Delicious FruitElCochran90's Profile
Send a PMJoined on: Aug 25, 2018
Bio:
About time I updated this bio.
Name: Edgar Cochran
Country: Mexico
Currently living in: Mexico City
-God's servant and one of his blessed sons (John 1:12; John 3:16).
-Lover of the entire animal and plant creation.
-Film lover and reviewer for Letterboxd.com (https://letterboxd.com/elcochran90).
-Adjunct professor and personal tutor of Statistical Inference, Business Forecasting, Marketing Research and Portfolio Theory.
Fangaming experience began in August 2018, so only modest achievements here. However, I'll describe some relevant FAQs here made to me during my stay here since 2018:
Q: Are videogames art?
A: Yes
Q: Are fangames videogames?
A: Yes
Q: Why are your reviews long and unconventional?
A: I am a film reviewer; in a way, I sort of unconsciously dragged my style of film reviewing to the world of fangames. I often involve personal experiences in my writing. Expect that structure; I'm not planning to change it.
Q: How are you rating games? Do you compare fangames as normal games that your ratings are lower than all other people ratings or are you just a critical person?
A: My ratings are not lower than people's ratings all of the time regarding fangames, but they are most of the time. However, this is not my intention. I am rating them as normal games, as in, I don't have a different spectrum for rating "normal", "official" games than fangames. They are in the same scale, because they are all videogames. I don't like to think myself as a critical person; ratings are just subjective numbers. However, I have realized that I rate games more harshly than I rate films/short films, which I do more often.
Q: What are your favorite fangames?
A: I have not played enough fangames to make a comprehensive and representative list, but this can be answered by going to my Favorites list. Anything getting 6.7 or higher will be considered immediately as a favorite.
I've submitted:
381 Ratings!
381 Reviews!
792 Screenshots!
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381 Games
381 Reviews
ElCochran90
For: I wanna be the Perfection
For: I wanna be the Perfection
“He is the Rock, His works are PERFECT, and all His ways are just. A faithful God who does no wrong, upright and just is He.”
-Deuteronomy 32:4
[0] Likes
-Deuteronomy 32:4
Rating: 1.0 10
Difficulty: 30 30
Nov 14, 2023
ElCochran90
For: I Wanna Macaron
For: I Wanna Macaron
*Cleared on 07/10/2023*
Three screens with a metallic design with platforming that gets randomly tough around the edges (I’m looking at you, screen 2) and a weird sense of humor that finds corner jumps funny, followed by a terrible avoidance with one of my favorite vocaloids: ATOLS - MACARON feat. Hatsune Miku / マカロン feat. 初音ミク. It’s freaking fantastic. And this banger of a vocaloid plays during an avoidance that requires you not to move for exaggerate periods of time. TTBB says: “I didn’t know they made avoidances for statues”. Your mind can drift a lot because the attention span gets naturally lost, until that part of the song comes where you have to move. The price of dying to this great song is remaining still. I was dancing much more on stream than actually playing. The avoidance has visual inspiration from the original music video and the conceptual implementation is, perhaps, in its worst form.
Avoid.
[0] Likes
Three screens with a metallic design with platforming that gets randomly tough around the edges (I’m looking at you, screen 2) and a weird sense of humor that finds corner jumps funny, followed by a terrible avoidance with one of my favorite vocaloids: ATOLS - MACARON feat. Hatsune Miku / マカロン feat. 初音ミク. It’s freaking fantastic. And this banger of a vocaloid plays during an avoidance that requires you not to move for exaggerate periods of time. TTBB says: “I didn’t know they made avoidances for statues”. Your mind can drift a lot because the attention span gets naturally lost, until that part of the song comes where you have to move. The price of dying to this great song is remaining still. I was dancing much more on stream than actually playing. The avoidance has visual inspiration from the original music video and the conceptual implementation is, perhaps, in its worst form.
Avoid.
Rating: 3.2 32
Difficulty: 45 45
Nov 13, 2023
ElCochran90
For: I Wanna Vanish Needles!!
For: I Wanna Vanish Needles!!
*Cleared on 07/10/2023*
From legendary and prolific maker クライン (Butterfly, Emperor, Meteor Stream, Flower, and many others) comes the most puzzling case he has ever made in terms of simplicity, idea, and design.
-Six warps to different stages, plus one that gets you to the final boss and ending
-If you go to the top warp first, it’ll be full of needles, making it extremely difficult to reach the warp for the ending
-The more stages you clear, the more needles of a particular color corresponding to said stage disappear
-Clearing one stage, or two at the top, will make it easy to reach the clear screen, rendering the remaining 67% of the game optional and useless
My stats for clearing 3 stages were 18 deaths and 07:13 minutes.
All stages are painfully plain in design and very short. Each one has a different gimmick and the sprites for the cherries are hilariously detailed. You can try many combinations for this game to see how the spikes remaining in the clear warp behave, but I don’t see the point. Restarting music, overused song choices (although I will never say no to the Forest Temple theme of Ocarina of Time), purely cherry bosses, and a final boss that can be first tried and is not even funny.
For the record, bottom right gimmick has the orange/pink spikes and the wind gimmick is obnoxious. It’s also the hardest one and if that’s your first, you might be discouraged to continue.
Maybe the creator was just killing time, and you will as well if you play this.
[0] Likes
From legendary and prolific maker クライン (Butterfly, Emperor, Meteor Stream, Flower, and many others) comes the most puzzling case he has ever made in terms of simplicity, idea, and design.
-Six warps to different stages, plus one that gets you to the final boss and ending
-If you go to the top warp first, it’ll be full of needles, making it extremely difficult to reach the warp for the ending
-The more stages you clear, the more needles of a particular color corresponding to said stage disappear
-Clearing one stage, or two at the top, will make it easy to reach the clear screen, rendering the remaining 67% of the game optional and useless
My stats for clearing 3 stages were 18 deaths and 07:13 minutes.
All stages are painfully plain in design and very short. Each one has a different gimmick and the sprites for the cherries are hilariously detailed. You can try many combinations for this game to see how the spikes remaining in the clear warp behave, but I don’t see the point. Restarting music, overused song choices (although I will never say no to the Forest Temple theme of Ocarina of Time), purely cherry bosses, and a final boss that can be first tried and is not even funny.
For the record, bottom right gimmick has the orange/pink spikes and the wind gimmick is obnoxious. It’s also the hardest one and if that’s your first, you might be discouraged to continue.
Maybe the creator was just killing time, and you will as well if you play this.
Rating: 3.3 33
Difficulty: 20 20
Nov 13, 2023
ElCochran90
For: I wanna be the Heart
For: I wanna be the Heart
*Cleared on 07/10/2023*
It’s a fangame that exists from the maker of Rainbow Miku, believe it or not. One stage is LoveTrap themed but has its own twist. Nothing special. The stage to the right is standard platforming in both looks and execution except for a segment that has the gimmick of making a circle of cherries surround you and follow you, spawning new cherries towards you as you move. Taking too long will crowd the screen.
Bosses are cherries and very simple. The second boss can be even beaten without moving if you know what to do and analyze the size of the sprite of the boss.
The most frustrating part was finding the third stage, which requires a dumb move: it’s exactly above the right warp world in the main hub, and the screen transition is dumb. This stage is the only one I can call “original” even if it still looks plain, primary blue and boring; it ramps up the difficulty and screen transitions are garbage, so you’ll have to guess by dying. The structure of the level is decent; if it was a scroller section, it’d be more intriguing. The boss of this stage is hyperactive and funny, but it can’t be taken seriously with that song and it’s an easy first try no longer than 15 seconds.
The three stages open the true final boss which is a cherry that combines all the attacks of the three previous cherries in a funny, yet obnoxious way, and the song is dramatic for no reason.
You beat it. The end.
Passable and unforgettable, like Giripossible (but much less awful).
[0] Likes
It’s a fangame that exists from the maker of Rainbow Miku, believe it or not. One stage is LoveTrap themed but has its own twist. Nothing special. The stage to the right is standard platforming in both looks and execution except for a segment that has the gimmick of making a circle of cherries surround you and follow you, spawning new cherries towards you as you move. Taking too long will crowd the screen.
Bosses are cherries and very simple. The second boss can be even beaten without moving if you know what to do and analyze the size of the sprite of the boss.
The most frustrating part was finding the third stage, which requires a dumb move: it’s exactly above the right warp world in the main hub, and the screen transition is dumb. This stage is the only one I can call “original” even if it still looks plain, primary blue and boring; it ramps up the difficulty and screen transitions are garbage, so you’ll have to guess by dying. The structure of the level is decent; if it was a scroller section, it’d be more intriguing. The boss of this stage is hyperactive and funny, but it can’t be taken seriously with that song and it’s an easy first try no longer than 15 seconds.
The three stages open the true final boss which is a cherry that combines all the attacks of the three previous cherries in a funny, yet obnoxious way, and the song is dramatic for no reason.
You beat it. The end.
Passable and unforgettable, like Giripossible (but much less awful).
Rating: 2.9 29
Difficulty: 35 35
Nov 13, 2023
ElCochran90
For: I Wanna be the 512
For: I Wanna be the 512
*Cleared on 25/09/2023*
Perhaps it was the reviewing exercise of detailing my main complaints of 128 and 512 that will keep this review shorter, even if this is the entry that I found the most enjoyable out of the trilogy (does 724-ish count? Can we leave that as a “short-film-like” extension of the trilogy, like the godawful Disney’s Frozen short films?).
This was much easier and entertaining than 512. Many sins are still present: the Rukito-like aesthetics is an acquired taste and has never been my thing (not a sin, that’s more about me), there are traps, the last stages ramp up the difficulty, the are choke jumps right at the end of many saves, and the difficulty balance is not that balanced. Some random save in an intermediate section can be frustrating and harder than anything preceding it and following it within the stage: the most notorious example of this is the left vine jump you must pull off in Screen 3 of Stage 7, right at the bottom left. This overall save was so annoying (including this jump) it made me postpone finishing the game for like a week, and returning to it felt more like a self-imposed chore than what you’re supposed to feel when returning to a game. Also, the fact you must climb the vertical corridor with vines two times was just a no, and that is not even the ending of the save.
However, let’s get to the positive side and be less Cochran for a while. It has spirit, the bosses are a nice moment from 128-Up where you’re said “ye, here’s something different so take a break”. There are two bosses this time, so this is the game that follows even more the overall Rukito structure. 128-Up also places a lot of emphasis on what could be potential lazy level design: sometimes a gate has a wider window opportunity frame than 4 or 5 frames. The second screen of the first stage was an “oh-nah-a-carner-jamp” and we can’t even complain about it since it gives you the perfect align and positioning to make it. There’s a two-frame window, like a gate, for doing it, so it’s fun. This screen also has the best example I want to give about this: it’s considerate with the player. Consider the final save of Stage 1, which has said corner. When you go to the right side of the wall, you activate a trigger which opens a new route, and for coming back, the next thing you have to do is double jump all the way down to the bottom of the screen (beginning from the tile right to the middle cherry). If you’re observant, the trigger also did something convenient for your backtrack: the spike facing downwards (just left to the corner) gets nerfed, so it’s not a strict diagonal anymore: you can hug that wall and then time your arrival to the bottom block. Any lazy designer would leave it as it is and call it “added challenge”, but here, you see a creator aware of the length of the saves and the consistency required. This kind of “consideration” happens many times, but that’s the first thing you’ll find.
And to close this review, we have the core idea: this is a trigger game. Traps are less heavy, so I’m finally not tagging it as such. The path that opens with each new trigger is the way you head to, and it IS the place you were supposed to go. You then witness the screen reshaping to a new form: small arrangement changes can lead to big changes in platforming. This is how you do trigger. It’s well done. No more “jump all the way hugging this absolute random wall” or “I had a hidden fake block exit to pass the save lol” trash. Everything is intuitive and the trigger hitboxes are much more fair.
Ironically, while being the best of the series, this one doesn’t have something as grand as the last genius screen of 256, but it is what it is: the culmination of 128’s distinctive trigger implementation to Rukito’s (ugly) aesthetics.
[0] Likes
Perhaps it was the reviewing exercise of detailing my main complaints of 128 and 512 that will keep this review shorter, even if this is the entry that I found the most enjoyable out of the trilogy (does 724-ish count? Can we leave that as a “short-film-like” extension of the trilogy, like the godawful Disney’s Frozen short films?).
This was much easier and entertaining than 512. Many sins are still present: the Rukito-like aesthetics is an acquired taste and has never been my thing (not a sin, that’s more about me), there are traps, the last stages ramp up the difficulty, the are choke jumps right at the end of many saves, and the difficulty balance is not that balanced. Some random save in an intermediate section can be frustrating and harder than anything preceding it and following it within the stage: the most notorious example of this is the left vine jump you must pull off in Screen 3 of Stage 7, right at the bottom left. This overall save was so annoying (including this jump) it made me postpone finishing the game for like a week, and returning to it felt more like a self-imposed chore than what you’re supposed to feel when returning to a game. Also, the fact you must climb the vertical corridor with vines two times was just a no, and that is not even the ending of the save.
However, let’s get to the positive side and be less Cochran for a while. It has spirit, the bosses are a nice moment from 128-Up where you’re said “ye, here’s something different so take a break”. There are two bosses this time, so this is the game that follows even more the overall Rukito structure. 128-Up also places a lot of emphasis on what could be potential lazy level design: sometimes a gate has a wider window opportunity frame than 4 or 5 frames. The second screen of the first stage was an “oh-nah-a-carner-jamp” and we can’t even complain about it since it gives you the perfect align and positioning to make it. There’s a two-frame window, like a gate, for doing it, so it’s fun. This screen also has the best example I want to give about this: it’s considerate with the player. Consider the final save of Stage 1, which has said corner. When you go to the right side of the wall, you activate a trigger which opens a new route, and for coming back, the next thing you have to do is double jump all the way down to the bottom of the screen (beginning from the tile right to the middle cherry). If you’re observant, the trigger also did something convenient for your backtrack: the spike facing downwards (just left to the corner) gets nerfed, so it’s not a strict diagonal anymore: you can hug that wall and then time your arrival to the bottom block. Any lazy designer would leave it as it is and call it “added challenge”, but here, you see a creator aware of the length of the saves and the consistency required. This kind of “consideration” happens many times, but that’s the first thing you’ll find.
And to close this review, we have the core idea: this is a trigger game. Traps are less heavy, so I’m finally not tagging it as such. The path that opens with each new trigger is the way you head to, and it IS the place you were supposed to go. You then witness the screen reshaping to a new form: small arrangement changes can lead to big changes in platforming. This is how you do trigger. It’s well done. No more “jump all the way hugging this absolute random wall” or “I had a hidden fake block exit to pass the save lol” trash. Everything is intuitive and the trigger hitboxes are much more fair.
Ironically, while being the best of the series, this one doesn’t have something as grand as the last genius screen of 256, but it is what it is: the culmination of 128’s distinctive trigger implementation to Rukito’s (ugly) aesthetics.
Rating: 5.0 50
Difficulty: 82 82
Nov 12, 2023
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371 Cleared Games