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:
278 Ratings!
239 Reviews!
5 Screenshots!
TwitterReport this user
278 Games
239 Reviews
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
YaBoiMarcAntony
For: I wanna be the Block
For: I wanna be the Block
Giving any sort of rating higher than 0 on a game that has a... 0 as its average rating? Well, it's a bit of a risky play, to say the least. It puts you in the position of looking strongly like some form of contrarian that wants to pretend there's something good where there's nothing gold. This is the position I find myself in now with Block, an antediluvian fangame that was at one point well renowned for its difficulty. Nowadays? Most of it isn't that bad, execution wise. For the most part, you're wandering through what one could almost call baby's first fangame, a lot of invisible block mazes, many highly jank parts that would not stand up to scrutiny in almost anyone else's hands, and a great deal of RNG dependent saves. All the same, I find myself coming away with a more positive feeling than I think even the creator would expect if asked about it now.
Make no mistake, this is a game that almost no one can enjoy, and my own enjoyment is at times in spite of itself rather than because of its own qualities that I suppose. Mainly, it comes from the fact that somehow, despite everything, this game truly does feel like it was made with intention. Certain decisions in its makeup force me to contend with the idea that the maker wasn't just spamming objects and seeing what could happen, it's as if they were intending on creating a cohesive experience with a certain ebb and flow to it. Perhaps it's accidental, but really I think it's a bit more than that. What really forced me towards this feeling was the fact that there was one certain structure that appears three times throughout the game. Once? Meaningless without any further context. Twice? Maybe it's just a coincidence, or maybe they just reused it out of laziness. Three times? And that third being in fact a variation on a theme? Well, I can't call it genius, but it's notable to me.
There are these moments that feel more like quality of life decisions rather than cases where you're breaking the game or cheating, many moments where you can abuse the fact that you can shoot through certain blocks or that saves have no save blockers. You could say this comes down to the maker's own inabilities, but then there are moments where there are in fact real blocks which stop you from abusing such a fact, so who's to say? Beyond that, there are these weird moments where a choice was made to offer you, for example, a safe space in the middle of a save for no reason, but then you find you can use that space to save. The hardest save by far in this game is itself neutered by the fact that there's a hidden save, one that you'd only find if you happened to be spamming shoot while playing this save.
It's decisions like these, moments that feel like callbacks to previous sections, choices that seem like they were made for - or distinctly against, the player's own benefit. These are the moments that remind me a real person made this. It's not some randomly generated game, nothing artificial spat this out, it's a real game made by a real human with real intentions behind their decisions. Maybe these intentions were meaningless, maybe it only came down to them just wanting to do things for the sake of it, but all the same it came about through their own efforts. It's not to say that something having intention behind it applies innately that there is worth, but in this case, I think it ultimately contextualized this game for me.
It's not like the game is a hidden work of art, mind you, this is still a game that I would recommend to essentially no one. I won't say it's bad but I liked playing it, I don't go for that sort of thing. It's an okay game and I liked it, but I think there are very few other people that would feel this way. I mean, really, this game does nothing right according to the rulebook. Like I said at first, it's chock full of unusual, time-consuming design choices that force waiting or continuous deaths to learn how to progress through a save. Add this on top of some genuinely not trivial moments as well as some highly RNG dependent sections, and you get something that most people will not consider worth their time. Essentially, I write about this game because it made me consider my first works as an artist - not as a fangame maker, but just as an artist altogether working with any given medium.
Thinking about my very first experiences creating, I remember making a lot of choices that simply would appear to others as being without reason or completely random. In fact, at one point while playing this game, a friend of mine asked how someone could possibly have come up with parts of this game. To me, the answer is simple: these choices just kind of come when you're first starting out making stuff because you truly have no inhibitions, no rules to hold yourself to. I think about the fangame screens I would draw in elementary art school and I think about the "gameplay decisions" I was making, and they don't abide by any conventions or tradition by any means, they simply were decisions made based on what was in my head at any given moment.
And to some degree, that's the impression this game gives me. It's like you've been dropped in the mind of a child who just wants to make a game and no one's told them the things they can and can't do. And hell, I can even see the story that was possibly playing out in the creator's head when they were making this, the impossible to glean story that's really nowhere but in the head of the maker - or, my own alone.
You begin in the i wanna engine screen, a legendary start screen. Thereafter, you go into another, similarly familiar screen, hearkening back to the original Guy. Once past that, however, things start to go off the rails a bit. You enter into this place which gives the impression of a liminal space, the somewhere inbetween. After this, a return is made to a part of the engine screen, but it's been remade and given a new spin. From here, things catapult off into space. Essentially the game moves between the various flavors of what I've just described, all the while consistently using what I will legitimately refer to as leitmotifs in the form of jump sections (the previously mentioned structure, several very similarly shaped diagonal sections, two small apple towers, etc.). Then, you get this impression of a story told about a fight with this great being that looks somewhat similar to you but dressed up in new clothes. Perhaps they're the alien form of you? Maybe they're your brother? All I know is, they're dedicated to trying to beat you, essentially fighting you three times. Of course, one can go from here to consider the boss fights before hand as being the sentinels which guard your great foe, each classic red orb being ways of the kid powering up so they can face them.
And then, once you've beaten him once and for all, you're faced with the true final boss, a block with a number on it itself protected by two other blocks which are all bouncing around fervently. I imagine this as some grand machine, like it's the core of something powerful that we, the kid, have come to destroy and that's what the sentinels and the other, potential alien kid, was protecting. One could even think we're the bad guy if you viewed the story in another light. Who's to say this machine should be destroyed? Maybe it's what powers the world this game lives within?
All of that of course is just fanfiction, really, there's no way to say this is what was in the maker's head when they made it, but these are the sorts of stories I would spin in my head. It's this level of creativity and imagination that becomes lost as you grow older, not necessarily through loss of innocence or what have you, but thanks to some undefinable quality either gained or lost, we essentially lose this ability to spin freeform stories which hold no structure agreed to by people who know what they're doing. Indeed, we lose this ability to be truly, earnestly creative. Or at least, most do. So, in some odd way, this game makes me recall the times when I could fall into my imagination and create without a worry toward anything making sense or holding to its own internal logic. Decisions didn't need explaining because they were made as a means to an end, or ultimately just for the sake of it. Really, it was all in good fun, and it's something I can't say I've really experienced or thought about consciously for a long, long time.
Remarkably, they for the most part create things that are palatable (at least... if you're willing to hear the game out - and you're patient), but even if it weren't a palatable experience, I think I would come away from this game with something positive to think about. It's just charming! That's the very best I can say about it, this is a charming game and it reminds me that there really is no reason to abide by the rules, I can break them as I choose and just see what comes out. As for why this differs for any of the other hundreds of fangames in this vein, I could not tell you. Maybe it just caught me on the right mood, or maybe there really is something special about this game. Whatever the case, I think it is an amazing example for me that even these 0 out of 10 games on delfruit can be worth my time. Perhaps not all the time, most of the time, or even half the time - but sometimes, they have something to offer.
[5] Likes
Make no mistake, this is a game that almost no one can enjoy, and my own enjoyment is at times in spite of itself rather than because of its own qualities that I suppose. Mainly, it comes from the fact that somehow, despite everything, this game truly does feel like it was made with intention. Certain decisions in its makeup force me to contend with the idea that the maker wasn't just spamming objects and seeing what could happen, it's as if they were intending on creating a cohesive experience with a certain ebb and flow to it. Perhaps it's accidental, but really I think it's a bit more than that. What really forced me towards this feeling was the fact that there was one certain structure that appears three times throughout the game. Once? Meaningless without any further context. Twice? Maybe it's just a coincidence, or maybe they just reused it out of laziness. Three times? And that third being in fact a variation on a theme? Well, I can't call it genius, but it's notable to me.
There are these moments that feel more like quality of life decisions rather than cases where you're breaking the game or cheating, many moments where you can abuse the fact that you can shoot through certain blocks or that saves have no save blockers. You could say this comes down to the maker's own inabilities, but then there are moments where there are in fact real blocks which stop you from abusing such a fact, so who's to say? Beyond that, there are these weird moments where a choice was made to offer you, for example, a safe space in the middle of a save for no reason, but then you find you can use that space to save. The hardest save by far in this game is itself neutered by the fact that there's a hidden save, one that you'd only find if you happened to be spamming shoot while playing this save.
It's decisions like these, moments that feel like callbacks to previous sections, choices that seem like they were made for - or distinctly against, the player's own benefit. These are the moments that remind me a real person made this. It's not some randomly generated game, nothing artificial spat this out, it's a real game made by a real human with real intentions behind their decisions. Maybe these intentions were meaningless, maybe it only came down to them just wanting to do things for the sake of it, but all the same it came about through their own efforts. It's not to say that something having intention behind it applies innately that there is worth, but in this case, I think it ultimately contextualized this game for me.
It's not like the game is a hidden work of art, mind you, this is still a game that I would recommend to essentially no one. I won't say it's bad but I liked playing it, I don't go for that sort of thing. It's an okay game and I liked it, but I think there are very few other people that would feel this way. I mean, really, this game does nothing right according to the rulebook. Like I said at first, it's chock full of unusual, time-consuming design choices that force waiting or continuous deaths to learn how to progress through a save. Add this on top of some genuinely not trivial moments as well as some highly RNG dependent sections, and you get something that most people will not consider worth their time. Essentially, I write about this game because it made me consider my first works as an artist - not as a fangame maker, but just as an artist altogether working with any given medium.
Thinking about my very first experiences creating, I remember making a lot of choices that simply would appear to others as being without reason or completely random. In fact, at one point while playing this game, a friend of mine asked how someone could possibly have come up with parts of this game. To me, the answer is simple: these choices just kind of come when you're first starting out making stuff because you truly have no inhibitions, no rules to hold yourself to. I think about the fangame screens I would draw in elementary art school and I think about the "gameplay decisions" I was making, and they don't abide by any conventions or tradition by any means, they simply were decisions made based on what was in my head at any given moment.
And to some degree, that's the impression this game gives me. It's like you've been dropped in the mind of a child who just wants to make a game and no one's told them the things they can and can't do. And hell, I can even see the story that was possibly playing out in the creator's head when they were making this, the impossible to glean story that's really nowhere but in the head of the maker - or, my own alone.
You begin in the i wanna engine screen, a legendary start screen. Thereafter, you go into another, similarly familiar screen, hearkening back to the original Guy. Once past that, however, things start to go off the rails a bit. You enter into this place which gives the impression of a liminal space, the somewhere inbetween. After this, a return is made to a part of the engine screen, but it's been remade and given a new spin. From here, things catapult off into space. Essentially the game moves between the various flavors of what I've just described, all the while consistently using what I will legitimately refer to as leitmotifs in the form of jump sections (the previously mentioned structure, several very similarly shaped diagonal sections, two small apple towers, etc.). Then, you get this impression of a story told about a fight with this great being that looks somewhat similar to you but dressed up in new clothes. Perhaps they're the alien form of you? Maybe they're your brother? All I know is, they're dedicated to trying to beat you, essentially fighting you three times. Of course, one can go from here to consider the boss fights before hand as being the sentinels which guard your great foe, each classic red orb being ways of the kid powering up so they can face them.
And then, once you've beaten him once and for all, you're faced with the true final boss, a block with a number on it itself protected by two other blocks which are all bouncing around fervently. I imagine this as some grand machine, like it's the core of something powerful that we, the kid, have come to destroy and that's what the sentinels and the other, potential alien kid, was protecting. One could even think we're the bad guy if you viewed the story in another light. Who's to say this machine should be destroyed? Maybe it's what powers the world this game lives within?
All of that of course is just fanfiction, really, there's no way to say this is what was in the maker's head when they made it, but these are the sorts of stories I would spin in my head. It's this level of creativity and imagination that becomes lost as you grow older, not necessarily through loss of innocence or what have you, but thanks to some undefinable quality either gained or lost, we essentially lose this ability to spin freeform stories which hold no structure agreed to by people who know what they're doing. Indeed, we lose this ability to be truly, earnestly creative. Or at least, most do. So, in some odd way, this game makes me recall the times when I could fall into my imagination and create without a worry toward anything making sense or holding to its own internal logic. Decisions didn't need explaining because they were made as a means to an end, or ultimately just for the sake of it. Really, it was all in good fun, and it's something I can't say I've really experienced or thought about consciously for a long, long time.
Remarkably, they for the most part create things that are palatable (at least... if you're willing to hear the game out - and you're patient), but even if it weren't a palatable experience, I think I would come away from this game with something positive to think about. It's just charming! That's the very best I can say about it, this is a charming game and it reminds me that there really is no reason to abide by the rules, I can break them as I choose and just see what comes out. As for why this differs for any of the other hundreds of fangames in this vein, I could not tell you. Maybe it just caught me on the right mood, or maybe there really is something special about this game. Whatever the case, I think it is an amazing example for me that even these 0 out of 10 games on delfruit can be worth my time. Perhaps not all the time, most of the time, or even half the time - but sometimes, they have something to offer.
Rating: 5.0 50
Difficulty: 85 85
Jan 14, 2024
YaBoiMarcAntony
For: I Wanna Leave This Hell
For: I Wanna Leave This Hell
Rating based on good ending
[1] Like
Rating: 8.0 80
Difficulty: 64 64
Jan 1, 2024
9 Games
| Game | Difficulty | Average Rating | # of Ratings |
|---|---|---|---|
| A Sky Blue Denouement | 88.8 | 8.5 | 9 |
| April is the Cruelest Month | 85.1 | 9.0 | 24 |
| I Wanna Flying Disc | 91.7 | 9.1 | 5 |
| Frankie Teardrop | 2.2 | 6.0 | 11 |
| I Don't Wanna Dwell | 69.1 | 7.4 | 13 |
| Nebulous Thoughts | 80.1 | 9.1 | 33 |
| Strewn Detritus | 69.0 | 7.3 | 14 |
| The Sunken Cathedral | 69.5 | 8.3 | 34 |
| I Wanna be the Ziggomatic Drukqs | 70.5 | 7.3 | 9 |
48 Favorite Games
256 Cleared Games