Delicious Fruit
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by DerpyHoovesIWBTG
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by DerpyHoovesIWBTG
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by match
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by DerpyHoovesIWBTG
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by DerpyHoovesIWBTG
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by DerpyHoovesIWBTG
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by DerpyHoovesIWBTG
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by DerpyHoovesIWBTG
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by Jovancece
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by DerpyHoovesIWBTG
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by DerpyHoovesIWBTG
25 Reviews:
ElCochran90
Rating based on getting to Big Kid and grinding the fight for 10 hours (getting cherries from four sides at high speed when you shoot him), and also on getting the secrets. Difficulty rating based on the same principles except for the secrets (which doesn't affect at all due to Big Kid's difficulty).
An attempt of translating actual quotes of the maker:
"Thank you for downloading this game.
Game Content:
It is an action game where you avoid obstacles such as spikes and defeat the boss.
Story:
There is none.
Difficulty:
When you start the game and select save data, the difficulty level selection screen will appear.
Touching a warp zone such as Medium or Hard will start a new game. Only the number of savepoints changes depending on the difficulty level, and the placement of obstacles and the strength of the boss do not change.
Q & A
[Q]
How can I clear the game?
[A]
It is clear if you can collect 8 items in the light blue part of the save selection screen."
The existence of this game today is considered as a timeline event. The cornerstone of this community (Kayin's original game) had three main derivatives from my very personal perspective:
a) Tijit's follow-up "Fangame!" which, after many versions, got reconstructed into its current version, following the same architectural layout of Guy, loosely resembling a Metroidvania style and actually adding more fun to getting the secrets
b) Geezer's tragically unfinished Kill The Guy, featuring, like the previous mention, an engine of its own, fantastic adventure paraphernalia and, to the greatest pain of my heart, not only the lack of an ending, but also of a stage and more than one boss
c) Nekoron's LoveTrap, a play on words of "Ai" (Love) and "Wana" (Trap), the one that used the engine mechanics that are used up to this day (older fangames already had it, however, such as the underappreciated GB) and an architecture that would influence an exceptional amount of makers, more from the East than from the West, starting with Carnival
This is excluding less impactful releases such as Guy2, Challenge!, Be the Mario: The Movie: The Prequel, to name a few.
LoveTrap starts in a very similar fashion that the original Guy and Fangame! do: choose your path, but watch your step, as you might immediately encounter a trap. And so, the story begins, introducing (at least for many) the concept of fast-paced triggers. As the game keeps advancing, it showcases fantastic surprises all the way through, as well as frustrating and exceedinly questionable decisions.
Evaluating this game under modern standards is not inherently incorrect, but I consider it as an inappropriate approach. However, taking the extreme opposite of "this fangame was the first to do X and Y and therefore that makes it good" is also a subjective bias.
Each stage is differentiated by a unique style or gimmick, and a couple of them have a unique visual style. The water stage introduced to us the Nekoron engine, which is infamous today for its 1-frame glitch, something that I find unbearably intolerable since it is quite easy for me to 1-frame in water sections or in infinite-jump sections: that results in a full jump because, due to poor water coding, the engine automatically substracts one frame from your jumps. As insignificant as one frame might sound, the level of platforming precision that some segments in this game require really makes you pay the bill. Nekoron has been my nemesis for a couple of years now and last year drove me mad with Go the DotKid! When you realize that this game is probably the earliest one to feature both downwards and upwards planes, you're in for a treat.
Sections such as the orange-background stage or the one with spinning delicious fruits are fun for a quick playthrough, but there is nothing that differentiates them. However, some vanilla needle is very welcome from time to time.
Enter the Bad Apple section and it is an explosion of meme platforming: it introduced the white-and-black section that would be replicated in more fangames than I can count and with actual visual creativity. The boss of said stage is really charming and the game mocks mechanics that move by frames as the strategy to beat it is going through it by analizing which frames it occupies every time it changes sides. Ridiculous for some, amusing for me, this is a terrific addition.
Bosses are certainly the best part of the game because they are intentionally not serious: a sticky figure, a boss that suicides (and thus introducing the concept of "troll boss" to the community), the debut of Just(???) in a funny gun duel mechanic and a
Inevitably, you will find a Miku sprite suddenly, a white background and a metallic-tileset layout that either you have or will see again 5,000+ times in the future. You shoot the Miku, but nothing happens. You're curious to see if the inert sprite kills you, and it turns out to be alive: it kills you by touching it. You shoot the projectiles and specific ones go away. But there's music, an everlasting signature Miku vocaloid to be exact: The Disappearance of Hatsune Miku -DEAD END-初音ミクの消失.[!/spoiler] Not only that, but the attacks are synced with the music and you must draw a specific path to avoid the attacks and have the best initial positioning for each new attack. This idea is insanely creative and I'm assuming the game blew up in Japan because the era of Vocaloid during 2010 was around its highest peak. This is also very interesting because this section might have a message: the vocaloid has one of the quickest portions of Miku singing along her entire catalogue and it is hypothesized this is happening because her time is running out and is about to die, which is exactly what happens when you endure the whole song: she dies by disappearing.
Irony, as Morpheus would say, does not lack a sense of humor because this was the first of thousands of Miku fights to be made in the fangame universe.
Platforming can be considered of 60s difficulty at worse for the water section alone, and 55 considering the rest of the stages (the first screen of the spinning delicious fruits are annoyingly precise and an iconic screen where you press red buttons in a screen consisting of very well timed diagonals will get the worst out of you).
After this, this game also features the mechanic of placing you in a tower once the game has ended (or, more properly, has made you think it has) which has a buffed Boss Rush. This is pretty much a Rockman idea, but the one that hits you the hardest is Miku 2, which easily increases the difficulty up to 75. The avoidance is legendary in many ways:
1) It is really dynamic in the sense that there is a desired initial position for each attack, and the fact that there is a Polkka mini-Miku sprite chasing you the whole time demands an even more strategical pathing which will make you realize you actually use all platforms
2) Your gun becomes useless. Shooting is out of the question; it is entirely an avoidance SKILL ISSUE
3) The intro is unbearably long, and Nekoron actually intended that you went through it every time you died, which is stupidly infamous considering its legendary difficulty for the time (even veterans today will find themselves grinding the avoidance). If you actually try to skip it, it plays a joke that kills you; I never imagined this and didn't know it until I played the game, and it is indeed funny, but when you realize the implications (not being able to skip 25 f****ng seconds every time you die) is enough for you to just give up due to PATIENCE ISSUES
4) There is a musical logic behind the construction of the avoidance: intro, chorus, verse, chorus, verse, chorus, outro. That is the structure of the vocaloid, and the attacks correspond to it, progressively increasing in difficulty, which many players consider unfair, others common, and others both. However, the last chorus is doubled in length, and the second half has a monumental difficulty which requires a galaxy-brain logic to time, place and beat, considering that there is an infinitely annoying Polkka mini-Miku sprite chasing you the whole time. Beating it is not enough, since the outro has a great portion based on luck and will ruin many attempts of conquering the LoveTrap attack, which is enough for considering yourself an avoidance god.
Which you aren't, but the fact that this was the first Miku avoidance is insane, just like with Go the Dotkid!
Also, Fragnattic's reaction to beating Miku 2 in an unbelievable way back in 2011 is one of my favorite "reaction" moments in all of fangamedom. It's all the merrier to me since, well, I speak Spanish. Here: https://www.youtube.com/watch?v=ZBfj_nbcN1E
The final boss is famously infamous: it is an extremely extended exercise of a combination of both luck and patience. The fact that sometimes the boss shoots two real bullets in a row can ruin all possible strategies against him, and that's where the luck part comes in. Beating the boss is also considered as a Timeline event.
Here's where my initial quote of the creator comes in: that's enough for clearing the game. There is no clear screen (unless you consider the next screen after the boss as one), but you actually get congratulated after getting all secrets, travelling through an "underworld" and getting to Big Kid 2, which location, without a guide, requires tons of blind exploration, which is pointless by this time because you already conquered all screens considering the secrets.
Big Kid 2 is a joke and have only seen a TAS of it. Time will tell when the "when" happens. Blue's attempts where the ones that inspired me to, one day, beat Big Kid 1. https://www.youtube.com/watch?v=E0FxpKZUUtM
It's the sum of its parts that makes it great, and maybe Nekoron wanted to make a transcendent boss considering its difficulty. That's a ridiculous idea for me if it is almost unbeatable (referring to version 2), but Big Kid 1 alone is the reason behind my difficulty rating, which, again, is enough to clear the game according to the words of the maker. The rest is extra and a bad meme.
[3] Likes
An attempt of translating actual quotes of the maker:
"Thank you for downloading this game.
Game Content:
It is an action game where you avoid obstacles such as spikes and defeat the boss.
Story:
There is none.
Difficulty:
When you start the game and select save data, the difficulty level selection screen will appear.
Touching a warp zone such as Medium or Hard will start a new game. Only the number of savepoints changes depending on the difficulty level, and the placement of obstacles and the strength of the boss do not change.
Q & A
[Q]
How can I clear the game?
[A]
It is clear if you can collect 8 items in the light blue part of the save selection screen."
The existence of this game today is considered as a timeline event. The cornerstone of this community (Kayin's original game) had three main derivatives from my very personal perspective:
a) Tijit's follow-up "Fangame!" which, after many versions, got reconstructed into its current version, following the same architectural layout of Guy, loosely resembling a Metroidvania style and actually adding more fun to getting the secrets
b) Geezer's tragically unfinished Kill The Guy, featuring, like the previous mention, an engine of its own, fantastic adventure paraphernalia and, to the greatest pain of my heart, not only the lack of an ending, but also of a stage and more than one boss
c) Nekoron's LoveTrap, a play on words of "Ai" (Love) and "Wana" (Trap), the one that used the engine mechanics that are used up to this day (older fangames already had it, however, such as the underappreciated GB) and an architecture that would influence an exceptional amount of makers, more from the East than from the West, starting with Carnival
This is excluding less impactful releases such as Guy2, Challenge!, Be the Mario: The Movie: The Prequel, to name a few.
LoveTrap starts in a very similar fashion that the original Guy and Fangame! do: choose your path, but watch your step, as you might immediately encounter a trap. And so, the story begins, introducing (at least for many) the concept of fast-paced triggers. As the game keeps advancing, it showcases fantastic surprises all the way through, as well as frustrating and exceedinly questionable decisions.
Evaluating this game under modern standards is not inherently incorrect, but I consider it as an inappropriate approach. However, taking the extreme opposite of "this fangame was the first to do X and Y and therefore that makes it good" is also a subjective bias.
Each stage is differentiated by a unique style or gimmick, and a couple of them have a unique visual style. The water stage introduced to us the Nekoron engine, which is infamous today for its 1-frame glitch, something that I find unbearably intolerable since it is quite easy for me to 1-frame in water sections or in infinite-jump sections: that results in a full jump because, due to poor water coding, the engine automatically substracts one frame from your jumps. As insignificant as one frame might sound, the level of platforming precision that some segments in this game require really makes you pay the bill. Nekoron has been my nemesis for a couple of years now and last year drove me mad with Go the DotKid! When you realize that this game is probably the earliest one to feature both downwards and upwards planes, you're in for a treat.
Sections such as the orange-background stage or the one with spinning delicious fruits are fun for a quick playthrough, but there is nothing that differentiates them. However, some vanilla needle is very welcome from time to time.
Enter the Bad Apple section and it is an explosion of meme platforming: it introduced the white-and-black section that would be replicated in more fangames than I can count and with actual visual creativity. The boss of said stage is really charming and the game mocks mechanics that move by frames as the strategy to beat it is going through it by analizing which frames it occupies every time it changes sides. Ridiculous for some, amusing for me, this is a terrific addition.
Bosses are certainly the best part of the game because they are intentionally not serious: a sticky figure, a boss that suicides (and thus introducing the concept of "troll boss" to the community), the debut of Just(???) in a funny gun duel mechanic and a
Inevitably, you will find a Miku sprite suddenly, a white background and a metallic-tileset layout that either you have or will see again 5,000+ times in the future. You shoot the Miku, but nothing happens. You're curious to see if the inert sprite kills you, and it turns out to be alive: it kills you by touching it. You shoot the projectiles and specific ones go away. But there's music, an everlasting signature Miku vocaloid to be exact: The Disappearance of Hatsune Miku -DEAD END-初音ミクの消失.[!/spoiler] Not only that, but the attacks are synced with the music and you must draw a specific path to avoid the attacks and have the best initial positioning for each new attack. This idea is insanely creative and I'm assuming the game blew up in Japan because the era of Vocaloid during 2010 was around its highest peak. This is also very interesting because this section might have a message: the vocaloid has one of the quickest portions of Miku singing along her entire catalogue and it is hypothesized this is happening because her time is running out and is about to die, which is exactly what happens when you endure the whole song: she dies by disappearing.
Irony, as Morpheus would say, does not lack a sense of humor because this was the first of thousands of Miku fights to be made in the fangame universe.
Platforming can be considered of 60s difficulty at worse for the water section alone, and 55 considering the rest of the stages (the first screen of the spinning delicious fruits are annoyingly precise and an iconic screen where you press red buttons in a screen consisting of very well timed diagonals will get the worst out of you).
After this, this game also features the mechanic of placing you in a tower once the game has ended (or, more properly, has made you think it has) which has a buffed Boss Rush. This is pretty much a Rockman idea, but the one that hits you the hardest is Miku 2, which easily increases the difficulty up to 75. The avoidance is legendary in many ways:
1) It is really dynamic in the sense that there is a desired initial position for each attack, and the fact that there is a Polkka mini-Miku sprite chasing you the whole time demands an even more strategical pathing which will make you realize you actually use all platforms
2) Your gun becomes useless. Shooting is out of the question; it is entirely an avoidance SKILL ISSUE
3) The intro is unbearably long, and Nekoron actually intended that you went through it every time you died, which is stupidly infamous considering its legendary difficulty for the time (even veterans today will find themselves grinding the avoidance). If you actually try to skip it, it plays a joke that kills you; I never imagined this and didn't know it until I played the game, and it is indeed funny, but when you realize the implications (not being able to skip 25 f****ng seconds every time you die) is enough for you to just give up due to PATIENCE ISSUES
4) There is a musical logic behind the construction of the avoidance: intro, chorus, verse, chorus, verse, chorus, outro. That is the structure of the vocaloid, and the attacks correspond to it, progressively increasing in difficulty, which many players consider unfair, others common, and others both. However, the last chorus is doubled in length, and the second half has a monumental difficulty which requires a galaxy-brain logic to time, place and beat, considering that there is an infinitely annoying Polkka mini-Miku sprite chasing you the whole time. Beating it is not enough, since the outro has a great portion based on luck and will ruin many attempts of conquering the LoveTrap attack, which is enough for considering yourself an avoidance god.
Which you aren't, but the fact that this was the first Miku avoidance is insane, just like with Go the Dotkid!
Also, Fragnattic's reaction to beating Miku 2 in an unbelievable way back in 2011 is one of my favorite "reaction" moments in all of fangamedom. It's all the merrier to me since, well, I speak Spanish. Here: https://www.youtube.com/watch?v=ZBfj_nbcN1E
The final boss is famously infamous: it is an extremely extended exercise of a combination of both luck and patience. The fact that sometimes the boss shoots two real bullets in a row can ruin all possible strategies against him, and that's where the luck part comes in. Beating the boss is also considered as a Timeline event.
Here's where my initial quote of the creator comes in: that's enough for clearing the game. There is no clear screen (unless you consider the next screen after the boss as one), but you actually get congratulated after getting all secrets, travelling through an "underworld" and getting to Big Kid 2, which location, without a guide, requires tons of blind exploration, which is pointless by this time because you already conquered all screens considering the secrets.
Big Kid 2 is a joke and have only seen a TAS of it. Time will tell when the "when" happens. Blue's attempts where the ones that inspired me to, one day, beat Big Kid 1. https://www.youtube.com/watch?v=E0FxpKZUUtM
It's the sum of its parts that makes it great, and maybe Nekoron wanted to make a transcendent boss considering its difficulty. That's a ridiculous idea for me if it is almost unbeatable (referring to version 2), but Big Kid 1 alone is the reason behind my difficulty rating, which, again, is enough to clear the game according to the words of the maker. The rest is extra and a bad meme.
Rating: 6.0 60
Difficulty: 93 93
Dec 30, 2021
Smajsnamz
Its old and dated but still gets referenced all over the place. Its worth a play mostly for fangame history purposes.
[2] Likes
Rating: 8.0 80
Difficulty: 50 50
Jan 19, 2017
Aronax
Get's more slack than it deserves to say the absolute least. This was the first game to ever use the "Avoidance" gimmick and the Miku 1 fight is not bad. It's not good per say, but there are much worse. I have only been past Miku 1 and have not done Big Kid 1 and I don't plan to. Everything before the avoidance is not hard at and caps at about 40 - 50 difficulty give or take.
[2] Likes
Rating: 6.8 68
Difficulty: 99 99
Aug 26, 2016