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!
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278 Games
239 Reviews
YaBoiMarcAntony
For: I Wanna Eat My Literature Textbook
For: I Wanna Eat My Literature Textbook
Generic needle that feels as if it were thrown together somewhere between five and fifteen minutes. With that said, I found it enjoyable for what it was, so maybe you will too.
Tagged as: Needle
[0] Likes
Rating: 5.0 50
Difficulty: 55 55
Mar 13, 2021
YaBoiMarcAntony
For: I wanna be the Volatile Presence
For: I wanna be the Volatile Presence
My original review was one not too related to the game but instead the controversy which surrounded it for a brief time. As this is a disservice to one of the most well-realized artistic statements I have ever experienced, I've decided to do away with that old review and instead give my thoughts on the game itself.
Volatile Presence is simply brilliant in every sense of the word and in every facet possible. While the gameplay is outright gorgeous, what I truly love most about the game is its cohesion in meaning and the inspiring level of thought put into the game's design inside and out. The big thing about this game is its core gimmick - not within the game, but instead how it is only available sometimes! Some may think of this as gimmicky for the sake of it, but to think of it as such would be missing the point to me. Personally, you can recognize the point of a gimmick and just not believe it works, that's quite alright, but then to just say there is no point behind the gimmick other than for the sake of it? Well, that's just ignorant. What, then, is the point of VP's gimmick? Answer: it's in the title!
Volatile Presence is itself a volatile presence online, being available sometimes and other times not with no pattern to said availability. This concept of volatility is also found within the game design itself, further strengthening its statement through ingenious means. All but one stage is comprised of one screen, and all of these stages focus on one unique gimmick, a design choice which necessitates those single screens being extremely dense and well made so as to eke out all of the quality available with each gimmick; furthermore, many of VP's stages change in some way how you're allowed to traverse the screens within. You're never allowed to get comfortable with any one gimmick as they're subject to change at the game's whim, and they always do change with success - at least, until the last stage.
So far as I'm concerned, this feels like a very personal statement or at least a presentation of a very personal concept - that of being yourself volatile, something I can relate to and hell, I imagine most people can relate to it too. It's fairly common to get this feeling of not being available all the time to the people surrounding you, that at any moment you'll force yourself to shut off and hide away from the people you love. Emotions control us all to some degree or another whether or not we want to admit it, and sometimes it feels hard to feel as if you have no part in the direction your life takes, no say in what you can and cannot do, no control. Thus is how Volatile Presence feels. There is no flexibility in what you're really allowed to do, you are simple forced to go about each screen exactly as intended, and never are you allowed to get comfortable enough with any one gimmick for that to become otherwise.
While this particular sense of volatility that VP deals in doesn't really hit home for me, it is inspiring the lengths vi took in order to bring this meaning to the forefront, the genius required to make it work as well as it does while also making consistently brilliant saves. I did not love every section of the game, but the overall experience is one you'll never find anywhere else.
[17] Likes
Volatile Presence is simply brilliant in every sense of the word and in every facet possible. While the gameplay is outright gorgeous, what I truly love most about the game is its cohesion in meaning and the inspiring level of thought put into the game's design inside and out. The big thing about this game is its core gimmick - not within the game, but instead how it is only available sometimes! Some may think of this as gimmicky for the sake of it, but to think of it as such would be missing the point to me. Personally, you can recognize the point of a gimmick and just not believe it works, that's quite alright, but then to just say there is no point behind the gimmick other than for the sake of it? Well, that's just ignorant. What, then, is the point of VP's gimmick? Answer: it's in the title!
Volatile Presence is itself a volatile presence online, being available sometimes and other times not with no pattern to said availability. This concept of volatility is also found within the game design itself, further strengthening its statement through ingenious means. All but one stage is comprised of one screen, and all of these stages focus on one unique gimmick, a design choice which necessitates those single screens being extremely dense and well made so as to eke out all of the quality available with each gimmick; furthermore, many of VP's stages change in some way how you're allowed to traverse the screens within. You're never allowed to get comfortable with any one gimmick as they're subject to change at the game's whim, and they always do change with success - at least, until the last stage.
So far as I'm concerned, this feels like a very personal statement or at least a presentation of a very personal concept - that of being yourself volatile, something I can relate to and hell, I imagine most people can relate to it too. It's fairly common to get this feeling of not being available all the time to the people surrounding you, that at any moment you'll force yourself to shut off and hide away from the people you love. Emotions control us all to some degree or another whether or not we want to admit it, and sometimes it feels hard to feel as if you have no part in the direction your life takes, no say in what you can and cannot do, no control. Thus is how Volatile Presence feels. There is no flexibility in what you're really allowed to do, you are simple forced to go about each screen exactly as intended, and never are you allowed to get comfortable enough with any one gimmick for that to become otherwise.
While this particular sense of volatility that VP deals in doesn't really hit home for me, it is inspiring the lengths vi took in order to bring this meaning to the forefront, the genius required to make it work as well as it does while also making consistently brilliant saves. I did not love every section of the game, but the overall experience is one you'll never find anywhere else.
Rating: 9.0 90
Difficulty: 77 77
Mar 10, 2021
YaBoiMarcAntony
For: I Wanna be the RO
For: I Wanna be the RO
I Wanna be the RO is a Rukito-like with emphasis on the -like rather than the Rukito. Really, the only Rukito elements you'll find here are the various triggers. In every other way, however, RO differs greatly from Rukito's various experiments - this, perhaps, is for the best. Rukito's genre is one that belongs to the classic era rather than the modern, though not in a disparaging sense. What point is there to further expand on something already perfected before? Funnily enough, I don't know that anyone has ever made a Rukito-like that really reminded me of his own games. They're always far too clean and kind, whereas something like MMM or RZ is anything but clean or kind, but then that is how you can really differentiate between the modern era of fangames and the old. Production value and whatnot, aside, the very feeling of a 2020 fangame versus a 2012 fangame is so completely different as to be essentially two separate things. This comes from the fact that makers in general are just getting better at what they do. As people make better games, others learn from these better games and in term make - wouldn't you know it, better games! We lift each other up every time any one of us makes a great game, whether through inspiration or innovation. As the years go by, we gradually sharpen our swords on the whetstone of Time and come to know more about our weapon, learn more and more how to use it in satisfying and enjoyable ways. I Wanna be the RO, in my humble opinion, shows us just how sharp that blade of ours has come to be.
Though it may be unnecessary to say at this point, Wolfie is perhaps the greatest maker in our community right now, barring a couple who made games personally meaningful to me. No one has their consistency, their adept understanding of what feels good to play, their heart and soul, no one. When you play a Wolfie game, you can feel the genuine love they put into their work, something that separates the good games from the truly brilliant ones. I believe it is truly impossible for them to turn out something uninspired because they simply don't have it in them to do something so insulting as that. Though RO is not their peak (I am unsure of if they've even created their best work by this point in time), it certainly is one of the best things they've ever made.
Now then, on the game itself. RO plays around beautifully with a concept we've all known and loved (or hated) for a long time, triggers. In one of the many differences between the modern and old, however, they are utilized in a fashion that accentuates maneuverability and the satisfaction of any given jump rather than as to merely add a movement or two to the save. This is something that, in recent times, has become more and more popular of a design choice, and one that I believe defines the very positive direction needle design is taking, in terms of the less abstract and more game-y sides of design. Though this is the largest feature of RO, each stage also sets out to meditate on a novel or well-known gimmick and take it to its natural limit, succeeding in every single attempt. My personal favorite stages, though it really doesn't matter which I call my favorites as they're all equally spectacular, would have to be Space, Time, and Mirage - that is, the entire latter-half of the game. Of these, I believe Time is where the trigger aspect of the game is taken to its quality limit, Space the gimmick aspect, and Mirage the overall limit. Time in particular has a standout save to cap off the stage, being a sort of chase where you push back a wall of cherries following you with various triggers in your path. This, I believe, will be the standout save for most people that play this game - and I hope desperately that it inspires every budding maker who plays through RO.
Wolfie also experiments with bosses in RO, succeeding somewhat. Of the two bosses, I enjoyed them both more or less the same amount. I think they're well-designed, enjoyable to fight, and more or less act as ways to give more variety to the game overall; however, I would point to them both as the weakest part of the game, through no fault of Wolfie's. I mean, how could they hope to create a boss fight that matches the astonishingly high heights of their needle quality - on their first go, no less? Nonetheless, I do hope this leads to more bosses from Wolfie as I believe he could create something truly special with more work.
I have little else to say, really. RO should be the template of all future needle games - rather, it should be what controls the direction that needle design takes. I believe whatever direction it leads us will be one well worth following.
[4] Likes
Though it may be unnecessary to say at this point, Wolfie is perhaps the greatest maker in our community right now, barring a couple who made games personally meaningful to me. No one has their consistency, their adept understanding of what feels good to play, their heart and soul, no one. When you play a Wolfie game, you can feel the genuine love they put into their work, something that separates the good games from the truly brilliant ones. I believe it is truly impossible for them to turn out something uninspired because they simply don't have it in them to do something so insulting as that. Though RO is not their peak (I am unsure of if they've even created their best work by this point in time), it certainly is one of the best things they've ever made.
Now then, on the game itself. RO plays around beautifully with a concept we've all known and loved (or hated) for a long time, triggers. In one of the many differences between the modern and old, however, they are utilized in a fashion that accentuates maneuverability and the satisfaction of any given jump rather than as to merely add a movement or two to the save. This is something that, in recent times, has become more and more popular of a design choice, and one that I believe defines the very positive direction needle design is taking, in terms of the less abstract and more game-y sides of design. Though this is the largest feature of RO, each stage also sets out to meditate on a novel or well-known gimmick and take it to its natural limit, succeeding in every single attempt. My personal favorite stages, though it really doesn't matter which I call my favorites as they're all equally spectacular, would have to be Space, Time, and Mirage - that is, the entire latter-half of the game. Of these, I believe Time is where the trigger aspect of the game is taken to its quality limit, Space the gimmick aspect, and Mirage the overall limit. Time in particular has a standout save to cap off the stage, being a sort of chase where you push back a wall of cherries following you with various triggers in your path. This, I believe, will be the standout save for most people that play this game - and I hope desperately that it inspires every budding maker who plays through RO.
Wolfie also experiments with bosses in RO, succeeding somewhat. Of the two bosses, I enjoyed them both more or less the same amount. I think they're well-designed, enjoyable to fight, and more or less act as ways to give more variety to the game overall; however, I would point to them both as the weakest part of the game, through no fault of Wolfie's. I mean, how could they hope to create a boss fight that matches the astonishingly high heights of their needle quality - on their first go, no less? Nonetheless, I do hope this leads to more bosses from Wolfie as I believe he could create something truly special with more work.
I have little else to say, really. RO should be the template of all future needle games - rather, it should be what controls the direction that needle design takes. I believe whatever direction it leads us will be one well worth following.
Rating: 8.7 87
Difficulty: 70 70
Mar 8, 2021
YaBoiMarcAntony
For: I Wanna Be The Dreamroamer
For: I Wanna Be The Dreamroamer
If this doesn't tell you that Verve has the potential to be one of the best makers out there, from first game alone, then I don't know what will. Immediately, they demonstrate their impeccable grasp of fun gameplay, to the point where anyone could have fun with this despite some finding it to be an easy game. Where other games take their fun from challenge, this one takes it from the pure satisfaction of itself. Everything feels like a dream to play through, as if this was honed to perfection over the course of a month - and it was made in 48 hours! Dreamroamer is truly an amazing game, and I personally will be waiting impatiently for Verve's next effort.
[0] Likes
Rating: 8.5 85
Difficulty: 35 35
Feb 27, 2021
YaBoiMarcAntony
For: I wanna seize the day
For: I wanna seize the day
For being made in 8 hours, this is really quite impressive - hell, no matter how long it took to make this, I would be impressed. There's only three screens, the first two focusing on intelligent pathing primarily through clever vine usage with the last being a jump-trial type screen. Were this not made for a 24 hour challenge, I would like to have seen a more seriously fleshed out game with this sort of design; as it stands, however, this is merely a great way to pass 30 minutes by.
[0] Likes
Rating: 7.0 70
Difficulty: 55 55
Feb 22, 2021
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