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bantsmen
For: I Wanna Be The Kazakhstan 3: Destructive Crust Treatment
For: I Wanna Be The Kazakhstan 3: Destructive Crust Treatment
Kazakhstan 3: Destructive Crust Treatment takes the Kazakhstan series even further than the previous instalment did. This entry is much more palatable to the common fangamer, to the dismay of some, but I think there's enough of the spirit of the first two entries here such that both newcomers and Kazakhstan veterans will be able to appreciate this one. This entry also includes an extra stage, which I include in my rating.
This game starts with the kid in a grey city filled with needle, moving fruit, and triggers. Intangible ghosts of needle jumps sporadically flash in the background. Since the second game ended with the kid escaping from the false reality I believe this is meant to represent the danger of reaching nirvana and escaping the cycle of struggle. The normalcy and mundanity of this stage is intentional, as the kid is now in a state of being where these obstacles are nothing to him, hence the flashing needle jumps, showing that all of the obstacles blend together into the same thing.
At the end of the stage the kid takes an elevator and arrives at a hotel stage. In this stage the goal is to die, as the kid has lost his purpose now that his struggle is over. Each death however does not truly kill the kid however, they only bring the kid to the next room. This, paired with the Hindu statues in the background hint that the kid has not truly escaped the cycle of suffering and will continue to be rebirthed forever.
The kid leaves the hotel onto a dark road where he returns to the a corrupted version of the first stage of Kazakhstan 1. Here the background is red and Martin Heidegger's face is clearly visible as the kid is no longer naive to the things around him. After going back through a similar path he took in the original, he falls into some spikes and ends up in an area with a hexagonal sun.
The sun itself is a representation of the duality of life and death. On one hand the sun brings life to the world by its existence but it also brings death from its dangerous radiation and heat. The kid must revolve around the sun in this area to move on, representing the kid's struggle to understand the reality he is in.
After this detour he returns back to the previous area and continues forward. Now he enters a teleporter warp that leads him to a set of small rooms with small jumps he must traverse. The next warp leads to a tree and an army of men he must gun down to pass through. The next one has platforming with pink bouncy blocks and the final has a room with water and bouncing fruit. These warps represent the kid seeing the struggles of his hometown due to the actions of the politicians in charge and he vouches to campaign himself across Kazakhstan to right their wrongs.
You then have the option to go to 4 different places in Kazakhstan: Aktobe, Astana, Oskemen, and Almaty.
In Aktobe, the kid moves on a 32x32 grid in the 4 cardinal directions. Here the kid must dodge many obstacles in a timely manner, including fruit, cheese, and a giant pair of eyeballs. This stage represents the kid walking the streets of Aktobe and trying to survive like the common person would, avoiding death, not eating the poisoned improperly prepared food, avoiding the ever-watchful gaze of the spying government. The kid becomes invisible later in the stage, symbolizing how he feels the government is not seeing the issues the people face. The music in this area also references Dapper Dan, a cool fangame by wonderful.
In Astana, the platforming very normal, reminiscent of the first area of the game. The main difference is the kid now has a little purple square buddy to the right of him who follows his movement and must be protected. This area contrasts the first area by being more colourful and upbeat now that the kid has companionship and a reason to keep going. The stage enigmatically ends with a jumble of coloured blocks, likely symbolizing the kid's mixed feelings leaving their newfound friend behind as they continue on their campaign.
In Oskemen, there are a lot of flashy colours and the screen rotates with the kid. At the end of the stage you wait at a beach for a warp to slowly fall down on you. I believe this represents that the people there are too busy partying and focusing on hedonistic pleasures to realize that they need to work for a better future instead of waiting for one to come to them.
Finally, in Almaty the city is being attacked by the Japanese singer Toromi and you need to save it by destroying her flames and dodging her attacks. This shows that the government is so negligent of their cities that they won't even protect them from existential threats.
After the kid's campaign he returns back to the home stage, but he finds it flooded. The platforming here is significantly harder as well. His efforts are in vain and Kazakhstan is essentially doomed and the kid can do nothing but continue his journey elsewhere.
The kid leaves the are in a hazy daze. He ends up in a red area with wavy visual challenge, representing his struggle to move forward after his debilitating loss.
He then winds up in a blue and green area featuring spinning lines that move depending on what direction the kid goes(superficially reminiscent of the hands of a clock), representing the kid now has been journeying for so long that time is but yet another obstacle to him. The stage ends with a fight against Ontario. Ontario spawns stationary keys that cannot be reached, representing that despite the fact that the kid can easily defeat Ontario, he can never be freed from his metaphorical prison. This is where the normal end of the game is.
The extra stage begins with a warp that has 1 in 2048 chance of working. This represents that most people trapped in the cycle of samsara never even get a chance to escape and it is only through repeated incarnations can we achieve nirvana.
The extra stage then continues onto 3 screens of gravity flipper needle with the objects placed rather haphazardly, this hearkens back to the first stage where the kid has little to no issue with the obstacles in front of him and sees them as even more basic than before.
When he reaches Manitoba the province doesn't even have time to attack as the kid has become so powerful he can slow down his perception of time, thus making the province's iframes last longer. This power becomes even more exaggerated against British Columbia, then even more against Yukon, and finally even more against Nunavut before the game finally ends for good. The kid has finally reached true enlightenment, but at what cost?
This game is a beautiful masterpiece and a fine addition to the Kazakhstan series despite the differences to its predecessors and I would recommend it to fans and haters of the series alike!
[3] Likes
This game starts with the kid in a grey city filled with needle, moving fruit, and triggers. Intangible ghosts of needle jumps sporadically flash in the background. Since the second game ended with the kid escaping from the false reality I believe this is meant to represent the danger of reaching nirvana and escaping the cycle of struggle. The normalcy and mundanity of this stage is intentional, as the kid is now in a state of being where these obstacles are nothing to him, hence the flashing needle jumps, showing that all of the obstacles blend together into the same thing.
At the end of the stage the kid takes an elevator and arrives at a hotel stage. In this stage the goal is to die, as the kid has lost his purpose now that his struggle is over. Each death however does not truly kill the kid however, they only bring the kid to the next room. This, paired with the Hindu statues in the background hint that the kid has not truly escaped the cycle of suffering and will continue to be rebirthed forever.
The kid leaves the hotel onto a dark road where he returns to the a corrupted version of the first stage of Kazakhstan 1. Here the background is red and Martin Heidegger's face is clearly visible as the kid is no longer naive to the things around him. After going back through a similar path he took in the original, he falls into some spikes and ends up in an area with a hexagonal sun.
The sun itself is a representation of the duality of life and death. On one hand the sun brings life to the world by its existence but it also brings death from its dangerous radiation and heat. The kid must revolve around the sun in this area to move on, representing the kid's struggle to understand the reality he is in.
After this detour he returns back to the previous area and continues forward. Now he enters a teleporter warp that leads him to a set of small rooms with small jumps he must traverse. The next warp leads to a tree and an army of men he must gun down to pass through. The next one has platforming with pink bouncy blocks and the final has a room with water and bouncing fruit. These warps represent the kid seeing the struggles of his hometown due to the actions of the politicians in charge and he vouches to campaign himself across Kazakhstan to right their wrongs.
You then have the option to go to 4 different places in Kazakhstan: Aktobe, Astana, Oskemen, and Almaty.
In Aktobe, the kid moves on a 32x32 grid in the 4 cardinal directions. Here the kid must dodge many obstacles in a timely manner, including fruit, cheese, and a giant pair of eyeballs. This stage represents the kid walking the streets of Aktobe and trying to survive like the common person would, avoiding death, not eating the poisoned improperly prepared food, avoiding the ever-watchful gaze of the spying government. The kid becomes invisible later in the stage, symbolizing how he feels the government is not seeing the issues the people face. The music in this area also references Dapper Dan, a cool fangame by wonderful.
In Astana, the platforming very normal, reminiscent of the first area of the game. The main difference is the kid now has a little purple square buddy to the right of him who follows his movement and must be protected. This area contrasts the first area by being more colourful and upbeat now that the kid has companionship and a reason to keep going. The stage enigmatically ends with a jumble of coloured blocks, likely symbolizing the kid's mixed feelings leaving their newfound friend behind as they continue on their campaign.
In Oskemen, there are a lot of flashy colours and the screen rotates with the kid. At the end of the stage you wait at a beach for a warp to slowly fall down on you. I believe this represents that the people there are too busy partying and focusing on hedonistic pleasures to realize that they need to work for a better future instead of waiting for one to come to them.
Finally, in Almaty the city is being attacked by the Japanese singer Toromi and you need to save it by destroying her flames and dodging her attacks. This shows that the government is so negligent of their cities that they won't even protect them from existential threats.
After the kid's campaign he returns back to the home stage, but he finds it flooded. The platforming here is significantly harder as well. His efforts are in vain and Kazakhstan is essentially doomed and the kid can do nothing but continue his journey elsewhere.
The kid leaves the are in a hazy daze. He ends up in a red area with wavy visual challenge, representing his struggle to move forward after his debilitating loss.
He then winds up in a blue and green area featuring spinning lines that move depending on what direction the kid goes(superficially reminiscent of the hands of a clock), representing the kid now has been journeying for so long that time is but yet another obstacle to him. The stage ends with a fight against Ontario. Ontario spawns stationary keys that cannot be reached, representing that despite the fact that the kid can easily defeat Ontario, he can never be freed from his metaphorical prison. This is where the normal end of the game is.
The extra stage begins with a warp that has 1 in 2048 chance of working. This represents that most people trapped in the cycle of samsara never even get a chance to escape and it is only through repeated incarnations can we achieve nirvana.
The extra stage then continues onto 3 screens of gravity flipper needle with the objects placed rather haphazardly, this hearkens back to the first stage where the kid has little to no issue with the obstacles in front of him and sees them as even more basic than before.
When he reaches Manitoba the province doesn't even have time to attack as the kid has become so powerful he can slow down his perception of time, thus making the province's iframes last longer. This power becomes even more exaggerated against British Columbia, then even more against Yukon, and finally even more against Nunavut before the game finally ends for good. The kid has finally reached true enlightenment, but at what cost?
This game is a beautiful masterpiece and a fine addition to the Kazakhstan series despite the differences to its predecessors and I would recommend it to fans and haters of the series alike!
Rating: 7.5 75
Difficulty: 65 65
Jun 4, 2024
TTBB
For: I wanna be the DARK BLAZE
For: I wanna be the DARK BLAZE
It's fun and easy for what it is, aka a simple barrage game. The 2nd half is way easier than the 1st, which makes it friendlier to less experienced players. You'll probably die more to bullets changing direction/suddenly aiming at you than you will to anything else though.
[1] Like
Rating: 6.5 65
Difficulty: 45 45
Jun 4, 2024
Chris
For: I Wanna PregPregPreg
For: I Wanna PregPregPreg
hates gay people but likes pregnant women
Tagged as: WTF
randrandrand-like
[3] Likes
Rating: N/A
Difficulty: N/A
Jun 3, 2024