ITT: Video Game Characters you Hate and Why

I absolutely loathe everything about this frog on a level deeper than perhaps anyone else who is and has been a dedicated Pokémon fan from the very beginning, from its simultaneously lazy yet confuted and unrestrained design, to its equally tasteless and ill-bred pre-evolutions, to Game Freak’s consistent forcing of its sickly face in every piece of media they churn out, and most especially, its equally tasteless and slavish fanbase.
If you will listen to me, I will show you my contentions, which stem from and delve into matters far deeper and more dangerous than the mildly annoying depictions as a “Narutomon”, or a “Lightning” or appealing to “Greniggers”, or any other shallow and base contention commonly spouted about here on this website.

In the meanwhile, I invite everyone who shares a deep, profound, and intellectual hatred for Greninja in any manner to share with me your additional contentions so that I may add them to this document. While you are at it, post pictures of Greninja being humiliated, bullied, tortured physical and emotionally, in a miserable or overwhelmingly taxing situation, and overall being degraded into the destructive and tasteless creature it always was. The degradation of Froakie and Frogadier is also permitted, but keep in mind that they are not essential to the theme of this thread.

Let us begin this essay with the very first aspect that approaches any player: The design.
Regarding the design alone, Once it is recognized that the chiaroscuro of Greninja’s physical traits, each in clashing contrast to one another in color, form, ideal, shape, symmetry, and concept, can only imply a hopeless blending of these parts together, an elimination of all those sharp contrasts which the compromising spirit of today’s commercialistic and universal age cannot abide, and a general hugging and embracing of all forms and representations by each other, at the cost of the life of all definite lines; once it is acknowledged, moreover, that all gradations and blurred zones of contact lead inevitably to the very worst forms of character design, and an overall mutilation of beauty and its benefits to the human condition.
The head, alone, transcends everything that I have ever felt disgust for in Pokémon designs (or Digimon, Yo-kai, or Naruto for the matter!) for consummate ineptitude in transfiguring and refusing to retain the bare essentials of beauty and sober design; and particularly in the breast and torso, there is a broadness and a sweeping ease, which ought to be attributed more to incomplete control of essentials than to their actual simplification, the whole figure breathes a spirit so artificial, so uncertain and so tasteless, that it is the nearest approach I can find in Japanese Art to that nadir of art which in fact the particular values of a people find their depths in the degenerated and confused example of their type.

Be warned this guy's autism is unparalleled

He's already posted this on /vp/

Within the twiggy arms and legs of this creature, (Which I found made the creature look more like a sp3 hybridized orbital with two lone pairs of electrons rather than a humanoid frog in the official pose), Making any resistance or actual formidability in constitution manifest only as pitiful knuckle or slap to the face, I find the designers scrambling to find some sort of tether to realism (whether in actual faith to the model or merely an inability within themselves to confidently represent higher values or concepts within the simplification and application of the humble frog’s features to regard a grand style of life). In its ultimate form, it is beneath realism in coarseness and crudity. With this aspect in conjunction with the bubbles interspaced thoughtlessly across the limbs of the pitiful creature (warts?), I see a preponderance of overdesigning which reveals to what extent the inferior will of pandering, complexity, cloudiness, etc. was beginning to prevail. And when I study the path of Pokémon designs throughout the generations, and see this evil assuming such proportions as to make even modern players and young children deliberately denounce it, I cannot help but recognize the germs of this decay in the art which hitherto has been most praised and admired on this board. The really vital point was the public nature of the work Game Freak must have demanded; it was not done to please private and peculiar taste, it was not intended for the criticism of a small clique of partial admirers, but it was set up, or performed for the world together, for the fastidious, for the vulgar, for the learned, for the young, and for the ignorant. It seems to me that this necessity, and the consequent broad intention of the modern Pokémon designer, is the main reason why its effects upon the world have diminished, and why its lessons are eternal only to those whose tastelessness locks them within this realm of bitter closemindedness and superficial impudence.

HELLO?

nice copypasta

Typical of the contest going on within the body of the Game Freak designer of today, and the vain aspirations of its soul, the lofty and detailed Pokémon are also symbolic of the discord and lack of equilibrium which, Gen IV introduced into the player’s relations to gameplay and to the world around him. And when we find Greninja’s errant head triangles and misdirected eye-stalks embracing each other as if to gain strength upon each other’s lack of independence, its flat nubbed toes and fingers grooved and striped to spread out like a fan, its 2D elements juxtaposed directly to the 3D model and its clash of blue, white-yellow (which reminds me of a pale anemic of Puritan times), and red displaying a nervous, neurotic, and hyperactive yet subdued image trying desperately to thrust itself at you, its wart bubbles jetting out at variance with one another(At least the shiny form of this creature mitigates this somewhat with its uniform darkness, a clear copout from an actual arrangement of color that may actually please the eye, but Greninja is a Pokémon for hiding, not letting itself be seen, so perhaps no matter to the design could be justified had Game Freak not let its image define nearly aspect of the Pokémon and its relation to the fanbase), and its groin/tail spike with the narrow and reed-like shins struggling against the crushing pressure of the inutile and obstructive thighs bearing the blatant symbolism of its ninja inspiration (as if they had to make it obvious that the actual design alone could not clearly convey this presentation) and the unbalanced and unwieldy feat of asymmetry; all these strive for individual effect, individual attention, and individual value, with a restlessness and an importunacy which knows no limits; until your eyes, bewildered and dazzled by the jutting, projecting and budding details, and startled by surprise, instinctively drop at last, and perhaps close in a paroxysm of despair, before the importune starter.

It is that strange disquietude of the modern Japanese spirit — that is its greatness, that restlessness of the dreaming mind that wanders hither and thither among the niches, and flickers feverishly around, and yet is not satisfied, nor shall be satisfied. The above factors are matters which fans of the Pokémon can and willingly, bring forward, even those things which even enemies of the Pokémon would be likely to overlook, they brings forward proudly and ingenuously, like a truculent mother presenting an ugly child to a friend, and with a broad smile in his forcible prose which sometimes throws even the experienced scholar quite off his guard.

...

I don't care if you hate Greninja, or anything really, but seeing abuse art of anything just really unnerves me.

Oh, it's a fight then. Not so bad.

Let us now move on to the representation of this “character” in regards to the masses, their superficial appeal, and their poor and ultimately destructive taste. Game Freak is a company aiming its audience for a universal target. It is only natural, therefore, that all creativity or ingenuity that belongs to it should have been whittled down, diluted, and despoiled of its dignity; and we must feel no surprise at finding that no pains have been spared which might reduce Pokémon also to a function that would be compatible with this mentality. All that savors of fun and enjoyment has become the work of committees, assemblies, herds, crowds, and mobs.

Therefore, if Pokémon designs are to be tolerated at all by any crowd, they must have a much more modest, humble, and pusillanimous comprehension of what their existence means, and of the purpose and aim of their work; and their claims, if they make any, must be meek, unprivileged, harmless and unassuming.
While, therefore, the designer, scarcely exists at all to-day, another breed of man has come to the fore in the graphic arts, whose very weakness is its passport, who makes no claims at establishing new values of beauty, and who contents himself modestly with exhibiting certain baffling dexterities, virtuosities and tricks, which at once amaze and delight ordinary spectators, simply because they themselves have not yet overcome even the difficulties of a technique.

For example, consider Greninja’s tongue scarf, merely designed to enthrall those whose creativity may only posit the quality of a unique trait by their respective familiarity to it and of how “unfamiliar” or “unheard of” it may be, regardless of its actual correspondence to the complete design. I will not go into the realistic aspects of this, its dirtiness and dryness which should not escape the attention of any observant thinker, and I will be able to let this go, for Pokémon was hardly designed as a game with realism in mind, as much as some designers may want to clash with that notion. Those who have seen Greninja’s face interact without its tongue will see a semblance of definite shape- however hunchbacked it may be.

The very fact that the designer input the tongue scarf as an unessential, and therefore destructive property of the frog, both aspects, tongue and without tongue, deeply lack a clear sense of deep intuitive thought or mastery or cohesiveness, the former as result of the addition itself making the design seem silly and absurd in a manner contrasting with the serious and stern ninja-demeanor within battle or otherwise (this lack of cohesive traits will appear later) (I do not object to fun or playtime in particular, but it has to be within the realm of the character of a constant product lest the character be lost in a sea of contrasting actions regarding any mode of thought or leisure implemented to it).

i like how greninja has a long tongue

The latter being the neck and back space being poorly thought out and underdeveloped due to the tongue-scarf attempting to draw attention away from it, thus attempting to compromise a constant part of Greninja’s constitution, when any act of eating, of frog-like behavior forces this distraction- even momentarily- to subside and leave the barren and borderline crippled (Not too far removed from that of an asylumed invalid) shape of the neck to be revealed, in itself a contradiction to the tongue, only further supporting my thesis of the hopeless muddle behind this origami-esque freak of a clearly neurotic, distorted, and wavering mind (Given the typical morphology of the mouth of the frog, Greninja’s wide and back-parlor grin is forgivable to a degree, but only in relation to its realism, which is far from a reasonable excuse in regard to the style and overarching theme found in the Pokémon games to begin with, especially as a starter.) Given that the picture above was created as a preliminary reference sheet, there is little excuse for Game Freak to have done anything but deliberately leave this lack of insight and complete form within the Pokémon itself.

Hate is probably too strong a word, but I really don't care for Bowser Jr. Ugly unimaginative design, annoying voice, unfun boss fights, sucks in Smash. I also prefer Bowser to be way above all of his Kingdom, a force unrivalled. Bowser Jr is treated almost as an equal, and even outshines his dad on some occasions. Plus the koopalings were cooler as his kids since they were each more minor, had better designs with more creativity put into them while all still being Bowser's kids. But now Nintendo implements them horribly lazily and they're not even Bowser's brats anymore, so what's the fucking point? But anyway, fuck Bowser Jr. He was clearly designed just to be a "badass incredible little kid" for babies to identify with, like early Naruto.

Consider its presence in the anime, now (even those who are ardent supporters of this awkward muddle of a Pokémon will still admit that the degree of its presence is far overshadows its contemporary peers, so do not have to regard this for now). Greninja is supposed to be the determined, always training “warrior” type. In isolation, this is a very simple and positive, if perhaps a slightly shallow, representation of a fighter, noble in deed and potent in desire. However, if we attempt to lend heed to the attempts at trying to create a “multifaceted” character, we see Greninja’s apparent dorky and awkward nature appear as he is in isolation or without battle or strain. We can see this in effect merely by its conveyance of emotion via its eyes and their form. As a warrior, they are open, alert, and show depth, and vigor (in whatever dissolved form it may appear as) by its clear display of precision, alertness, and acute functions regarding the iris, pupils, cornea, etc., while as a nerd, they are but flat dashes, conveying levity, carelessness, clumsiness and lack of focus (except in meditation, but there is very little of this done by the Greninja in question to provide itself as little more than an exception)- all done willfully, not out of a lack of virtue or capacity, but a lack of instinct or will. In actuality, what does this mixture of personalities do? It breaks the will of the character.

...

What he fuck is this shit

Obviously, two voices instead of one now speak in its breast. When confronted by two alternatives, instead of being able to point to "this" or "that" without hesitation, Greninja now vacillates, temporizes, doubts, stammers, ponders, and is overcome by a paroxysm of perplexity. When coming upon two directions, instead of stepping deliberately and composedly into one of them, it now stumbles, falters, wonders, staggers, and often falls.

>post pictures of Greninja being humiliated, bullied, tortured physical and emotionally, in a miserable or overwhelmingly taxing situation, and overall being degraded into the destructive and tasteless creature it always was.
I was keeping an open mind to your rant up until there. Stopped reading, have a nice thread.

It becomes unreliable, unsteady, and uncertain. Not only can it not be trusted to choose the correct course of conduct for its trainer’s or friend’s interests, it can scarcely be trusted to choose the correct course of conduct for itself. As a result, attempting to add in this ill-thought extra dimension creates a notoriously characterless entity, forming a dangerous and ultimately fatal message, especially considering its leading role in the anime. Nothing is certain, nothing stands on solid ground, just like the Greninja’s own dependence on the external environment to determine its level of activity and thought by means of its cold-bloodedness— the very breeze about it makes a Greninja twist and turn like a weathercock.

Chaos is necessarily the result, and a state of absolute weakness supervenes. The instincts of the Greninja are confused and its will is, therefore, broken; its modicum of bodily strength, though it is the same as it was before, has now twenty instead of ten virtues amongst which to divide itself up, and consequently the vigor of its virtues, their power, declines. He is perhaps more versatile, more catholic, more ready to lend an ear to every sound; but it weak. As values of beauty and form give rise to particular virtues, so the faces and bodies of a Pokémon species come to be stamped with the character associated with the virtues most general among them. As a result of Greninja’s contrasting virtues, it is natural that in its face you notice strange features, unlike those of any powerful, proud, and handsome Pokémon; he is "ugly," and is very often so from every other point of view.

To those who wish to contest that Greninja merely is of the “gentleman” type, they are apparently not versed in the actual meaning, context, and representation of a gentleman except for that lousy caricature of a spineless and naïve fool, or the mustache, monocle, and top hat of a Victorian goober. One who studiesf Japanese culture beyond that of mass media and of lifeless and soulless little cartoon girls, we may understand how the Japanese "gentleman" was capable of practicing a constant theme of respect and dignity in both the battlefield and in the town center. It may be broadly stated that moral principles received no respect whatever from framers of political plots or planners of ruses de guerre. Yet the Taiko, who stands conspicuous among Japan's great leaders for improbity in the choice of means to a public or military end, desired to commit suicide rather than survive the ignominy of failure to fulfill a pledge.

I meant to say "any character". Sorry.

Consider the wilderness, and its representation of savage verses civilized types. In the wild, the only animal that does not require to tread softly, to avoid crackling leaves and creaking branches, the only animal that can dispense with deceit and with make-believe, and who can come and go as he likes and trumpet forth the truth honestly to the world without either compromise or caution, is that animal whose power and strength are above the ordinary attacks of its neighbors, and whose food springs from the soil about him, without its having to lie in ambush for it to appear and be waylaid. All other animals must practice deceit, subterfuge, falsehood, ruse, craft and a great variety of attitudes. All other animals must be deceivers and profiteers of no mean attainments; they must know how to crouch, how to crawl, how to cringe, how to dissimulate, and how to pretend. Nature condones all these accomplishments in those of her creatures which are caught in the cruel wheel of the struggle for existence. If she did not condone these accomplishments, either they would never get a meal, or they would always be providing meals with their own bodies to those who were stronger than they. The Snorlax alone can afford to be honest, is honest. The Snorlax alone can practice sincerity, staunchness, levity, laziness, and constancy to principle; he alone can let others live.

This is the pokemon community

Now where does Greninja fit into this niche? Its entire being, its defense, its breadwinning, its essence of living is composed of the practice and execution of deceit, subterfuge, falsehood, ruse, craft, stealth, substitution, takumi blocking, and of subtle weapons of Shuriken and blade. Its essence is the wilderness. Any acquiescing, any socialization with the outside elements, any attempts to step out of the shadows to attack directly, to converse, or to attempt to order the world around them would be fatal to their very constitution. Thus their actions are inscribed into their very blood and conscience, and any straying from them in any situation, however artificial, will lead to great discomfort, irritability, and failure, for they must lack the capacity to obtain such heights of thinking and of reasoning.
It is pure romanticism to suppose that the supporter and apologist for Greninja can have the virtue without the soil from which it springs. You cannot have your cake and eat it. Greninja may long in vain for the virtues which belong to the Pokémon that stands aloof from the jungle struggle, if they actually participate in that struggle. And to suppose that mere precept and education will cultivate these virtues in them, if they do not possess, or have not practiced them for generations, is to suppose that the Liepard can by a course of training change his spots in a single generation.

It's a frog, user.

I didn't read your essay, but I wanna say that the image set of him getting raped by Charizard made me diamonds.

Today, by result of Greninja’s actions and impulses seeping into the popular-minded Pokémon fans, even the traditional players are being drawn, has been drawn, into the field of struggle. The very soil which alone is favorable to the growth of sincerity and staunchness and constancy to principle, is therefore no longer being tilled or cultivated. The influence of the principle of unrestricted has reduced everything within the game, even the power of being an influence for good or evil, to a struggle for existence, and as a result — unpleasant as the fact may seem — we are now undoubtedly witnessing the passing of the gentleman, in any Pokémon design, or its reflection upon those people who follow it.
Every Pokémon must now be one or the other of those lower inmates of the jungle. Everybody now must at some time or other in his life be a "profiteer of no mean attainments"; everybody must be wily, crafty, full of resource in subterfuge, presence, deceit and dissimulation. Sincerity, staunchness and constancy to a principle are dying out. It grows every day more and more difficult to find a Pokemon whom one can trust wholly and thoroughly to have a reliable constitution and clear direction in action and design.

Is that you, Bui

he's the only hyperautist I could imagine doing and reposting this over and over for attention because Greninja was taking away attention from something he liked

The unwarrantable association by any Greninja supporter of falsity with gentlemanliness never seems to have affected their reputation within the community in the least, because it did not strike the educated and competitive Pokémon players, that the two were hopelessly incompatible. Greninja is either a gentleman, or it is false — it could not be both. But in a time in which uncontrolled lust for flair and eager design innovations prevail, the title "gentleman" evidently deteriorates just as surely as the genuine design of Pokémon itself does.
The Pokémon apparently immersed in the struggle for life, and the Pokémon who emerges from it successfully, are not therefore necessarily despicable or the reverse. All I maintain about them is that they never can, and never ought to, be placed in any high position where absolute sincerity and absolute staunchness and constancy to principle are the only safeguards that a people who will vote for them, or of the main company executives to push its image into every sector of merchandise and media they can allow. Greninja is simply wrong for its rank —all rank in which magnanimity, sincerity and absolute rigidity of principle are pre-requisites.

Well, I like greninja. Go fuck yourself already.

Is it considered “endearing” to a woman to watch her small-minded notion of a Frog “Prince” come about in the shape of a shapeless, characterless, hopeless putty of a beast? What charm does she find in the expansively opening maw of the foul-breathed creature, whose lanky form appears closer in form to a medieval depiction of a crucified Christ rather than the bold frescoes and poetry written of Poseidon & Proteus (A character that Greninja deserves no name for, even in mere ability.) For the attitude of the Game Freak’s ideal to Life, to the body, and to the world was an entirely negative one. The command from on high was, that the deeds of the body should be mortified through the Spirit.
What else, then, could possibly have been expected from such an ideal than the ultimate decline and uglification of the body of Greninja’s type? To what else did such an ideal actually aspire? For was not ugliness the strongest obstacle in the way of the loving one, in the way of it who wished only to achieve prominence by strength? What irrefutable evidence can it come from but both genders of Greninja being shaped in the same form, each depicted as a gangly, naked, humanoid monstrosities?

tl;dr
Summarize it all in one post. Use bullet points if you must, and be sure to leave out unnecessary adjectives.

And to all who wish to exalt Greninja as some sort of “waifu” or ideal female figure for company, intimacy, sexual activities and possibly child-rearing, the contentions that will come after this may very well already supplant my rejection of this romantic ideal, but I may begin to elaborate further (This is based mostly upon the depiction of the feminine character within the cult –or clan- of Greninja, so this will certainly be a direct attack on their interpretation of the character as well as their instinct and taste in regard to it). The natural knock knees of the female Greninja, the awkwardness of the tiny hip in regard to the curvature of the body (How does one go about bearing healthy children with such an instrument?), and the Female breasts superimposed onto the masculine bear chest of the standard model are, aesthetically, the greatest blemish in the figure of the small narrow-shouldered, weak-limbed, and fat-thighed sex. Owing to their ninja instinct, they want to be independent: and to that end she is uglifying herself. For what must these clumsy attempts on the part of female Greninja, and those who attempt to extrapolate her character into the feminine, not bring to light, but pedanticism, superficiality, school-girl pettiness, petty presumption, petty unbridledness and petty immodesty— how could she possibly interact with any sort of ease or calmness around one of her fellow-creatures of the opposite gender? How would she raise a single child? — She does not want truth, nor beauty, but the same immodest aims that her masculine counterpart interjects into the minds of present children and lusty-minded attic-dwellers indeed.

If we are so willing to depict Greninja as an admirable character, at least in relativity to its surrounding posse, why are we so strapped to find its humor within its character as a ninja- a completely separate and already developed, in which the perfectly symmetrical aspect and position of the humor is both annoying and inartistic, owing to the fact that it was looked at by the designer or the humorist from a point at which it was orderly and arranged before he actually implanted wit into it, and could not therefore testify to his power of laughter-making— but simply to his ability to avail himself of another model's power, namely, the ninja and its former capacity and high culture as it was pre-commercialism. Likewise, implanting humor from watching Greninja go splat on the screen a la Smash, is simply one of the most bizarre and absurd paradoxes to present itself to the Pokémon world- a warrior as a homebody.

If my contentions with the fanbase and with Game Freak’s feeding of it are not apparent enough as of now, I shall clarify it:
Even today, with as few sound designers who consider all the aspects of human nature to their creations, there is among the vast majority of video game buyers and players an insatiable thirst to obey, to find opinions ready-made, and to believe in some one or in some law. The way the name of science is invoked when a high authority is needed —the love of statistics and the meekness with which a company i.e. Game Freak grows silent when they are quoted; the fact that the most preposterous fashions are set in protagonists, in battle-design, and in music; the sheep-like way in which people will follow Game Freak, whether in the mainline video games, spinoffs, literature, or in anime, not to dilate upon the love of great names and the faith in the daily Press i.e. Kotaku, Polygon which nowadays, even prescribes schemes for college-commons conversation — all these things show what a vast amount of instinctive obedience still remains the birthright of the Genwunners and Unovabortions alike. For even advertisement hoardings and the excessive use of advertisements regarding Pokémon, in addition to the fact that they point unmistakably to the almost omnipotent power of their ability to direct attention to any Pokémon, feature, or petty spinoff (a power which vouchsafes them even the privilege of self-praise, which scarcely any other class of society could claim without incurring the charge of bad-taste), also show how docilely the greatest number must ultimately respond to repeated stimuli, and finally obey if they be told often enough to buy, or to go to see, any particular thing. We must look upon this with sympathy.

I hate Peach for stealing Daisy's spotlight.

Again and again mere change within the system of Pokémon and its style has falsely been welcomed as Progress by those spiteful to ignorant Genwunners; mega evolutions have falsely been embraced as desirable evolutions, and uncontrolled new tendencies have been falsely acclaimed as inevitable developments. Only when it was too late, only when the evil results of such novelties became strikingly obvious, did these novelties begin to be problems. Today’s democratic polls letting Greninja come out on top once again without a single peep from those more cultured can only lead to the majority moving to degeneracy, for their tasteless opinions are not mere matters of selecting your favorite Poffin from the bakery. These “mere opinions” are a matter of will; they are always, or ought to be always, travelling tickets implying a certain definite aim and destination, and the opinions we hold concerning what is desirable as design in Pokémon must point to a certain object we see in Life; — hence there is just as great a market for opinions, and just as great a demand for fixed values to-day as there ever was, and the jealous love with which men will quote well-established views i.e Marriland, Serebii, etc., or begin to believe when they hear that a view is well established — a fact which is at the root of all the fruits of modern popularity — shows what a need and what a craving there is for authority, for authoritative information, and for unimpeachable coiners of opinions. The outcome of Ash’s Synchro evolution, disregarding any traditional members of the team and denying a chance at a permanent sort of characterization, for like any fad catering to the spirit of the times, they are bound to be swept away with little heed or lasting positive legacy, indirect or otherwise, upon Game Freak or the Pokémon community itself.

The purpose of the graphic arts of Pokémon and their relation to the graphics within the game itself, then, has remained the same as it ever was. It is to determine the values "ugly" and "beautiful" for those who wish to know what is ugly and what is beautiful. The fact that these designers and programmers have grown so tremulous and so little self-reliant as to claim only the right to imitate, to please and to amuse, does not affect this statement in the least; it is simply a reflection upon modern game designers.
Since, however, these values beautiful and ugly are themselves but the outcome of other more fundamental values which have ruled and molded a fanbase for centuries, it follows that the artist who would accentuate or determine the qualities beautiful or ugly, must bear some intimate relation to the past and possible future of the people.
The Pokémon of today, unholy and undivine as the Tower of Babel, seems to have incurred the wrath of a mighty godhead, not unlike an Arceus as opposed to a Mew, and those who were at work upon it have abandoned it to its fate, and have scattered apart — all speaking different tongues, and all filled with confusion. Precisely on account of the disorder which now prevails in this department of life, sincere and honest players find it difficult to show the interest in it, which would be only compatible with its importance.

>How does one go about bearing healthy children with such an instrument?
Probably by expelling a shit-ton of foam-like eggs after mating? It's a fucking frog, for crying out loud

tl,dr

Regarding Greninja’s effects on the common mind, even intelligence is adversely affected by the tendency the ninja frog Pokémon have of promoting the habit of forming snap judgments, of taking for granted one's ability to hold opinions on every possible question, no matter how abstruse, and of assenting to policies inadequately understood and only superficially pondered, all in line with Greninja’s deceptive, speed at all cost, and detection at all costs matter of thinking.

We have to consider Greninja’s means of wooing its current followers- immense success with dazzling its audience; its fabulous wealth of excess parts, and the bottomless till from which she drew the subsidies she needed for its various predecessor Pokémon in its struggle for ascendancy. Dazzled by these brilliant material achievements, which the Japanese world with its vulgar American inheritances found it difficult to resist, it is perhaps not surprising that many Pokémon player, with their sense of judgement momentarily numbed, assumed that where such phenomenal success was to be found, artistic beauty and sound principles towards Life must of course accompany it.

man imagine if this dude used the time he spent spent writing this to write something

you know

important

The palpable nonsense of Greninja’s dominance, cannot be attributed to any deliberate or concerted action on the part of the populace themselves. But the worst misapprehension of all is to suppose that all this misunderstanding of beauty and what is desirable in regard to human life can possibly fail in the end to pervert and corrupt Pokémon and wipe out all the accumulated treasure in virtue and sanity which has been fostered and stored during former, more rational and more tasteful times.

The whole development was a productive and commercial success as long as it rested upon a layer of superior, bygone times which it eventually ate too far into to survive. On the same principle it is probable that the Clan of Greninja may be said to be still resting on proper game design and Pokémon design choices cultivated in bygone times and is likely to survive only so long as this store of virtue and ability remains not wholly corrupted and frittered away.

The palpable nonsense of Greninja’s dominance, cannot be attributed to any deliberate or concerted action on the part of the populace themselves. But the worst misapprehension of all is to suppose that all this misunderstanding of beauty and what is desirable in regard to human life can possibly fail in the end to pervert and corrupt Pokémon and wipe out all the accumulated treasure in virtue and sanity which has been fostered and stored during former, more rational and more tasteful times.

The whole development was a productive and commercial success as long as it rested upon a layer of superior, bygone times which it eventually ate too far into to survive. On the same principle it is probable that the Clan of Greninja may be said to be still resting on proper game design and Pokémon design choices cultivated in bygone times and is likely to survive only so long as this store of virtue and ability remains not wholly corrupted and frittered away.

The greatest deception of all, in this respect, has, of course, been the introduction of the very first Pokémon to try and step into the frigid waters of this new and seemingly foreign, at least to Game Freak itself — Generation III — which in its exclusive concern about creating such antipodal characters, encouraging them of the possibility of having a complete shift in tone, of character, of behavior, and of aptitude, without a clear understanding of the mentality behind it. It may be simple enough to try and suggest that they have a predominant loyalty to their trainer and their team, enjoying leisure and comfort around them, while ready to act hostile, defensive, and intimidating in the presence of strangers or of opponents, especially when the trainer demands it. It is this master-slave relationship that presents itself as the best means of bonding and of mutual benefit.

I have said that the present condition of Game Freak does not by any means represent what I understand by the best: A most incontrovertible facts of science and human experience, that there is extraordinarily little chance and accident in the production of great and exceptional art. The appearance of a significant and meaningful design, by aesthetics, personality, and ability, or a designer of such creations, is not to be ascribed to any phenomenon akin to blind chance." Thus, a sound foundation of artistic knowledge, followed by a concrete direction to apply any diversity, any variance, any specializations, and any diversions in design towards, is necessary to render the production of profound and prudent creatures and design choices as probable— a conclusion to which the science of artistic and color theory is slowly but surely tending.

Now it can be laid down almost as a law concerning most of the present designers and concept legislators of Game Freak that they have always relied more or less indolently and ignorantly upon chance and accident, rather than upon willful and deliberate design and intention in the rearing of their great examples.
And if we turn to the current Generation and towards the dawning Generation VII, in particular, we find this principle carried to an absurdly dangerous extreme.
The production of a creature who is to be an example of artistic mastery and of excitation of the passions and imagination, involves four essential conditions: (1) An instinctual love for order; (2) A direction founded upon a long, healthy and cultured tradition within the inner workings of the designer or team of designers itself; (3) Rigorous discipline and trial in employed designers from the very beginning of their career, and (4) An optimum of conditions away from the vortex of realism and the impulse to take inspiration without reworking it towards the direction that the company has decided on for the franchise.

Seek a psychiatrist, OP.

Out of all of the above, number three is the only one of these conditions which can with any justice be said to have been fulfilled in the creation of Greninja; but, although it is important and indispensable, it is not in itself sufficient.

It is foolhardy and ridiculous to suppose that greatness will continue to show itself, generation after generation, if the very first conditions for its production are persistently scouted and ignored, as Greninja’s cloying oversights in the cohesion of its design perpetuate. Even a Pokémon breeder would hesitate to take as a mate a Pokémon that had not all the innate qualities and training of that particular class he desires, and yet for this vastly difficult and frequently underestimated in regards to its importance, mediocre designers are selected and fit to the company’s standards, almost at random and with the most frivolous carelessness imaginable.

I will say that Greninja, or any other confuted and hopelessly mixed Pokemon represents another Pokémon or a piece of inspiration that is selected at random, and developed and brought before the masses with a careless indifference to its ultimate purpose.

It would, also, be a great mistake to suppose, as many still do, that the creation of Greninja and Greninja’s subsequent gradual conquest of its Age was the struggle of the mind of an innovator and a work of art whose public required to be educated up to his aesthetic forms and to his ideas before they could appreciate him. This was not the case; for, as a matter of fact, most of the ideas he advanced were already victorious or nearly so before he became their poster boy.

The artificial and incompatible (at least regarding to an overarching practice, for it is possible, like I have said earlier, to have different mindsets regarding the situation at hand, but this is a matter of internal outlook and action, not a caprice of behavior akin to hiding your disdain for your friend’s spaghetti) combination of Stoicism towards internal troubles and strife, and materialistic and hedonism-distorted form of Epicureanism, the principal strings to its ideological and bow, were very much in the air and had hundreds of thousands of across the world; and it rose to popularity chiefly because it swam backstroke in champion style with those webbed feet and toes in these two powerful currents in a manner less like a frog than perhaps a thoughtless jellyfish.

His struggle was, therefore, not so much that of a prophet with a new message, but of a Pokémon who, being able to only create two forms of drama and picture without any facets or nuances between them — that of the duel, and that of the child’s playground — was concerned to get a public, conditioned by Serebii, Maryland, Verlisify, and others, to accept this one form as passionate entertainment.
Just as Bernard Shaw, stronger in dialectics than psychology, and Socrates, stronger in upsetting and indignifying than deep and observant thought and foresight, were faced with the personal problem of making their instinctual and aptitude-driven weaknesses the rules and criterion by which their respective artistry should be judged.

>hes not stopping

So whats everyones favourite Pokemon?

So Greninja, weak in plot, philosophy, psychology and, above all, personal passion, made it the script writer’s business to stagger the developing children and bourgeoisie attic-dwellers with the unexpected caprice of Greninja’s relationship with Ash, thereby allowing for the writers to dwell upon their ability to sell merchandise and market the pale frog’s derivative personality and superficial method of engaging life, thereby solving the problem of converting Greninja’s- and the writers- weaknesses into criterion for “success”.
Let me further elaborate upon the elements of the anime plot in general, and their relation to Greninja and those who hold him to a high, or even ideal, standard-
Every human being, kid, parent, scientist, artist, barbarian, civilian, imbecile, and intellectual, knows the fatal and surfeiting consequences of complete and exhaustive exploration: how it clings to you like a spur, how it nauseates you like a severe bout of indigestion! The very body, mind, and constitution of man as an organism with sentient capacities necessitates such consequences. As Herbert Spencer said in his Social Statics, “The repetition of a stimulus reduces the force of its appeal owing to the internal process of habituation that every human being, and any adaptable creature is prone to”. We laughed the first time Brock began to womanize; but the hundredth time we barely lift an eyelid.

Now, in the face of all these common and everyday facts of experience, it would be both absurd and unjustifiable to claim that any person, of any sex, age, or talent, could hope to spend years or decades of his life after reaching his loftiest dream with nothing left to pursue — not to mention a lifetime — without eventually and ultimately falling into the prey to indifference, if not disgust, and where the circumstances of their first steps towards this achievement bore an excessive warmth of feeling, the ultimate spurning of that feeling, by disillusionment and, among ignorant and foolish people, a surprise, must lead to an acute indifference to life and its joys.

Unlike the mere chasing and capturing of bodily necessities, in which the body and mind work together, share the same needs and interests, enjoy the same leisure and games, develop the same novel and greater desires and wants, or suffer the same pleasures and difficulties, the pursuit of a goal to end all goals is united chiefly by a rigid bond between mind and spirit which has its basis in the emotion and inner feelings of passion, a feeling of desire, and a feeling of power.

But passion is largely and foremost a matter of surplus strength i.e. a Machoke’s power belt, violent stimulation i.e. an Electrode’s agitation towards a Pester Ball, and the lust of possession i.e a Sableye’s inner necessity to acquire gems, all of which are steadily and gradually worn down by a steady and gradual drain on surplus strength (there is little need to improve your strength and leadership in Pokémon training once you have already reached the horizon), the supervening of gradual callousness and indifference through the repetition of similar stimuli (Ash’s continual and seemingly psychotic energy and surprise at every Pokémon he catches, every battle he loses, and every Team Rocket contraption he bears witness to can hold no relation to any great or powerful person, but only to those with weak will, low spirit and ambitions), and / or , the consciousness of holding definitely, or rather indefinitely, the goal originally coveted (in this case, the prospect of Ash winning the Grand Tournament with Greninja, both satisfying their now emaciated, drawn out, and haggard desires)

Desire also, by being fulfilled and gratified, is stilled. The best cure for desire, errant or otherwise, is precisely gratification. But a cure is hardly what is desired or anticipated by the ambitious child, Pokémon, etc. That is why the world's greatest stories of either romance, passion, or ambition— those of The Divine Comedy, Romeo and Juliet, and The Sorrows of Young Werther — are all stories of a longing passion that was never fulfilled. In poetry and fiction, as in life, it is felt that for a great aspiration or romance to remain at its loftiest level of passion and desire, the individual or couple enacting it must never have a single opportunity to wholly and absolutely succeed at their divine goal.

With regard to the desire for power, which, despite the foolish and romantic claims of “friendship” and “exploration” and “learning” as the main drivers of Ash’s journey, or of Greninja’s desire to arduously train before and after he was booted from his posse, and to follow Ash in a state of quasi-submission, still accounts for more than half the savor of the relationship between Ash and Greninja, which is surely seriously impaired by the concept of Synchro evolutions as found within the recent “fusion” of master and slave, that the body of a prepubescent, underdeveloped, and surely far from optimal health, can merge its metaphysical fibers with the arduously trained warrior, whose body (as far as a lanky yet bulbous Greninja may proceed in, at this regard) is bred and itself which enjoins cohabitation as a duty upon the parties to a social contract.

Thus the indefinite continuance of the emotion which first lead a friendship, between humans or with a Pokémon, to unite, and the sine die of the delights of the early fulfillments of their wants, are bound, as it were, with calculable certainty to become impossible. But this makes any realistic relationship (to show how romantic and completely absurd the bond between Ash and Greninja, even with caprice aside) exceedingly difficult, and one which, far from abstracting a hopeful promise of happiness, is very much more probable to develop into a certain and inevitable guarantee of petty, negative and most tiring differences.

To reply to these objections that there is a "love" that transcends all these difficulties, may sound pleasant, charming, and above all, good natured, but it is hardly candid or evident. For as stated before, the possibility of the creation and lasting of this rare kind of love (a sudden shift without clear justification, despite a lack of direct passion during the early stages of the companionship) does not justify us in making the concept, the desires, the needs, the promises, the problems, and the desired outcomes of friendship and leadership a white lie, a penny dreadful, bastard, or a burlesque for the majority of those who enjoy Pokémon.

What the fuck is this shit?

Chesnaught. He's the perfect mix of bara, adorable and fluffyness.

Consequently, Greninja openly attacked, repudiated, and degenerated the conventional dramatic media style of passion, plot, and psychology, making it appear as if the ideally fluid and expressive cells of animation (now, In the Pokémon anime, as repetitive and choppy digitals of animation) were only a glorified Romantic and Pietist coliseum, in which men and Pokémon alike floored each other in the battlefield and chopped logic in the town centers at least twice every five minutes by ingenious yet obviously specious and unsubstantial battling tactics.

But in all this muddle of emotions, desires, and will, it should never be forgotten that Greninja was at bottom surveying and appealing to, certainly in a method that attempted to appear as a new and fresh relief to those Pokémon fans with a drought of “meaningful” characteristics in a Pokémon, sentiments which were already accepted, if not of paramount importance, to hundreds of thousands of Pokémon consumers already. Nor was its conception of the Pokémon as a means of surveying and taking advantage of the currents of the dispossessed and tasteless anime fans of the straightaway that forcibly clamored for their own superficial notion of a Byronic hero or a Don Juan- a sort of noble figure with both an austere theme accompanied with a figure of subsidiary levity- wholly an innovation. Even Lucario had done it before Greninja, and with far more (albeit still pitiable) consummate art.

From the middle and end of the Fourth Generation, the fans had gradually been growing more and more openly aware and conscious of the growing pains and insolences regarded in overdesigning by color, feature, and personality (It is beyond me that some people will regard Greninja as adequately designed with necessary restraint). Even those who still clung to their privileges and advantages were secretly all more or less convinced believers of this Fabian and Lettrist dogma, although they might profess Classical loyalties. When therefore, a designer or an anime writer appeared who happened also to be a close and intimate friend of both Expressionist and Surrealist artists, he could not, when he began to stage these Fabian conversations and encounters, be looked upon as a voice crying alone and distantly in the wilderness.

And the same is true of making every Pokémon cute and its head larger, eyes larger, etc., and especially regarding Pokémon whom people demand a second element, a quirk or trait directly at odds with their own appearance and their own manner of lifestyle, not for the means of creating a deep and complex character, which I must digress from the main point of this discourse to say that some of the simplest and least layered characters, i.e. Winston Smith, Marlow, Meursault, or Siegfried, whose few traits or characteristics were deep enough in themselves, or their connection to one another so profound in forming an innovative and novel approach towards perceiving a situation or environment, allowed them to engage with the events of their respective plots to form such interesting interactions and form such meaningful concepts that their own simplicity and consistent and concordant harmony and equilibrium within their character traits does not render them one-dimensional in any regard, nor the ideas they produce.

From at least the seventies of the last century to the date of the first production of Pokémon X and Y, the anime series, Cartesian Materialism had been scoring ever greater and wider victories. A designer who therefore did not mind playing snakes and ladders with history, biology, psychology, philosophy, and even probability, in order to press these Romantic-Impressionistic claims further home, could not have expected to meet with deaf ears. He was not blazing a new trail. He was merely heaping fuel on a fire which was already a Japanese, if not a first-world conflagration. And behind him, he had all the vanities, complexes, and secret hatreds and aspirations of the most dedicated watchers, players, and supporters in the world — the perverted and bitter cheats and posers of Deviantart.
It is here, that critics of Greninja, like the present author, reveal a misunderstanding the roots of its resounding success. For instance, it is customary for anyone regarding Greninja, whether with eulogy or contempt, that they mention to its credit that it was its dual nature of the protection of its loved ones, whether kind or fierce, awkward or slick, that won Greninja its audience, who in themselves would wish to implement their own personal conceptions of themselves onto what appeared to be a loftier and nobler species than them, like a child sticking his head into a cutout of a Medieval knight.

ut does anyone consider that this identical nature, even when raised to greater potency and subtlety, as it was in times past with Sceptile or Serperior for instance, would succeed its legacy at the turn of the Generation VI, if it had used it as if either of the two did in a more clear-headed and less sophistical age, to decry and disdain rather than to defend and demonstrate this Cognitive and Behavioral Dualism? It was by the exaggeration of Foundationalist sophistries (exaggeration being one of the best weapons of the modern designer) that Greninja won the hearts and souls of the vast multitude of Japanese, American, and European players — the children.

Ergo, It is idle and stupid to claim that Greninja, or its designers, innovated or perpetuated at all. I am certain that such a personality of Greninja’s, almost entirely unaware of the sweeping and immense forces that were impelling him to the top, and, giving it the benefit of the doubt regarding its position as a frog, while also deeply aware and conscious of its weakness, would be profoundly astonished, overwhelmed, and disconcerted by the sheer magnitude and utter intensity of his influence and support.

Thus Greninja, as his popularity became known, made its name as a warrior, a gentleman, a friend, a sneak, and a buffoon, chiefly owing to the immense energy that has been formed by its designers to put into the demonstration of opinions and errant ideas that were either already popular, or by which the crude and motley novelty had already been mitigated or attenuated by earlier and more fleshed out Pokepioneers. Nor did Greninja ever accomplish any task, goal, external ordering or introspective analysis in the spirit of a true character of folklore, in a manner calculated to make itself an enduring work of art with a specific appeal.

Greninja was, in fact, committed by its weaknesses to a form which had to subsist off of seducing its public by sheer persuasion of applying itself to the uninspired and base demands of the consumers. Greninja was only a noble and admirable character to the extent of having at its finger-tips the whole gamut of characteristics, guile, and histrionics of the successful and self-preservative capitalist.

Now there is an instinctive inclination in every reader, watcher, or player to identify himself or herself with the picture of humanity, of nature, of society, and of the creatures (regarding their anthropomorphic traits) presented to him or her in the book, show, or video game that he or she happens to be perusing, whether it be a game of fantasy, a comedic show about awkward and ridiculous situations, a children’s game or book to captivate and to educate their young, supple, and imprintable minds, a documentary about the wilderness and the creatures that reside in it, or a realistic book set to ponder upon the philosophy, the psychology, and the reasoning of the world around us, and our instinctual reactions to them, positive or negative.

Naturally enough, therefore, he or she is exposed to the severest and most disconcerting shocks if at every turn, curveball, or plot element, he or she is prevented from idealizing and exalting his own familiar and conscious nature, or from thinking too well or highly of it, owing to the fact that the picture he is presented with and then contemplating is far too humiliating to be pleasant, and yet too captivating or convincing, however specious or refutable it may be when exposed to a larger and deeper understanding of its respective subject, to be lightly rejected.

I will say without meekness that the bulk of modern Pokémon players, especially those how have continued to play and talk about the game long after their childhood, are plagued with some form of autism. This fact, all too well known to the game developers and publishers, is quite poorly understood if we try to regard its influence on taste and quality in merchandise and design production. For not only does Greninja attempt to reveal the trait common to all watchers of the anime or players of the game- a tendency to identify themselves with any or multiple notable characters of the anime, game, etc. (beyond the player’s protagonist, of course), or with the portrait of humanity portrayed in a rationalistic or fantastical treatise- but they are also addicted to the practice of confounding that which is ideal, comfortable, and pleasant to themselves with that which is necessary and true. Thus in the autistic player or watcher, there is a doublefold tendency to be able to tolerate or to even applaud blatant hypocrisy, speciousness, superficiality, and / or cant.

For, on the one hand, they must view truth and achievement hedonistically, and, on the other hand, they must feel deep discomfort, either when they find themselves unable, through their false idealization of themselves, their motives, and the latter two in regards to the Pokémon or character that they must project themselves towards, in order to identify themselves with the deep, intellectual, meaningful, and, ultimately, contrary portrayal of a certain hero or heroine (The Marowak during the trainer battle before the Kanto Elite Four in the anime, for instance), or, when they find themselves reading of human nature, or worldly phenomena, which is based upon their idealized reading of themselves and their own specific environment, affronted and sent to the hull by a picture of humanity which shatters their rose-tinted view.

This is bizarrely autistic.

If we regard this to Greninja, and see its relation to the modern, popular, and mostly unfortunate demands of the healthy and most commonly wealthy men and girls, which are spoilt by foolish fads and contemporary prejudices, not helped by Game Freak’s mentality of catering to these superficial demands to propagate sales and support rather than to elevate their taste and their capacity for wise judgement, that misguide them in this paramountly important criticism of the partner and companion with whom they are confronted by.

It is then that we can observe that the only real means of making this vapid personality a figure of note and of inspiration to those viewers and their massive proportion of children, is to provide the same measures applied to the perhaps equally superficial and flat character of Ash, that is, to provide the creature with numerous artificial and forced environments of tension, of battle, and of strife, engaging with a variety of equally weak typed or weak willed rivals upon an inconsistent terrain of various climes, each differing only by the manner in which it may provide an effectual display of lights, tricks, and destruction. By doing this, Greninja, the rootless and jellyfish-like essence of wavering in the wind, being swept away by a torrential downpour, or perhaps following the crowd upon their cheap, mindless, and “unanimous” decisions, can provide a landslide of various light shows and magic tricks upon this muddy and continually shifting ground of clime.

Just like a bourgeois member of the leisure class displays his gift of wealth, or of acquiring it, through gaudy displays of pretentious and materially rare treasures, each designed to captivate only those friends who lack the taste to discern the actual relationship or meaning of it as a symbol of capital rather than as a representation of beauty and noble pride, Greninja utilizes his gifts of combat and of stealth to create ostentatious and displays of color, of size, and of conspicuous, misguided power, found with the butterfly wings of water, the colossal shuriken of fire, breakneck speeds, and the novel frozen shurikens as ice skates.

Such knacks can only be good at trying to substitute the mastery of form and art of a beautifully planned and executed attack, or a silent and humble, yet cunning and clever shadow strike, by replacing it with mere size and flash. There are causes enough in all conscience, which are at work to-day, compassing the doom of the modern child’s intelligence and taste, but this principle of the omnipotence of size and what brings awe alone is surely the most potent of all. Such extravagant displays of offensive capacity can only ever tickle the fancy of its spectators, but never the sense of beauty, of actual practicality, of intellect, nor of the passion, the feeling of witnessing an almighty and exceptional being within their midst.

...

MANY MANY WORDS

Muk.

The best of the ancients, the best Taiko generals, even the most humble ninja clans would have laughed at the entirely materialistic notion that the mere scope and weight behind a tactic or an assault, or a judgment, was sufficient to consider - nay, execute that measure, policy or judgment in regard to intellectual, leadership, political, or individual decisions.

But to-day, with absolute sincerity and influence, with unagitatable calm and conviction, they leave may leave the moral judgments of the best and the most capable of leadership and deep thought, their intellectual discoveries, philosophies, and conclusions, their hard thought out plans and policies to take care of us and them, and all we do is to weigh objects, find their height by tape measure, or render it in a photometer to discover its luminosity and brightness.

With a note on speed in particular, it may be said that bustle and hurry to nowhere, to nothing, was arrested neither by Greninja nor Ash. On the contrary, frantic, hectic, and sublimely meaningless haste became the order of the battle. Ash nor Greninja never halted to think or to plan; they only just followed the shortest road to the main chance of victory. Prophetic views, views concerning the consequences of the charge and the future of the battle, began to yield before the immediate and extant concern about the quickest trick, the most opportune ruse, wherewith Greninja could outwit or oust its rival. As the season progressed, Greninja’s motion became more rapid; the very increase of motion began to be looked upon as a “superior means of battle and of overwhelming the opponent” and to deny this was commensurate to confessing oneself as indolent or imprudent.

Every one today, as reflection of this depraved notion, supposes that what they are doing is always and essentially “doing more” because they can move through common and meagre tasks at a more rapid pace than through sober meditation and intellectual connections and ordering of these plans. Whereas it would be far closer the truth to say that we accomplish less and with less success, because our nervous energy and vitality are being critically crippled by the rush and whirl of ceaseless uninstinctual motion.

>this whole thread

Everybody who supported Greninja and its influence applauded, everybody got drunk and senseless with the mere sensation of speed — until nothing became too stupid, too preposterous, too brazen or too insane for the game makers or anime writers of Pokémon to think or to do. Hedonism of intellect and artistry, blatant and unscrupulous, was left as the refuge of the designers — and to the consumers.

The scales can descend to the left or to the right, the larger number of bodies or weight shouting "sure" have it — and the wisdom even of an Alakazam is cast carelessly on the hay stack. An Arceus, or Mew themselves could not contend or argue with any hope of success with this absolutely materialistic method of differentiating desire from disgust in doctrine and policy by the measure of a butcher's scales; but think of the debasing effect of the method upon those whose bodies, tasks, tactics, or unique thoughts only are weighed and whose judgment is then ignored, whose capacity for judgment is then ignored!

Think of the bottomless stupidity of the laughter of the Greninja, Charizard, or Lucario supporters when their meagre "arm-in-arm-together" opposition can outweigh the profound utterances of a practiced, tried and true, discriminating and, above all, tasteful thinker! What respect can they have for Arceus or man, for traditions or ponderance, for beauty or real and benevolent power, when this weighing of meat, this literal reckoning and sacred heeding of the size, number, weight, and / or quantity of mere carcasses, of lumens, of bones, flesh, photons, and blood, becomes the one and only criterion, the definitive and unequivocal test of superior prophesizing, planning, devising, selecting, rejecting, and executing!

Imagine such a Greninja as Ash’s, with all of its talents, personality quirks, experiences, education, and relationships miraculously being transported to traditional Japan to a secluded and humble, yet happy, gleeful, and prosperous ninja village, attempting to enter their clan with the horribly misguided notion that mere size, mere scope, mere power, without refinement, wit, or deliberation, can win their reclusive and independent hearts to include him into their community, their customs, and their common goal, outlook, philosophy, mentality, allies, and enemies, tries to form one of his offensive lightshows upon the commons where the elder and sage leaders of the village may witness and judge it.

Not only would these aged, experienced, and wise ancients be baffled by the conception that such a wasteful, inefficient, and mindless attack could ever disable or kill any target of the group, but they would be utterly enraged at the absurdity of the spectacle. A firework display in the midst of gruella warfare, no less of the ninja’s talent and domain? An elephant to cross upon the aged wooden bridge, or to sneak across the side of a shadow shrouded temple? A giraffe to accompany one within the Maki-do Caves? And above all, the prospect of converting the more imprintable, and the more easily influenced children or students of the village to attempt to train and master this tasteless endeavor in battle or in thievery?

Rubbish! All of it nonsensical rubbish! No more sensual or less dangerous than granting the clumsy or crippled invalid the privilege of executing the group committed theft, the child of planning out the tactics for executing such a feat, or the narcissistic, self-invested capitalist of taking control of the laws and tone of the village!

Bandana Waddle Dee.

Well, I don't hate him. I actually really loved him when he was used well, but he's sort of become a minor creative detriment to the series.

>Return of the King
Absolutely loved him. Great personality, great chemistry with King Dedede, great role for him in the series that nobody else occupied (best nobody, passionate about his place in the world, but still a nobody). Here he had the role of what seemed like a commander of Dedede's armies or something similar. He tries hard to stop Kirby, he tries hard to protect his king, but he is just a joke boss who is useless in battle and is easy to trump. But despite knowing he will never win, knowing he isn't a powerful creature, he'll never stop trying. Very charming and endearing unnamed minor character that I would have loved to see every now and again, in small doses.
>Return to Dream Land
All of that was thrown away for him to be multiplayer fodder. They saw that he was popular, they noticed it would be very easy to make him "the" "stand out" waddle dee that would be easy to thoughtlessly include and market.
>Triple Deluxe
Takes Adeleine's old role. Adeleine would have perfectly the fairy tail feel of the world, and she lives in a castle in the clouds so it would make perfect sense to include her. Show head her, in shadow, glancing down to Kirby climbing the dream stalk at the end of the opening cutscene. Then when she shows up, you'd be like "Woah, The kid from Kirby 64 is back?" Instead of "A friendly Waddle Dee, let's move on". And maybe Adeleine could have some very minor bearing on other parts of the game too, since her presence is more notable, charming, and offers more creative possibilities than Bandana Waddle Dee's.

>Rainbow Curse
His unfitting and uninspired main character status is cemented further and shoved in your face the entire game. Also he is now Kirby's best friend instead of Dedede's lackey. Gooey and Rick are forever-dead.

>Planet Robobot
See Triple Deluxe and Rainbow Curse.

Such a brazen and detrimental attempt of policy must be exiled- no! it must be destroyed! And the wise and dominant patriarchs of the village, fully aware of the decay and decadence that could come of such a mindset, orders that the frog be carried away and imprisoned by the strongest leaders, and in the town center, be mutilated, humiliated, and ultimately executed, if only to make an example of the undesirability of such a wretched creature! They would demand that all come to see the spectacle, hand each towns men their wooden rods and shoes to have a go at beating, condemning, and spitting on the foreigner, the inter-herd ninja.

Greninja will have very little say or direction in the matter- his independence is emaciated from the cloying compliments and coddling compassion of Ash, and his capacity for moves are only relegated to his leader by means of body synchronization- that he, a child, to say the least, must direct Greninja’s body by himself in order to allow for these powerful attacks and tactics, never mind Ash, or any teacher as a matter of fact, trying to educate Greninja normally or even by the doctrine of experience. And his attacks, as enumerated above, have little more than flamboyant flare or heat when put up against the cunning and deceitful instinct of the true and traditional ninja. As a rule, no brute, no matter how well equipped, can deal with the man, or the team, who can devise, plan, and order his actions and attacks to their own prey.

>All

Does tldr even apply here? Is it too long for too long didn't read??????

Is this execution barbarous by any reasonable standard? Absolutely not! Why? Because Greninja had sinned against a divine and uniting precept. Those leaders of the flourishing village, had taught independently that most valuable attack is the one that is cast in the shadows, growing in form and simplified in task, until it is ready to step into the light, if only for even a fraction of a second, to complete its mission. This, then, was a law of the village’s success in itself. To flout the wise bidding and desire of prosperity in life is, as I have said in the early part of this discussion, rank and rancid blasphemy. And blasphemy of that sort deserves death even more than homicide does, because it brings immanent jeopardy not only the life of one man, or one village, but the life of a whole nation, a whole culture.

You may argue that the Ash riddled Greninja was ignorant of the specific customs and manners of this aloof village, and had different manners, methods, and customs in its own home and team. But this only makes the matter far worse; for it means that instead of being only a single isolated dangerous, histrionic, and blaspheming barbarian, it must hail from a land, a species, and a culture teeming with such blaspheming barbarians, otherwise they would have learnt, or have had it developed hereditarily within them, that fundamental principle of prosperity and success at home. The sooner the lone such dangerous creature was killed, therefore, the better for the village, the clan, and its happiness.