consistency, or speed isn't particularly
44:21 important since they don't punish your
44:23 mistakes anyways. Having good awareness
44:24 comes primarily from being able to see
44:27 your enemy with your eyes at all times
44:29 in fights. Secondly, you have footsteps,
44:31 then what you hear, so audio. And
44:33 lastly, you have your intuition of where
44:36 the enemy probably is. For good players
44:37 that have built their skill set on
44:39 awareness through their entire career,
44:42 like from day one, their intuition of
44:44 where an enemy is, regardless of if they
44:46 can see him, see footsteps, or hear him,
44:48 is incredibly good. But for players that
44:50 have under 50 KPR, this just isn't ever
44:52 the case. Your goal when building an
44:54 editing is to see the enemy visually
44:56 with your eyes as much of the fight as
44:58 possible. That is your number one goal.
45:00 And the reason I'm talking about it so
45:01 much is because if you just take away
45:03 this one thing from this video that you
45:05 need to build your skill set on
45:07 awareness, you will see improvement over
45:09 the next few months that will honestly
45:11 surprise you. This is undeniably the
45:13 right way to practice the game. And I
45:14 wish somebody had screamed this to me
45:16 when I started playing. I would have
45:18 been five times the player I ever
45:20 became. In the start, you will likely be
45:22 slower, more inconsistent, and you
45:24 probably won't have as much fun as when
45:26 you're focusing on speed. But over time,
45:28 something magical happens. You get your
45:30 speed back, and you control every fight
45:32 you're in because of your worldclass
45:34 awareness. You get this confidence in
45:36 every fight because you can feel what
45:38 plays are going to work and not. And
45:39 you'll know when to take an opportunity
45:41 and not to. If you can't see your enemy,
45:43 don't be scared to slow down a fight
45:45 completely until you've regained
45:46 awareness. If you can't see someone
45:48 instantly, look for footsteps through
45:50 having visual sound effects turned on.
45:52 And be alert of what you hear. Sometimes
45:54 the audio in Fortnite is good, and you
45:56 can hear exactly where an enemy is just
45:58 from sound. But you got to focus on
46:00 actually listening. When you lose sight
46:02 and footsteps of your enemy, your brain
46:04 should instantly start thinking is
46:06 probably lurking somewhere. Where is the
46:08 most likely spot? And how can I be hard
46:10 to it throughout this fight? Coming up
46:12 next today, we're going to talk about
46:14 misdirection builds. This is simply when
46:15 you place a few builds out one way and
46:17 try to trick your enemy by going up the
46:19 other way. This is usually done by
46:21 placing a few ramps out one direction
46:22 and then instantly going up the other.
46:24 You can also place out ramps one way,
46:26 crouch around the other, and instantly
46:28 after often get quite a solid surprise
46:30 shot on your enemy. But you got to be
46:31 careful with this one because if he's
46:33 watched this video, he knows his main
46:35 focus should be visual awareness over
46:37 you and then he might be skeptical
46:39 instantly. Even more common, we of
46:41 course have placing a few cones out one
46:42 way when you're on low ground and going
46:44 up another way. This has been done for
46:46 years and is honestly a very easy way to
46:48 win height. I personally like placing
46:50 stairs the most as misdirection builds
46:52 since this has worked best for me time
46:53 and time again. But here you got to try
46:55 it out for yourself and maybe you'll
46:57 find something that works just
46:59 perfectly. Second to last today, we're
47:01 going to talk about something I consider
47:03 super important to practice. But I don't
47:05 think anyone actually spends any time
47:07 practicing this, and that is wall
47:09 taking. The majority of players are
47:11 embarrassingly bad at taking walls with
47:13 their guns, like getting the timing
47:15 right. So, what I like to do is hop into
47:17 Raiders Mechanics map, then grab the
47:18 guns I like to play in real games. So,
47:21 Enforcer for me this season, and since I
47:23 always get the micro SMG Alspawn, I'll
47:24 pick that up, too. Then, I hit the
47:26 remote and go right into the build
47:28 section. Then I just start placing some
47:29 walls and attempt to take them perfectly
47:31 with my guns. Because the most
47:33 unnecessary mistake I see everyone make
47:35 is leaving these walls on one HP when
47:36 they're trying to take them with their
47:39 guns. Like even good players for some
47:41 reason just aren't good at all at this
47:43 skill. And if you just practice it like
47:45 5 minutes a day for a few weeks, you'll
47:47 be perfect at it. It's something I'll
47:49 never understand because failing a volt
47:51 take like this can mean that instead of
47:53 winning a fight easily, you may end up
47:55 losing a ton of mats and shields. or
47:57 worst case, and this has happened to
47:59 many, including me, you end up losing
48:00 the fight because you're not able to
48:03 take a wall with your gun in 2025, but
48:05 you can do quad at its in my eyes. That
48:08 is something that just should not happen
48:10 ever. To wrap this video up, I'm going
48:11 to give you guys a practice drill you
48:14 can do every day that will 100% make you
48:16 a much better mechanical player, and it
48:18 will only take 15 minutes of your time.
48:20 First, you want to spend around 5
48:22 minutes practicing your edit timing on
48:24 Raider's mechanics map. I don't care if
48:25 you're the best editor in the world.
48:27 Spend five minutes and really focus on
48:29 trying to become even faster, no matter
48:31 how fast you are. The reason we do this
48:33 is to make edits more effortless,
48:35 faster, and of course, more consistent.
48:37 Then on the same app, you want to go
48:39 ahead and head into the com section.
48:41 Apply phasing practice and do that fully
48:43 locked in for another 5 minutes. Try to
48:45 do exploits that don't look super
48:47 obvious, and try to at least a few times
48:49 do the running in exploits with as
48:51 little movement as possible. Being 100%
48:53 consistent at this or at least close to
48:57 100% is crucial nowadays. Then lastly,
48:59 spend around 5 minutes on just
49:00 practicing perfect timing when it comes
49:03 to taking walls with your guns. The rest
49:04 of your day, if you want to get as
49:06 insane mechanics as possible, should be
49:08 used playing against as good players as
49:10 you can find in creative volumes, 2v2s,
49:12 tributaries, etc. The better players you
49:14 play against, the better your mechanics
49:16 are forced to become. And if you build
49:18 those mechanics on awareness first,
49:20 you'll get some of the best mechanics
