Delicious FruitLatest Reviews
Zambrini
For: I Wanna Defeat The Discord Makers NA Side
For: I Wanna Defeat The Discord Makers NA Side
Pretty nice needle collab game with some decent stages.
For each stage:
piece: Nice and chill stage with interesting pathing.
Wolsk: Cool stage with some wild jumps.
Stonk: A few jumps were a little strange, but it was fine.
Vi: My least favorite stage. Despite the chill atmosphere, too many jumps were annoying and doing the low platform jump took a quarter of the time to complete.
Jestreloon: I liked the vibe of the stage and the platforming was awesome like the loon games. Second favorite stage.
dopamine: As good as the maker's other games. dopamine needle is always a good vibe.
Derf: My favorite stage in the game. Sure the visuals can get distracting, but the old 8-bit adventure style adds to a cool journey. Also, it has a funny ending.
infernoman(Chatran): This was the second most annoying stage. It does has a couple of good saves, but some of the water2 jumps were just too irritating to do. This is when the game gets really difficult.
wonderful: Nice one save cycle needle like most of her games. It won't be for everyone, but for cycle enjoyers it was a cool stage.
While there is a couple of pretty annoying jumps, I would recommend if you need to scratch that needle itch.
[1] Like
For each stage:
piece: Nice and chill stage with interesting pathing.
Wolsk: Cool stage with some wild jumps.
Stonk: A few jumps were a little strange, but it was fine.
Vi: My least favorite stage. Despite the chill atmosphere, too many jumps were annoying and doing the low platform jump took a quarter of the time to complete.
Jestreloon: I liked the vibe of the stage and the platforming was awesome like the loon games. Second favorite stage.
dopamine: As good as the maker's other games. dopamine needle is always a good vibe.
Derf: My favorite stage in the game. Sure the visuals can get distracting, but the old 8-bit adventure style adds to a cool journey. Also, it has a funny ending.
infernoman(Chatran): This was the second most annoying stage. It does has a couple of good saves, but some of the water2 jumps were just too irritating to do. This is when the game gets really difficult.
wonderful: Nice one save cycle needle like most of her games. It won't be for everyone, but for cycle enjoyers it was a cool stage.
While there is a couple of pretty annoying jumps, I would recommend if you need to scratch that needle itch.
Rating: 8.0 80
Difficulty: 74 74
Nov 6, 2023
DerpyHoovesIWBTG
For: I wanna be the Suitable
[0] Likes
For: I wanna be the Suitable
[0] Likes
Rating: 3.5 35
Difficulty: 50 50
Nov 5, 2023
Renko97
For: I wanna be the TTM
For: I wanna be the TTM
Short game with two stages and an Extra.
The first stage is needle with traps.
The second stage is simple needle.
The Extra is awful, i hate the 1.5 invert
[0] Likes
The first stage is needle with traps.
The second stage is simple needle.
The Extra is awful, i hate the 1.5 invert
Rating: 5.0 50
Difficulty: 46 46
Nov 5, 2023
omega2020
For: i wanna be the ditch mouth mutant3
[0] Likes
For: i wanna be the ditch mouth mutant3
[0] Likes
Rating: 5.1 51
Difficulty: 33 33
Nov 5, 2023
Jopagu
For: I Wanna Cute Jump!
For: I Wanna Cute Jump!
I Wanna Cute Jump is a piece of art. We have seen many artistic fangames throughout the years, with a number of games that have deep themes and symbolism, games that innovate in unusual ways in terms of gameplay, and games that are simply beautiful to look at. Cute Jump perhaps does none of this, and yet I still believe it is one of the most interesting pieces of art to emerge from this community. Cute Jump instead challenges our notions of what it means for something to be art, and about the purpose of art. This isn't a new idea, mainstream visual art has had movements such as abstractionism and dadaism that similarly challenge the societal image of art. Furthermore, abstractionism has its place in fangames, with things such as I Want bringing strange and abstract images and gameplay. However, Cute Jump does something that is, to me, novel. Instead of challenging the idea of what art looks like, it challenges our idea of what art does.
Art is often considered as that which is meant to evoke emotion in its audience. People often look for art that brings emotions that are typically simple and good, such as happiness, nostalgia, appreciation of beauty, or humor. However, much art is also devoted to bringing about emotions considered negative. We have horror movies that bring fear, tragedies that bring sadness, political pieces that bring social discontent, and more. This is usually recognized as a core part of artistic expression, and art without negative emotions is sometimes considered "low-brow". Why then, are some emotions excluded? Why are things like frustration and impatience considered invalid targets for art? Cute Jump is a game dedicated to evoking those emotions, and it has seen derision, with this being called "bad game design" or a poor choice on the part of the author. No one negatively reviews a horror movie for being scary after all, why is the intentional use of frustration considered a negative?
Cute Jump asks us what role these emotions have in games. It does not ask you to like it, but it asks you to go in with an open mind. It asks you to explore your response to things like luck checks and waiting, and for you to consider how these emotions might be used to elevate our experience, rather than detract from it. Just as it is okay for someone to dislike being scared and thus avoid horror, it is okay for you to dislike frustration and avoid this game. Cute Jump simply asks that you consider these feelings a valid part of an artistic experience. I ask that you try this game with an open mind, and really think about how you perceive the game, about whether you really dislike these things or if this is just a knee-jerk reaction based on your preconceived ideas of art. It's okay to try this game and quit after a few screens if you truly dislike it, I just ask that you approach it with due consideration and respect for the game.
Despite me praising it's uniquity, Cute Jump is not the first to do these things, rather just taking it further than I've ever seen. But seeds of the same ideas can be seen throughout fangame (and even general gaming) history, in fact all the way back to the beginning. When the original I Wanna be the Guy was a thing, it gained popularity as a "rage game", and it was one of a host of such games, which often wore their goals on their sleeve, such as Unfair Mario. These games were designed to be unpleasant, unfair, and frustrating. They were meant to make you angry. They often insulted the player and barely even tried to be "fun" in the conventional sense. These games were incredibly popular, a mainstay of let's plays and middle school classrooms. And yet, over time, they evolved to lose those aspects, a trend followed by fangames. What were once "a RAGE game for MASOCHISTS" became "a challenging precision-platformer". Even among the fans of these games, frustration and unfairness became negative talking points rather than the entire point of a game. For a long time "Masochistic" was a badge of pride for fans of hard games, and yet recently I've seen people consider it insulting and react with anger to the word. The idea of enjoying frustration has become so taboo that people refuse to acknowledge that games, particularly difficult ones, are frustrating, and that this enhances the experience! Frustration creates a sense of satisfaction and accomplishment when used right, but people have it ingrained in their minds that it is a bad word, and a sin of game design, even when those people are playing hard games and inherently experiencing frustration.
Cute Jump takes off all the window dressing, and forces the player to confront that yes, this game is frustrating, yes this game is tedious, and yes it requires luck! And yet for many of us this game is fun! These aspects are interesting and creative! Not everyone will like this game, this is a given for any sufficiently abnormal art, and yet enough people have clearly enjoyed this to show that the taboo is misplaced, that frustration and its like are in fact valid forms of artistic experience. So yes, Cute Jump is "a RAGE game for MASOCHISTS". Furthermore, it is tedious, luck based, and annoying. But I posit that this game is proof that the "rage game" era is not dead, despite claims to the contrary. People still enjoy these experiences even if they believe they won't, even if they have been led to believe that this is a demonstration of bad game design.
Cute Jump is a successful experiment, and I hope that this type of design sees more use, as it truly was a one-of-a-kind experience. It made me think about games in a way few other things have. I absolutely recommend everyone try this, no matter how briefly. I hope that it can make you challenge your beliefs, and reconsider what makes something "art".
I have put off this review for several days, trying to figure out how to word my thoughts. I wanted to say something profound, and I hope that came through what is ultimately several paragraphs of somewhat messy writing. This review is jumbled and disconnected, but I think my points got across well enough. I hope some of you appreciate what I'm saying, and that it can motivate you to play I Wanna Cute Jump and see it in the way I see it.
[3] Likes
Art is often considered as that which is meant to evoke emotion in its audience. People often look for art that brings emotions that are typically simple and good, such as happiness, nostalgia, appreciation of beauty, or humor. However, much art is also devoted to bringing about emotions considered negative. We have horror movies that bring fear, tragedies that bring sadness, political pieces that bring social discontent, and more. This is usually recognized as a core part of artistic expression, and art without negative emotions is sometimes considered "low-brow". Why then, are some emotions excluded? Why are things like frustration and impatience considered invalid targets for art? Cute Jump is a game dedicated to evoking those emotions, and it has seen derision, with this being called "bad game design" or a poor choice on the part of the author. No one negatively reviews a horror movie for being scary after all, why is the intentional use of frustration considered a negative?
Cute Jump asks us what role these emotions have in games. It does not ask you to like it, but it asks you to go in with an open mind. It asks you to explore your response to things like luck checks and waiting, and for you to consider how these emotions might be used to elevate our experience, rather than detract from it. Just as it is okay for someone to dislike being scared and thus avoid horror, it is okay for you to dislike frustration and avoid this game. Cute Jump simply asks that you consider these feelings a valid part of an artistic experience. I ask that you try this game with an open mind, and really think about how you perceive the game, about whether you really dislike these things or if this is just a knee-jerk reaction based on your preconceived ideas of art. It's okay to try this game and quit after a few screens if you truly dislike it, I just ask that you approach it with due consideration and respect for the game.
Despite me praising it's uniquity, Cute Jump is not the first to do these things, rather just taking it further than I've ever seen. But seeds of the same ideas can be seen throughout fangame (and even general gaming) history, in fact all the way back to the beginning. When the original I Wanna be the Guy was a thing, it gained popularity as a "rage game", and it was one of a host of such games, which often wore their goals on their sleeve, such as Unfair Mario. These games were designed to be unpleasant, unfair, and frustrating. They were meant to make you angry. They often insulted the player and barely even tried to be "fun" in the conventional sense. These games were incredibly popular, a mainstay of let's plays and middle school classrooms. And yet, over time, they evolved to lose those aspects, a trend followed by fangames. What were once "a RAGE game for MASOCHISTS" became "a challenging precision-platformer". Even among the fans of these games, frustration and unfairness became negative talking points rather than the entire point of a game. For a long time "Masochistic" was a badge of pride for fans of hard games, and yet recently I've seen people consider it insulting and react with anger to the word. The idea of enjoying frustration has become so taboo that people refuse to acknowledge that games, particularly difficult ones, are frustrating, and that this enhances the experience! Frustration creates a sense of satisfaction and accomplishment when used right, but people have it ingrained in their minds that it is a bad word, and a sin of game design, even when those people are playing hard games and inherently experiencing frustration.
Cute Jump takes off all the window dressing, and forces the player to confront that yes, this game is frustrating, yes this game is tedious, and yes it requires luck! And yet for many of us this game is fun! These aspects are interesting and creative! Not everyone will like this game, this is a given for any sufficiently abnormal art, and yet enough people have clearly enjoyed this to show that the taboo is misplaced, that frustration and its like are in fact valid forms of artistic experience. So yes, Cute Jump is "a RAGE game for MASOCHISTS". Furthermore, it is tedious, luck based, and annoying. But I posit that this game is proof that the "rage game" era is not dead, despite claims to the contrary. People still enjoy these experiences even if they believe they won't, even if they have been led to believe that this is a demonstration of bad game design.
Cute Jump is a successful experiment, and I hope that this type of design sees more use, as it truly was a one-of-a-kind experience. It made me think about games in a way few other things have. I absolutely recommend everyone try this, no matter how briefly. I hope that it can make you challenge your beliefs, and reconsider what makes something "art".
I have put off this review for several days, trying to figure out how to word my thoughts. I wanted to say something profound, and I hope that came through what is ultimately several paragraphs of somewhat messy writing. This review is jumbled and disconnected, but I think my points got across well enough. I hope some of you appreciate what I'm saying, and that it can motivate you to play I Wanna Cute Jump and see it in the way I see it.
Rating: 10.0 100
Difficulty: 75 75
Nov 5, 2023
omega2020
For: I wanna be the NO5131
For: I wanna be the NO5131
We need more of this. I couldn't make it to the Noesis final boss fight but it looked good and this fight was tough but fun. Reminded me alittle of the I wanna say NO to literature where they just give you the back to back boss fights.
Tagged as: Boss
[0] Likes
Rating: 7.0 70
Difficulty: 53 53
Nov 5, 2023
ElCochran90
For: I wanna be the Dieary
For: I wanna be the Dieary
*Cleared on 25/05/2023*
Rating and difficulty score include “extra”, but I’d highly debate it is actually extra. Secrets are required to go for the true ending, but there is really no ending for making only the basic stages.
Azure is one of a kind. When it comes to platforming ideas, there is nothing new, and the overabundance of traps will make you chop your head off. However, there is a story behind this fangame that is quite intriguing, as subjective as it might be. It has RPG splashes all over it.
The story opens with an undefeatable boss that is meant to be impossible until everything turns out to be a dream. At this point, your intuition will whisper: “this is obvious foreshadowing for the final boss I’ll have to face when I’m more powerful”. You wake up. Nice to see the Kid finally owning an apartment with a nice view; what this fangame plays with is the notion between what is real and what is not, and this “portal” between the two realms seems to be his bed. One could theorize that the entire game is a dream and the final boss is a projection of his internal fears or loneliness (can’t ever read too much in a fangame), as there doesn’t seem to be an ominous danger for the planet, but inner challenges the Kid must face. There is even a secret in Kid’s bed, which might also indicate everything is happening in a dream.
All is beautiful so far, but it is the stages that make you forget about Azure’s intriguing conception of bringing a fantasy adventure story to life and take you back to generic half-assedness. Some are fun to play (Bomberman, chase of spike walls and roofs with the wooden tilesets), one is cryptic (puzzle) and one of them in particular (red warp which takes you to a purple stage; for some funny reason colors never coincide) is completely mental with the traps. Do not even dare play this in Hard Mode; it’s obvious many are meant to be played in Medium Difficulty for save balancing.
One review stated there is a lot going on in this “surprisingly short game”. Make no mistake, as this is no short fangame at all. For reference, Wolfie’s first playthrough took more than 2 hours, and the WR currently for 100% is 25:42 (17:46 for any %). The game has six main stages, each one with a visual style and platforming of their own; there is a secret in each stage, which location are more than often cryptic, but they are fun to get. At least the game provides variety, and if you’re suffering through a stage, you have the guarantee that the next one will be slightly different at the least. A secret in particular requires dancing at a beat while dodging, and although it is quite mental, the game gives you enough error margin for pulling it off.
Bosses are not that generic, so expect zero cherries, which is an overused old-school trope. One boss in particular (all I will say is it involves a dog) is so sudoku-looking and yet so sentimental that you have no idea what the intention behind the boss is, and once you get the funny-looking segment, there is a second phase that gives you no prior warning of what it was meant to be. There is a troll boss, maybe for the laughs, but it is shown in one of the longest stages, so maybe it is not such a good idea to reward the player looking for adventure bosses with a troll boss after so much effort was invested in a long stage considering their length and difficulty is all over the place and you can take them in any order you wish: it’s a dice’s roll.
The reason I debate extra is because there is not a “Thank You” screen once you jump off the balcony; it just says “The End” in an obvious “This is not the intended end, bro”. Getting the secrets is more than commended, because it will lead to the most special section of them all: the final stage before the boss.
This stage is easy to confuse with an L_game, and for being such an early game, that notion could be challenged. Azure is the author of an infamous fangame called “I Wanna Be the Goner”. In short, it is a freaking J-Tool default tileset with extremely precise cancer-ish jumps, but with a save immediately after each jump. Sounds like L, but it is not, as it mostly restricts the jumps to 16px, but mostly it is 32px. Align knowledge is utmost recommended. The final stage is a Goner-like stage, perhaps the prototype for Goner and Goner-like games, as I don’t know the actual release of Goner. It’s THE Guy-Rock-themed, generic-looking stage of the game, but just like the route to the right in Go the Dotkid!, it is oh-so-fun. For 2011-2012, it was strange to find something like this and, as far as I’m concerned, you cannot softlock (theoretically, you should try really hard to get there). It has only two screens, and believe me, it is enough. Azure was really conscious about the unusual difficulty peak, so there is a counter of your deaths on the top right corner that belong exclusively to this area. I wish this area had another song and visual style, but I swear it was so fun.
The final boss was a first try, which is beyond stupid. It was one of the most anti-climactic feelings I’ve ever had after such a huge build-up.
Recommended; there’s more than meets the eye.
[0] Likes
Rating and difficulty score include “extra”, but I’d highly debate it is actually extra. Secrets are required to go for the true ending, but there is really no ending for making only the basic stages.
Azure is one of a kind. When it comes to platforming ideas, there is nothing new, and the overabundance of traps will make you chop your head off. However, there is a story behind this fangame that is quite intriguing, as subjective as it might be. It has RPG splashes all over it.
The story opens with an undefeatable boss that is meant to be impossible until everything turns out to be a dream. At this point, your intuition will whisper: “this is obvious foreshadowing for the final boss I’ll have to face when I’m more powerful”. You wake up. Nice to see the Kid finally owning an apartment with a nice view; what this fangame plays with is the notion between what is real and what is not, and this “portal” between the two realms seems to be his bed. One could theorize that the entire game is a dream and the final boss is a projection of his internal fears or loneliness (can’t ever read too much in a fangame), as there doesn’t seem to be an ominous danger for the planet, but inner challenges the Kid must face. There is even a secret in Kid’s bed, which might also indicate everything is happening in a dream.
All is beautiful so far, but it is the stages that make you forget about Azure’s intriguing conception of bringing a fantasy adventure story to life and take you back to generic half-assedness. Some are fun to play (Bomberman, chase of spike walls and roofs with the wooden tilesets), one is cryptic (puzzle) and one of them in particular (red warp which takes you to a purple stage; for some funny reason colors never coincide) is completely mental with the traps. Do not even dare play this in Hard Mode; it’s obvious many are meant to be played in Medium Difficulty for save balancing.
One review stated there is a lot going on in this “surprisingly short game”. Make no mistake, as this is no short fangame at all. For reference, Wolfie’s first playthrough took more than 2 hours, and the WR currently for 100% is 25:42 (17:46 for any %). The game has six main stages, each one with a visual style and platforming of their own; there is a secret in each stage, which location are more than often cryptic, but they are fun to get. At least the game provides variety, and if you’re suffering through a stage, you have the guarantee that the next one will be slightly different at the least. A secret in particular requires dancing at a beat while dodging, and although it is quite mental, the game gives you enough error margin for pulling it off.
Bosses are not that generic, so expect zero cherries, which is an overused old-school trope. One boss in particular (all I will say is it involves a dog) is so sudoku-looking and yet so sentimental that you have no idea what the intention behind the boss is, and once you get the funny-looking segment, there is a second phase that gives you no prior warning of what it was meant to be. There is a troll boss, maybe for the laughs, but it is shown in one of the longest stages, so maybe it is not such a good idea to reward the player looking for adventure bosses with a troll boss after so much effort was invested in a long stage considering their length and difficulty is all over the place and you can take them in any order you wish: it’s a dice’s roll.
The reason I debate extra is because there is not a “Thank You” screen once you jump off the balcony; it just says “The End” in an obvious “This is not the intended end, bro”. Getting the secrets is more than commended, because it will lead to the most special section of them all: the final stage before the boss.
This stage is easy to confuse with an L_game, and for being such an early game, that notion could be challenged. Azure is the author of an infamous fangame called “I Wanna Be the Goner”. In short, it is a freaking J-Tool default tileset with extremely precise cancer-ish jumps, but with a save immediately after each jump. Sounds like L, but it is not, as it mostly restricts the jumps to 16px, but mostly it is 32px. Align knowledge is utmost recommended. The final stage is a Goner-like stage, perhaps the prototype for Goner and Goner-like games, as I don’t know the actual release of Goner. It’s THE Guy-Rock-themed, generic-looking stage of the game, but just like the route to the right in Go the Dotkid!, it is oh-so-fun. For 2011-2012, it was strange to find something like this and, as far as I’m concerned, you cannot softlock (theoretically, you should try really hard to get there). It has only two screens, and believe me, it is enough. Azure was really conscious about the unusual difficulty peak, so there is a counter of your deaths on the top right corner that belong exclusively to this area. I wish this area had another song and visual style, but I swear it was so fun.
The final boss was a first try, which is beyond stupid. It was one of the most anti-climactic feelings I’ve ever had after such a huge build-up.
Recommended; there’s more than meets the eye.
Rating: 4.6 46
Difficulty: 75 75
Nov 5, 2023