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NightShark115
For: Seven Nights At Series Z
For: Seven Nights At Series Z
Rating based on 100% clear, which basically just adds on a single extra night after the final boss.
Seven Nights At Series Z is perhaps the most insane fangame I've played in recent memory, the mere concept of a FNAF-style game on top of Series Z gameplay is crazy enough, and then there's everything else the game throws on top of that, with an insane amount of variety which makes it even better. This is absolutely something you need to experience yourself, but in case you somehow did want a description of it instead, here you go:
The first thing you should notice immediately is the different jumping mechanics, as this game gives you a coyote jump. What this means is that instead of losing your first jump immediately after you walk off a ledge, you get to keep it, thus giving you more mobility options in how to use your jumps. The game uses this mechanic extremely well throughout its runtime, whether it be original screens that force you to take an unexpected path, or modifications of screens from other fangames to make you rethink how to navigate through them, this game never stops finding ways to accomodate for its new movement option. Another small thing that I liked was all the spikes being at half-height. This means that not only are walkoffs easier due to not requiring a certain align, but so are wallhugs on walls with a spike peeking out below them.
Not only does this game have super tight gameplay and physics, but the story is also super engaging. It tells of a cat named Mio who wants to become a writer, coming up with fanfiction of PDPlayer and Just (yes, I'm serious) to read to her friend, Mr. Ghost. However, coming up with material for this story is taking a toll on her, as she has to spend time in the moonlight to come up with ideas, which is really bad for her, not to mention directing her attention away from the people around her who care for her. She only comes to realize this after being confronted by another cat named Summer, who it turns out was always a part of her all along, only now awakened by the moonlight. Summer has been reminding Mio of her flaws for a long time now, rather than helping her find a way to improve on them. Mio is fed up with this, so after falling asleep in the moon with no help from Summer on how to wake up, she eventually decides to ask Summer to leave her alone, which she does, but not without a fight first. After this, Mio finally wakes up and goes home to spend more time with the people around her. This was the story as I understood it, as some of it happens within Mio's head, making it hard to determine what is real and what isn't (I assume the Veggie Fair onwards is a hallucination). Still, I love the character development displayed here, and it also comes with some valuable lessons for the player to learn.
As for the game itself, I wouldn't normally go stage by stage, but due to the way the game is structured, I pretty much have no choice but to do that. I realize I might come across as repeating myself a lot here, but here goes:
-First, you get a couple screens based on the endings of the Series Z games. It's nothing too interesting, but it is a good tutorial for the coyote jump, since the Z2 screen doesn't let you progress without it.
-Then comes the mouse cursor from Hero - Again, more specifically based on its appearance in Last Z. This boss does seem overwhelming at first, but it does become easier when you know what to do, for example only jumping when the blue fireballs hit the ground. There's also the fact that the game gives you HP for the boss fights, which definitely helps matters more.
-Next is the first stage in Mio's basement, where the gimmick is springs that bounce you upwards, while also giving you back your coyote jump as well. These come in multiple colors, which each bounce you up a different amount. I like how the game designs around these gimmicks to create clever routes through the screen, as well as how it includes multiple of these springs at a time at points.
-After this, you get the first actual night in the game. Here, you have to play some fangame screens while looking at the cameras and preventing the enemies from attacking you. In this case, this is a tutorial night, meaning the screens are really easy, and the only enemy is Miku, who can be easily zapped to get her to leave. Except no she can't, since this night ends in a forced death.
-Next is some screens based on the endings of the Kamilia games, similar to the Series Z one earlier. I will say that the Kamilia 1 screen with visual challenge is kind of annoying, due to the cycles of the cherries being too fast, but other than that, the Kamilia 2 screen with changing speed has a pretty cool route through the screen, and the Kamilia 3 screen with the rising acid is also pretty cool.
-Following that, though, is a rhythm minigame based on I Wanna Slowly Go Quickly, with Pinocchio-P's song, "Rotten Heresy and Chocolate", as seen in Kamilia 3. Here, you have to hug the walls as they come up, since they give you more score which you need to beat the minigame. Despite the long stretches of nothing that you get every once in a while, it's still a lot of fun, but be careful not to lose your rhythm, otherwise it's hard to get it back.
-After that, it's back to Mio's basement, with the gimmick this time being the Sheep Man blocks from Mega Man 10. When you touch one of these blocks, they all disappear the rest of the blocks in the room that share the same color. There's also a lot of bonk jumps in the screen, but the coyote jump makes these a lot easier. Add onto that the lasers later on which get blocked by the Sheep Man blocks, and this makes the pathing aspect even better than before.
-Then comes the second night, which is actually a full night this time. Here, you get introduced to PDPlayer who can't be zapped, and the Cherry who can, but only if you find its trigger in time. The rooms here are actually slightly harder this time, with additional gimmicks that don't get in the way that much, but be careful to avoid the blue Puyo in the Ender room, otherwise the room will become near impossible. Other than that, a great stage to be the actual first full night of the game.
-The Tourney Town comes next, featuring some screens from I Wanna Tourney games, but also some bosses from Z1. Despite there being so little of these, they're still fun and use the room well. Extra special points for replacing "DARK NEEDLE" with "DARK BOSHY" in the Eat The Slop room.
-What follows is another return to Mio's basement, this time without the gun. Instead, there's a bunch of dust enemies flying everywhere around the room, which you have to dodge. They all fly really fast, a bit too fast in my opinion, but at least you get a lot of saves to deal with them. Once you get the gun, though, you finally get to kill all the enemies, which definitely feels good after all that.
-The third night comes after that, featuring a bunch of Slop creatures from the Tourney Town stage. That's another detail that I like about this game, Mio's experiences actually get integrated into her story, showing her being inspired by the things around her. As for the night itself, there's a death limit now in place thanks to Just being here now, but it's not that strict, at least not yet. The Slop creatures are mostly in places that are easy to kill, while also being in good positions to dodge them if you can't kill them yet.
-Then you get to experience the Veggie Fair, which is a fun break from everything else. After a single screen from Steak Temple, you get a couple of free rooms which are more entertaining than anything else. Except for the skibidi Miku, that was absolutely unnecessary.
-Enjoy that while you can, though, because after that, you have to face the Fazbear Crimson boss, one of the only parts of the game I actively hate. Here, you always bounce everywhere, whether that be by bouncing on the ground, or by gaining backwards momentum by shooting. Given the boss being in a cramped room, this is already a bad sign, but the attacks themselves are also too luck-based, since the bosses' attacks all stack on top of each other. This leads to a bunch of especially bad combinations, for example when you want to shoot the Bite of '87, but there's snowflakes spawning everywhere, including where you need to go to avoid the bite. This is just one combination you can get, and while this goes become less of an issue if you shoot them in the right order, it still sucks, especially with the thundercloud near the end of the fight. Definitely not a fun fight, and a rare low point in an otherwise great game.
-Night 4 is thankfully a lot better. The new guy here is Officer Vermilion, who you can only see coming thanks to the camera menu flipping out. This ramps up the intensity again, as you have to pay attention to the menu now, in addition to everything else. Other than that, though, the night is pretty much the same as before, but all the rooms are themed after food now thanks to the Veggie Fair. There is a kind of slow cycle in the IWBTG stage, but other than that, it's still a fun night.
-After that is the Cut Content Rush, featuring a bunch of screens from a cut I Wanna Maker section of the game. Starting with the one I played first, the Femboys. GB screen reference aside, it's a weird stage, thanks to the smaller player. It feels more like luck whether I passed the jumps or not, since the camera is so zoomed out, not to mention the cherries shot by the enemy are at a different angle every time (they're probably aimed, I couldn't tell).
-Then there's the Cat Beanie part, which is more fun. There's parts of a big picture pulsing in and out of the center, and you have to platform around them. The cycle is set up really well here, making the screen a lot of fun to play.
-The Gordon Just room is up next, probably the least interesting part of the Cut Content Rush. It's just a room you have to play twice in a row, with some lamb chops walking back and forth, like in the Steak Temple section from earlier. Except for a section that requires you to wait a bit the second time through, nothing particularly worth talking about.
-Finally is the Blow Game room, featuring the return of the Femboys. Thankfully though, this room is a lot more open than the other one, and you don't move ridiculously fast this time. This takes the room from kind of annoying to something more fun.
-Onto night 5, which introduces 3 new characters, those being the Note, who is basically a music box; Meiko, who forces you into the camera; and the accursed Blue Slime King from Gelize, who only attacks after placing dice in all the rooms. This is when the nights actually start to get really difficult, as you have more to pay attention to, in addition to the time limit, not to mention the rooms becoming more difficult this time around. In the Gelize room, for example, I only just barely escaped with enough time left over. Still, definitely my least favorite night, due to the room choices: there's Gelize, like I already mentioned, but also the visual challenge gimmick from Rainbow Trap. The night is still fun, but it's still the weakest one in the game, which really says a lot about how good the other nights are if this is the worst one.
-Then you drop into the Bottomless Pit of Regret, which introduces fairies as a new gimmick. These are like the springs from earlier, but they're single use, which means you have to plan out your moves better before doing them. This is combined with a bunch of other gimmicks from the stage, and the game uses them together really well, whether it be cool pathing in the first room, or cool cherry maneuvers in the last one.
-Then comes night 6, in my opinion the best night in the whole game. Almost everyone is featured here, giving you more to focus on. This stage takes from the guest stages of the Series Z games, including the avoidances, making for the most interesting gameplay so far. Sometimes the game even combines platforming with avoidances, which is surprisingly fair in how the game handles it, as the bullet density is never too bad when you have a difficult jump to do. It's still the most difficult night though, as it's the only one where Just was able to kill me, since I kept dying to the same parts over and over. Easily the most engaging night in the whole game, definitely worth getting to here if you enjoy FNAF gameplay.
-After that though (and a bunch of gate jumps), we have the final boss fight against Summer, where we unfortunately have to end the game on a low note. This boss takes an attack from one of the enemies in the FNAF stages and combines it with a stage gimmick from before. Just like with the Crimson boss, this can result in some pretty bad combinations, since the attack pool is very unbalanced. I can't remember many specific examples other than Humantic and the Bite of '87, since the clear attempt gave me a bunch of fair combinations, but I can assure you a lot of them existed, and you have to get very lucky to avoid getting any of them. Oh, and let's not forget the choke phase after that, which got me multiple times. The strat for this one is to stay on the left as the last phase starts, so you have more time to damage her.
-The game isn't actually done there though, as after you beat that, you unlock an extra night, which is more of a joke than anything else. It's a single room from I Wanna Kill The Regr3t with everyone at max AI, which the game deems as "just impossible". However, I got through it very quickly with only a single camera check, so there's that.
And that's everything! While all these segments may not seem like a lot by themselves (except for the FNAF sections, those are epic regardless), as a whole game they are absolutely incredible. Easily one of the best fangames I've played, despite a rough spot or two here or there. Extremely recommended if you like FNAF, medleys, or interesting fangames in general.
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Seven Nights At Series Z is perhaps the most insane fangame I've played in recent memory, the mere concept of a FNAF-style game on top of Series Z gameplay is crazy enough, and then there's everything else the game throws on top of that, with an insane amount of variety which makes it even better. This is absolutely something you need to experience yourself, but in case you somehow did want a description of it instead, here you go:
The first thing you should notice immediately is the different jumping mechanics, as this game gives you a coyote jump. What this means is that instead of losing your first jump immediately after you walk off a ledge, you get to keep it, thus giving you more mobility options in how to use your jumps. The game uses this mechanic extremely well throughout its runtime, whether it be original screens that force you to take an unexpected path, or modifications of screens from other fangames to make you rethink how to navigate through them, this game never stops finding ways to accomodate for its new movement option. Another small thing that I liked was all the spikes being at half-height. This means that not only are walkoffs easier due to not requiring a certain align, but so are wallhugs on walls with a spike peeking out below them.
Not only does this game have super tight gameplay and physics, but the story is also super engaging. It tells of a cat named Mio who wants to become a writer, coming up with fanfiction of PDPlayer and Just (yes, I'm serious) to read to her friend, Mr. Ghost. However, coming up with material for this story is taking a toll on her, as she has to spend time in the moonlight to come up with ideas, which is really bad for her, not to mention directing her attention away from the people around her who care for her. She only comes to realize this after being confronted by another cat named Summer, who it turns out was always a part of her all along, only now awakened by the moonlight. Summer has been reminding Mio of her flaws for a long time now, rather than helping her find a way to improve on them. Mio is fed up with this, so after falling asleep in the moon with no help from Summer on how to wake up, she eventually decides to ask Summer to leave her alone, which she does, but not without a fight first. After this, Mio finally wakes up and goes home to spend more time with the people around her. This was the story as I understood it, as some of it happens within Mio's head, making it hard to determine what is real and what isn't (I assume the Veggie Fair onwards is a hallucination). Still, I love the character development displayed here, and it also comes with some valuable lessons for the player to learn.
As for the game itself, I wouldn't normally go stage by stage, but due to the way the game is structured, I pretty much have no choice but to do that. I realize I might come across as repeating myself a lot here, but here goes:
-First, you get a couple screens based on the endings of the Series Z games. It's nothing too interesting, but it is a good tutorial for the coyote jump, since the Z2 screen doesn't let you progress without it.
-Then comes the mouse cursor from Hero - Again, more specifically based on its appearance in Last Z. This boss does seem overwhelming at first, but it does become easier when you know what to do, for example only jumping when the blue fireballs hit the ground. There's also the fact that the game gives you HP for the boss fights, which definitely helps matters more.
-Next is the first stage in Mio's basement, where the gimmick is springs that bounce you upwards, while also giving you back your coyote jump as well. These come in multiple colors, which each bounce you up a different amount. I like how the game designs around these gimmicks to create clever routes through the screen, as well as how it includes multiple of these springs at a time at points.
-After this, you get the first actual night in the game. Here, you have to play some fangame screens while looking at the cameras and preventing the enemies from attacking you. In this case, this is a tutorial night, meaning the screens are really easy, and the only enemy is Miku, who can be easily zapped to get her to leave. Except no she can't, since this night ends in a forced death.
-Next is some screens based on the endings of the Kamilia games, similar to the Series Z one earlier. I will say that the Kamilia 1 screen with visual challenge is kind of annoying, due to the cycles of the cherries being too fast, but other than that, the Kamilia 2 screen with changing speed has a pretty cool route through the screen, and the Kamilia 3 screen with the rising acid is also pretty cool.
-Following that, though, is a rhythm minigame based on I Wanna Slowly Go Quickly, with Pinocchio-P's song, "Rotten Heresy and Chocolate", as seen in Kamilia 3. Here, you have to hug the walls as they come up, since they give you more score which you need to beat the minigame. Despite the long stretches of nothing that you get every once in a while, it's still a lot of fun, but be careful not to lose your rhythm, otherwise it's hard to get it back.
-After that, it's back to Mio's basement, with the gimmick this time being the Sheep Man blocks from Mega Man 10. When you touch one of these blocks, they all disappear the rest of the blocks in the room that share the same color. There's also a lot of bonk jumps in the screen, but the coyote jump makes these a lot easier. Add onto that the lasers later on which get blocked by the Sheep Man blocks, and this makes the pathing aspect even better than before.
-Then comes the second night, which is actually a full night this time. Here, you get introduced to PDPlayer who can't be zapped, and the Cherry who can, but only if you find its trigger in time. The rooms here are actually slightly harder this time, with additional gimmicks that don't get in the way that much, but be careful to avoid the blue Puyo in the Ender room, otherwise the room will become near impossible. Other than that, a great stage to be the actual first full night of the game.
-The Tourney Town comes next, featuring some screens from I Wanna Tourney games, but also some bosses from Z1. Despite there being so little of these, they're still fun and use the room well. Extra special points for replacing "DARK NEEDLE" with "DARK BOSHY" in the Eat The Slop room.
-What follows is another return to Mio's basement, this time without the gun. Instead, there's a bunch of dust enemies flying everywhere around the room, which you have to dodge. They all fly really fast, a bit too fast in my opinion, but at least you get a lot of saves to deal with them. Once you get the gun, though, you finally get to kill all the enemies, which definitely feels good after all that.
-The third night comes after that, featuring a bunch of Slop creatures from the Tourney Town stage. That's another detail that I like about this game, Mio's experiences actually get integrated into her story, showing her being inspired by the things around her. As for the night itself, there's a death limit now in place thanks to Just being here now, but it's not that strict, at least not yet. The Slop creatures are mostly in places that are easy to kill, while also being in good positions to dodge them if you can't kill them yet.
-Then you get to experience the Veggie Fair, which is a fun break from everything else. After a single screen from Steak Temple, you get a couple of free rooms which are more entertaining than anything else. Except for the skibidi Miku, that was absolutely unnecessary.
-Enjoy that while you can, though, because after that, you have to face the Fazbear Crimson boss, one of the only parts of the game I actively hate. Here, you always bounce everywhere, whether that be by bouncing on the ground, or by gaining backwards momentum by shooting. Given the boss being in a cramped room, this is already a bad sign, but the attacks themselves are also too luck-based, since the bosses' attacks all stack on top of each other. This leads to a bunch of especially bad combinations, for example when you want to shoot the Bite of '87, but there's snowflakes spawning everywhere, including where you need to go to avoid the bite. This is just one combination you can get, and while this goes become less of an issue if you shoot them in the right order, it still sucks, especially with the thundercloud near the end of the fight. Definitely not a fun fight, and a rare low point in an otherwise great game.
-Night 4 is thankfully a lot better. The new guy here is Officer Vermilion, who you can only see coming thanks to the camera menu flipping out. This ramps up the intensity again, as you have to pay attention to the menu now, in addition to everything else. Other than that, though, the night is pretty much the same as before, but all the rooms are themed after food now thanks to the Veggie Fair. There is a kind of slow cycle in the IWBTG stage, but other than that, it's still a fun night.
-After that is the Cut Content Rush, featuring a bunch of screens from a cut I Wanna Maker section of the game. Starting with the one I played first, the Femboys. GB screen reference aside, it's a weird stage, thanks to the smaller player. It feels more like luck whether I passed the jumps or not, since the camera is so zoomed out, not to mention the cherries shot by the enemy are at a different angle every time (they're probably aimed, I couldn't tell).
-Then there's the Cat Beanie part, which is more fun. There's parts of a big picture pulsing in and out of the center, and you have to platform around them. The cycle is set up really well here, making the screen a lot of fun to play.
-The Gordon Just room is up next, probably the least interesting part of the Cut Content Rush. It's just a room you have to play twice in a row, with some lamb chops walking back and forth, like in the Steak Temple section from earlier. Except for a section that requires you to wait a bit the second time through, nothing particularly worth talking about.
-Finally is the Blow Game room, featuring the return of the Femboys. Thankfully though, this room is a lot more open than the other one, and you don't move ridiculously fast this time. This takes the room from kind of annoying to something more fun.
-Onto night 5, which introduces 3 new characters, those being the Note, who is basically a music box; Meiko, who forces you into the camera; and the accursed Blue Slime King from Gelize, who only attacks after placing dice in all the rooms. This is when the nights actually start to get really difficult, as you have more to pay attention to, in addition to the time limit, not to mention the rooms becoming more difficult this time around. In the Gelize room, for example, I only just barely escaped with enough time left over. Still, definitely my least favorite night, due to the room choices: there's Gelize, like I already mentioned, but also the visual challenge gimmick from Rainbow Trap. The night is still fun, but it's still the weakest one in the game, which really says a lot about how good the other nights are if this is the worst one.
-Then you drop into the Bottomless Pit of Regret, which introduces fairies as a new gimmick. These are like the springs from earlier, but they're single use, which means you have to plan out your moves better before doing them. This is combined with a bunch of other gimmicks from the stage, and the game uses them together really well, whether it be cool pathing in the first room, or cool cherry maneuvers in the last one.
-Then comes night 6, in my opinion the best night in the whole game. Almost everyone is featured here, giving you more to focus on. This stage takes from the guest stages of the Series Z games, including the avoidances, making for the most interesting gameplay so far. Sometimes the game even combines platforming with avoidances, which is surprisingly fair in how the game handles it, as the bullet density is never too bad when you have a difficult jump to do. It's still the most difficult night though, as it's the only one where Just was able to kill me, since I kept dying to the same parts over and over. Easily the most engaging night in the whole game, definitely worth getting to here if you enjoy FNAF gameplay.
-After that though (and a bunch of gate jumps), we have the final boss fight against Summer, where we unfortunately have to end the game on a low note. This boss takes an attack from one of the enemies in the FNAF stages and combines it with a stage gimmick from before. Just like with the Crimson boss, this can result in some pretty bad combinations, since the attack pool is very unbalanced. I can't remember many specific examples other than Humantic and the Bite of '87, since the clear attempt gave me a bunch of fair combinations, but I can assure you a lot of them existed, and you have to get very lucky to avoid getting any of them. Oh, and let's not forget the choke phase after that, which got me multiple times. The strat for this one is to stay on the left as the last phase starts, so you have more time to damage her.
-The game isn't actually done there though, as after you beat that, you unlock an extra night, which is more of a joke than anything else. It's a single room from I Wanna Kill The Regr3t with everyone at max AI, which the game deems as "just impossible". However, I got through it very quickly with only a single camera check, so there's that.
And that's everything! While all these segments may not seem like a lot by themselves (except for the FNAF sections, those are epic regardless), as a whole game they are absolutely incredible. Easily one of the best fangames I've played, despite a rough spot or two here or there. Extremely recommended if you like FNAF, medleys, or interesting fangames in general.
Rating: 8.0 80
Difficulty: 60 60
Apr 25, 2025
NightShark115
For: I wanna be the Timeattacker!
For: I wanna be the Timeattacker!
Rating based on any% clear of You're Gonna Rage mode as I like to call it (thanks to Boshy also calling it that now), as it's the easiest way to beat the game—yes, really, I'll try to explain myself.
I Wanna Be The TimeAttacker! is yet another one of Leehe's earliest fangames, from back before he really had a grip on how to make anything really good. I was really curious about this game for a while, so I decided to find the download link and give it a try. Unfortunately, this game found a way to kill my curiosity very quickly, as the game itself is a horrible mess that really puts into perspective how far Leehe has come as a maker since this point.
First of all, how to even beat the game. Immediately you should notice a timer in the top left corner of the screen, hence the game's title. This is important, since it's tied to one of the ways to beat the game, that being to reach the end screen in 1234 seconds or less. The other ways are to beat the game in Rage mode, or beat the last secret boss. Of these options, the Rage mode one is by far the most reasonable, since the final boss is far less reasonable with the time limit in place, and the secret bosses look even worse than it, even without this time limit. No matter what path you take though, that doesn't save this game from being a giant piece of shit.
Onto the game itself, the platforming itself feels incredibly rudimentary, as the layouts of the rooms feel kid of weird and rarely use the whole screen size to its fullest potential. The game even gets lazy extremely quickly, as some room layouts are even reused in multiple screens. I would be fine with this if the screens were at least fun, but the problem is, they're not. Many screens have traps on them, but not many of them are very fun at all, they're either very generic or incredibly frustrating to avoid (the worst examples being on floor 36). Aside from that, most of the actual substance is taken up by generic jumps or other weird stuff, for example invisible killer blocks that only become visible when you touch them. At least some rooms do play around with interesting ideas, like floor 28 which has a giant spiral you have to outrun, or some gimmicks like triple jump or low gravity. but these are pretty few and far between. This would all be perfectly fine on Medium mode, but again, I'm playing on Rage mode, in which case the problems become much worse with a lesser save count.
However, then we have the bosses, which is where the real problem starts. These bosses range from mediocre to absolutely horrendous, but even the ok ones become worse when you realize the lack of a save before them on Rage mode.
-The first boss is the jewel, who just moves back and forth and shoots bullets at you when you attack it, and later walls of bullets from the ceiling as well. A pretty easy boss, just take your time when shooting the boss and be careful not to shoot in a way that blocks you from dodging the ceiling bullets.
-The next one is the sword, which is even simpler. It just shoots aimed shots at you when you shoot it, before eventually spawning bullets from the ceiling and in a spiral pattern in predetermined positions on top of that. Once you learn where to stand, all you have to do is jump and shoot, no other movement is required for this boss.
-After that is the Woolmark logo, which is slightly harder. You have to use low gravity to damage the boss, given how high up it is, which means this boss obviously takes a long time. It also shoots retaliation shots midway through the fight, which stack on top of each other if you mistakenly shoot it during its iframes, which has gotten me multiple times already. You've also got a moving spike at the bottom to worry about, so be careful not to land on that on your way down.
-As for the stage 4 boss, there are actually multiple. The first one is an avoidance set to "Rolling On the Duck" by NieN, but if you get here in Rage mode, or in under 777 seconds, you get to just skip it, so we're not gonna be talking about it.
-What I do want to talk about, however, is the next boss, that being the mental breaker himself, Leehe. This is a massive difficulty spike from the other bosses so far if you don't know what to do, since there's far more patterns than before, which are kind of hard to learn at first. On top of this, there's also some unfair RNG moments, like the walls of bullets that come from the sides of the screen. After you learn the patterns though, this boss is basically free besides the RNG.
-And then comes the last boss in the game, yet another massive difficulty spike, and the main reason I hate the game as much as I do. This boss is an avoidance fight against KeA Bannings based on her appearance from I Wanna Be The Locus, this time including the full version of "Aoi Kiseki" from Trails to Azure. The timer works differently here, as instead of just counting upwards all the time, you get 50 seconds added to the time when you die. While a full version of the Locus fight sounds cool, the actual fight has so many problems that it becomes impossible to appreciate the boss for going through with this concept. Most of the earlier attacks are really boring and easy, making it take a long time to actually get back to the hard part. When you do reach there, though, prepare to get fucked over by some of the worst RNG you've ever seen. You've got a bunch of cherries that fill the screen and randomly fall up or down all at once, all while you have to dodge a very dense aimed circle from the center of the screen, followed by a giant mess of RNG cherries from all sides of the screen (which happens twice in this fight). And of course, it wouldn't be a complete Locus recreation without the infamous LoveTrap attack, which is absolutely the worst part of the fight, since the game gives you basically no time after the previous attack to get into position for this one, and it's also the learniest part of the fight, right at the end too. I had to bust out the practice tool again to deal with this one properly, as this would have been absolute hell to learn otherwise. Oh, and you get some more cheap instagibs from the sides after that too. Did I mention the icing on the cake here, the boss being more than 5 minutes long? I hope you see what I'm getting at here, this boss is an absolutely unbalanced mess, in other words, definitely not the type of boss you want to put in a speedrun game.
Overall, this game started out alright for me, until I eventually realized how much of a fucking mess it actually is. Don't let your curiosity get the better of you like it did to me, this game is absolutely not worth your time, highly not recommended. If you do decide to play this for whatever reason, just play on Medium mode and stop at KeA, it's not worth it to go any farther. If you're looking for an actually fun floor game from this maker, just try I Wanna Be The Concept instead, that one is basically the polar opposite of this one in terms of quality.
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I Wanna Be The TimeAttacker! is yet another one of Leehe's earliest fangames, from back before he really had a grip on how to make anything really good. I was really curious about this game for a while, so I decided to find the download link and give it a try. Unfortunately, this game found a way to kill my curiosity very quickly, as the game itself is a horrible mess that really puts into perspective how far Leehe has come as a maker since this point.
First of all, how to even beat the game. Immediately you should notice a timer in the top left corner of the screen, hence the game's title. This is important, since it's tied to one of the ways to beat the game, that being to reach the end screen in 1234 seconds or less. The other ways are to beat the game in Rage mode, or beat the last secret boss. Of these options, the Rage mode one is by far the most reasonable, since the final boss is far less reasonable with the time limit in place, and the secret bosses look even worse than it, even without this time limit. No matter what path you take though, that doesn't save this game from being a giant piece of shit.
Onto the game itself, the platforming itself feels incredibly rudimentary, as the layouts of the rooms feel kid of weird and rarely use the whole screen size to its fullest potential. The game even gets lazy extremely quickly, as some room layouts are even reused in multiple screens. I would be fine with this if the screens were at least fun, but the problem is, they're not. Many screens have traps on them, but not many of them are very fun at all, they're either very generic or incredibly frustrating to avoid (the worst examples being on floor 36). Aside from that, most of the actual substance is taken up by generic jumps or other weird stuff, for example invisible killer blocks that only become visible when you touch them. At least some rooms do play around with interesting ideas, like floor 28 which has a giant spiral you have to outrun, or some gimmicks like triple jump or low gravity. but these are pretty few and far between. This would all be perfectly fine on Medium mode, but again, I'm playing on Rage mode, in which case the problems become much worse with a lesser save count.
However, then we have the bosses, which is where the real problem starts. These bosses range from mediocre to absolutely horrendous, but even the ok ones become worse when you realize the lack of a save before them on Rage mode.
-The first boss is the jewel, who just moves back and forth and shoots bullets at you when you attack it, and later walls of bullets from the ceiling as well. A pretty easy boss, just take your time when shooting the boss and be careful not to shoot in a way that blocks you from dodging the ceiling bullets.
-The next one is the sword, which is even simpler. It just shoots aimed shots at you when you shoot it, before eventually spawning bullets from the ceiling and in a spiral pattern in predetermined positions on top of that. Once you learn where to stand, all you have to do is jump and shoot, no other movement is required for this boss.
-After that is the Woolmark logo, which is slightly harder. You have to use low gravity to damage the boss, given how high up it is, which means this boss obviously takes a long time. It also shoots retaliation shots midway through the fight, which stack on top of each other if you mistakenly shoot it during its iframes, which has gotten me multiple times already. You've also got a moving spike at the bottom to worry about, so be careful not to land on that on your way down.
-As for the stage 4 boss, there are actually multiple. The first one is an avoidance set to "Rolling On the Duck" by NieN, but if you get here in Rage mode, or in under 777 seconds, you get to just skip it, so we're not gonna be talking about it.
-What I do want to talk about, however, is the next boss, that being the mental breaker himself, Leehe. This is a massive difficulty spike from the other bosses so far if you don't know what to do, since there's far more patterns than before, which are kind of hard to learn at first. On top of this, there's also some unfair RNG moments, like the walls of bullets that come from the sides of the screen. After you learn the patterns though, this boss is basically free besides the RNG.
-And then comes the last boss in the game, yet another massive difficulty spike, and the main reason I hate the game as much as I do. This boss is an avoidance fight against KeA Bannings based on her appearance from I Wanna Be The Locus, this time including the full version of "Aoi Kiseki" from Trails to Azure. The timer works differently here, as instead of just counting upwards all the time, you get 50 seconds added to the time when you die. While a full version of the Locus fight sounds cool, the actual fight has so many problems that it becomes impossible to appreciate the boss for going through with this concept. Most of the earlier attacks are really boring and easy, making it take a long time to actually get back to the hard part. When you do reach there, though, prepare to get fucked over by some of the worst RNG you've ever seen. You've got a bunch of cherries that fill the screen and randomly fall up or down all at once, all while you have to dodge a very dense aimed circle from the center of the screen, followed by a giant mess of RNG cherries from all sides of the screen (which happens twice in this fight). And of course, it wouldn't be a complete Locus recreation without the infamous LoveTrap attack, which is absolutely the worst part of the fight, since the game gives you basically no time after the previous attack to get into position for this one, and it's also the learniest part of the fight, right at the end too. I had to bust out the practice tool again to deal with this one properly, as this would have been absolute hell to learn otherwise. Oh, and you get some more cheap instagibs from the sides after that too. Did I mention the icing on the cake here, the boss being more than 5 minutes long? I hope you see what I'm getting at here, this boss is an absolutely unbalanced mess, in other words, definitely not the type of boss you want to put in a speedrun game.
Overall, this game started out alright for me, until I eventually realized how much of a fucking mess it actually is. Don't let your curiosity get the better of you like it did to me, this game is absolutely not worth your time, highly not recommended. If you do decide to play this for whatever reason, just play on Medium mode and stop at KeA, it's not worth it to go any farther. If you're looking for an actually fun floor game from this maker, just try I Wanna Be The Concept instead, that one is basically the polar opposite of this one in terms of quality.
Rating: 2.0 20
Difficulty: 60 60
Apr 5, 2025
NightShark115
For: I wanna get Cultured
For: I wanna get Cultured
Rating based on normal mode with all costumes, not counting Bifficult mode or anything else.
I Wanna Get Cultured is one of the earlier medley fangames to be made, one which got a lot of attention since it released. I was surprised to see that not all of that attention was positive, as for every couple of reviews praising the game, you've also got a recent review calling the game bad and outdated. So with that in mind, how did I think of the game?
The first thing to notice about the game is its main structure: instead of having some platforming screens with a boss at the end, the bosses are all joke bosses, thus giving the platforming more time in the spotlight. This even goes as far as the boss rush, which has been replaced with a stage rush, featuring some longer screens from some fangames. The main intent of this move was to make a medley aimed towards people that like platforming and not grinding on bosses, but there's also another benefit to this approach that nobody's mentioned until now. Some medleys just use screens from a fangame as an excuse to feature them in the boss fight, but with no real bosses, this game gets around that problem and allows for games to be used solely for the screens themselves.
However, as for the platforming itself, I didn't find much enjoyment here. This mostly comes from the screens themselves not being very interesting, since it's a game from 2014, and not much existed back then that's really revolutionary by 2025 standards. At least it's still kind of enjoyable at best for the most part, and there was only a handful of actively unfun screens (I'm looking at you, 8Bit), but yeah, it rarely gets better than that. At least this game has some original screens which are more exciting than what came before it, utilizing gimmicks like jump refreshers and moving platforms in interesting ways, but that unfortunately makes up a very small part of the game.
However, despite many of the bosses just being jokes, there is actually a singular real boss at the end of the game (assuming the Crimson boss doesn't count), that being Biff. This boss is actually one of the most memorable parts of the game, since the attacks are pretty interesting, and it's also not too difficult, so as to not go against the mission of "no grindy bosses". However, the makers even found a way to insert platforming into this, since at the end of every phase, you have to do a screen of platforming, but with a gimmick added on top of it. I imagine some of the gimmicks could be troublesome, especially since one of them is just the stars from Meteor Stream again, but for this run in particular, I was lucky enough to get all of them on my first try, so they weren't that bad for me.
Now onto some other aspects of the game. First, I really don't like the general jokey tone of the game, at least not in a big medley game like this. As Piece said in his creator comment, this game started out as a shitpost before becoming what it is now, and you can definitely see traces of that in the final product. The joke bosses, some screens just being jokes too, the stage clear screens with Comic Sans font and a recorder flute in the background, you name it. In any other game, this would be fine. But if you're not gonna make your big medley fangame with a serious tone, then how am I expected to take it seriously while playing it? Having a couple joke achievements here or there is fine, but if the whole game is like this, then I don't really gel with it as easily.
Anyway, now onto something more positive, that being this game's quality as a medley and a monument to the community. In this regard, the game does better than before. Despite the rooms themselves being kind of uninteresting, at least the variety of fangames chosen is extremely high. You've got everything from Sandwich to Diverse to Catharsis to even I Wannyaaaaaaaaaa, so clearly there's a lot of different types of fangames to keep you covered while playing this. There's also the secrets, which give you different skins from different fangames that you can activate at any time from then on, which are also a nice addition. And of course, we can't forget about the Wannabes Tower in stage 4, which pays homage to a bunch of prominent members of the western community at the time, another one of the most memorable parts of the game.
Either way, while this game may not be the worst thing out there, it's also far from being the best when looked at through a 2025 lens. Not really something I'd recommend, but not something I'd actively suggest against either. If you're looking for an older medley that's definitely worth your time though, I Wanna Get Rekt also exists, which does the exact opposite of this game's concept, focusing on bosses instead of platforming. Or even better, Cultured 2 exists too, so maybe check that out instead, I've heard that's also pretty good.
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I Wanna Get Cultured is one of the earlier medley fangames to be made, one which got a lot of attention since it released. I was surprised to see that not all of that attention was positive, as for every couple of reviews praising the game, you've also got a recent review calling the game bad and outdated. So with that in mind, how did I think of the game?
The first thing to notice about the game is its main structure: instead of having some platforming screens with a boss at the end, the bosses are all joke bosses, thus giving the platforming more time in the spotlight. This even goes as far as the boss rush, which has been replaced with a stage rush, featuring some longer screens from some fangames. The main intent of this move was to make a medley aimed towards people that like platforming and not grinding on bosses, but there's also another benefit to this approach that nobody's mentioned until now. Some medleys just use screens from a fangame as an excuse to feature them in the boss fight, but with no real bosses, this game gets around that problem and allows for games to be used solely for the screens themselves.
However, as for the platforming itself, I didn't find much enjoyment here. This mostly comes from the screens themselves not being very interesting, since it's a game from 2014, and not much existed back then that's really revolutionary by 2025 standards. At least it's still kind of enjoyable at best for the most part, and there was only a handful of actively unfun screens (I'm looking at you, 8Bit), but yeah, it rarely gets better than that. At least this game has some original screens which are more exciting than what came before it, utilizing gimmicks like jump refreshers and moving platforms in interesting ways, but that unfortunately makes up a very small part of the game.
However, despite many of the bosses just being jokes, there is actually a singular real boss at the end of the game (assuming the Crimson boss doesn't count), that being Biff. This boss is actually one of the most memorable parts of the game, since the attacks are pretty interesting, and it's also not too difficult, so as to not go against the mission of "no grindy bosses". However, the makers even found a way to insert platforming into this, since at the end of every phase, you have to do a screen of platforming, but with a gimmick added on top of it. I imagine some of the gimmicks could be troublesome, especially since one of them is just the stars from Meteor Stream again, but for this run in particular, I was lucky enough to get all of them on my first try, so they weren't that bad for me.
Now onto some other aspects of the game. First, I really don't like the general jokey tone of the game, at least not in a big medley game like this. As Piece said in his creator comment, this game started out as a shitpost before becoming what it is now, and you can definitely see traces of that in the final product. The joke bosses, some screens just being jokes too, the stage clear screens with Comic Sans font and a recorder flute in the background, you name it. In any other game, this would be fine. But if you're not gonna make your big medley fangame with a serious tone, then how am I expected to take it seriously while playing it? Having a couple joke achievements here or there is fine, but if the whole game is like this, then I don't really gel with it as easily.
Anyway, now onto something more positive, that being this game's quality as a medley and a monument to the community. In this regard, the game does better than before. Despite the rooms themselves being kind of uninteresting, at least the variety of fangames chosen is extremely high. You've got everything from Sandwich to Diverse to Catharsis to even I Wannyaaaaaaaaaa, so clearly there's a lot of different types of fangames to keep you covered while playing this. There's also the secrets, which give you different skins from different fangames that you can activate at any time from then on, which are also a nice addition. And of course, we can't forget about the Wannabes Tower in stage 4, which pays homage to a bunch of prominent members of the western community at the time, another one of the most memorable parts of the game.
Either way, while this game may not be the worst thing out there, it's also far from being the best when looked at through a 2025 lens. Not really something I'd recommend, but not something I'd actively suggest against either. If you're looking for an older medley that's definitely worth your time though, I Wanna Get Rekt also exists, which does the exact opposite of this game's concept, focusing on bosses instead of platforming. Or even better, Cultured 2 exists too, so maybe check that out instead, I've heard that's also pretty good.
Rating: 4.0 40
Difficulty: 55 55
Apr 5, 2025
NightShark115
For: NNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNnnice
For: NNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNnnice
:(
Tagged as: Short
[1] Like
Rating: 0.0 0
Difficulty: 15 15
Feb 12, 2025
NightShark115
For: I wanna be rolling
For: I wanna be rolling
An alright avoidance, which uses the song "Rolling Girl" by wowaka. The design is kind of weird, since while the attacks themselves are good-looking and fun to dodge, there's also a lot of dead space in the fight, and sometimes dodging isn't something the game lets you do. There's a bunch of examples of that latter point, but by far the worst one is the two rainbow circles. On top of this, the game doesn't do a very good job of telling you what the next attack is gonna be, leading to a frustrating experience on a blind playthrough. While these negatives sound like a lot, I will admit the attacks themselves were fun enough to negate this flaw for the most part. So in the end, this is a game I would recommend, but not without watching a video first to know what exactly you're getting into.
Tagged as: Avoidance
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Rating: 6.0 60
Difficulty: 45 45
Jan 1, 2025
1 Game
| Game | Difficulty | Average Rating | # of Ratings |
|---|---|---|---|
| I Wanna Eat The Macaron | 72.0 | 6.7 | 3 |
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