>>115079
>there's this weird artifact.
The artifact appears to be spreading...

ｷﾀ━━━(ﾟ∀ﾟ)━━━!!

ｷﾀ━━━(ﾟ∀ﾟ)━━━!!

ｷﾀ━━━(ﾟ∀ﾟ)━━━!!

the nose knows

>>115427
it would be funny if this was true
nigger

Since the thread was bumped, might as well update that while you guys were talking about jerking off and onaholes I beat Parappa the Rapper 2, and a report on
>Maybe my grievances with its gameplay were fixed in 2?
It did that and more ヽ(´∇`)ノ

The gameplay was much tighter, characters even more larger than life, the visuals and music got an upgrade and above all made me realize what actually makes the series special more than all of that; it's a rhythm game that lets you make your own rhythms.
I didn't really catch onto it in 1, but to get more points you had to do more than just copy whatever your instructor was doing, but do a freestyle that matches the flow of them. 2 makes this much more clear, after stage 1 every song tells you "do your own thang, mon!" With some really competent beats to back it up, knowing this makes it so much more goddamn fun. I'm going through 1 again to get COOL mode on the stages (´ー`)

Why don't other rhythm games do that.. (;´Д`)

>>115429
>Why don't other rhythm games do that.. (;´Д`)
that does remind me of how Beatmania used to have FREE SCRATCH zones in songs where you could mess around
they got rid of that terribly quickly since the optimal thing was to just scratch exactly once so you got the points from it, but I liked the idea

at some point early on, the series stopped punishing you for hitting notes not on teh chart, letting you freestyle a bit
beatmania is keysounded, so every notepress plays a sample in the song (pop'n is mechanically identical to beatmania and lets you do the same thing)
it is very fun trying to add my own stuff to songs when I play, even if I do still need to dodge the "duplicate note POOR" system that's supposed to prevent mashing but gets in the way of being cool

it is neat how parappa has it as a deep-rooted game design mechanic rather than something that the game begrudgingly lets you do like beatmania and pop'n

>>115430
oops, didn't want to sage

>>115427
it should be.

Your fortune: You just lost the game

karaoke tiem?

She can also make your PENIS disappear!

Don't ask how she does it, it's a secret!

i'm smiling!

>>115355
What about this one? To me they all look fake, but I'm sure there has to be a photo of him with a cat, if he really was, as much of cat lover, as he is made out to be. Albeit, I think the cat has realistic proportions on the first picture. I used to know a cat who was this size, a well grown and well nourished tomcat they said.

>>115134
God said to preach the word to all creatures!!

mofumofu

Philip K. Dick

>>115354
>>115357
anon-san...

bon appetite!!!!!!1

>>115387
dinner is served

>>115388
it's the little things like that that make our country so great

OMAAANKO OMAAANKO!

ｷﾀ━━━(ﾟ∀ﾟ)━━━!!

manco

kusosure wa yamete kudasai

me?

>>115314
dude he said something awesome not somethings super fucking amazingb

ｷﾀ━━━(ﾟ∀ﾟ)━━━!!

BEAVIS

holy shitto that's a lot of vibrators

You can start doing drugs for a similar sensation of constant pleasure

500 ｷﾀ━━━(・∀・)━━━!!

cheaper than an onahole

moeeeee!

>>115352
>cheaper than an onahole
reusable living onaholes

>>115326
What Baudretard calls “third order simulacrum” is a simple semiotic configuration that has existed for all time. By identifiying it as a unique attribute of post-modern society, he crudely metaphysicalises history.

>>115331
I've never read Baudrillard myself so I'm not sure what a “third order simulacrum” actually refers to, as a semiotic configuration; could you explain a little further?

>>115340
from https://cla.purdue.edu/academic/english/theory/postmodernism/modules/baudrillardsimulation.html:

1) in the first order of simulacra, which he associates with the pre-modern period, the image is a clear counterfeit of the real; the image is recognized as just an illusion, a place marker for the real; 2) in the second order of simulacra, which Baudrillard associates with the industrial revolution of the nineteenth century, the distinctions between the image and the representation begin to break down because of mass production and the proliferation of copies. Such production misrepresents and masks an underlying reality by imitating it so well, thus threatening to replace it (e.g. in photography or ideology); however, there is still a belief that, through critique or effective political action, one can still access the hidden fact of the real; 3) in the third order of simulacra, which is associated with the postmodern age, we are confronted with a precession of simulacra; that is, the representation precedes and determines the real. There is no longer any distinction between reality and its representation; there is only the simulacrum.

Although it is true that technological differences throughout history can produce representations with distinct semiotic structures, it has never followed such a determined pattern. How a technology effects what kind of representations are proliferated is contingent on historically specific context, and on what kind of thing is being represented. We still don't have smell-o-vision for example. The “third order simulacrum” is meant to be a representation that comes before and functions to determine what it represents. Bauldrillard's own examples of simulacrum don't even really fit that pattern because he's retarded. All he ever did was butcher and sensationalise the much better work of the Situationists and Semioticians.

PS: You might enjoy this video the Situationists made. https://www.youtube.com/watch?v=01tRfPOl89A

textbooks for college

I'll give it a shot.

Your fortune: ｷﾀ━━━━━━(ﾟ∀ﾟ)━━━━━━ !!!!

>>115216
I'm lucky too

Your fortune: Very bad luck

We'll see about that.

Your fortune: Godly luck

rip

LUCKYYYY!!

Your fortune: Your harem is only just begining

>>115328
>would you liek to tell her what you've been using it for?
he already knows

SEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEXO

>>115328
porn
music
videos
( ´ω`)

>>115344
seconding this, goddamn (;´Д`)

ｷﾀ━━━(ﾟ∀ﾟ)━━━!!

>No.115322
im scared and aroused

>>115324
h0wdy'd

this could be us