Dd crew hardcore gaming 101
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#DD CREW HARDCORE GAMING 101 SERIES#
The game was an installment of the ineffably cute Puyo Puyo series rebranded for an American audience, giving Kirby a personality more similar to Puyo's protagonist, Arle. Kirby's Avalanche shows Kirby as a Jerkass who acts sarcastic and mean to his friends, saying things like "Oh, I'm so scared" and the like."He used to be such a good boy." The commercial for those games also established Kirby as a criminal. Also compare the commercials for Kirby's Dream Land and Kirby's Adventure, to say nothing of the magazine ad for ◊ Kirby's Avalanche and Kirby's Dream Course. A Kirby's Dream Land 2 commercial aired in the US turned Kirby, Rick, Kine, and Coo into scowling tough guys (or, you know, as tough as an 8-inch high puffball and his similarly-sized friends can be) roughhousing some Hell's Angels, ending with a menacing voiceover by Tony Jay. Earlier in the series, this applied to advertisements rather than box art.It seems that Europeans are expected to be able to stand happy Kirby. In Europe, it depends if the localization team wants to use the Japanese or American version as a basis.Ever since Kirby's Dream Collection, the box art has been consistently the same across all regions, apparently alternating between cheery Kirby and ferocious Kirby. Brawl, Kirby Super Star Ultra, and Kirby's Epic Yarn, whose box arts have Kirby actually looking happy for a change, but crept up back again with Kirby Mass Attack and Kirby's Return to Dream Land. It seemed to have calmed for a brief time with Super Smash Bros. This strange practice is joked on originally in this YTMND and subsequently in this Brawl in the Family strip.
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The box art for many of his games since Kirby: Nightmare in Dream Land note which obviously means this is averted in previous games have had angry eyebrows added to the main character to make the pink puffball seem more aggressive. This started to change in The New '10s due to a general pushback against the Darker and Edgier trends of the previous decades (despite the popularity of some grimdark TV-MA-rated shows on premium cable during the 2010s), and cuteness is far more accepted in the United States than it used to be (it's hard to visit any supermarket these days without seeing a Minion's face on something or My Little Pony: Friendship Is Magic merchandise), but it's still nowhere near as pervasive as it is in Japan. In fact, for most of the 1990s and throughout the 2000s, Americans had a very low tolerance of cuteness in any media that wasn't explicitly kid-oriented, in stark contrast to Japan. American culture, while not having any outright animosity towards it, tends to associate the bright, colorful, and innocent with childhood and immaturity, and generally have more of a preference towards works that are manly and edgy. Japanese culture, in general, is very accepting of cuteness anyplace, and will take it in stride. This has to do with Values Dissonance and Americans Hate Tingle to a lesser extent. Sometimes this trope goes the other way, too: an American character may be made cuter for the Japanese release. This is often done to characters who were originally intended to be cute. Maybe it's as simple as adding Angry Eyebrows, or maybe the character's model is completely redone. When a Japanese game is released Stateside, there's a tendency to make the box art, or even the character models, a little more hardcore.