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Different coloured gloves and that's it.
Funny thing is that some of this stuff would easily fly under the radar for those who never played the games if it wasn't for people shouting "OMG THERE ARE SPOILERS!"
That's really the case for all of the "spoilers" brought up in this discussion, even the potential Persona 5 spoilers the stage would contain if that leak was real.
Angling the knife like he does in Smash just seems... awkward and impractical.
My post was an earnest question, not a callout. I don't care what stage they go with because it won't be the casino.
Not really related, but what do people want Joker’s alt colors to be? My two ideas were colors corresponding to the different Phantom Thieves, or palettes that reference other Persona protagonists. The possibility of the “Jane” datamine does throw a wrench in that though. It’ll be interesting to see!
Generally assume it'll be the other Phantom Thieves, but I'd enjoy a couple related to previous Jokers in Persona, like P2's. If the Jane thing pans out, fingers crossed for a Maya color. Also really hope that the music he brings isn't just P5, but across all SMT. The series has so many good tunes that restricting it to one game, or even just modern 3-5 Persona would be a disservice.
I'm surprised that no one has tried making a fake leak with all of the debug info seen on the Ken screenshot leak. Seems like an obvious way to try and make your fake look more valid.
The teaser was billed as "Super Smash Bros. X Persona 5" much like "Super Smash Bros. X Final Fantasy VII" so I don't have high hopes for non-P5 content.
Yeah, it's the most likely scenario even if it's the most disappointing one. However, I highly doubt Atlus is as protective of its music as Square is and the press release posted by Nintendo alongside Joker's reveal specifically called out the SMT series as a whole, so fingers crossed I guess.
edit: Speaking of which, if Jack Frost is part of Joker's moveset I really hope there's a pallete that makes Jack look Virtual Boy inspired.
Bayo is listed as Bayonetta 2 on the website, so there’s hope.
I'm assuming it's to make him more different than he would be, or perhaps he uses the knife backhand in the anime. It could also be related to one of the new games, or "Jane".
EDIT: I mean reverse grip.
Yeah the stance is weird, especially when he never ever holds his knife backwards in P5.
I'm not talking about website listings.
Bayonetta didn't even get one in her trailer.
Maybe his hand is upside down.
I like how they didn't specify Street Fighter II but excluded everything else anyway.
I'm hoping for school clothes and/or casual clothes. I played most of Persona 5 wearing those outfits instead of the phantom thief outfit. Joker looks cool in glasses!
Will be a shame when I inevitably can't Smash as Santa.
Maybe he'll get this as an alt colour. Just won't have the hat.
Exclude Morgana and Futaba and that leaves enough boy thieves and girl thieves for Jack and Jane to reference.
There's a 100% chance that Joker's trailer will feature a quick clip of him and Richter adjusting their gloves together, right?
Sakurai has been spoiling plot twists with every smash game. Mecha Fiora is in Shulk’s FS.
And Sheik in Melee. I don't think they really care.
Based on color scheme and my P5 party, I want Yusuke and Haru alts. Makoto was my other, but less interesting color-wise.
Remember when sakurai made a post brawl blog post explaining the plot of subspace.
Nintendo being all innovative again. Having story based DLC before they even had DLC!!!
Then it wouldn't be nearly as funny.
Do people still complain about online?
I can’t even remember the last time I got in a match that wasn’t my preferred rules, or at least either battlefield or FD.
At this point, I see the 3.0 update just dropping with little fanfare. One where you'll just have to try out the new stuff yourself instead of having it all shown to you. They really blew it by having absolutely nothing meaningful to say about the 3.0 update or Joker since the last big update.
I got a Little Mac on Pac-Land with items in Elite Smash.
I get my fair share of item matches and non-BF/FD still.
You guys buckle way too easily. They teased more info in the February Direct and said “before the end of April.” There’s also the Persona concert that we might have to wait to see Jane first revealed.
Nintendo knows people go nuts for Smash info, they aren’t gonna undersell it. Sakurai spent 20 minutes talking about menus and languages but isn’t going to talk about Persona content or Stage Builder?
I was there then pointed in this direction so guess I'm here now.
But it wouldn't fix the fact that it's laggy nonsense most of the time.
I guess I’m just lucky. I never get matches with bad rule sets.
That leak’s interesting. Hope that it’s right about franchise elements being included in stage builder. Each major franchise as its own palette a la Mario Maker?
They really do need to have a way to share stages online though, it would be a weird downgrade from Wii U. And I’m also hoping for a Mii costume set that includes some of my favorites from Smash 4 like Geno and Protoman.
He’ll have at least one color based on Crow if nothing else. I’m confidant of that. I would love full alts just because there are some great choices.
Other than getting a Smash ball battle today I’ve gotten my preferences nearly every time.
Is that Ren as Kiryu?
The dancing game had a few crossover costumes.
Annette's work Comfort has been selected as a finalist for the 63rd Blake Prize. The exhibition is showing from the 13th Dec - 31 Jan at Galleries UNSW, College of Fine Arts, Sydney. (Please note that the gallery will be closed from 20 Dec to 6 Jan for the holiday period).
Annette is currently working on an large installation using animal by-products. Stay tuned.
Annette has moved into her new warehouse studio in Brunswick, Melbourne. Expect new works soon.
After the media caught wind of the poll, it suspiciously disappeared from the group’s website.
New polling data from a Pro-Trump organization reveals that the Trump administration’s anti-marijuana policies are widely opposed by voters. Most, according to the data, believe that individual states should be given the freedom to determine their own marijuana policies.
This poll was conducted by America First Policies, a non-profit organization that openly exists to financially support Trump’s platform. The organization does this by taking advantage of a controversial Supreme Court ruling—widely referred to as “Citizens United“—which allows corporations to funnel massive amounts of money into politics.
America First Policies hired pollsters to examine policies that are popular and unpopular with both Democratic and Republican voters. These polls include everything from voters’ opinions on the Trump administration’s reaction to the controversial book “Fire and Fury” to support for building the President’s proposed border wall between Mexico and the U.S.
The existence of this recent polling memo was first uncovered by CNBC. After the news contacted America First Policies about it, the organization removed the results from their website. However, Marijuana Moment obtained the organization’s recent polling memo. The poll found that 53% of respondents oppose the Department of Justice instructing U.S. Attorneys to interfere with state-legal cannabusinesses. These results were based on the polling of 1,200 voters.
Supporters cheer as US President Donald Trump travels through West Palm Beach, Florida, on December 10, 2017.
“By nearly a 2-to-1 margin, voters believe states should be allowed to individually determine whether or not to legalize marijuana (60%), over the federal government determining the legality (31%),” the memo reportedly reads.
The America First Policies poll found bi-partisan support for individual states’ autonomy in deciding their own marijuana laws, with slightly higher support from Democrats than Republicans. A past survey from the same group found even more support for marijuana policies among voters.
If you combine the poll’s findings about the percentage of voters who believe “marijuana should be legal for medical or recreational purposes” (43%) and those who believe marijuana should be legal for medical purposes, but not recreational purposes (39%), the result is a whopping 82% of voters who believe in some form of legalization. By contrast, only 13% of respondents supported marijuana prohibition.
#EAFEFE (or 0xEAFEFE) is unknown color: approx Azure. HEX triplet: EA, FE and FE. RGB value is (234,254,254). Sum of RGB (Red+Green+Blue) = 234+254+254=742 (98% of max value = 765). Red value is 234 (91.80% from 255 or 31.54% from 742); Green value is 254 (99.61% from 255 or 34.23% from 742); Blue value is 254 (99.61% from 255 or 34.23% from 742); Max value from RGB is 254 - color contains mainly: green, blue. Hex color #EAFEFE is not a web safe color. Web safe color analog (approx): #FFFFFF. Inversed color of #EAFEFE is #150101. Grayscale: #F8F8F8. Windows color (decimal): -1376514 or 16711402. OLE color: 16711402.
HSL color Cylindrical-coordinate representation of color #EAFEFE: hue angle of 180º degrees, saturation: 0.91, lightness: 0.96%. HSV value (or HSB Brightness) of color is 1% and HSV saturation: 0.08%. Process color model (Four color, CMYK) of #EAFEFE is Cyan = 0.08, Magento = 0, Yellow = 0 and Black (K on CMYK) = 0.00.
The UN has declared that asylum is an inalienable human right, and most countries offer it. The principle is that nations should safeguard people who face persecution or danger when their countries can not or do not want to protect them. There have long been debates about who deserves the sanctuary, but today discord is going deeper. In the wake of violence in the Middle East and Afghanistan and parts of Africa and Central America, the number of asylum seekers has risen to record levels. While most of them are hosted by neighboring countries, a crackdown on refugees in the United States and Europe is raising doubts that support for the asylum concept can survive.
The total number of refugees has increased steadily since 2012, to 19.9 million by the middle of 2018, fueling the antipathy towards strangers in some host countries. Of the 1.9 million new refugee status applicants in 2017, the United States had the largest number – 332,000, with 43% coming from Central America, where gang violence has become widespread. US President Donald Trump has joined his offer to suppress immigration with an effort to radically remodel the nation's asylum system. It has banned entry to citizens of six countries, five of them mostly Muslims, and has reduced the number of refugees who can be admitted to the United States to 30,000, a historical minimum. His administration has excluded asylum for people fleeing domestic violence and gangs, and for those who have illegally crossed the US border with Mexico. It imposed a policy of detaining anyone who was illegally caught while crossing the border, including those seeking refugee status. The parents were separated from their children, causing a public protest that led Trump to back down. In October, Trump threatened to cut foreign aid to Guatemala, Honduras and El Salvador in retaliation for a so-called caravan of migrants traveling through Mexico to the United States. In the European Union, the resentment for the influx of refugees has led leaders to consider creating holding centers, probably in Africa, to manage asylum seekers. Officials have discouraged groups from saving such people in the Mediterranean Sea. Hungary, led by populist Prime Minister Viktor Orban, has made it a crime to help migrants seek asylum.
The Office of the United Nations High Commissioner for Refugees affirms that the concept of asylum is one of the "first distinctive signs of civilization", citing references to it in texts of 3,500 years. The word derives from the ancient Greek word for freedom from seizure. A 1951 UN Convention on the Status of Refugees and its 1967 Protocol are the modern legal framework for asylum, which defines refugees as persons who can prove to be persecuted at home on the basis of race, religion, nationality, political conviction or social group. Agreements in Europe, Africa and South America have broadened the definition by including those fleeing generalized violence. Among today's refugees, Syrians are the largest group. They are fleeing a civil war, like the Afghans and South Sudanese who make up the closest groups. Among the victims of the persecution there are Christians who escape forced conversion to Islam in the Arab countries and Rohingya, a Muslim ethnic group in Myanmar fleeing the abuse of their fellow countrymen. Asylum applications worldwide amounted to 1.9 million in 2017. The United States presented the largest number of new applicants, with 43% coming from Central America. In 2017, around 732,500 asylum applications were accepted, and a little more – 754,100 – were rejected globally. Asylum was used as a political tool, as when Americans welcomed Cubans and Vietnamese who sought refuge from communism. Requests for safe haven by gay, bisexual and transgender people have increased in recent years.
Attacks in Europe and the United States by assassins linked or inspired by foreign jihadist groups have generated the fear that future terrorists will hide among those who seek refuge. Critics of pro-asylum policies also fear that the hiring of refugees can lead to higher rates of crime and unemployment. Trump administration officials have claimed that the asylum system is abused by scammers. Other critics of the asylum assessments in the United States say that they are so arbitrary that they amount to "refugee roulette". This has promoted the development of a cottage-like industry to provide refuge seekers with compelling personal stories that may be exaggerated or false. Defenders of the control process say it is rigorous, even if no system is infallible. Asylum advocates stress the universal obligation to protect the vulnerable and observe that many of the people that nationalists like Trump would keep out were fleeing terrorism. The debate on asylum in the United States and Europe can overshadow the fact that the burden of hosting refugees around the world lies more with the poorer countries closer to major conflicts, such as Turkey, Pakistan and Uganda. .
For decades Fernández had been recognized and honored for his accomplishments in the world of music. But up until October 11, 1991, no one had ever declared that as a singer, Fernández was on equal footing with perhaps the greatest singer in American pop history.
In a career spanning five decades, Fernández has been awarded every honor and accolade in the entertainment world and beyond. He has won Grammys and Premio Lo Nuestro awards. He’s regularly topped the charts in Billboard and has been recognized with lifetime achievement awards, hall of fame honors and even a star on Hollywood’s Walk of Fame.
With his trademark charro outfit, wide sombrero and impeccable backing mariachi ensemble, he has performed on the world’s biggest and most prestigious stages. He has headlined Mexico City’s Auditorio Nacional and the Plaza de Toros Mexico to New York City’s Madison Square Garden and Radio City Music Hall.
Many considered Fernández to be Mexico’s fourth gallo, or singing rooster.
The other three are considered the greatest all-time singers in Mexico. But they all died young – Jorge Negrete at 42 in 1953, Pedro Infante at 39 in 1957 and Javier Solis at 34 in 1966. It was into this profound artistic void that Fernández stepped in 1966.
For more than 40 years, Vicente Fernández has maintained his standing as Mexico’s greatest living singer, coupling an operatic range with a deep understanding of ranchera music’s rural roots. Through the years he inspired hundreds of imitators, but none could ever match his operatic power and range. In the dozens of Mexican movies he starred in, Fernández often played a role that suited him perfectly-that of the proud charro, or Mexican cowboy.
As a world-class singer, Fernández always combines impeccable musicianship, provocative songs and his great vocals to deliver unforgettable performances. He was and continues to be prolific, influential, and ultimately a critical player responsible for shaping the growth and development of the modern ranchera genre. For his artistic integrity, his tireless dedication, and unending enthusiasm, Fernández will be noted in history books as one of the fundamental and influential pioneers of ranchera music and a towering figure in the evolution of Regional Mexican music.
His towering discography comprises over 100 albums. He’s influential in the way that he’s shaped the growth and development of ranchera music. Through the hundreds of songs that feature his voice, Fernández is certain to be the associated of Mexican pride and artistry around the world.
He entered a singing contest in Guadalajara when he was 14, and won first place. That win gave him the confidence to start performing in restaurants and weddings.
In early 1963, his mother, Paula Gómez de Fernández, died of cancer at the age of 47. Later that year, on December 27, he married María del Refugio “Cuquita” Abarca Villaseñor, his neighbor in Guadalajara. The couple would go on to have four children: Vicente, Gerardo, Alejandro and Alejandra.
Working to further his career, Fernández, then 24, was tapped as vocalist by two of Guadalajara’s best mariachis – Mariachi Amanecer de Pepe Mendoza and Mariachi de José Luís Aguilar. Through his work with these groups, he was introduced to Felipe Arriaga. During that time he performed regularly on the mariachi-themed radio program titled Amanecer Tapatío (Guadalajara Morning). Soon, Arriaga and other influential friends convinced him to move to Mexico City, Mexico’s political, business and cultural capital.
By late 1965, Fernández was pitching himself to the major labels based in the city. He was always turned down, but he began hanging around CBS Studios in hopes of landing an audition. Eventually Fernández got his foot in the door at XEX, the clear-channel AM powerhouse known as the most listened-to radio station in Mexico. XEX exposed him to a nationwide audience.
Not content to just make records and perform live, Fernández also branched out into movies. His first film was Uno y Medio Contra el Mundo. Three years later, he had his first hit starring role in La Ley del Monte. The movie’s title song was also a hit for Fernández. Among his successful albums of the early 1970s were El Rey, El Hijo del Pueblo, and Para Recordar. He was building a body of work that would showcase his expressive voice and define modern mariachi music.
By 1975, Fernández was admired by mariachi fans, but he wasn’t yet an iconic figure. But that was soon to change. In 1976, the composer Fernando Z. Maldonado wrote a different kind of ranchera. A ranchera about a macho guy who accepts his guilt in a failed relationship. It was a new theme, and it struck a nerve: “Volver, Volver” became a ranchera anthem. An incorrigible ladies’ man, Fernández personified the protagonist of the song. It was a magical combination of music, lyrics and voice. By the end of 1976, “Volver, Volver” had broken sales records and was being played from cars, houses and jukeboxes all over the Spanish-speaking world. Finally, Fernández was unquestionably an international star.
Between recording and touring Fernández carved out a place for his family. In 1980 he built a 1,250-acre ranch near Guadalajara, called Los Tres Potrillos (The Three Fillys) in honor of his three sons. Surrounded by an irrigation canal, the ranch has the feeling of a cocoon.
Entering his fourth decade of recording, in the 1990s, Fernández continued to add to his canon of classics with hits like “Aunque me Duela el Alma” (1995), “Me Voy a Quitar de En Medio” (1998), and “La Mentira” (1998), the theme song of the popular ranch-centered telenovela. He garnered a star on the Hollywood Walk of Fame and was inducted into Billboard’s Hall of Fame.
On September 17, 2002, he was named Person of the Year by the Latin Academy of Recording Arts and Sciences, the producers of the Latin Grammys. The honor paid tribute to his artistic achievements and his support of the National Hispanic Scholarship Fund. Never forgetting his humble roots, Fernández also remembers his fans who live in small towns and isolated areas of Mexico, performing free shows at country fairs.
As a singer, Vicente Fernández is at the top of his game. The proof is in his recent achievements, which more typically resemble those of a young, rising star than someone who’s been recording and touring for over 40 years.
In 2006, after three years away from the recording studio, Vicente Fernández released his comeback album La Tragedia Del Vaquero (The Tragedy of the Cowboy), featuring 14 brand-new songs. A keepsake and instant classic in the mariachi music canon.
Also in 2006, in preparation for Vicente Fernández’s 40th anniversary as a recording artist – Sony Music released a three-CD collection of his greatest hits, titled The Living Legend (‘La Leyenda Viviente’). Containing 35 classics, along with the new song “Me Quedan Todas,” this collectors’ ítem was avidly sought out by fans in the U.S. and Mexico. Regional Mexican and Latin pop radio, meanwhile, sent “Me Quedan Todas” to the top of the airplay charts.
For 2007, his official 40th-anniversary year, El Rey embarked on one of the biggest Latin-music tours in U.S. history. And he returned with another exciting new studio album – Para Siempre, which within three months of its release was certified RIAA Double Platinum (Latin) in the U.S. and Puerto Rico. The album’s first single “Éstos Celos” spent over three months at No. 1 on the principal Regional Mexican airplay charts. The song finished the year as the most-played Regional Mexican song of 2007 in the U.S., while Para Siempre received a nomination for Best Ranchera Album at the 2008 Grammys.
The success of Para Siempre continued with its title track. It was the principal song for Televisa’s blockbuster telenovela “Fuego en la Sangre,” which has produced the network’s highest ratings ever.
In 2008, his achievements became even more impressive with the release of his live CD/DVD Primera Fila, which was the top-selling musical DVD of the year in the U.S. in any genre. He won a Latin Grammy in fall 2008, and in 2009 continued his awards-season streak with a Premio Lo Nuestro and a Billboard Latin Music Award.
Staying at the forefront of mariachi music, he released his latest studio album, Necesito de Ti (I Need You), in July 2009, as the title-track first single climbed the charts.
In order to enshrine his love and admiration for horses, for country life and for music, Vicente Fernández in 2005 built the Vicente Fernández Gómez Arena for Performances and Horsemanship. This 11,000-capacity area is located on his Los Tres Potrillos (Three Fillys) ranch outside Guadalajara. Ultra-modern and completely enclosed, the facility is popular for rodeos, sporting events and concerts. In 2005 it was the site of the LXI Congress and Vicente Fernández National Charro Championship.
As the 2010s dawned, Vicente Fernández remained ubiquitous, prolific and always interesting. He wrapped up the 2000s with the December 2009 re-release of Necesito de Ti in CD+DVD configuration, featuring 13 audio and video tracks. It earned Platinum certification in Mexico, and Gold in the U.S.
One of most the most important Latin albums of 2009, Necesito de Ti received multiple recognitions for its quality and popularity. Mexico’s Premios Oye awarded him three trophies in November 2009. In 2010, Necesito de Ti was awarded the American Grammy for Best Ranchera Album. Later in the year, he also won Univision’s Premio Lo Nuestro for Ranchera Artist of the Year, and two Billboard Latin Music Awards.
Dipping into the plentiful well of Vicente Fernández’s greatest moments, Sony Music in 2010 released Un Mexicano en la Mexico, a DVD of his iconic September 15, 1984, concert at Mexico City’s Plaza de Toros bullring. There, he performed to a standing-room only crowd of 54,000 for over two hours as rain continually threatened to dampen the proceedings. But, legend has it, none other than the Aztec god Tlaloc kept the showers at bay, setting the stage for a historic performance.
Right back on the scene with another groundbreaking studio album, Vicente Fernández in September 2010 released El Hombre Que Más Te Amó (The Man Who Loved You Most). Despite having nothing to prove, Fernández still made a major step forward, serving as producer for the first time in his career and tapping the talents of young, aspiring songwriters. Quite a risk, but the results speak for themselves – El Hombre Que Más Te Amó won the 2011 Latin Grammy for Best Ranchera Album.
Vicente Fernández is still the most popular singer, not just in the ranchera genre, but in all of Regional Mexican music.
With a tremendous and still-growing discography, a powerful voice and unforgettable music, Fernández pushes the boundaries of mariachi music and influences absolutely everybody. His longevity, his dedication to his craft and his faithful devotion to his fans make him beloved in Mexico and around the world.
As a pioneer, Vicente Fernández is to Mexican music what Hank Williams is to country, B.B. King is to blues and Woody Guthrie is to folk.
In 2011, Vicente Fernández outdoes himself again with Otra Vez (Once Again), released in November. Recording took place in the Mexican states of Jalisco and Morelos at studios belonging to Vicente Fernández himself and those of his producer Joan Sebastian. A collaboration of virtuosos, Otra Vez marks the second time that Joan Sebastian has produced El Rey – thus the title! Joan Sebastian also wrote all of the songs on Otra Vez.
We enjoy a rhythmic treat on first single “Volcanes Dormidos” (Sleeping Volcanoes), which finds Vicente Fernández incorporating electric guitar into his ranchera music for the first time. It’s a beguiling fusion, and one that only maestros like Vicente Fernández and Joan Sebastian could pull off.
So once again – Otra Vez – we salute Vicente Fernández, who is synonymous with studio perfection, vocal passion and an inimitable style. Like fine wine, he improves with the years. And he is a maestro for every aspiring artist.
Wall Centre False Creek offers you the opportunity of a lifetime to own a luxury home in one of the last waterfront areas close to downtown. This fresh, inspired community preserves a distinct heritage while delivering a model for sustainable living that anyone in the world could be proud of.Viking products, known for blending the utility of commercial grade appliances with the needs of a residence, are available in over 80 countries. The top-of-the-line innovative technology in your new Viking stove will make gourmet cooking stress-free and inspire you to get creative with your food. Wall Centre False Creek residences have a stainless steel gas range and a convection oven to handle the most daring cooking. The oven comes with a highly efficient matching Viking stainless steel over-the-range microwave and hood fan. Granite counters and backsplash, an LG front-loading fully integrated dishwasher and a state-of-the-art LG refrigerator add further appeal. Sleek design and function in the comfort of your own home.

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