Delicious FruitLatest Reviews
AttrAcks
For: I Wanna Uhuhu Spike
For: I Wanna Uhuhu Spike
Bad balance.
Tagged as: Needle
[0] Likes
Rating: 5.9 59
Difficulty: 49 49
Apr 20, 2022
fanyone
For: I wanna Aleph 0
For: I wanna Aleph 0
COOL
Tagged as: Avoidance
[0] Likes
Rating: 9.5 95
Difficulty: 55 55
Apr 20, 2022
Zambrini
For: Deliriant Needle
For: Deliriant Needle
A semi-chill short needle game made by well known maker, dopamine. It had a nice atmosphere to it that makes it fun to play. Not too bad and isn't too hard.
[0] Likes
Rating: 7.1 71
Difficulty: 50 50
Apr 20, 2022
Neji_Rock
For: I Wanna Develop An Appreciation For Music
For: I Wanna Develop An Appreciation For Music
面白かったです。最高！
Was funny. The best!
[2] Likes
Was funny. The best!
Rating: 9.5 95
Difficulty: 35 35
Apr 19, 2022
ElCochran90
For: I wanna kill the Kamilia
For: I wanna kill the Kamilia
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
very_cool
For: I Wanna Develop An Appreciation For Music
For: I Wanna Develop An Appreciation For Music
this game's alright but when it hits it hits
[2] Likes
Rating: 7.5 75
Difficulty: 45 45
Apr 19, 2022