Noipoi
Howdy!
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Hinata
Never forget, a believing heart is your magic.
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Promo art. All the extra detail on his in-game model just make him look dirty.
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Go ahead. They've defeated me already.
The warehouse where I work is on the same block as these train tracks and probably twice an hour I suddenly the BWAAAAHHHs as a two mile long train slowwwwwly scoots through the industrial district. If I'm lucky, I get stuck on the opposite side of one of those two mile trains while holding the lunch I just purchased, like I did today.
Z25
Pokemon Illusionist
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Actually let’s discuss.
What’s Detective Pikachu doing for the post credits scene?
I’m betting we see a lab with the three kanto starters out as a hand reaches out to choose charmander or something. We obviously don’t see their face.
What’s Detective Pikachu doing for the post credits scene?
I’m betting we see a lab with the three kanto starters out as a hand reaches out to choose charmander or something. We obviously don’t see their face.
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Wow I can't believe I was forgotten. I've posted a whopping *checks* 25 times in this 205K post thread. Surely I'm worthy of being on this prestigious list.
D
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Guest
D
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I'll message it to you in a bit.
Ramen Tengoku
Meiniac
Ingame Steve
sure it's kinda odd and offputting, but Sakurai will probably strive to stay as true to the source as possible. And tbh, I'd go that route, too
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Noipoi
Howdy!
D
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Ah ****, here I go analysing vague wording again
For context, here's MOH's E3 leak from last year https://www.resetera.com/threads/rumor-smash-bros-e3-info-screenshot-leaked.38549/
Note that it's not a texture, it's actually a cropped image. The other image posted also had this from above angle, so if somebody could locate what this image is potentially cropped of, that would be helpful.
But anyways, this is pretty interesting, April 25th last year was when this leak dropped, so this happened roughly around the same time this year. It aligns with the other times he leaked E3 info. But I do find it curious that he doesn't go all out and say "Steve is in", but rather that there are signs pointing to him. We can presume that MOH has info on props and the like, what's physically there, as opposed to having traditional insider sources. This makes me think that there's some sort of big Minecraft related prop that he's been told is at Nintendo's booth and he's putting 2 and 2 together. What interests me is that since 2016, Nintendo has decorated their booth based on a specific game. If they were to continue with that this year, there wouldn't be room for a Minecraft prop aside from a kiosk, but if it was a kiosk, I feel like it would make it obvious that Steve is in, which doesn't align with his vague wording. If Nintendo decided to switch it up this year, then a Minecraft prop would make more sense. My guess is that he saw a big Minecraft prop that at least has some dedicated space to it, but it seemed unrelated to Smash without any markings, or maybe it's like 2018 and there's a prop pickaxe that he can't be sure is related to Smash. Make of that ****ing spiel what you will. There's also the possibility that he knows it's smash related, but he can't tell if it means Steve is in or just unrelated Minecraft content with another Microsoft fighter.
But anyways, leakers obviously aren't infallible, they can be wrong and have faulty sources. This stuff is interesting, but Steve is still neither confirmed nor disconfirmed. Stay calm. And that's my rant about wording that likely just doesn't mean anything in the first place. Don't take my word for this.
There are many signs that Steve is the next DLC in Smash Bros Ultimate...
— Master0fHyrule (@Master0fHyrule) April 27, 2019
E3 2019 will be his announcement.
Note that it's not a texture, it's actually a cropped image. The other image posted also had this from above angle, so if somebody could locate what this image is potentially cropped of, that would be helpful.
But anyways, this is pretty interesting, April 25th last year was when this leak dropped, so this happened roughly around the same time this year. It aligns with the other times he leaked E3 info. But I do find it curious that he doesn't go all out and say "Steve is in", but rather that there are signs pointing to him. We can presume that MOH has info on props and the like, what's physically there, as opposed to having traditional insider sources. This makes me think that there's some sort of big Minecraft related prop that he's been told is at Nintendo's booth and he's putting 2 and 2 together. What interests me is that since 2016, Nintendo has decorated their booth based on a specific game. If they were to continue with that this year, there wouldn't be room for a Minecraft prop aside from a kiosk, but if it was a kiosk, I feel like it would make it obvious that Steve is in, which doesn't align with his vague wording. If Nintendo decided to switch it up this year, then a Minecraft prop would make more sense. My guess is that he saw a big Minecraft prop that at least has some dedicated space to it, but it seemed unrelated to Smash without any markings, or maybe it's like 2018 and there's a prop pickaxe that he can't be sure is related to Smash. Make of that ****ing spiel what you will. There's also the possibility that he knows it's smash related, but he can't tell if it means Steve is in or just unrelated Minecraft content with another Microsoft fighter.
But anyways, leakers obviously aren't infallible, they can be wrong and have faulty sources. This stuff is interesting, but Steve is still neither confirmed nor disconfirmed. Stay calm. And that's my rant about wording that likely just doesn't mean anything in the first place. Don't take my word for this.
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Telltale is no longer a thing, so Story Mode 2 is almost certainly out of the question.
I also doubt Nintendo's area would host Microsoft software no matter how buddy-buddy the two companies have become on the surface. So if Steve is seen specifically in Nintendo's E3 materials, I'd be comfortable assuming Minecraft is in Smash.
SnakeFighter64
Smash Obsessed
Ranma 1/2 is my jamHere's an old Kasumi
Noipoi
Howdy!
Why the hecc wouldn't you go for the doofy, blocky smile?
Metal Shop X
CHAINSAW POWEEEEEEEER
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I just want to know why
Just a penguin
made me Rey.
Like I am actually this boring to be compared to her or something?
Just a penguin
made me Rey.Like I am actually this boring to be compared to her or something?
D
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Gentlepanda
Meme Maestro
Top 10 Surprises That In Retrospect Weren't All That Surprising (That Even WE Didn't See Coming!)
Cutie Gwen
Lovely warrior
The UK parliament has officially used a picture of Lily from Zombie Land Saga wielding a gun with the text "Shut the **** up terf". I have never been so proud of my undead daughter
D
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Could I ask for you guys's opinion on this paper I've been writing for school? /s
Remember Longcat? I remember Longcat. Screw whatever we're supposed to be talking about, I want to talk about Longcat. Memes were simpler back then, in 2006. They stood for something. And that something was nothing. Memes just were. “Longcat is long.” An undeniably true, self-reflexive statement. Water is wet, fire is hot, Longcat is long. Memes were floating signifiers without signifieds, meaningful in their meaninglessness. Nobody made memes, they just arose through spontaneous generation; Athena being birthed, fully formed, from her own skull.
You could talk about them around the proverbial water cooler, taking comfort in their absurdity: “Hey, Johnston, have you seen the picture of that cat? They call it Longcat because it’s long!”
“Ha ha, sounds like good fun, Stevenson! That reminds me, I need to show you this webpage I found the other day; it contains numerous animated dancing hamsters. It’s called — you’ll never believe this — hamsterdance!” And then Johnston and Stevenson went on to have a wonderful friendship based on the comfortable banality of self-evident digitized animals. But then 2007 came, and along with it came I Can Has, and everything was forever ruined. It was hubris, people. We did it to ourselves. The minute we added written language beyond the reflexive, it all went to hell. Suddenly memes had an excess of information to be parsed. It wasn’t just a picture of a cat, perhaps with a simple description appended to it; now the cat spoke to us via a written caption on the picture itself. It referred to an item of food that existed in our world but not in the world of the meme, rupturing the boundary between the two. The cat wanted something. Which forced us to recognize that what it wanted was us, was our attention. WE are the cheezburger, and we always were. But by the time we realized this, it was too late. We were slaves to the very memes that we had created. We toiled to earn the privilege of being distracted by them. They fiddled while Rome burned, and we threw ourselves into the fire so that we might listen to the music. The memes had us. Or, rather, they could has us.
And it just got worse from there. Soon the cats had invisible bicycles and played keyboards. They gained complex identities, and so we hollowed out our own identities to accommodate them. We prayed to return to the simple days when we would admire a cat for its exceptional length alone, the days when the cat itself was the meme and not merely a vehicle for the complex memetic text. And the fact that this text was so sparse, informal, and broken ironically made it even more demanding. The intentional grammatical and syntactical flaws drew attention to themselves, making the meme even more about the captioning words and less about the pictures. Words, words, words. Wurds werds wordz. Stumbling through a crooked, dead-end hallway of a mangled clause describing a simple feline sentiment was a torture that we inflicted on ourselves daily. Let’s not forget where the word “caption” itself comes from: capio, Latin for both “I understand” and “I capture.” We thought that by captioning the memes, we were understanding them. Instead, our captions allowed them to capture us. The memes that had once been a cure for our cultural ills were now the illness itself. It goes right back to the Phaedrus, really. Think about it. Back in the innocent days of 2006, we naïvely thought that the grapheme had subjugated the phoneme, that the belief in the primacy of the spoken word was an ancient and backwards folly on par with burning witches or practicing phrenology or thinking that Smash Mouth was good. Freakin' Smash Mouth. But we were wrong. About the phoneme, I mean. Theuth came to us again, this time in the guise of a grinning grey cat. The cat hungered, and so did Theuth. He offered us an updated choice, and we greedily took it, oblivious to the consequences. To borrow the parlance of an ex-contemporary meme, he baked us a pharmakon, and we eated it.
Pharmakon, φάρμακον, the Greek word that means both “poison” and “cure,” but, because of the limitations of the English language, can only be translated one way or the other depending on the context and the translator’s whims. No possible translation can capture the full implications of a Greek text including this word. In the Phaedrus, writing is the pharmakon that the trickster god Theuth offers, the toxin and remedy in one. With writing, man will no longer forget; but he will also no longer think. A double-edged (s)word, if you will. But the new iteration of the pharmakon is the meme. Specifically, the post-I-Can-Has memescape of 2007 onward. And it was the language that did it, you see. The addition of written language twisted the remedy into a poison, flipped the pharmakon on its invisible axis. In retrospect, it was in front of our eyes all along. Meme. The noxious word was given to us by who else but those wily ancient Greeks themselves. μίμημα, or mīmēma. Defined as an imitation, a copy. The exact thing Plato warned us against in the Republic. Remember? The simulacrum that is two steps removed from the perfection of the original by the process of — note the root of the word — mimesis. The Platonic ideal of an object is the source: the father, the sun, the ghostly whole. The corporeal manifestation of the object is one step removed from perfection. The image of the object (be it in letters or in pigments) is two steps removed. The author is inferior to the craftsman is inferior to God.
But we’ll go farther than Plato. Longcat, a photograph, is a textbook example of a second-degree mimesis. (We might promote it to the third degree since the image on the internet is a digital copy of the original photograph of the physical cat which is itself a copy of Platonic ideal of a cat - a Godcat, if you will - but this line of thought doesn’t change anything in the argument.) The text-supplemented meme, on the other hand, the captioned cat, is at an infinite remove from the Godcat, the ultimate mimesis, copying the copy of itself eternally, the written language and the image echoing off each other, until it finally loops back around to the truth by virtue of being so far from it. It becomes its own truth, the fidelity of the eternal copy. It becomes a God. Writing itself is the archetypical pharmakon and the archetypical copy, if you’ll come back with me to the Phaedrus (if we ever really left it). Speech is the real deal, Socrates says, with a smug little wink to his (written) dialogic buddy. Speech is alive, it can defend itself, it can adapt and change. Writing is its ******* son, the mimic, the dead, rigid simulacrum. Writing is a copy, a mīmēma, of truth in speech. To return to our analogous issue: the image of the cheezburger cat, the copy of the picture-copy-copy, is so much closer to the original Platonic ideal than the written language that accompanies it. (“Pharmakon” can also mean “paint.” Think about it, man. Just think about it.) The image is still fake, but it’s the caption on the cat that is the downfall of the republic, the real fakeness, which is both realer and faker than whatever original it is that it represents.
Men and gods abhor the lie, Plato says in sections 382 a and b of the Republic:
“οὐκ οἶσθα, ἦν δ᾽ ἐγώ, ὅτι τό γε ὡς ἀληθῶς ψεῦδος, εἰ οἷόν τε τοῦτο εἰπεῖν, πάντες θεοί τε καὶ ἄνθρωποι μισοῦσιν; πῶς, ἔφη, λέγεις; οὕτως, ἦν δ᾽ ἐγώ, ὅτι τῷ κυριωτάτῳ που ἑαυτῶν ψεύδεσθαι καὶ περὶ τὰ κυριώτατα οὐδεὶς ἑκὼν ἐθέλει, ἀλλὰ πάντων μάλιστα φοβεῖται ἐκεῖ αὐτὸ κεκτῆσθαι.
[‘Don’t you know,’ said I, ‘that the veritable lie, if the expression is permissible, is a thing that all gods and men abhor?’
‘What do you mean?’ he said. ‘This,’ said I, ‘that falsehood in the most vital part of themselves, and about their most vital concerns, is something that no one willingly accepts, but it is there above all that everyone fears it.’]”
Man’s worst fear is that he will hold existential falsehood within himself. And the verbal lies that he tells are a copy of this feared dishonesty in the soul. Plato goes on to elaborate: “the falsehood in words is a copy of the affection in the soul, an after-rising image of it and not an altogether unmixed falsehood.” A copy of man’s false internal copy of truth. And what word does Plato use for “copy” in this sentence? That’s effing right, μίμημα. Mīmēma. Mimesis. Meme. The new meme is a lie, manifested in (written) words, that reflects the lack of truth, the emptiness, within the very soul of a human. The meme is now not only an inferior copy, it is a deceptive copy.
But just wait, it gets better. Plato continues in the very next section of the Republic, 382 c. Sometimes, he says, the lie, the meme, is appropriate, even moral. It is not abhorrent to lie to your enemy, or to your friend in order to keep him from harm. “Does it [the lie] not then become useful to avert the evil—as a medicine?” You get one freaking guess for what Greek word is being translated as “medicine” in this passage. Ding ding goddang ding, you got it, φάρμακον, pharmakon. The μίμημα is a φάρμακον, the lie is a medicine/poison, the meme is a pharmakon.
But I’m sure that by now you’ve realized the (intentional) mistake in my argument that brought us to this point. I said earlier that the addition of written language to the meme flipped the pharmakon on its axis. But the pharmakon didn’t flip, it doesn’t have an axis. It was always both remedy and poison. The fact that this isn’t obvious to us from the very beginning of the discussion is the fault of, you guessed it, language. The initial lie (writing) clouds our vision and keeps us from realizing how false the second-order lie (the meme) is.
The very structure of the lying meme mirrors the structure of the written word that defines and corrupts it. Once you try to identify an “outside” in order to reveal the lie, the whole framework turns itself inside-out so that you can never escape it. The cat wants the cheezburger that exists outside the meme, but only through the meme do we become aware of the presumed existence of the cheezburger — we can’t point out the absurdity of the world of the meme without also indicting our own world. We can’t talk about language without language, we can’t meme without mimesis. Memes didn’t change between ‘06 and ‘07, it was us who changed. Or rather, our understanding of what we had always been changed. The lie became truth, the remedy became the poison, the outside became the inside. Which is to say that the truth became lie, the pharmakon was always the remedy and the poison, and the inside retreated further inside. It all came full circle. Because here’s the secret. Language ruined the meme, yes. But language itself had already been ruined. By that initial poisonous, lying copy. Writing. The First Meme.
Language didn’t attack the meme in 2007 out of spite. It attacked it to get revenge.
Longcat is long. Language is language. Pharmakon is pharmakon. The phoneme topples the grapheme, witches ride through the night, our skulls hide secret messages on their surfaces, Smash Mouth is good after all. Hey now, you’re an all-star. Get your game on.
You could talk about them around the proverbial water cooler, taking comfort in their absurdity: “Hey, Johnston, have you seen the picture of that cat? They call it Longcat because it’s long!”
“Ha ha, sounds like good fun, Stevenson! That reminds me, I need to show you this webpage I found the other day; it contains numerous animated dancing hamsters. It’s called — you’ll never believe this — hamsterdance!” And then Johnston and Stevenson went on to have a wonderful friendship based on the comfortable banality of self-evident digitized animals. But then 2007 came, and along with it came I Can Has, and everything was forever ruined. It was hubris, people. We did it to ourselves. The minute we added written language beyond the reflexive, it all went to hell. Suddenly memes had an excess of information to be parsed. It wasn’t just a picture of a cat, perhaps with a simple description appended to it; now the cat spoke to us via a written caption on the picture itself. It referred to an item of food that existed in our world but not in the world of the meme, rupturing the boundary between the two. The cat wanted something. Which forced us to recognize that what it wanted was us, was our attention. WE are the cheezburger, and we always were. But by the time we realized this, it was too late. We were slaves to the very memes that we had created. We toiled to earn the privilege of being distracted by them. They fiddled while Rome burned, and we threw ourselves into the fire so that we might listen to the music. The memes had us. Or, rather, they could has us.
And it just got worse from there. Soon the cats had invisible bicycles and played keyboards. They gained complex identities, and so we hollowed out our own identities to accommodate them. We prayed to return to the simple days when we would admire a cat for its exceptional length alone, the days when the cat itself was the meme and not merely a vehicle for the complex memetic text. And the fact that this text was so sparse, informal, and broken ironically made it even more demanding. The intentional grammatical and syntactical flaws drew attention to themselves, making the meme even more about the captioning words and less about the pictures. Words, words, words. Wurds werds wordz. Stumbling through a crooked, dead-end hallway of a mangled clause describing a simple feline sentiment was a torture that we inflicted on ourselves daily. Let’s not forget where the word “caption” itself comes from: capio, Latin for both “I understand” and “I capture.” We thought that by captioning the memes, we were understanding them. Instead, our captions allowed them to capture us. The memes that had once been a cure for our cultural ills were now the illness itself. It goes right back to the Phaedrus, really. Think about it. Back in the innocent days of 2006, we naïvely thought that the grapheme had subjugated the phoneme, that the belief in the primacy of the spoken word was an ancient and backwards folly on par with burning witches or practicing phrenology or thinking that Smash Mouth was good. Freakin' Smash Mouth. But we were wrong. About the phoneme, I mean. Theuth came to us again, this time in the guise of a grinning grey cat. The cat hungered, and so did Theuth. He offered us an updated choice, and we greedily took it, oblivious to the consequences. To borrow the parlance of an ex-contemporary meme, he baked us a pharmakon, and we eated it.
Pharmakon, φάρμακον, the Greek word that means both “poison” and “cure,” but, because of the limitations of the English language, can only be translated one way or the other depending on the context and the translator’s whims. No possible translation can capture the full implications of a Greek text including this word. In the Phaedrus, writing is the pharmakon that the trickster god Theuth offers, the toxin and remedy in one. With writing, man will no longer forget; but he will also no longer think. A double-edged (s)word, if you will. But the new iteration of the pharmakon is the meme. Specifically, the post-I-Can-Has memescape of 2007 onward. And it was the language that did it, you see. The addition of written language twisted the remedy into a poison, flipped the pharmakon on its invisible axis. In retrospect, it was in front of our eyes all along. Meme. The noxious word was given to us by who else but those wily ancient Greeks themselves. μίμημα, or mīmēma. Defined as an imitation, a copy. The exact thing Plato warned us against in the Republic. Remember? The simulacrum that is two steps removed from the perfection of the original by the process of — note the root of the word — mimesis. The Platonic ideal of an object is the source: the father, the sun, the ghostly whole. The corporeal manifestation of the object is one step removed from perfection. The image of the object (be it in letters or in pigments) is two steps removed. The author is inferior to the craftsman is inferior to God.
But we’ll go farther than Plato. Longcat, a photograph, is a textbook example of a second-degree mimesis. (We might promote it to the third degree since the image on the internet is a digital copy of the original photograph of the physical cat which is itself a copy of Platonic ideal of a cat - a Godcat, if you will - but this line of thought doesn’t change anything in the argument.) The text-supplemented meme, on the other hand, the captioned cat, is at an infinite remove from the Godcat, the ultimate mimesis, copying the copy of itself eternally, the written language and the image echoing off each other, until it finally loops back around to the truth by virtue of being so far from it. It becomes its own truth, the fidelity of the eternal copy. It becomes a God. Writing itself is the archetypical pharmakon and the archetypical copy, if you’ll come back with me to the Phaedrus (if we ever really left it). Speech is the real deal, Socrates says, with a smug little wink to his (written) dialogic buddy. Speech is alive, it can defend itself, it can adapt and change. Writing is its ******* son, the mimic, the dead, rigid simulacrum. Writing is a copy, a mīmēma, of truth in speech. To return to our analogous issue: the image of the cheezburger cat, the copy of the picture-copy-copy, is so much closer to the original Platonic ideal than the written language that accompanies it. (“Pharmakon” can also mean “paint.” Think about it, man. Just think about it.) The image is still fake, but it’s the caption on the cat that is the downfall of the republic, the real fakeness, which is both realer and faker than whatever original it is that it represents.
Men and gods abhor the lie, Plato says in sections 382 a and b of the Republic:
“οὐκ οἶσθα, ἦν δ᾽ ἐγώ, ὅτι τό γε ὡς ἀληθῶς ψεῦδος, εἰ οἷόν τε τοῦτο εἰπεῖν, πάντες θεοί τε καὶ ἄνθρωποι μισοῦσιν; πῶς, ἔφη, λέγεις; οὕτως, ἦν δ᾽ ἐγώ, ὅτι τῷ κυριωτάτῳ που ἑαυτῶν ψεύδεσθαι καὶ περὶ τὰ κυριώτατα οὐδεὶς ἑκὼν ἐθέλει, ἀλλὰ πάντων μάλιστα φοβεῖται ἐκεῖ αὐτὸ κεκτῆσθαι.
[‘Don’t you know,’ said I, ‘that the veritable lie, if the expression is permissible, is a thing that all gods and men abhor?’
‘What do you mean?’ he said. ‘This,’ said I, ‘that falsehood in the most vital part of themselves, and about their most vital concerns, is something that no one willingly accepts, but it is there above all that everyone fears it.’]”
Man’s worst fear is that he will hold existential falsehood within himself. And the verbal lies that he tells are a copy of this feared dishonesty in the soul. Plato goes on to elaborate: “the falsehood in words is a copy of the affection in the soul, an after-rising image of it and not an altogether unmixed falsehood.” A copy of man’s false internal copy of truth. And what word does Plato use for “copy” in this sentence? That’s effing right, μίμημα. Mīmēma. Mimesis. Meme. The new meme is a lie, manifested in (written) words, that reflects the lack of truth, the emptiness, within the very soul of a human. The meme is now not only an inferior copy, it is a deceptive copy.
But just wait, it gets better. Plato continues in the very next section of the Republic, 382 c. Sometimes, he says, the lie, the meme, is appropriate, even moral. It is not abhorrent to lie to your enemy, or to your friend in order to keep him from harm. “Does it [the lie] not then become useful to avert the evil—as a medicine?” You get one freaking guess for what Greek word is being translated as “medicine” in this passage. Ding ding goddang ding, you got it, φάρμακον, pharmakon. The μίμημα is a φάρμακον, the lie is a medicine/poison, the meme is a pharmakon.
But I’m sure that by now you’ve realized the (intentional) mistake in my argument that brought us to this point. I said earlier that the addition of written language to the meme flipped the pharmakon on its axis. But the pharmakon didn’t flip, it doesn’t have an axis. It was always both remedy and poison. The fact that this isn’t obvious to us from the very beginning of the discussion is the fault of, you guessed it, language. The initial lie (writing) clouds our vision and keeps us from realizing how false the second-order lie (the meme) is.
The very structure of the lying meme mirrors the structure of the written word that defines and corrupts it. Once you try to identify an “outside” in order to reveal the lie, the whole framework turns itself inside-out so that you can never escape it. The cat wants the cheezburger that exists outside the meme, but only through the meme do we become aware of the presumed existence of the cheezburger — we can’t point out the absurdity of the world of the meme without also indicting our own world. We can’t talk about language without language, we can’t meme without mimesis. Memes didn’t change between ‘06 and ‘07, it was us who changed. Or rather, our understanding of what we had always been changed. The lie became truth, the remedy became the poison, the outside became the inside. Which is to say that the truth became lie, the pharmakon was always the remedy and the poison, and the inside retreated further inside. It all came full circle. Because here’s the secret. Language ruined the meme, yes. But language itself had already been ruined. By that initial poisonous, lying copy. Writing. The First Meme.
Language didn’t attack the meme in 2007 out of spite. It attacked it to get revenge.
Longcat is long. Language is language. Pharmakon is pharmakon. The phoneme topples the grapheme, witches ride through the night, our skulls hide secret messages on their surfaces, Smash Mouth is good after all. Hey now, you’re an all-star. Get your game on.
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Honest to God I didn't know there was a DoA character named Hitomi.
I know Kasumi, Mila, uh... I wanna say Zack, Bass, um. The white haired lady. The blonde southern wrestler. Ryu Hayabusa somehow? And I think they've thrown some Virtua Fighter guys in there too for some reason.
D
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In-game Steve is more faithful to the game, so that one.
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D
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Guest
what the actual **** is going on anymore
Ramen Tengoku
Meiniac
I hate how well this turned out...Or we could all have our own Jay Jay the Jetplane OCs.
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- RedTheMastermind
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Nah fam, they're in assignment.
Basically their assets are paying off their debts but the company is no more.
Promo, for sure.
What Space Ghost Pikachu?
Real talk.
Had one at the office like yours before they let me work from home.
And one comes through my neighborhood like clockwork around 4-5 AM. But I admit it's far enough away that it's actually kinda soothing to hear.
D
Deleted member
Guest
I would take the current Steve.
A beard before a mouth just looks odd in my opinion.
Noipoi
Howdy!
I see that Midna Pikachu
Good Guy Giygas
Smash Master
I can't believe you've done this...
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- staindgrey
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Will
apustaja
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woah woah woah woah
steve and alex is 2 people, they can't take one spot
cappy is at least just a ****ing hat but cmon now
Metal Shop X
CHAINSAW POWEEEEEEEER
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D
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Will
apustaja
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petition for
redfeatherraven
to make a looping gif of all his avatars
redfeatherraven
to make a looping gif of all his avatars
D
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- Joined
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- RedTheMastermind
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What Midna Pikachu?
praline
the white witch
Aww I’m not in this.
D
Deleted member
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I looked it up, but I could not find it.
Can I see this picture please?
I am proud of your undead daughter too.
Gentlepanda
Meme Maestro
hit em with that verthunder spike
D
Deleted member
Guest
So how long on average does it take you to make a new avatar? What about the more complicated ones like Midna Pikachu?
Noipoi
Howdy!
Nothing will ever top it
D
Deleted member
Guest
I pretty much just find your comment funny, as people normally forget that the series has male characters apart from Ryu. There's also Momiji and Rachel from the new Ninja Gaiden trilogy that were added in the 5th game where VF characters was added as guest fighters. Most notorious characters from the series would be Kasumi and Ayane(purple haired chick) as they also appear in NG.
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