Delicious FruitElCochran90's Profile
Send a PMJoined on: Aug 25, 2018
Bio:
About time I updated this bio.
Name: Edgar Cochran
Country: Mexico
Currently living in: Mexico City
-God's servant and one of his blessed sons (John 1:12; John 3:16).
-Lover of the entire animal and plant creation.
-Film lover and reviewer for Letterboxd.com (https://letterboxd.com/elcochran90).
-Adjunct professor and personal tutor of Statistical Inference, Business Forecasting, Marketing Research and Portfolio Theory.
Fangaming experience began in August 2018, so only modest achievements here. However, I'll describe some relevant FAQs here made to me during my stay here since 2018:
Q: Are videogames art?
A: Yes
Q: Are fangames videogames?
A: Yes
Q: Why are your reviews long and unconventional?
A: I am a film reviewer; in a way, I sort of unconsciously dragged my style of film reviewing to the world of fangames. I often involve personal experiences in my writing. Expect that structure; I'm not planning to change it.
Q: How are you rating games? Do you compare fangames as normal games that your ratings are lower than all other people ratings or are you just a critical person?
A: My ratings are not lower than people's ratings all of the time regarding fangames, but they are most of the time. However, this is not my intention. I am rating them as normal games, as in, I don't have a different spectrum for rating "normal", "official" games than fangames. They are in the same scale, because they are all videogames. I don't like to think myself as a critical person; ratings are just subjective numbers. However, I have realized that I rate games more harshly than I rate films/short films, which I do more often.
Q: What are your favorite fangames?
A: I have not played enough fangames to make a comprehensive and representative list, but this can be answered by going to my Favorites list. Anything getting 6.7 or higher will be considered immediately as a favorite.
I've submitted:
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382 Reviews!
792 Screenshots!
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382 Games
382 Reviews
ElCochran90
For: I wanna kill the Kamilia
For: I wanna kill the Kamilia
I know a watershed when I see it.
Carnival perhaps was the pioneer to apply the fangame intertextuality concept: conglomerate screens from past fangames and make a section out of it. Many Eastern supporters of this idea began rising afterwards, such as Mizudori, クライン (the Emperor/Meteor Stream guy) and ていく (the Device/Diverse/Tempest guy), and the Western community just answered to it.
Back in 2011, the West and the East had their separate communities and forums, before the Discord era (to which I don’t belong) and during the justin.tv, I Wanna Wiki and nicovideo era. YouTube was at its peak of content and memes which has now become the main contagion site for spreading centennial cancer and promoting influencers of all branches of human idiocy.
Back in this time, ㅇyㅇ had, not a vision, but an idea: to create a cohesive experience made of several fangames, mostly Eastern, that had been either emblematic or beaten by Kamilia, a name that causes sensation still today. From any viewpoint, either experimental, stylistic, artistic or conceptual, this experiment is extremely appealing. It’s a tribute in constant motion, where the excitement of the playability’s uncertainty comes, not from the gimmicks or the platforming per se, but what new fangame would be featured next. The original quality wasn’t something to determine the content of this new project (we have games from LIPCONE and Doruppi’s ugliest to the impossible Brute of a Man [no-mod version]). Had Kamilia really beaten Brute of a Man? That became irrelevant at a point where it was evident it was more a tribute to a person and to several makers that, for the better or the worst, released outputs that would become iconic for all decades to come.
Bosses would not be your typical fight: it would be an amalgamated melee of the memory lane that you just walked through at each stage, featuring all final bosses (mostly) of every screen you just remembered. Some screens are reinvented at the expense of ㅇyㅇ’s creativity, perhaps for an easier playability or to standardize the difficulty.
There is a logic behind the games selected however: if it is not the quality, or the makers, and we just have Kamilia’s clear/stream list as a parameter, then what is it? The difficulty. This is the only redeeming quality of the game. The difficulty curve sorta makes sense. Each stage was meant to be more difficult than the previous one, but without reaching the levels of Brute of a Man or, less absurdly, of Sadist. Not even Boshy’s… This was perhaps given as an opportunity for mortal players to explore the world of fangames and feel like Kamilia during the 5 stages of the game and then killing her for that illusion of saying “I beat Kamilia!”.
The concept is intriguing to say the least, but there are some facts to clarify:
-The game references a person and some makers, not the fangame world phenomenon
-The game was made in two days
-The engine is atrocious
-The game has a plethora of technical glitches; it’s one of the most broken things I have ever seen
The game is the apotheosis of old-school unenjoyable fangame ugliness: transitions that insta-kill you, warp you to another unintended screen, collision boxes that get you stuck in places that shouldn’t be or cancel your second jump, liquified diarrhea backgrounds during the boss fights (except for Stage 5) that introduced visual sudoku to the fangame communities before we would even comprehend or baptize whatever the freak sudoku was meant to be in the future, and screens modified beyond recognition for no valid reason (when did a screen for, say, GGM existed like that?)
For a two-day project, the result is understandable; that doesn’t make it acceptable or inexcusable. The screen choices are nightmarishly obnoxious, transforming the game into a trap game. This is the key tragic outcome of I Wanna Kill the Kamilia because, by 2011, traps were not the only thing that defined fangames. The collection of makers, however, put a heavy emphasis on this. Neverthekess, if we think on a pre-2012 Carnival game, traps were not the predominant trick under the hat: hardcore vanilla needle was also an ingredient. What about the multiple gimmick implementations of Dark Blue or Greeeen? On the other hand, if you put games like Tribute, Best Guy, Graduate from CT, Rukimin, Timemachine, 500, Experience, Yellow Star, Fortress Returns, and focus on the trap segments, you’re missing the point of the fangame world versatility and transform the first medley game into a trap game.
I’ll give three merits to this landmark, timeline project:
-The fact that it is the first medley, causing the viewer to wonder what the next screen will be like, and introducing many new fangames to other people, especially beginner enthusiasts or curious veterans
-The fact that every stage has a different song, and the soundtrack is good (who doesn’t love Portal 2?). Props to the Splinter Cell pick.
-The fact that, within certain boundaries, it retains a reasonable difficulty and doesn’t spike so much throughout like the Gamespot stock price of 1Y (do look at it).
As much as I loathe the brokenness, the engine, the transitions (being the most terrible one from See the Moon to CQ [I think someone clipped that moment during my Stream]), the bosses, the collision boxes, the screen choices, the scrolling spaceship section of Heaventrap 1, Geezer’s final phase including all the damn stupid attempts I had to make to get to the damn ship without going THROUGH it, the visually horrid backgrounds during 5 out of 6 boss fights, the Wuss saves being placed at potentially softlockable states, and finding out that bosses having a middle save between phases didn’t matter at all if you decided to continue the boss another day (it resets to Phase 1), I am glad to live in a world where this exists, because it became a thing, and still is. It created a genre that was born to stay forever. Western medleys were a reply mostly to this game and to Influka’s controversial sequels, and some sensational deliveries have come out, old and modern.
There is no reason on Earth I would decide to replay this unless I streamed it with good company: it is a wonderful and innovative concept made by a kid that doesn’t know how to build his Legos properly. Now imagine the same person coding and creating a game with 44 game references in two days, stuffing everything in, including all final bosses.
And as negative as my review sounds, I think this game was a necessity for the world. It was meant to happen. The implications it had for its future generations of the fangame community excel the actual quality of the game by far too much.
Finally, I should clarify this game is underrated in difficulty. Not ironically, the struggle of the player will steam from coping with the game's engine ultimately shattered structure and composition; however, the last 2 stages do feature difficult screens that I wouldn't recommend for a beginner as previous experience is required. I seriously don't think beginners were kept in mind when making this game, or experts either: just the average player exploring more worlds. There is a screen of GR's needle tower that is almost untouched, save for some corners and that infamous jump in the third save (middle portion of the screen). Adding a bunch of saves does not mean you will now know jumps that you didn't before.
And then a sequel came along...
[3] Likes
Carnival perhaps was the pioneer to apply the fangame intertextuality concept: conglomerate screens from past fangames and make a section out of it. Many Eastern supporters of this idea began rising afterwards, such as Mizudori, クライン (the Emperor/Meteor Stream guy) and ていく (the Device/Diverse/Tempest guy), and the Western community just answered to it.
Back in 2011, the West and the East had their separate communities and forums, before the Discord era (to which I don’t belong) and during the justin.tv, I Wanna Wiki and nicovideo era. YouTube was at its peak of content and memes which has now become the main contagion site for spreading centennial cancer and promoting influencers of all branches of human idiocy.
Back in this time, ㅇyㅇ had, not a vision, but an idea: to create a cohesive experience made of several fangames, mostly Eastern, that had been either emblematic or beaten by Kamilia, a name that causes sensation still today. From any viewpoint, either experimental, stylistic, artistic or conceptual, this experiment is extremely appealing. It’s a tribute in constant motion, where the excitement of the playability’s uncertainty comes, not from the gimmicks or the platforming per se, but what new fangame would be featured next. The original quality wasn’t something to determine the content of this new project (we have games from LIPCONE and Doruppi’s ugliest to the impossible Brute of a Man [no-mod version]). Had Kamilia really beaten Brute of a Man? That became irrelevant at a point where it was evident it was more a tribute to a person and to several makers that, for the better or the worst, released outputs that would become iconic for all decades to come.
Bosses would not be your typical fight: it would be an amalgamated melee of the memory lane that you just walked through at each stage, featuring all final bosses (mostly) of every screen you just remembered. Some screens are reinvented at the expense of ㅇyㅇ’s creativity, perhaps for an easier playability or to standardize the difficulty.
There is a logic behind the games selected however: if it is not the quality, or the makers, and we just have Kamilia’s clear/stream list as a parameter, then what is it? The difficulty. This is the only redeeming quality of the game. The difficulty curve sorta makes sense. Each stage was meant to be more difficult than the previous one, but without reaching the levels of Brute of a Man or, less absurdly, of Sadist. Not even Boshy’s… This was perhaps given as an opportunity for mortal players to explore the world of fangames and feel like Kamilia during the 5 stages of the game and then killing her for that illusion of saying “I beat Kamilia!”.
The concept is intriguing to say the least, but there are some facts to clarify:
-The game references a person and some makers, not the fangame world phenomenon
-The game was made in two days
-The engine is atrocious
-The game has a plethora of technical glitches; it’s one of the most broken things I have ever seen
The game is the apotheosis of old-school unenjoyable fangame ugliness: transitions that insta-kill you, warp you to another unintended screen, collision boxes that get you stuck in places that shouldn’t be or cancel your second jump, liquified diarrhea backgrounds during the boss fights (except for Stage 5) that introduced visual sudoku to the fangame communities before we would even comprehend or baptize whatever the freak sudoku was meant to be in the future, and screens modified beyond recognition for no valid reason (when did a screen for, say, GGM existed like that?)
For a two-day project, the result is understandable; that doesn’t make it acceptable or inexcusable. The screen choices are nightmarishly obnoxious, transforming the game into a trap game. This is the key tragic outcome of I Wanna Kill the Kamilia because, by 2011, traps were not the only thing that defined fangames. The collection of makers, however, put a heavy emphasis on this. Neverthekess, if we think on a pre-2012 Carnival game, traps were not the predominant trick under the hat: hardcore vanilla needle was also an ingredient. What about the multiple gimmick implementations of Dark Blue or Greeeen? On the other hand, if you put games like Tribute, Best Guy, Graduate from CT, Rukimin, Timemachine, 500, Experience, Yellow Star, Fortress Returns, and focus on the trap segments, you’re missing the point of the fangame world versatility and transform the first medley game into a trap game.
I’ll give three merits to this landmark, timeline project:
-The fact that it is the first medley, causing the viewer to wonder what the next screen will be like, and introducing many new fangames to other people, especially beginner enthusiasts or curious veterans
-The fact that every stage has a different song, and the soundtrack is good (who doesn’t love Portal 2?). Props to the Splinter Cell pick.
-The fact that, within certain boundaries, it retains a reasonable difficulty and doesn’t spike so much throughout like the Gamespot stock price of 1Y (do look at it).
As much as I loathe the brokenness, the engine, the transitions (being the most terrible one from See the Moon to CQ [I think someone clipped that moment during my Stream]), the bosses, the collision boxes, the screen choices, the scrolling spaceship section of Heaventrap 1, Geezer’s final phase including all the damn stupid attempts I had to make to get to the damn ship without going THROUGH it, the visually horrid backgrounds during 5 out of 6 boss fights, the Wuss saves being placed at potentially softlockable states, and finding out that bosses having a middle save between phases didn’t matter at all if you decided to continue the boss another day (it resets to Phase 1), I am glad to live in a world where this exists, because it became a thing, and still is. It created a genre that was born to stay forever. Western medleys were a reply mostly to this game and to Influka’s controversial sequels, and some sensational deliveries have come out, old and modern.
There is no reason on Earth I would decide to replay this unless I streamed it with good company: it is a wonderful and innovative concept made by a kid that doesn’t know how to build his Legos properly. Now imagine the same person coding and creating a game with 44 game references in two days, stuffing everything in, including all final bosses.
And as negative as my review sounds, I think this game was a necessity for the world. It was meant to happen. The implications it had for its future generations of the fangame community excel the actual quality of the game by far too much.
Finally, I should clarify this game is underrated in difficulty. Not ironically, the struggle of the player will steam from coping with the game's engine ultimately shattered structure and composition; however, the last 2 stages do feature difficult screens that I wouldn't recommend for a beginner as previous experience is required. I seriously don't think beginners were kept in mind when making this game, or experts either: just the average player exploring more worlds. There is a screen of GR's needle tower that is almost untouched, save for some corners and that infamous jump in the third save (middle portion of the screen). Adding a bunch of saves does not mean you will now know jumps that you didn't before.
And then a sequel came along...
Rating: 1.3 13
Difficulty: 60 60
Apr 19, 2022
ElCochran90
For: I Wanna Be the Unknown
For: I Wanna Be the Unknown
As a standalone, yes, this is Mizudori's best game. With Starter, Symmetry and the collab Breaking Out, I had made some personal theories: judging by the needle design in Symmetry and in Starter, and the gimmick/avoidance implementations in Breaking Out, carua was the visual innovator/experimentalist and Mizudori was the gimmick guy.
Leave Mizudori the task of creating his own adventure game and the gimmicks are much more limited in creativity, but the platforming improves. There structure of the game is typical of his prolonged structure: many hubs featuring many levels interconnected by "gatekeeper" bosses/avoidances until you get to the true final boss: a Touhou fight. This is literally Mizudori in a nutshell just like you can summarize Rukito with poor visuals, sometimes interesting platforming, lots of traps and atrociously-looking and unplayable bosses.
Regarding this creator, my thoughts are pretty much aligned with the legendary Xplayerlol, being Breaking Out our greatest source of disagreement, and for a good reason: Breaking Out is absolutely all over the place and has no rhyme or reason, but glorious segments exist and the final boss is a blissfully entertaining miracle. Here, the quality is somewhat more consistent, with special moments that stand out, being my Top 5 ranked:
-The pattern avoidance of The Dark Abandoned Mine
-The color gimmicks of The Metallic Zone
-The Tower of Heaven progressively challenging logic, implementing rules in a fantastic way (unfortunately, the boss makes some illogical/unreactable combinations of attacks that are certain to kill you)
-True final boss: Flandre Scarlet
-Grolla Seyfarth's time freezing/slowing mechanics
Then you have lows, like:
-Freudia Neuwahl's weird gravity flip timing and instachoke slide attacks
-The medley section (I love medley sections that reference past fangames!), since it unfortunately features very few screens and the least creative choices from Mizudori's deliveries; I had high hopes for it once I had entered it
Questionable sections like the bamboo forest puzzle will be more cryptic for those that didn't play the haunted mansion maze in Breaking Out, which is still kinda cheap. The Fairy's Forest has amazing platforming and frustrating bosses that require granding.
All in all, like Breaking Out, it's one of highs and lows, but they are less drastic. The ideas scattered are interesting, and there is a spot-on screenshot upload by Xplayerlol that serves as an example of how to make the regular tilesets look good.
Recommended. It is also significantly less hard than Breaking Out because of the latter's aforementioned greater inconsistencies.
[1] Like
Leave Mizudori the task of creating his own adventure game and the gimmicks are much more limited in creativity, but the platforming improves. There structure of the game is typical of his prolonged structure: many hubs featuring many levels interconnected by "gatekeeper" bosses/avoidances until you get to the true final boss: a Touhou fight. This is literally Mizudori in a nutshell just like you can summarize Rukito with poor visuals, sometimes interesting platforming, lots of traps and atrociously-looking and unplayable bosses.
Regarding this creator, my thoughts are pretty much aligned with the legendary Xplayerlol, being Breaking Out our greatest source of disagreement, and for a good reason: Breaking Out is absolutely all over the place and has no rhyme or reason, but glorious segments exist and the final boss is a blissfully entertaining miracle. Here, the quality is somewhat more consistent, with special moments that stand out, being my Top 5 ranked:
-The pattern avoidance of The Dark Abandoned Mine
-The color gimmicks of The Metallic Zone
-The Tower of Heaven progressively challenging logic, implementing rules in a fantastic way (unfortunately, the boss makes some illogical/unreactable combinations of attacks that are certain to kill you)
-True final boss: Flandre Scarlet
-Grolla Seyfarth's time freezing/slowing mechanics
Then you have lows, like:
-Freudia Neuwahl's weird gravity flip timing and instachoke slide attacks
-The medley section (I love medley sections that reference past fangames!), since it unfortunately features very few screens and the least creative choices from Mizudori's deliveries; I had high hopes for it once I had entered it
Questionable sections like the bamboo forest puzzle will be more cryptic for those that didn't play the haunted mansion maze in Breaking Out, which is still kinda cheap. The Fairy's Forest has amazing platforming and frustrating bosses that require granding.
All in all, like Breaking Out, it's one of highs and lows, but they are less drastic. The ideas scattered are interesting, and there is a spot-on screenshot upload by Xplayerlol that serves as an example of how to make the regular tilesets look good.
Recommended. It is also significantly less hard than Breaking Out because of the latter's aforementioned greater inconsistencies.
Rating: 6.3 63
Difficulty: 80 80
Mar 16, 2022
ElCochran90
For: I Wanna Be the Competitor
For: I Wanna Be the Competitor
I think this is the spot most of us can agree that Mizudori didn't impress at all this time. 8 stages with non-repetitive bosses (each one is unique in its own way, which is a plus), but gets ruined by the fact that most of them are pattern avoidances plagued with instagibs and extremely precise blind spots that are not obvious at all unless you record your own gameplay and rewatch it. It's a poor exercise in creativity and it is free grinding, which not all of us are into if we're honest. Each attempt you'll last 1.5-2 seconds alive until the next instagib kills you so you can ask: where should I move precisely towards to now??
Stages feature their own gimmick but are recycled from other old-school fangames and had been done to death by that point: single-jumping, making yourself blurry or almost invisible compared to the background, your kid being mirrored in the upper half of the screen such as in "GreeeeN" and countless others, etc. Platforming is not creative at all and traps are frustrating here, unlike in Symmetry, where the big lack of them played in favor of the gimmicks and their enjoyability.
Final Miku, being the best (ugh... least worst) part of the game is not worth the whole journey (ironically, it is not the hardest avoidance), but if you're either into Mizudori or old-school fangames, give it a pass.
So, avoid.
[3] Likes
Stages feature their own gimmick but are recycled from other old-school fangames and had been done to death by that point: single-jumping, making yourself blurry or almost invisible compared to the background, your kid being mirrored in the upper half of the screen such as in "GreeeeN" and countless others, etc. Platforming is not creative at all and traps are frustrating here, unlike in Symmetry, where the big lack of them played in favor of the gimmicks and their enjoyability.
Final Miku, being the best (ugh... least worst) part of the game is not worth the whole journey (ironically, it is not the hardest avoidance), but if you're either into Mizudori or old-school fangames, give it a pass.
So, avoid.
Rating: 3.1 31
Difficulty: 70 70
Jan 27, 2022
ElCochran90
For: I Wanna Be the Symmetry
For: I Wanna Be the Symmetry
**I should clarify before anything something factually incorrect stated by Xplayerlol. The orange stage where your keys are reversed, they are actually not. Keys are not randomly locked so you have to restart "until they work". All FOUR arrow keys have a 0.5 probability of being assigned a direction (left or right), and the gimmick is programmed to lock the probability to 1.0 so that only TWO out of the FOUR keys work, which makes the gimmick a wee bit more interesting and original, but not so much. It feels funny, but it is not a glitch in either the V0.9 or V1.01 (I tried both to confirm).**
Rating based on 100% clear including extra, which is only included in version 1.01. Difficulty rating based on normal clear without secrets and Extra (consider a difficulty of 75 for the act of getting all secrets, doing the extra stage and the extra boss).
"A huge ass mixed bag", says DerpyHooves, and I sort of agree, but that definition suits Make It Breaking Out so much better. So here I am, exploring what seems to be the undervalued Mizudori. Evidently, the creator has a gigantic set of gimmick ideas and never fails to deliver playability variety. After playing Breaking Out and Starter, it is evident who was the Touhou fan between him and carua, and also who came up with the structure of the game: hubs with different routes unlocking new hubs, then the extra section after a "final boss" which just turned out to be a gatekeeper, play a new extra stage, a previous extra boss and the definitive final boss. Judging by the needle design here and in Starter, carua is much more creative, including in the visual aspect. Mizudori is the gimmick guy.
Hence, expect tons of gimmicks with atrociously repetitive and generic needle (several stages are gate fests or shuriken fests, so expect tons of those). The difficulty curve has no rhyme or reason, except that it never gets tougher. Imagine a random series, but stationary. That's what to expect here: if you clear the main hub, don't expect something tougher in the future. Just more gimmicks.
The core concept is, obviously, symmetry, and there are some fascinating ideas, so where the game lacks a huge deal in level design, it compensates in variety and gimmick creativity. The symmetry is not always visual; sometimes, you have to picture it, and sometimes, it is about the controls. Those are highly positive points in this fangame. The overall structure of the game, which is almost identical to Breaking Out, is fun, as each stage has no more than 4 screens each.
Is there a great boss variety? Of course not. That was carua's work, but no carua this time (who curiously worked more often in collabs). The game is plagued with big cherries; however, again, the ideas behind are enjoyable, so it is clear that the intention is to experiment with movement and coordination, sometimes creating great results. Some bossess are actually avoidances, not in the traditional sense you'd expect (either Mikus or just projectiles appearing according to a song); however, you beat them avoiding. Some bosses do require puzzle-ish reasoning from you as you determine either the patterns drawn or manipulate them according to your movement. This type of grinds are not frustrating because they make you think about the consequences of your decisions (that sounded deep, but I'm only talking about how The Kid moves).
Extra stage is short, but fun, the pre-final extra boss is questionably easy (you will first-try it) and the extra boss is the best of them all. It kinda reminded me of RZ's final boss, except this is not luck-based trash and the character's sprite is very nice. Any combination of attacks can have a strategy that will consistently work so that your only biggest problem will be the RNG of the fountain attack (and the obstacle halfway through, unless you place it conveniently).
If you dig experimentation with ideas, go for it. There's more than meets the eye.
[2] Likes
Rating based on 100% clear including extra, which is only included in version 1.01. Difficulty rating based on normal clear without secrets and Extra (consider a difficulty of 75 for the act of getting all secrets, doing the extra stage and the extra boss).
"A huge ass mixed bag", says DerpyHooves, and I sort of agree, but that definition suits Make It Breaking Out so much better. So here I am, exploring what seems to be the undervalued Mizudori. Evidently, the creator has a gigantic set of gimmick ideas and never fails to deliver playability variety. After playing Breaking Out and Starter, it is evident who was the Touhou fan between him and carua, and also who came up with the structure of the game: hubs with different routes unlocking new hubs, then the extra section after a "final boss" which just turned out to be a gatekeeper, play a new extra stage, a previous extra boss and the definitive final boss. Judging by the needle design here and in Starter, carua is much more creative, including in the visual aspect. Mizudori is the gimmick guy.
Hence, expect tons of gimmicks with atrociously repetitive and generic needle (several stages are gate fests or shuriken fests, so expect tons of those). The difficulty curve has no rhyme or reason, except that it never gets tougher. Imagine a random series, but stationary. That's what to expect here: if you clear the main hub, don't expect something tougher in the future. Just more gimmicks.
The core concept is, obviously, symmetry, and there are some fascinating ideas, so where the game lacks a huge deal in level design, it compensates in variety and gimmick creativity. The symmetry is not always visual; sometimes, you have to picture it, and sometimes, it is about the controls. Those are highly positive points in this fangame. The overall structure of the game, which is almost identical to Breaking Out, is fun, as each stage has no more than 4 screens each.
Is there a great boss variety? Of course not. That was carua's work, but no carua this time (who curiously worked more often in collabs). The game is plagued with big cherries; however, again, the ideas behind are enjoyable, so it is clear that the intention is to experiment with movement and coordination, sometimes creating great results. Some bossess are actually avoidances, not in the traditional sense you'd expect (either Mikus or just projectiles appearing according to a song); however, you beat them avoiding. Some bosses do require puzzle-ish reasoning from you as you determine either the patterns drawn or manipulate them according to your movement. This type of grinds are not frustrating because they make you think about the consequences of your decisions (that sounded deep, but I'm only talking about how The Kid moves).
Extra stage is short, but fun, the pre-final extra boss is questionably easy (you will first-try it) and the extra boss is the best of them all. It kinda reminded me of RZ's final boss, except this is not luck-based trash and the character's sprite is very nice. Any combination of attacks can have a strategy that will consistently work so that your only biggest problem will be the RNG of the fountain attack (and the obstacle halfway through, unless you place it conveniently).
If you dig experimentation with ideas, go for it. There's more than meets the eye.
Rating: 4.5 45
Difficulty: 70 70
Jan 24, 2022
ElCochran90
For: I wanna be the rainbow MIKU
For: I wanna be the rainbow MIKU
Rating based on 100%. Difficulty rating based on the main color Mikus. Extra doesn't add extra points to the difficulty however.
To be honest, the 74.4 difficulty raing here on Del Fruit (previous to my rating) intimidated me, but that rating is an exaggeration, with all due respect, and this comes from someone who:
a) Is bad at avoidances
b) Does avoidances blind (being Contrary my most famous cleared example yet, and all three avoidances of Be the Catastrophe)
This is no Bye the Bye, and is definitely much easier than, let's randomly say, Aleph 0 for putting a famous modern example, which is a single barrage avoidance.
Man, I had fun. It's extremely simplistic, generic in level design (you will absolutely forget about the entire platforming in this game save for a couple of secrets and I guarantee it) and there is not as much gimmick variety as there are colors in the game. However, the avoidances stay with you (some of them, but still).
The premise is simple: you begin in a multicolor hub divided by warps, each warp taking you to the stage of the color you chose. At the end, a Miku of the same color awaits. You will face not more than 5 screens per stage (including the secret of each respective stage). Once you beat all levels, the green stage opens as final.
Following the most normal way that people would take, I will briefly evaluate each stage:
-Red Stage: Fun and harmless; it's vanilla needle with some pattern cherries, just like in the classic Go Across the Rainbow (save for the cherries).
-->Red Miku: (Almost) pure love; my third favorite Miku. It's entertaining to enter blindly and develop strats. Song is a classic. Reactable RNG with few instagibs and reasonable patterns that you can first-try. Little Polkka Miku will pose the biggest concern as you need an optimal route while you have Vietnam LoveTrap flashbacks and it's placed in the ending, which could cause frustration.
-Blue Stage: Water, duh. But hey, it's Nekoron water! This goddamn engine will cause you to dying while making one-fra... I mean full jumps, especially in a section with half diamonds required. It's dumb and it's garbage platforming; I have done better things in J-Tool and I'm not even a level designer.
--> Blue Miku: Not exploited to its full capacity considering that the water gimmick is surprisingly preserved in the avoidance, making it rather original. There are instances where you're dropped little cherries across the room and they freeze, but are made invisible; after another spray of cherries, they are all shot out of the screen. It's very easy, but if you have a bad memory, you'll die a lot to this attack. The trajectory, however, is very readable with previous old-school avoidance experience. The rest is just very boring, but very easy because you have the entire screen at your disposal with no platforms to block you.
-Orange Stage: Another vanilla needle stage, for whatever reason, and without cherries in the way. Once again, it is very inspired by LoveTrap needle design, but without the traps. Another fun and harmless one, and my personal favorite. Last save is amusing as you have to calculate the animated sprite of the cherries, but the cherries are moving. Nothing substantially concerning, though.
-->Orange Miku: Forgettable, and the vocaloid is one of those that is not necessarily good, but is very sticky. The design is very similar to Miku 2 in LoveTrap, but without the Polkka mini-Miku. Last attack is frustrating as it requires quick reactions, but the cherries are curved, so it's not very logical to figure out which direction they will curve; expect some deaths there.
-Yellow Stage: This is where the lol's come in, good and bad. This is the stage I was afraid of before entering: traps. And I later reasoned why I was afraid of this being a trap-based stage without even knowing it: Go Across the Rainbow. So it seems like some associate traps with yellow. However it may be, my fears were true. There isn't a single innovative or funny trap, and the color pierces through your eyes painfully. It's just bad, boring and generic. But my boy, the freaking secret. It's beyond ludicrous. To obtain it, you need to know Japanese braille, lmao. The cherries in the final screen are braille; I'm not f***ng around! Just press F. Ask me later.
-->Yellow Miku: I lol'd. First I thought the game had glitched, but no. The X and Y positions are correct and intentional: you ARE between Miku's legs (don't look up Kid!!*). You have to make an avoidance between Miku's legs in this hilariously suggestive avoidance (between her legs and everything is yellow?... ぺる, you're disgusting Kappa). It's not hard, but the last attack requires some precise timing and position-based strats. Vocaloid is bad, and the ending is a very funny instagib (which I avoided only God knows how).
-Pink Stage: Well, it seems like another vanilla nee---- wait, I thought the traps were over! Oh, no. Anyway, it's a combination between Red and Yellow platforming. Nothing to add; plain simple and brainless.
-->Pink Miku: Just OK, Red is still better. It's very repetitive and it takes some time to figure the reasoning behind the spot where a gray cherry appears out of the blue to kill you.
-Purple Stage: A copy-pase of the ideas in Red; trapless platforming with frozen cherries and a leeks screen. This stage has only two stupid screens, plus the secret one. There's a corner jump but you are given the best align and almost the best possible height to do it in a first try. What could have been fun lasts too little and becomes just obvious filler to satisfy all required colors.
-->Purple Miku: It's the hardest, it's tedious and it sucks; it's pretty horrible and the worst hands down. The song is also a terrible choice. The layout is slightly different but getting to the hard stuff is very boring and is too luck based. Final attacks require tough reading from four different angles and they are RNG. I spent in this Miku the same time the entire five previous stages plus Mikus took me. The hell with this boss. Leave it at last so you don't get discouraged.
Final Section Hype
-Green Stage: A single side-scroller screen which is a slightly grindy, yet fun test of consistency as there are no saves; the middle section has a very peculiar setup of corners where you are required to jump over them, but with a block above you that could cause you to bonk). That middle section took most of my deaths. With patience and not rushing things, you can clear it quick enough if you have some platforming experience. There are a couple of rough spots and the final 16px gap is not appreciated (it is either that or going through two corners in the same jump), but ok.
-->Green Miku: Tons of fun, and my second favorite Miku from the game. It is also arguably the second hardest, but it is not a bad thing in this case as the rought moments come precisely from pattern attacks. Very fun patterns with some precise blind spots like Catastrophe's Miku (some attacks also resemble Catastrophe's avoidances, such as the counter-clockwise expanding cherries each time faster). I don't care about the song choice at all in terms of personal taste but it ironically works wonderfully for the pacing of the attacks. Probably the hardest attacks are the spirals of all previous colors where you have to move at very precise blind spots, but thankfully they are pattern and very rewarding to dominate (I call that red and blue will be the hardest, but they are the first ones at least). I enjoyed it a lot.
***EXTRA TIME!***
No stage, it's just.... Rainbow Miku!
This is a very special avoidance:
-Almost entirely RNG-made
-A beautiful, slow avoidance (one of my favorites; at some instances it even seems that a real woman is singing)
-Slow attacks
-Exactly 6:30 minutes in length
This is not your usual avoidance, and I tremendously enjoyed it for that. Barrage enthusiasts and fast-paced avoidance fans, better stay away and call it a day. This one is a different kind of grind, almost simulating like if Miku is trying to make peace with The Kid but she must test his skills for the last time (what am I even talking about?)
Back to the topic: It's the best of them all. Since it is basically almost entirely RNG, all attacks are slow and 80% of them are reactable. Miku, with the pace of the beautiful song, invokes all attacks from all previous 7 Mikus. It has questionable instagibs, and the final attack is going to either make you laugh or cry; there is also that tough moment where it employs the attack of Green Miku where green cherries go left and yellow ones go right after being scattered all over the place, but it took me less than half the time of the stupid Purple Miku, and the maker ensured the balancing of the attacks was fair. The red star, which appears three times, *might* get you into trouble due to RNG but I haven't spotted a single instance of impossible RNG (the few times I died to it was bad positioning, alas, the very left corner; you need space to move from left to right given that a wall is not impossible to form, but if you're not in the very corner, you can walk beneath it).
Credits are very rewarding.
Play it for the avoidances, not for the platforming, which really bad and dated. You'll have an entertaining time.
*On second thought, after so much you have been through, you deserve it Kid. You are 15 and she's 16. Claim your fun times Keepo.
[3] Likes
To be honest, the 74.4 difficulty raing here on Del Fruit (previous to my rating) intimidated me, but that rating is an exaggeration, with all due respect, and this comes from someone who:
a) Is bad at avoidances
b) Does avoidances blind (being Contrary my most famous cleared example yet, and all three avoidances of Be the Catastrophe)
This is no Bye the Bye, and is definitely much easier than, let's randomly say, Aleph 0 for putting a famous modern example, which is a single barrage avoidance.
Man, I had fun. It's extremely simplistic, generic in level design (you will absolutely forget about the entire platforming in this game save for a couple of secrets and I guarantee it) and there is not as much gimmick variety as there are colors in the game. However, the avoidances stay with you (some of them, but still).
The premise is simple: you begin in a multicolor hub divided by warps, each warp taking you to the stage of the color you chose. At the end, a Miku of the same color awaits. You will face not more than 5 screens per stage (including the secret of each respective stage). Once you beat all levels, the green stage opens as final.
Following the most normal way that people would take, I will briefly evaluate each stage:
-Red Stage: Fun and harmless; it's vanilla needle with some pattern cherries, just like in the classic Go Across the Rainbow (save for the cherries).
-->Red Miku: (Almost) pure love; my third favorite Miku. It's entertaining to enter blindly and develop strats. Song is a classic. Reactable RNG with few instagibs and reasonable patterns that you can first-try. Little Polkka Miku will pose the biggest concern as you need an optimal route while you have Vietnam LoveTrap flashbacks and it's placed in the ending, which could cause frustration.
-Blue Stage: Water, duh. But hey, it's Nekoron water! This goddamn engine will cause you to dying while making one-fra... I mean full jumps, especially in a section with half diamonds required. It's dumb and it's garbage platforming; I have done better things in J-Tool and I'm not even a level designer.
--> Blue Miku: Not exploited to its full capacity considering that the water gimmick is surprisingly preserved in the avoidance, making it rather original. There are instances where you're dropped little cherries across the room and they freeze, but are made invisible; after another spray of cherries, they are all shot out of the screen. It's very easy, but if you have a bad memory, you'll die a lot to this attack. The trajectory, however, is very readable with previous old-school avoidance experience. The rest is just very boring, but very easy because you have the entire screen at your disposal with no platforms to block you.
-Orange Stage: Another vanilla needle stage, for whatever reason, and without cherries in the way. Once again, it is very inspired by LoveTrap needle design, but without the traps. Another fun and harmless one, and my personal favorite. Last save is amusing as you have to calculate the animated sprite of the cherries, but the cherries are moving. Nothing substantially concerning, though.
-->Orange Miku: Forgettable, and the vocaloid is one of those that is not necessarily good, but is very sticky. The design is very similar to Miku 2 in LoveTrap, but without the Polkka mini-Miku. Last attack is frustrating as it requires quick reactions, but the cherries are curved, so it's not very logical to figure out which direction they will curve; expect some deaths there.
-Yellow Stage: This is where the lol's come in, good and bad. This is the stage I was afraid of before entering: traps. And I later reasoned why I was afraid of this being a trap-based stage without even knowing it: Go Across the Rainbow. So it seems like some associate traps with yellow. However it may be, my fears were true. There isn't a single innovative or funny trap, and the color pierces through your eyes painfully. It's just bad, boring and generic. But my boy, the freaking secret. It's beyond ludicrous. To obtain it, you need to know Japanese braille, lmao. The cherries in the final screen are braille; I'm not f***ng around! Just press F. Ask me later.
-->Yellow Miku: I lol'd. First I thought the game had glitched, but no. The X and Y positions are correct and intentional: you ARE between Miku's legs (don't look up Kid!!*). You have to make an avoidance between Miku's legs in this hilariously suggestive avoidance (between her legs and everything is yellow?... ぺる, you're disgusting Kappa). It's not hard, but the last attack requires some precise timing and position-based strats. Vocaloid is bad, and the ending is a very funny instagib (which I avoided only God knows how).
-Pink Stage: Well, it seems like another vanilla nee---- wait, I thought the traps were over! Oh, no. Anyway, it's a combination between Red and Yellow platforming. Nothing to add; plain simple and brainless.
-->Pink Miku: Just OK, Red is still better. It's very repetitive and it takes some time to figure the reasoning behind the spot where a gray cherry appears out of the blue to kill you.
-Purple Stage: A copy-pase of the ideas in Red; trapless platforming with frozen cherries and a leeks screen. This stage has only two stupid screens, plus the secret one. There's a corner jump but you are given the best align and almost the best possible height to do it in a first try. What could have been fun lasts too little and becomes just obvious filler to satisfy all required colors.
-->Purple Miku: It's the hardest, it's tedious and it sucks; it's pretty horrible and the worst hands down. The song is also a terrible choice. The layout is slightly different but getting to the hard stuff is very boring and is too luck based. Final attacks require tough reading from four different angles and they are RNG. I spent in this Miku the same time the entire five previous stages plus Mikus took me. The hell with this boss. Leave it at last so you don't get discouraged.
Final Section Hype
-Green Stage: A single side-scroller screen which is a slightly grindy, yet fun test of consistency as there are no saves; the middle section has a very peculiar setup of corners where you are required to jump over them, but with a block above you that could cause you to bonk). That middle section took most of my deaths. With patience and not rushing things, you can clear it quick enough if you have some platforming experience. There are a couple of rough spots and the final 16px gap is not appreciated (it is either that or going through two corners in the same jump), but ok.
-->Green Miku: Tons of fun, and my second favorite Miku from the game. It is also arguably the second hardest, but it is not a bad thing in this case as the rought moments come precisely from pattern attacks. Very fun patterns with some precise blind spots like Catastrophe's Miku (some attacks also resemble Catastrophe's avoidances, such as the counter-clockwise expanding cherries each time faster). I don't care about the song choice at all in terms of personal taste but it ironically works wonderfully for the pacing of the attacks. Probably the hardest attacks are the spirals of all previous colors where you have to move at very precise blind spots, but thankfully they are pattern and very rewarding to dominate (I call that red and blue will be the hardest, but they are the first ones at least). I enjoyed it a lot.
***EXTRA TIME!***
No stage, it's just.... Rainbow Miku!
This is a very special avoidance:
-Almost entirely RNG-made
-A beautiful, slow avoidance (one of my favorites; at some instances it even seems that a real woman is singing)
-Slow attacks
-Exactly 6:30 minutes in length
This is not your usual avoidance, and I tremendously enjoyed it for that. Barrage enthusiasts and fast-paced avoidance fans, better stay away and call it a day. This one is a different kind of grind, almost simulating like if Miku is trying to make peace with The Kid but she must test his skills for the last time (what am I even talking about?)
Back to the topic: It's the best of them all. Since it is basically almost entirely RNG, all attacks are slow and 80% of them are reactable. Miku, with the pace of the beautiful song, invokes all attacks from all previous 7 Mikus. It has questionable instagibs, and the final attack is going to either make you laugh or cry; there is also that tough moment where it employs the attack of Green Miku where green cherries go left and yellow ones go right after being scattered all over the place, but it took me less than half the time of the stupid Purple Miku, and the maker ensured the balancing of the attacks was fair. The red star, which appears three times, *might* get you into trouble due to RNG but I haven't spotted a single instance of impossible RNG (the few times I died to it was bad positioning, alas, the very left corner; you need space to move from left to right given that a wall is not impossible to form, but if you're not in the very corner, you can walk beneath it).
Credits are very rewarding.
Play it for the avoidances, not for the platforming, which really bad and dated. You'll have an entertaining time.
*On second thought, after so much you have been through, you deserve it Kid. You are 15 and she's 16. Claim your fun times Keepo.
Rating: 5.1 51
Difficulty: 65 65
Jan 20, 2022
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