Delicious FruitYaBoiMarcAntony's Profile
Send a PMJoined on: Apr 26, 2020
Bio:
I used to be here four years ago but I left. I was Guitarsage2k/Parallax5.
These fangames mean a lot to me (attempt at order)
1. I Wanna Kill the Kermit 3
2. I Wanna Walk Out in the Morning Dew
3. I Wanna Be the Volatile Presence: Stagnant Edition
4. Crimson Needle 3
5. I Wanna Kill the Kermit 2
6. I Wanna Figure
7. Phonotransmitter
8. VoVoVo
9. I Wanna Reach the Moon
10. untitled needle game
11. I Wanna Burnmind
12. Domu
13. I Want To Meet Miki
14. I Wanna Go Across the Rainbow
15. Alphazetica
16. I Wanna Stop the Simulation
17. I Wanna Hydrate
18. I Wanna Be the Ocean Princess
19. I Wanna Vibe with the Gods
20. I Wanna Be the Vandal
21. I Wanna Pray to the Platform God
22. I Want
23. I Wanna Pointillism
24. I Wanna Be Far From Home
25. I Wanna Be the RO
I've submitted:
275 Ratings!
236 Reviews!
5 Screenshots!
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275 Games
236 Reviews
YaBoiMarcAntony
For: I Wanna Be 1 in 100
For: I Wanna Be 1 in 100
1 in 100 is wonderful's go at a 100 floor game, the next logical step after what is ostensibly her 50 floor game in Figure (give or take). In some ways, Figure and 1 in 100 do share similarities beyond the surface level, mainly in their respective freedom and creativity. With Figure, it seemed as if wonderful would kind of go wherever she pleased with an idea, whether it was a one off screen or an entire area designed around a single concept. The obvious difference is that Figure is a remarkably difficult game, whereas this one, likely due to tourney limitations, sits at what I presume to be a much more comfortable place for a lot of people. Nevertheless, wonderful needs not rely on difficulty to create what continues to be some of the most astounding, inspiring gameplay I have ever seen.
wonderful being my favorite maker, you should temper your own expectations relative to what I suggest about the game, but all the same I can tell you that this is a game worth its weight in gold. Every idea worked for me, every gimmick or switch in style hit the mark. Each stage tells a memorable story through gameplay and in a, haven't we been here before moment, I felt that I was re-experiencing what it was like to play Figure for the first time. Half the joy with floor games is to see what's next, whether it's visuals or gameplay style, and 1 in 100 never for one moment felt like it was repeating itself or as if any one idea was half-baked or not worthy of taking up the time it was given. Being taken along for the ride, you'll find that you simply cannot guess what will come next, it's a level of freedom that seems to me lost for most beyond childhood. It's this unlimited creativity that becomes boxed in through maturity, the need to stick by rules or to create a measured and controlled work. 1 in 100 is not a chaotic or disorganized game by any means, there is rule and order here, but essentially it is as if the game is altogether a stream-of-consciousness work. As the mind bounds to and fro, bound only by the capricious attitude of the soul, so the game follows, holding your hand and taking you along with it. This is the style which Figure created, and it's the style which 1 in 100 runs with.
The platforming is for the most part simple, but invigorating. Not every save feels impactful on their own, but I don't think there was ever any need for them all to. Even then, every save is its own novel expansion upon an idea set forth by a given stage itself, so that while not every save may hold great weight, they all develop their respective stages. As the game goes on, though, you'll find yourself contending with some more intensive gimmicks, a few being taken from past works, but all well executed. These more involved gimmicks tend to be the hardest sections of the game, deriving difficulty not from the actual platforming, but from learning how to work with a given gimmick in light of the raw platforming. On the other hand, bosses are generally on the harder side for wonderful games, some of them proving to be surprisingly difficult. I never had a problem with any of them, but I could see a few holding some people back. As the game goes on, for both platforming and bosses, the complexity increases, so while the difficulty scale may not be quite a steady curve up, how involved the gameplay is steadily increases. Style-wise, it's what you'd expect from wonderful bosses, although some of them are more avoidance-heavy than what I'm used to, which seems to be yet another holdover from Figure.
I mean, what is there to say, really? wonderful is in my eyes a legendary creator, being perhaps not the most innovative or the one to do certain things first, but the one to perfect everything I love about fangames and what keeps me coming back to them. There is a level of personality and charm within her games that are unique to her games only, pick any one screen out of a hat from almost any of her games and you'd know she made it within seconds, whether it came down to her music choices, visual flair, or gameplay style. As much variety as she's capable of, it all is undeniably her. Playing 1 in 100, the first new wonderful game in over 2 years, it was like returning to an old friend. Power, an amazing game in its own right, felt more unique in wonderful's catalog, being essentially a twin work to I Wanna Be Friends. 1 in 100, though, while being itself a twin work to Figure in some ways, feels more original than that. This is a work that summarizes wonderful and what she's done, drawing you through some old haunts (the ones I immediately noticed were the Figure and Kermit references, but I'm sure there's more). This too, is one of wonderful's idiosyncrasies, the self-referential style which gives a sense of cohesion about her oeuvre that you really don't find elsewhere in the community. With 1 in 100, it's turned up to 1000, and keep in mind she's not simply referencing but re-imagining past ideas, one of my favorite things wonderful does in her games.
This isn't necessarily a game that expands on wonderful's style, but it does nevertheless feel like something of a next step. Even so, there were several moments that took me by surprised, a few where I was found myself verbally reacting, so it's not as if there's nothing new under the sun here. Even when drawing on well known gimmicks or styles most fangame players will be familiar with, they're done in ways that are original to 1 in 100. And of course, even if I frame this as being in part an unoriginal work, when you're talking about someone who essentially stands alone in the community in terms of style, then it really doesn't make a difference. There are people that take after wonderful's style, myself included, but she is inimitable.
And a quick final note, I just want to say: this game makes me happy. Of course, many fangames do, but it goes beyond the passive level of happiness from enjoyable gameplay. There is a warmth in 1 in 100, one that despite the partially mellon collic style spreads into me while I play. It's a game that feels kind, I reckon is what I could say. It's such a difficult thing to really put into words, so the best I can say is that... the game makes me feel happy. Like I said, it's meeting with an old friend once again, someone you know and love but haven't seen in a long time. On meeting them again, however, all those memories come flooding back into you and soon it's as if no time passed at all in the interim period. Playing 1 in 100, it's as if there never was that 2 year gap between Power and now, as if her works are timeless.
They are.
[4] Likes
wonderful being my favorite maker, you should temper your own expectations relative to what I suggest about the game, but all the same I can tell you that this is a game worth its weight in gold. Every idea worked for me, every gimmick or switch in style hit the mark. Each stage tells a memorable story through gameplay and in a, haven't we been here before moment, I felt that I was re-experiencing what it was like to play Figure for the first time. Half the joy with floor games is to see what's next, whether it's visuals or gameplay style, and 1 in 100 never for one moment felt like it was repeating itself or as if any one idea was half-baked or not worthy of taking up the time it was given. Being taken along for the ride, you'll find that you simply cannot guess what will come next, it's a level of freedom that seems to me lost for most beyond childhood. It's this unlimited creativity that becomes boxed in through maturity, the need to stick by rules or to create a measured and controlled work. 1 in 100 is not a chaotic or disorganized game by any means, there is rule and order here, but essentially it is as if the game is altogether a stream-of-consciousness work. As the mind bounds to and fro, bound only by the capricious attitude of the soul, so the game follows, holding your hand and taking you along with it. This is the style which Figure created, and it's the style which 1 in 100 runs with.
The platforming is for the most part simple, but invigorating. Not every save feels impactful on their own, but I don't think there was ever any need for them all to. Even then, every save is its own novel expansion upon an idea set forth by a given stage itself, so that while not every save may hold great weight, they all develop their respective stages. As the game goes on, though, you'll find yourself contending with some more intensive gimmicks, a few being taken from past works, but all well executed. These more involved gimmicks tend to be the hardest sections of the game, deriving difficulty not from the actual platforming, but from learning how to work with a given gimmick in light of the raw platforming. On the other hand, bosses are generally on the harder side for wonderful games, some of them proving to be surprisingly difficult. I never had a problem with any of them, but I could see a few holding some people back. As the game goes on, for both platforming and bosses, the complexity increases, so while the difficulty scale may not be quite a steady curve up, how involved the gameplay is steadily increases. Style-wise, it's what you'd expect from wonderful bosses, although some of them are more avoidance-heavy than what I'm used to, which seems to be yet another holdover from Figure.
I mean, what is there to say, really? wonderful is in my eyes a legendary creator, being perhaps not the most innovative or the one to do certain things first, but the one to perfect everything I love about fangames and what keeps me coming back to them. There is a level of personality and charm within her games that are unique to her games only, pick any one screen out of a hat from almost any of her games and you'd know she made it within seconds, whether it came down to her music choices, visual flair, or gameplay style. As much variety as she's capable of, it all is undeniably her. Playing 1 in 100, the first new wonderful game in over 2 years, it was like returning to an old friend. Power, an amazing game in its own right, felt more unique in wonderful's catalog, being essentially a twin work to I Wanna Be Friends. 1 in 100, though, while being itself a twin work to Figure in some ways, feels more original than that. This is a work that summarizes wonderful and what she's done, drawing you through some old haunts (the ones I immediately noticed were the Figure and Kermit references, but I'm sure there's more). This too, is one of wonderful's idiosyncrasies, the self-referential style which gives a sense of cohesion about her oeuvre that you really don't find elsewhere in the community. With 1 in 100, it's turned up to 1000, and keep in mind she's not simply referencing but re-imagining past ideas, one of my favorite things wonderful does in her games.
This isn't necessarily a game that expands on wonderful's style, but it does nevertheless feel like something of a next step. Even so, there were several moments that took me by surprised, a few where I was found myself verbally reacting, so it's not as if there's nothing new under the sun here. Even when drawing on well known gimmicks or styles most fangame players will be familiar with, they're done in ways that are original to 1 in 100. And of course, even if I frame this as being in part an unoriginal work, when you're talking about someone who essentially stands alone in the community in terms of style, then it really doesn't make a difference. There are people that take after wonderful's style, myself included, but she is inimitable.
And a quick final note, I just want to say: this game makes me happy. Of course, many fangames do, but it goes beyond the passive level of happiness from enjoyable gameplay. There is a warmth in 1 in 100, one that despite the partially mellon collic style spreads into me while I play. It's a game that feels kind, I reckon is what I could say. It's such a difficult thing to really put into words, so the best I can say is that... the game makes me feel happy. Like I said, it's meeting with an old friend once again, someone you know and love but haven't seen in a long time. On meeting them again, however, all those memories come flooding back into you and soon it's as if no time passed at all in the interim period. Playing 1 in 100, it's as if there never was that 2 year gap between Power and now, as if her works are timeless.
They are.
Rating: 9.5 95
Difficulty: 60 60
Feb 4, 2024
YaBoiMarcAntony
For: I wanna be Anime
For: I wanna be Anime
Cool older game with some nice variety in gimmicks and a great aesthetic. Gameplay holds up and the charm is in spades.
[0] Likes
Rating: 7.5 75
Difficulty: 55 55
Jan 22, 2024
YaBoiMarcAntony
For: I wanna be the Crimson Needle
For: I wanna be the Crimson Needle
Rating based on non-speedrun version. After around the 60s you basically say goodbye to fun saves - some time in the 80s, you say goodbye to fun jumps for the most part. There are exceptions, but not enough. I can't speak to it, but I recall Kale commenting on how Hiddow felt frustrated by Crimson Needle due to it seeming to him to have a focus entirely on difficulty and not on being any fun to play. As far as I'm concerned, that is pretty much the best assessment of this game I've heard.
Funny thing is, I think you absolutely can put some focus on difficulty while also keeping some fun in the mix. In my eyes, Magnificent Stumble is a wondrous game that executes high level platforming on a consistently excellent level, to compare to Hiddow's work. Why does Crimson Needle fail? Because part of its difficulty relies specifically on using maneuvers that are uncomfortable or dissatisfying to execute as one of its core methods of heightening difficulty. While this may stand out as a watershed occurrence (a stolen phrase, but simply the best one for this game), it is one that also comes across to me as a collection of needle's worst qualities in the distant past.
Nevertheless, it's not all bad. As said, the problems begin with about the 60s, and after that they become downright untenable, but there are the bits and pieces of quality here and there. CN2 amazingly chooses ALL of the best screens from this back half for its needle rush, though it leaves behind floor 100 which is a fairly enjoyable save on the tougher side that utilizes well the older design philosophies which ran rampant in needle. All the same, it's a bit simple compared to some contemporaries, but that is no real negative mark on the test for me. And hell, a lot of what you play up to the 50s is itself fairly good too. Kale at this time did have something of an eye for needle design, he just became far too preoccupied with making the game more difficult and did not quite understand how to do this in a satisfying way.
My recommendation? Leave the game behind right about the time you get to the 60s, but that is just my experience.
Funny thing is, I think you absolutely can put some focus on difficulty while also keeping some fun in the mix. In my eyes, Magnificent Stumble is a wondrous game that executes high level platforming on a consistently excellent level, to compare to Hiddow's work. Why does Crimson Needle fail? Because part of its difficulty relies specifically on using maneuvers that are uncomfortable or dissatisfying to execute as one of its core methods of heightening difficulty. While this may stand out as a watershed occurrence (a stolen phrase, but simply the best one for this game), it is one that also comes across to me as a collection of needle's worst qualities in the distant past.
Nevertheless, it's not all bad. As said, the problems begin with about the 60s, and after that they become downright untenable, but there are the bits and pieces of quality here and there. CN2 amazingly chooses ALL of the best screens from this back half for its needle rush, though it leaves behind floor 100 which is a fairly enjoyable save on the tougher side that utilizes well the older design philosophies which ran rampant in needle. All the same, it's a bit simple compared to some contemporaries, but that is no real negative mark on the test for me. And hell, a lot of what you play up to the 50s is itself fairly good too. Kale at this time did have something of an eye for needle design, he just became far too preoccupied with making the game more difficult and did not quite understand how to do this in a satisfying way.
My recommendation? Leave the game behind right about the time you get to the 60s, but that is just my experience.
Tagged as: Needle
[2] Likes
Rating: 4.5 45
Difficulty: 85 85
Jan 21, 2024
YaBoiMarcAntony
For: I wanna be the SSR2
For: I wanna be the SSR2
Rating without boss = 8.5
[0] Likes
Rating: 8.0 80
Difficulty: 78 78
Jan 21, 2024
YaBoiMarcAntony
For: I wanna be the MMM
For: I wanna be the MMM
Rating without final boss = 9.0
[1] Like
Rating: 8.0 80
Difficulty: 85 85
Jan 19, 2024
9 Games
| Game | Difficulty | Average Rating | # of Ratings |
|---|---|---|---|
| A Sky Blue Denouement | 89.8 | 8.2 | 5 |
| April is the Cruelest Month | 85.0 | 8.8 | 16 |
| I Wanna Flying Disc | 91.5 | 9.3 | 4 |
| Frankie Teardrop | 2.2 | 6.0 | 10 |
| I Don't Wanna Dwell | 69.2 | 7.3 | 14 |
| Nebulous Thoughts | 80.3 | 9.1 | 30 |
| Strewn Detritus | 69.0 | 7.3 | 14 |
| The Sunken Cathedral | 70.0 | 8.2 | 25 |
| I Wanna be the Ziggomatic Drukqs | 70.5 | 7.3 | 9 |
48 Favorite Games
256 Cleared Games