Delicious Fruit
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by GaspacoZanis
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by Anonymous
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by GaspacoZanis
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by GaspacoZanis
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by GaspacoZanis
-
by GaspacoZanis
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by GaspacoZanis
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by GaspacoZanis
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by GaspacoZanis
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by GaspacoZanis
-
by GaspacoZanis
-
by GaspacoZanis
-
by GaspacoZanis
-
by GaspacoZanis
99 Reviews:
DokiNabi
It was interesting to play what is the origin of this entire genre of fangames.
To be honest, a lot of screen choices felt lackluster and generic, but it wasn't too bad to turn me away from the game. We see a time before titlecards (or solid ones for that matter) so unless you understand Korean you might not recognize the games that screens were borrowed from. Even with that, some screens are immediately recognizable if you're experienced with fangames.
Each boss references the games which screens were taken from and used in the medley, sometimes feeling poorly thrown together and other times having some sense of organization and good planning. The first three bosses honestly felt very poorly done, but then the stage four and stage five bosses felt a lot more solid and honestly a lot funner.
After fighting through these five stages, you finally reach the final boss, Kamilia. This final boss actually felt like it was on a whole different level from the rest of the game, with amazing and honestly enjoyable attacks, and two phases that managed to build on each other in a way that was actually good. After fighting through the other stages of the game, the final boss was honestly a satifsying way for me to finish off this game.
(K3 Savage Mountain Challenge hype)
[4] Likes
To be honest, a lot of screen choices felt lackluster and generic, but it wasn't too bad to turn me away from the game. We see a time before titlecards (or solid ones for that matter) so unless you understand Korean you might not recognize the games that screens were borrowed from. Even with that, some screens are immediately recognizable if you're experienced with fangames.
Each boss references the games which screens were taken from and used in the medley, sometimes feeling poorly thrown together and other times having some sense of organization and good planning. The first three bosses honestly felt very poorly done, but then the stage four and stage five bosses felt a lot more solid and honestly a lot funner.
After fighting through these five stages, you finally reach the final boss, Kamilia. This final boss actually felt like it was on a whole different level from the rest of the game, with amazing and honestly enjoyable attacks, and two phases that managed to build on each other in a way that was actually good. After fighting through the other stages of the game, the final boss was honestly a satifsying way for me to finish off this game.
(K3 Savage Mountain Challenge hype)
Rating: 6.5 65
Difficulty: 50 50
Sep 27, 2017
ragerer
This was one of the first fangames i have cleard, and back then it took me 22 hours. Later i did it again for the savage mauntin challenge and i enjoyed it a lot. The design in the game is bad, but this does not makes the game itself bad. There are five medley stages, each with a boss then a weird maze and then final boss, Kamilia. The room picks are not horrible, the stages are enjoyable and there are some very good needle sections but the difficulty curve is kinda bad, like probably the hardest save, at least for me is in stage 3. The firs 3 bosses are fine but easy, you can find a missing block at the second boss and you dont have to fight it. This happens in the platforming as well, so many missing blocks and spikes, there is an out of bounce skip in every second room and while this is kinda bad design , it makes the game really fun to play and even more fun to speedrun. The fourth and the fifth bosses are bad but you can skip the hardest segments in both of them. The final boss is the best part of the game. Actually good design, great visuals and the second phase is awsome. I understand the hate because this game is not very well made but its fun to play and that is more than you can say about the 60 percent of the fangames at the wiki. Also this is the first medley. I would reccomend.
[4] Likes
Rating: 6.2 62
Difficulty: 55 55
Jun 20, 2017
god_eren
very good for the age they made it from was the first medley but is better than the half new of them
[4] Likes
Rating: 7.5 75
Difficulty: 60 60
Apr 25, 2017
ElCochran90
I know a watershed when I see it.
Carnival perhaps was the pioneer to apply the fangame intertextuality concept: conglomerate screens from past fangames and make a section out of it. Many Eastern supporters of this idea began rising afterwards, such as Mizudori, クライン (the Emperor/Meteor Stream guy) and ていく (the Device/Diverse/Tempest guy), and the Western community just answered to it.
Back in 2011, the West and the East had their separate communities and forums, before the Discord era (to which I don’t belong) and during the justin.tv, I Wanna Wiki and nicovideo era. YouTube was at its peak of content and memes which has now become the main contagion site for spreading centennial cancer and promoting influencers of all branches of human idiocy.
Back in this time, ㅇyㅇ had, not a vision, but an idea: to create a cohesive experience made of several fangames, mostly Eastern, that had been either emblematic or beaten by Kamilia, a name that causes sensation still today. From any viewpoint, either experimental, stylistic, artistic or conceptual, this experiment is extremely appealing. It’s a tribute in constant motion, where the excitement of the playability’s uncertainty comes, not from the gimmicks or the platforming per se, but what new fangame would be featured next. The original quality wasn’t something to determine the content of this new project (we have games from LIPCONE and Doruppi’s ugliest to the impossible Brute of a Man [no-mod version]). Had Kamilia really beaten Brute of a Man? That became irrelevant at a point where it was evident it was more a tribute to a person and to several makers that, for the better or the worst, released outputs that would become iconic for all decades to come.
Bosses would not be your typical fight: it would be an amalgamated melee of the memory lane that you just walked through at each stage, featuring all final bosses (mostly) of every screen you just remembered. Some screens are reinvented at the expense of ㅇyㅇ’s creativity, perhaps for an easier playability or to standardize the difficulty.
There is a logic behind the games selected however: if it is not the quality, or the makers, and we just have Kamilia’s clear/stream list as a parameter, then what is it? The difficulty. This is the only redeeming quality of the game. The difficulty curve sorta makes sense. Each stage was meant to be more difficult than the previous one, but without reaching the levels of Brute of a Man or, less absurdly, of Sadist. Not even Boshy’s… This was perhaps given as an opportunity for mortal players to explore the world of fangames and feel like Kamilia during the 5 stages of the game and then killing her for that illusion of saying “I beat Kamilia!”.
The concept is intriguing to say the least, but there are some facts to clarify:
-The game references a person and some makers, not the fangame world phenomenon
-The game was made in two days
-The engine is atrocious
-The game has a plethora of technical glitches; it’s one of the most broken things I have ever seen
The game is the apotheosis of old-school unenjoyable fangame ugliness: transitions that insta-kill you, warp you to another unintended screen, collision boxes that get you stuck in places that shouldn’t be or cancel your second jump, liquified diarrhea backgrounds during the boss fights (except for Stage 5) that introduced visual sudoku to the fangame communities before we would even comprehend or baptize whatever the freak sudoku was meant to be in the future, and screens modified beyond recognition for no valid reason (when did a screen for, say, GGM existed like that?)
For a two-day project, the result is understandable; that doesn’t make it acceptable or inexcusable. The screen choices are nightmarishly obnoxious, transforming the game into a trap game. This is the key tragic outcome of I Wanna Kill the Kamilia because, by 2011, traps were not the only thing that defined fangames. The collection of makers, however, put a heavy emphasis on this. Neverthekess, if we think on a pre-2012 Carnival game, traps were not the predominant trick under the hat: hardcore vanilla needle was also an ingredient. What about the multiple gimmick implementations of Dark Blue or Greeeen? On the other hand, if you put games like Tribute, Best Guy, Graduate from CT, Rukimin, Timemachine, 500, Experience, Yellow Star, Fortress Returns, and focus on the trap segments, you’re missing the point of the fangame world versatility and transform the first medley game into a trap game.
I’ll give three merits to this landmark, timeline project:
-The fact that it is the first medley, causing the viewer to wonder what the next screen will be like, and introducing many new fangames to other people, especially beginner enthusiasts or curious veterans
-The fact that every stage has a different song, and the soundtrack is good (who doesn’t love Portal 2?). Props to the Splinter Cell pick.
-The fact that, within certain boundaries, it retains a reasonable difficulty and doesn’t spike so much throughout like the Gamespot stock price of 1Y (do look at it).
As much as I loathe the brokenness, the engine, the transitions (being the most terrible one from See the Moon to CQ [I think someone clipped that moment during my Stream]), the bosses, the collision boxes, the screen choices, the scrolling spaceship section of Heaventrap 1, Geezer’s final phase including all the damn stupid attempts I had to make to get to the damn ship without going THROUGH it, the visually horrid backgrounds during 5 out of 6 boss fights, the Wuss saves being placed at potentially softlockable states, and finding out that bosses having a middle save between phases didn’t matter at all if you decided to continue the boss another day (it resets to Phase 1), I am glad to live in a world where this exists, because it became a thing, and still is. It created a genre that was born to stay forever. Western medleys were a reply mostly to this game and to Influka’s controversial sequels, and some sensational deliveries have come out, old and modern.
There is no reason on Earth I would decide to replay this unless I streamed it with good company: it is a wonderful and innovative concept made by a kid that doesn’t know how to build his Legos properly. Now imagine the same person coding and creating a game with 44 game references in two days, stuffing everything in, including all final bosses.
And as negative as my review sounds, I think this game was a necessity for the world. It was meant to happen. The implications it had for its future generations of the fangame community excel the actual quality of the game by far too much.
Finally, I should clarify this game is underrated in difficulty. Not ironically, the struggle of the player will steam from coping with the game's engine ultimately shattered structure and composition; however, the last 2 stages do feature difficult screens that I wouldn't recommend for a beginner as previous experience is required. I seriously don't think beginners were kept in mind when making this game, or experts either: just the average player exploring more worlds. There is a screen of GR's needle tower that is almost untouched, save for some corners and that infamous jump in the third save (middle portion of the screen). Adding a bunch of saves does not mean you will now know jumps that you didn't before.
And then a sequel came along...
[3] Likes
Carnival perhaps was the pioneer to apply the fangame intertextuality concept: conglomerate screens from past fangames and make a section out of it. Many Eastern supporters of this idea began rising afterwards, such as Mizudori, クライン (the Emperor/Meteor Stream guy) and ていく (the Device/Diverse/Tempest guy), and the Western community just answered to it.
Back in 2011, the West and the East had their separate communities and forums, before the Discord era (to which I don’t belong) and during the justin.tv, I Wanna Wiki and nicovideo era. YouTube was at its peak of content and memes which has now become the main contagion site for spreading centennial cancer and promoting influencers of all branches of human idiocy.
Back in this time, ㅇyㅇ had, not a vision, but an idea: to create a cohesive experience made of several fangames, mostly Eastern, that had been either emblematic or beaten by Kamilia, a name that causes sensation still today. From any viewpoint, either experimental, stylistic, artistic or conceptual, this experiment is extremely appealing. It’s a tribute in constant motion, where the excitement of the playability’s uncertainty comes, not from the gimmicks or the platforming per se, but what new fangame would be featured next. The original quality wasn’t something to determine the content of this new project (we have games from LIPCONE and Doruppi’s ugliest to the impossible Brute of a Man [no-mod version]). Had Kamilia really beaten Brute of a Man? That became irrelevant at a point where it was evident it was more a tribute to a person and to several makers that, for the better or the worst, released outputs that would become iconic for all decades to come.
Bosses would not be your typical fight: it would be an amalgamated melee of the memory lane that you just walked through at each stage, featuring all final bosses (mostly) of every screen you just remembered. Some screens are reinvented at the expense of ㅇyㅇ’s creativity, perhaps for an easier playability or to standardize the difficulty.
There is a logic behind the games selected however: if it is not the quality, or the makers, and we just have Kamilia’s clear/stream list as a parameter, then what is it? The difficulty. This is the only redeeming quality of the game. The difficulty curve sorta makes sense. Each stage was meant to be more difficult than the previous one, but without reaching the levels of Brute of a Man or, less absurdly, of Sadist. Not even Boshy’s… This was perhaps given as an opportunity for mortal players to explore the world of fangames and feel like Kamilia during the 5 stages of the game and then killing her for that illusion of saying “I beat Kamilia!”.
The concept is intriguing to say the least, but there are some facts to clarify:
-The game references a person and some makers, not the fangame world phenomenon
-The game was made in two days
-The engine is atrocious
-The game has a plethora of technical glitches; it’s one of the most broken things I have ever seen
The game is the apotheosis of old-school unenjoyable fangame ugliness: transitions that insta-kill you, warp you to another unintended screen, collision boxes that get you stuck in places that shouldn’t be or cancel your second jump, liquified diarrhea backgrounds during the boss fights (except for Stage 5) that introduced visual sudoku to the fangame communities before we would even comprehend or baptize whatever the freak sudoku was meant to be in the future, and screens modified beyond recognition for no valid reason (when did a screen for, say, GGM existed like that?)
For a two-day project, the result is understandable; that doesn’t make it acceptable or inexcusable. The screen choices are nightmarishly obnoxious, transforming the game into a trap game. This is the key tragic outcome of I Wanna Kill the Kamilia because, by 2011, traps were not the only thing that defined fangames. The collection of makers, however, put a heavy emphasis on this. Neverthekess, if we think on a pre-2012 Carnival game, traps were not the predominant trick under the hat: hardcore vanilla needle was also an ingredient. What about the multiple gimmick implementations of Dark Blue or Greeeen? On the other hand, if you put games like Tribute, Best Guy, Graduate from CT, Rukimin, Timemachine, 500, Experience, Yellow Star, Fortress Returns, and focus on the trap segments, you’re missing the point of the fangame world versatility and transform the first medley game into a trap game.
I’ll give three merits to this landmark, timeline project:
-The fact that it is the first medley, causing the viewer to wonder what the next screen will be like, and introducing many new fangames to other people, especially beginner enthusiasts or curious veterans
-The fact that every stage has a different song, and the soundtrack is good (who doesn’t love Portal 2?). Props to the Splinter Cell pick.
-The fact that, within certain boundaries, it retains a reasonable difficulty and doesn’t spike so much throughout like the Gamespot stock price of 1Y (do look at it).
As much as I loathe the brokenness, the engine, the transitions (being the most terrible one from See the Moon to CQ [I think someone clipped that moment during my Stream]), the bosses, the collision boxes, the screen choices, the scrolling spaceship section of Heaventrap 1, Geezer’s final phase including all the damn stupid attempts I had to make to get to the damn ship without going THROUGH it, the visually horrid backgrounds during 5 out of 6 boss fights, the Wuss saves being placed at potentially softlockable states, and finding out that bosses having a middle save between phases didn’t matter at all if you decided to continue the boss another day (it resets to Phase 1), I am glad to live in a world where this exists, because it became a thing, and still is. It created a genre that was born to stay forever. Western medleys were a reply mostly to this game and to Influka’s controversial sequels, and some sensational deliveries have come out, old and modern.
There is no reason on Earth I would decide to replay this unless I streamed it with good company: it is a wonderful and innovative concept made by a kid that doesn’t know how to build his Legos properly. Now imagine the same person coding and creating a game with 44 game references in two days, stuffing everything in, including all final bosses.
And as negative as my review sounds, I think this game was a necessity for the world. It was meant to happen. The implications it had for its future generations of the fangame community excel the actual quality of the game by far too much.
Finally, I should clarify this game is underrated in difficulty. Not ironically, the struggle of the player will steam from coping with the game's engine ultimately shattered structure and composition; however, the last 2 stages do feature difficult screens that I wouldn't recommend for a beginner as previous experience is required. I seriously don't think beginners were kept in mind when making this game, or experts either: just the average player exploring more worlds. There is a screen of GR's needle tower that is almost untouched, save for some corners and that infamous jump in the third save (middle portion of the screen). Adding a bunch of saves does not mean you will now know jumps that you didn't before.
And then a sequel came along...
Rating: 1.3 13
Difficulty: 60 60
Apr 19, 2022
Driekondo
Most people said to me not to play this game. I did anyway.
The platforming is ok but it spikes a lot all of a sudden.
The bosses are annoying boring or a spike.
I didn't like the game at all except for stage 1&2 needle and kamilia.
The rest is either annoying, frustrating and/or a difficulty spike.
[2] Likes
The platforming is ok but it spikes a lot all of a sudden.
The bosses are annoying boring or a spike.
I didn't like the game at all except for stage 1&2 needle and kamilia.
The rest is either annoying, frustrating and/or a difficulty spike.
Rating: 4.9 49
Difficulty: 49 49
Sep 14, 2022