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