Delicious Fruit
Download Game Screenshots
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by Nogard
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by Nogard
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by P2shka
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by Nogard
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by DerpyHoovesIWBTG
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by P2shka
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by Anonymous
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by P2shka
36 Reviews:
iraqlobster01
Bummer once told me to review a fangame as if it were an anime. I will fulfill his wish with this review.
God bless me. It's so late and I'm pretty sure the end of the game fucked my brain. Good luck to me.
Anyways...
Platforming:
Fuck. The platforming is the primary star of the game, as it presents itself as a somewhat strange xfloor game. By strange, I mean that the maker gives you little to no hint as to how close you might be to finishing. In terms of content, the game takes the typical xfloor genre and sprinkles in a few typical gimmicks like vines and gravity switchers in order to add variety into what can be a very mundane genre. The platforming itself features a mix of typical jumps and unique jumps, with the typical jumps taking the favor (https://imgur.com/a/rtwh8) across a myriad of different floor types (types being distinguished by the gimmick, music, and skin). The difficulty of the needle varies across each set of floors but does not fluctuate much from the 90 I gave it. The beginning of the game starts off pretty tame compared to future platforming and steadily rises at least until 3X.
Personally, I enjoyed most of the platforming. Some of the saves were a bit too hard for my tastes and the sheer amount of typical jumps were factors that contributed to my dislike for the game (I use dislike lightly here, it was only for certain saves or jumps. I did not dislike an entire area). Otherwise, the use of gimmicks was exceptional and fit well with the style of needle within each area. Each area in general offered a definite challenge while remaining somewhat fun at some point. Overall, decently fun.
The game is not perfect; it has its fair share of flaws. For any xfloor game, difficulty balance can be a big issue. This game is no exception. Some floors and saves felt too free for a 90 difficulty game whereas plenty of other saves were too brutal for my taste. Yes, difficulty is subjective and I do present myself as a slow, inconsistent player who will definitely take more time compared to needle veterans, but I feel as if there's enough in the game to where something in the game will feel much harder than it should be/harder in general. The use of typical jumps was another issue I had; there were just too many damn diagonals and gates. I won't lie; it made me sick.
Overall, the platforming was great albeit its slight annoyances. It's very fun and unique enough to keep the player engaged while challenging him or her with very tough screens.
Avoidance:
Avoidance in the form of bosses and barrage take a backseat to the platforming but offer a nice break for players who might be tired of the hard needle. Bosses appear after every few areas up until 3X where a boss appears at the end of each area. The bosses are very basic and offer nothing special effect wise, but the simplicity does not take away from how nice the bosses can be. Each boss up until the final barrage features a central attack or gimmick alongside some sort of pattern or rng that really defines the boss and relates back to the area that precedes it. For example, a boss at the end of the gravity stage at 3X features gravity flippers with some aimed bouncing. The bosses each have around 10 hp and should not take more than 30 minutes to clear (with 1 or 2 exceptions).
I enjoyed all but one of the bosses. The reference to the area in the boss was very nice and the simplicity really reinvigorated a love for said simplicity that is not really present in fangames anymore. The bosses do vary as you pass from area to area, so none of the bosses will really get boring unless you spend >30 minutes on them. The bosses are usually fair, so you don't need to worry about unfair rng that much...
until and only until the jungle area boss. This boss, without a doubt, was the worst thing about this game and the worst thing I've played in a fangame. I won't go into detail, but I will say it requires luck. And a lot of it. Once you do clear it, boss difficulty will not exceed what is seen in that boss, so it should be easy going from that point on. Still, the inclusion of that boss was a serious flaw with the game. While it is the only flaw in terms of the bosses, it is a severe and unforgivable flaw that will push most players away from the game. The readme does warn players that the game is very hard, but luck should not be an indicator of difficulty, requirement for clear, and present instance in any game whatsoever. I love wonderful's work, but this was one of the worst things I've seen him do. I hope he will avoid mistakes like this in the future.
The bosses were nice. As an avoidance player, I had a lot of fun playing most of them and the end barrage was a nice finale (even though I died to the last 30 seconds or so too many times, a trend I really hope does not carry itself into other games but will not hurt the game's enjoyment in any way). I have said what I want to say about the white red cherry boss, so I will not go further into that. Very nice job.
Aesthetics:
Simple. Wonderful's aesthetic is known by most everyone in the community by now, so its no surprise to see the same in this game. I enjoyed most of the songs and the tilesets did not bother me at all. A real strength to this game and all of wonderful's games. It's not flashy in any way, but that doesn't mean the game suffers as a result. Very, very good.
Overall:
Excellent. Would recommend to fangame gods or anyone looking for a challenge that will help you improve as a player. Do keep in mind the game is meant for experienced players, so don't get your hopes up if you mean to play to clear. Just go a few floors at a time and go as far as you can. Don't grind this out if you're not ready for it. I waaaaaaaaaaarnnnnnnnned youuuuuuuuuu. :^)
I hope to see more from wonderful in the future. He has definitely become one of my favorite creators so any work of his is a definite play. This one, again, is no exception. Well, kinda.
[9] Likes
God bless me. It's so late and I'm pretty sure the end of the game fucked my brain. Good luck to me.
Anyways...
Platforming:
Fuck. The platforming is the primary star of the game, as it presents itself as a somewhat strange xfloor game. By strange, I mean that the maker gives you little to no hint as to how close you might be to finishing. In terms of content, the game takes the typical xfloor genre and sprinkles in a few typical gimmicks like vines and gravity switchers in order to add variety into what can be a very mundane genre. The platforming itself features a mix of typical jumps and unique jumps, with the typical jumps taking the favor (https://imgur.com/a/rtwh8) across a myriad of different floor types (types being distinguished by the gimmick, music, and skin). The difficulty of the needle varies across each set of floors but does not fluctuate much from the 90 I gave it. The beginning of the game starts off pretty tame compared to future platforming and steadily rises at least until 3X.
Personally, I enjoyed most of the platforming. Some of the saves were a bit too hard for my tastes and the sheer amount of typical jumps were factors that contributed to my dislike for the game (I use dislike lightly here, it was only for certain saves or jumps. I did not dislike an entire area). Otherwise, the use of gimmicks was exceptional and fit well with the style of needle within each area. Each area in general offered a definite challenge while remaining somewhat fun at some point. Overall, decently fun.
The game is not perfect; it has its fair share of flaws. For any xfloor game, difficulty balance can be a big issue. This game is no exception. Some floors and saves felt too free for a 90 difficulty game whereas plenty of other saves were too brutal for my taste. Yes, difficulty is subjective and I do present myself as a slow, inconsistent player who will definitely take more time compared to needle veterans, but I feel as if there's enough in the game to where something in the game will feel much harder than it should be/harder in general. The use of typical jumps was another issue I had; there were just too many damn diagonals and gates. I won't lie; it made me sick.
Overall, the platforming was great albeit its slight annoyances. It's very fun and unique enough to keep the player engaged while challenging him or her with very tough screens.
Avoidance:
Avoidance in the form of bosses and barrage take a backseat to the platforming but offer a nice break for players who might be tired of the hard needle. Bosses appear after every few areas up until 3X where a boss appears at the end of each area. The bosses are very basic and offer nothing special effect wise, but the simplicity does not take away from how nice the bosses can be. Each boss up until the final barrage features a central attack or gimmick alongside some sort of pattern or rng that really defines the boss and relates back to the area that precedes it. For example, a boss at the end of the gravity stage at 3X features gravity flippers with some aimed bouncing. The bosses each have around 10 hp and should not take more than 30 minutes to clear (with 1 or 2 exceptions).
I enjoyed all but one of the bosses. The reference to the area in the boss was very nice and the simplicity really reinvigorated a love for said simplicity that is not really present in fangames anymore. The bosses do vary as you pass from area to area, so none of the bosses will really get boring unless you spend >30 minutes on them. The bosses are usually fair, so you don't need to worry about unfair rng that much...
until and only until the jungle area boss. This boss, without a doubt, was the worst thing about this game and the worst thing I've played in a fangame. I won't go into detail, but I will say it requires luck. And a lot of it. Once you do clear it, boss difficulty will not exceed what is seen in that boss, so it should be easy going from that point on. Still, the inclusion of that boss was a serious flaw with the game. While it is the only flaw in terms of the bosses, it is a severe and unforgivable flaw that will push most players away from the game. The readme does warn players that the game is very hard, but luck should not be an indicator of difficulty, requirement for clear, and present instance in any game whatsoever. I love wonderful's work, but this was one of the worst things I've seen him do. I hope he will avoid mistakes like this in the future.
The bosses were nice. As an avoidance player, I had a lot of fun playing most of them and the end barrage was a nice finale (even though I died to the last 30 seconds or so too many times, a trend I really hope does not carry itself into other games but will not hurt the game's enjoyment in any way). I have said what I want to say about the white red cherry boss, so I will not go further into that. Very nice job.
Aesthetics:
Simple. Wonderful's aesthetic is known by most everyone in the community by now, so its no surprise to see the same in this game. I enjoyed most of the songs and the tilesets did not bother me at all. A real strength to this game and all of wonderful's games. It's not flashy in any way, but that doesn't mean the game suffers as a result. Very, very good.
Overall:
Excellent. Would recommend to fangame gods or anyone looking for a challenge that will help you improve as a player. Do keep in mind the game is meant for experienced players, so don't get your hopes up if you mean to play to clear. Just go a few floors at a time and go as far as you can. Don't grind this out if you're not ready for it. I waaaaaaaaaaarnnnnnnnned youuuuuuuuuu. :^)
I hope to see more from wonderful in the future. He has definitely become one of my favorite creators so any work of his is a definite play. This one, again, is no exception. Well, kinda.
Rating: 8.0 80
Difficulty: 90 90
Oct 17, 2017
Jopagu
Figure is a brilliant game, and from the get-go you can tell that Wonderful poured her heart and soul into this game. It's packed full of emotion, from the visuals to the outstanding soundtrack. The game is about a lot of things, but the biggest theme I found is about Wonderful's journey as a trans person. As a trans person myself, a lot of things here really resonated with me, and I found that several parts were evocative of my own darkest moments. I don't want to speak much on the theming, as I think it's best to be experienced on your own, but I would be remiss if I didn't acknowledge how much it meant to me.
The needle itself is fantastic, and even at its hardest it never felt unfun (for me at least). The needle has a lot of parts that could be considered generic, like frequent named jumps, but they're woven in masterfully, creating a game that feels familiar but unique. One of the notable screens is 22, which uses some cool line needle that verges into intentionally uncomfortable, creating one of the strongest thematic screens in the game. Shortly after comes the water screen, which uses water in a really fun way, ending with a unique save that is a memorable journey that really brings you in tune with the beautiful song.
The game is at it's strongest in 3X, the second half of the game. Each area here is fun in its own way, with a lot of cool stuff. First, the jungle. This was personally my least favorite, as there were a few awkward platform snap moments. However, I like the incorporation of cycles and vine needle so it was still fun. The boss here is notorious, however I'm in the very small minority that actually enjoyed it. The RNG created some really hard dodges, but I felt like it was so prominent these moments happened every attempts, so you had to overcome them, instead of feeling like you got screwed. The RNG made this boss require playing smart, and being careful about when you choose to go up to attack.
Secondly, the mine area. The needle here is really hard, but it's rewarding. I used the skip, and I would recommend everyone keep an eye out for it, if I didn't use it I might have a very different opinion. The gimmick in this stage is cool, and adds some memorable flair without actually affecting gameplay. This stage had my least favorite boss, and this one actually felt like RNG screwed you too much. The turrets constantly spawning made aggression required to destroy them all, and often you would get screwed by a pattern that required being slow and careful, only to die because a turret spawned.
Third, baby blue sedan. This is significantly easier than the other stages, providing a nice break. The stage has some really fun jump refresher platforming and some cool looking spike patterns. I wish this was a bigger part of the game, because I loved it. The boss here was pretty hard, but it was a fun fight that required good reactions.
Fourth, the Dopamine-esque area. With a fog effect, a black tileset, and unique screen layouts, this area is a super memorable stage with a moody vibe. This was my favorite stage, as it features more of Wonderful's fun water usage, and it masterfully captures the desired atmosphere. The final screen has a cool double tank layout, that was really fun to go through. The boss here was really fun, although another place where bad RNG could be annoying.
Finally, the gravity area. This area is another easy one, and also the shortest. There's some really cool usage of gravity flippers and cycles here, I wish there would've been more than two screens. The boss is fun, imo the easiest boss so it wasn't as memorable to me. I don't have much to say about this stage, but I really loved it!
After all that, you get to the 40s. These are some of the hardest screens in the game, with 42 taking the cake. They include a fun gimmick, and a beautifully stylistic spotlight, as well as a haunting song. These all combine to create a perfect ending. The screens are all long, with a lot of twists and turns, and backtracking. This helps accentuate the feeling of ending the journey, and making that final step. This stage is really beautiful, and will hold a place in my mind for a long time.
The game ends with an avoidance. The avoidance is really hard! I'm primarily a needle player, but I do have moderate experience with bosses/avoidances, but this still rolled me, taking me 8 hours. However, that just made the clear all that much sweeter. The grey intro is hard, and RNG heavy, but gets pretty consistent. The first attack after the color change was my least favorite part, and also the biggest wall. This attack requires lots of small jumps and tight movements, and RNG felt oppressive here. After this, the avoidance steps down a bit, and has a lot of really fun attacks. The infinite jump section was cool and appropriately hectic without being a big barrier. The final segment is quite tight, and I feel like I got pretty lucky beating it when I did. However, it's still a fun section.
The 40's and the beginning of the avoidance are dark and bleak, creating a grim mood and evoking a sense of hopelessness (especially with the difficulty). However, the second half of the avoidance brightens up, and the game ends with color and a spark of hope. The clear screen has a beautiful, beautiful song. I don't want to spoil the experience for you, so I'll just say that it's a phenomenal cap to the game and the themes present, and it meant a lot to me personally. The song resonated really hard with my own life, and after sitting there and listening to it for a few minutes I was legitimately very emotional.
Overall, I can't recommend this game enough. However, make sure you're ready! It's very hard! But once you feel like you could beat this game, you should go for it. Aside from just being fun, the game is an emotional experience that will leave you just sitting in thought by the end of it.
[5] Likes
The needle itself is fantastic, and even at its hardest it never felt unfun (for me at least). The needle has a lot of parts that could be considered generic, like frequent named jumps, but they're woven in masterfully, creating a game that feels familiar but unique. One of the notable screens is 22, which uses some cool line needle that verges into intentionally uncomfortable, creating one of the strongest thematic screens in the game. Shortly after comes the water screen, which uses water in a really fun way, ending with a unique save that is a memorable journey that really brings you in tune with the beautiful song.
The game is at it's strongest in 3X, the second half of the game. Each area here is fun in its own way, with a lot of cool stuff. First, the jungle. This was personally my least favorite, as there were a few awkward platform snap moments. However, I like the incorporation of cycles and vine needle so it was still fun. The boss here is notorious, however I'm in the very small minority that actually enjoyed it. The RNG created some really hard dodges, but I felt like it was so prominent these moments happened every attempts, so you had to overcome them, instead of feeling like you got screwed. The RNG made this boss require playing smart, and being careful about when you choose to go up to attack.
Secondly, the mine area. The needle here is really hard, but it's rewarding. I used the skip, and I would recommend everyone keep an eye out for it, if I didn't use it I might have a very different opinion. The gimmick in this stage is cool, and adds some memorable flair without actually affecting gameplay. This stage had my least favorite boss, and this one actually felt like RNG screwed you too much. The turrets constantly spawning made aggression required to destroy them all, and often you would get screwed by a pattern that required being slow and careful, only to die because a turret spawned.
Third, baby blue sedan. This is significantly easier than the other stages, providing a nice break. The stage has some really fun jump refresher platforming and some cool looking spike patterns. I wish this was a bigger part of the game, because I loved it. The boss here was pretty hard, but it was a fun fight that required good reactions.
Fourth, the Dopamine-esque area. With a fog effect, a black tileset, and unique screen layouts, this area is a super memorable stage with a moody vibe. This was my favorite stage, as it features more of Wonderful's fun water usage, and it masterfully captures the desired atmosphere. The final screen has a cool double tank layout, that was really fun to go through. The boss here was really fun, although another place where bad RNG could be annoying.
Finally, the gravity area. This area is another easy one, and also the shortest. There's some really cool usage of gravity flippers and cycles here, I wish there would've been more than two screens. The boss is fun, imo the easiest boss so it wasn't as memorable to me. I don't have much to say about this stage, but I really loved it!
After all that, you get to the 40s. These are some of the hardest screens in the game, with 42 taking the cake. They include a fun gimmick, and a beautifully stylistic spotlight, as well as a haunting song. These all combine to create a perfect ending. The screens are all long, with a lot of twists and turns, and backtracking. This helps accentuate the feeling of ending the journey, and making that final step. This stage is really beautiful, and will hold a place in my mind for a long time.
The game ends with an avoidance. The avoidance is really hard! I'm primarily a needle player, but I do have moderate experience with bosses/avoidances, but this still rolled me, taking me 8 hours. However, that just made the clear all that much sweeter. The grey intro is hard, and RNG heavy, but gets pretty consistent. The first attack after the color change was my least favorite part, and also the biggest wall. This attack requires lots of small jumps and tight movements, and RNG felt oppressive here. After this, the avoidance steps down a bit, and has a lot of really fun attacks. The infinite jump section was cool and appropriately hectic without being a big barrier. The final segment is quite tight, and I feel like I got pretty lucky beating it when I did. However, it's still a fun section.
The 40's and the beginning of the avoidance are dark and bleak, creating a grim mood and evoking a sense of hopelessness (especially with the difficulty). However, the second half of the avoidance brightens up, and the game ends with color and a spark of hope. The clear screen has a beautiful, beautiful song. I don't want to spoil the experience for you, so I'll just say that it's a phenomenal cap to the game and the themes present, and it meant a lot to me personally. The song resonated really hard with my own life, and after sitting there and listening to it for a few minutes I was legitimately very emotional.
Overall, I can't recommend this game enough. However, make sure you're ready! It's very hard! But once you feel like you could beat this game, you should go for it. Aside from just being fun, the game is an emotional experience that will leave you just sitting in thought by the end of it.
Rating: 9.8 98
Difficulty: 81 81
Jul 22, 2022
egg
Ratings based on everything before the final avoidance because, let's face it, I'll probably never clear it. Avoidance is just not for me, and this one seems particularly difficult compared to what I've managed to scrape through.
This game is incredible. It took me a very long time to get through it (again, ignoring the final avoidance) but I've loved about 51 out of the 63.5 hours I've spent on this game.
That said, the game has some problem segments which really stick out and bog down the experience a lot. While I did particularly enjoy a lot of segments, the ones that were more memorable were certainly the ones that I did not enjoy.
Here I will very harshly detail the segments I really actually just fucking hated:
OK Actually just fuck screen 42. I get it, it's very close to the end so it's gonna be harder, but actually just fuck that screen. The save is super long, and has an actual ton of jumps that suck really hard to die to. Everything up until the gravity flip/trigger is fine, but every jump after that can suck my ass.
The first two screens of the right path in 3X. They're both really long and full of annoying jumps, especially the second screen. There honestly aren't any specific problem jumps in the first screen, they all just add up to be really tedious. But the second screen is littered with them. The invert, and the T-bone and beyond are bundo as hell.
The Jungle boss. Just no.
Screen 22. For the most part, this stage was OK, but it definitely had some parts I really disliked. The first save is pretty awkward and claustrophobic, but not too bad. The second save is a real doozy. This save made me stop playing the game for like, two months. The terrible camera is really the downfall of this save. Everything after the diagonal is very annoying. Especially the second last jump.
Screen 20 is weird. I liked it a fair amount, it was pretty fun, but it was quite the large spike in difficulty compared to everything before it. Also fuck that stupid moving fruit that does literally nothing aside from making you wait. Doesn't affect the jump at all, it's just there to slow you down.
Also this segment doesn't even come close to the same category as the previously mentioned ones; I'm just too lazy to make another spoiler segment: The water save. It was very intimidating from watching others play it. It looked like complete ass and I was expecting it to be my least favorite part of the game, but I ended up enjoying the save a lot! It was a bit frustrating at times, but that comes down to my own fault and not the game's. There's nothing really bad about the save. The troll at the very end is hilarious. I knew something like it happened going into it but I couldn't remember, and I had a good giggle at it anyway.
But yeah, this game is sick. The visuals are simple but get the job done, which I really dig as an aesthetic. The music is actually fucking AMAZING. I listen to a lot of the soundtrack on the daily, and even have a playlist on YouTube located here: https://www.youtube.com/playlist?list=PLXNdj2WCx5WOXLfgLmAkYvMbfiGPnk1Xb
If you enjoy needle (and are VERY good at it (which I am not)), definitely check it out. It's extremely creative and oozes personality.
No, Donald isn't nearly as bad as everyone says. I sincerely disagree with people saying it's cancer. :~)
[5] Likes
This game is incredible. It took me a very long time to get through it (again, ignoring the final avoidance) but I've loved about 51 out of the 63.5 hours I've spent on this game.
That said, the game has some problem segments which really stick out and bog down the experience a lot. While I did particularly enjoy a lot of segments, the ones that were more memorable were certainly the ones that I did not enjoy.
Here I will very harshly detail the segments I really actually just fucking hated:
OK Actually just fuck screen 42. I get it, it's very close to the end so it's gonna be harder, but actually just fuck that screen. The save is super long, and has an actual ton of jumps that suck really hard to die to. Everything up until the gravity flip/trigger is fine, but every jump after that can suck my ass.
The first two screens of the right path in 3X. They're both really long and full of annoying jumps, especially the second screen. There honestly aren't any specific problem jumps in the first screen, they all just add up to be really tedious. But the second screen is littered with them. The invert, and the T-bone and beyond are bundo as hell.
The Jungle boss. Just no.
Screen 22. For the most part, this stage was OK, but it definitely had some parts I really disliked. The first save is pretty awkward and claustrophobic, but not too bad. The second save is a real doozy. This save made me stop playing the game for like, two months. The terrible camera is really the downfall of this save. Everything after the diagonal is very annoying. Especially the second last jump.
Screen 20 is weird. I liked it a fair amount, it was pretty fun, but it was quite the large spike in difficulty compared to everything before it. Also fuck that stupid moving fruit that does literally nothing aside from making you wait. Doesn't affect the jump at all, it's just there to slow you down.
Also this segment doesn't even come close to the same category as the previously mentioned ones; I'm just too lazy to make another spoiler segment: The water save. It was very intimidating from watching others play it. It looked like complete ass and I was expecting it to be my least favorite part of the game, but I ended up enjoying the save a lot! It was a bit frustrating at times, but that comes down to my own fault and not the game's. There's nothing really bad about the save. The troll at the very end is hilarious. I knew something like it happened going into it but I couldn't remember, and I had a good giggle at it anyway.
But yeah, this game is sick. The visuals are simple but get the job done, which I really dig as an aesthetic. The music is actually fucking AMAZING. I listen to a lot of the soundtrack on the daily, and even have a playlist on YouTube located here: https://www.youtube.com/playlist?list=PLXNdj2WCx5WOXLfgLmAkYvMbfiGPnk1Xb
If you enjoy needle (and are VERY good at it (which I am not)), definitely check it out. It's extremely creative and oozes personality.
No, Donald isn't nearly as bad as everyone says. I sincerely disagree with people saying it's cancer. :~)
Rating: 8.9 89
Difficulty: 89 89
May 7, 2018
aliceNobodi
In 1912, German Psychologist Carl Jung would publish “Wandlungen und Symbole der Libido”. (I promise this is a review for “I Wanna Figure”.) In this book, he would put forth the idea that there were different levels of unconsciousness. In this idea, some levels are ones we are aware of and have direct influence over, while others go below what we are directly aware of and do not have direct interaction with. He would later go on to give each level its own archetype, defining it further into ideas on how each part not only interacts with each other, but also how each part contributes to forming the entire individual. For the purposes of this review, I will be grossly oversimplifying a lot of key concepts, but I feel it is important to clearly establish three of these archetypes so as to ensure the reader may understand where I will later take the conversation and discussion regarding “I Wanna Figure”.
Firstly, there is the outermost layer archetyped as “the persona”. This layer is meant to depict the way our unconsciousness wishes to present ourselves to others. For example, this is the conversations you have, the events you support or participate in, and the other public facing ideas and activities that you create specifically for interpersonal relations. This is the easiest layer for individuals who aren’t yourself to see, as the entire purpose of “the persona” is to be the composite of everything you put forth into being. “The persona” is a distillation or idealization of what we wish to achieve within ourselves, though we often omit parts of our unconsciousness from it for the purposes of connecting to those in the outside world.
Those omissions lead to the layer below “the persona”, archetyped as “the ego”. This layer contains the ideals that represent ourselves interacting with *ourselves*. For example, this is reaching for water instead of soda to boost your self image, playing a game because it gives you enjoyment, and any other actions performed for the satisfaction or interest of none other than yourself. This may take a second to acknowledge, but most people have an “inner voice” or “conscious choice” when it comes to taking actions in any form. At first, this seems like a contradiction (a “conscious choice” in the realm of unconsciousness), but it is important to point out the unconsciousness comes not from you responding to yourself, but rather from presenting yourself with the situation needing to be responded to in the first place. You are acknowledging yourself both before and after an event takes place, and your responses and actions form and shape “the ego” in ways that cannot typically be observed by those who aren’t yourself.
A question then arises: what comes of responses and actions that you can’t observe? The answer is the layer below “the ego” and the last to be mentioned before finally talking about “I Wanna Figure”, the one archetyped as “the shadow”. This layer consists of thoughts, actions, and events that aren’t personally acknowledged, yet still define both how we act and how our unconscious functions. For example, conversations you had with a person you don’t talk to anymore, the background observations you make when traveling that impact how you consider options in the future, and many other such actions that still affect and influence you despite not being actively aware of them. “The shadow” acts as the connecting point between collective unconsciousness and personal unconsciousness, bridging the influences and experiences you have with your personal convictions and ideals. Layers deeper than this one are more difficult to acknowledge and derive influence from, at least for the purposes of this review, and as such I will not be exploring Jung’s theory beyond this.
We have now established the outermost layers of this interpretation of unconsciousness, and can simplify them into more manageable ideas. “The persona” is how you present yourself to the outside world, and how you are perceived by others. “The ego” is how you present yourself to yourself, and what you believe yourself to be like from within your own mind. “The shadow” is what is presented to you without you being aware of it, while still being a part of you and influencing you. With these three concepts, I would now like to justify this overly long and complicated exposition to a fangame review with the following thesis:
I Wanna Figure is a game made by wonderful’s unconsciousness, culminating in an encounter with her “shadow”, and it is one of the closest methods to experiencing someone else’s “shadow” that I have ever encountered.
The remainder of this review is a justification of this statement.
Firstly, the numbers. I Wanna Figure presents itself as an “X-Floor Game” in which the objective is to go from the first screen to the last, and each individual room is numbered. Right from the start, it struggles to follow this pattern throughout the entire game by counting numbers in the following order:
0, 1, 3, 5, 7, 8, 11, 12, 13, 16, 17, 17, 2, 6, 4, 9, 2, 10, 18, 19, [nothing], 20, 21, 22, 29, [nothing], 3X, 40, 41, 42, 43, 44, 45
It skips over several numbers (14, 15, 23, etc.), duplicates others (17, 2), and completely diverges from the idea of counting at multiple points. At first, one might be tempted to say that the numbers are completely arbitrary and meaningless, but there are still some patterns and meanings to discern. First, with the exception of jumping from 17 to 2, every number is increasing. The game is making forward progress, regardless of if that progress is immediately obvious to you or not. The numbers in that sense act less as a progress counter and more like a progress indicator. They are the game's way of saying “you’re still progressing, keep going”.
The most obvious counterexample to this is the aforementioned jump from 17 back to 2. At first, it may seem like it goes against everything I stated previously, that the game is suddenly saying “sorry, you’ve lost progress”. What I think is happening here, however, goes deeper than the numbers. This numerical reset can be treated as a single segment of the overall game, resulting in a chunk that lasts from game start to this moment. Keep this idea of segmentation in mind as we look at other aspects.
Secondly, the visuals. I Wanna Figure does not aim to impress you with its visuals; in fact, most of the assets in the game are either standard engine assets or monochromatic blocks and background, with the occasional image editor filter applied. Despite this, the visuals actively progress and develop as the game goes on, becoming much more important than just “it looks pretty”.
(For the purposes of clarity, I will define a “stage” to be each portion of the game in which a unique song plays, and refer to these stages by the names of said songs.)
Stage one, “Brown Eyed Girl”, uses only the simplest of assets, found in most engines. In fact, apart from the number 0 and the section with the moving spikes in the water, this entire screen is simply spikes and brown blocks and could be recreated in the program “jtool”. It’s abrasively simple, which further contrasts with the following screen introducing a grassy top to the blocks. One could compare this to someone being recently awoken, developing and expanding their awareness in real time. This further grows in stage two, “Let's Go”, which utilizes the more complex of the commonplace tilesets, the gray girders. This is the point in the game where moving obstacles start to become more frequent, in the form of fruit or cyclical spike paths. It remains, however, using solely what assets are readily available, which is why stage three “Lola” instead focuses on original features, presenting a recognizable identity to those looking on from outside. Stage four, “Bangkok”, acknowledges that this personified version of the game is capable of understanding movement and visuals individually, and is now attempting to present both at the same time. And yet, its comprehension is flawed, incomplete, and so it divides the room physically in two, the left half focused on movement, the right half on visuals and structure. Stage five, “King Rat”, acknowledges its lack of cohesion and overcorrects, swaying the balance in the opposite direction, akin to a pendulum swinging back and forth between “movement” and “artistry”. Where the previous stage swung over to artistry, this stage swung harder into movement, before eventually stabilizing in stage six, “The Boys Are Back In Town.”
“The Boys Are Back In Town” reaches the climax of the idea of being awoken and becoming aware in terms of “I Wanna Figure”. It is easily the most recognizable portion of the game, being referenced multiple times in games such as Crimson Needle 3, Guy Tower Defense, and even my own personal work of 100 Floor Medley. It mixes the idea of artistry (using jagged spike and block fragments in mixture with literal images of Goofy and Donald Duck) with movement (constant cycles of fruit being either aimed directly at you or in the path of progression), while not going too overboard with the ideas. This is also where floor 17 happens – twice. I think the game knows that this stage is the pinnacle of what it could possibly do with these aspects and, as such, is why the reset back to floor 2 happens after this stage. This reversion is the game transferring directorial authority from wonderful’s “persona” to wonderful’s “ego”. The entire game up to this point has been about finding how it wants to present itself to others, and mastering this presentation until it no longer has anything it can add.
After this handoff, wonderful’s “ego” is left in a situation of not being prepared to take the reins. Stage seven, “Chocolate Girl”, addresses this sudden change of perspective with a need to reestablish itself, not to the outside world, but internally. It’s sprawling and disjointed, sometimes unclear on where to go. Stage eight, “Disintegration Anxiety”, collects these fragments and holds them closer to each other, but not putting them together quite yet. The game is still in the process of coping with the sudden change, but it’s taking the proper steps towards doing so. This leads to stage nine, “Yellow Country Teeth”, which is able to take these fragments and arrange them in a way that is at least “presentable”, while not entirely being “complete”. Its appearance has been cleaned up, but its identity remains uncertain. Stage ten, “A 1000 Times”, takes a break from explicit progression to allow the game to address this uncertainty. It repeats the same ideas over and over again, before eventually looking back towards the first chunk of the game and acknowledging its previous successful blend of artistry and movement.
It is worth pointing out: every screen from floor 2 to these currently unnumbered floors has been entirely static rooms of needle – that is, nothing within them has been moving. Stage ten allows the game to break away from that – it’s no longer regaining its composure, it’s allowing itself to actually have self-expression in a way that wasn’t possible with just the “persona” of wonderful. Stage eleven, “Warned You”, is wonderful’s “ego” finally gaining the confidence to showcase that sense of expression. With that said, the way it expresses itself comes off as a bit dreary. Yes, there are signs of movement, and it even keeps some form of familiarity through the default spikes, as if to say “hey, I’m about to do this for myself, you can go do something else now if you want to”. This, however, is not the end state of I Wanna Figure. If it was, this review would be dramatically smaller and significantly less pretentious.
Instead, it goes forward into Stage twelve, “My Body is a Cage”. This stage follows through with the warning implied in the previous stage, delving fully into the almost “bleak” ideology wonderful’s “ego” has decided to present as the driving force of this game. Stage thirteen, “The Drugs Don't Work”, acts as wonderful’s “ego” pausing to take a breath from all of the work it has been doing before springboarding directly into the first boss of this game, “Crystalised”. This boss serves as the logical conclusion of the journey wonderful’s “ego” goes on, though I wouldn’t necessarily call it a climax. It feels weak, frail, almost limping through the motions before eventually allowing you to head towards stage fourteen, “Aquarius”. Wonderful’s “ego” now realizes that the path it developed has left it feeling even more isolated and confused than when it started out. “Aquarius” feels like it’s screaming out into a void, worried that the only response it receives will be a reflection of the sound waves they emit, that the moral of the story is “you have done this to yourself, now live with it.” In no truer sense does this feel like the culmination of wonderful’s “ego” dealing with itself, and more specifically of how it is *not* able to. It is at this point, then, that it hangs up its hat and allows the game to be directed by someone it wishes it could be, but worries it can’t.
This abstract feeling of depression is not met with redundancy, however, as it instead leads us to the third and final chunk of the game. Here, the structure of the game really breaks down, as the idea of “stages”, “artistry”, and “movement” all become meaningless labels that don’t really hold any weight in the situation anymore. wonderful’s “persona” was able to find a way to show the world that it could do whatever it wanted, and wonderful’s “ego” was faced with acknowledging that it couldn’t do that for itself. This leaves wonderful’s “shadow” who, not needing to worry about these ideas, instead reestablishes the idea of wonderful in such a way that even wonderful herself has gone on record saying she didn’t fully know what was going on. The stages – “32 Levels”, “A Breath Away”, “Down Under”, “Baby Blue Sedan”, and “Drinkee” – all take completely different approaches to what was previously done. None of them have numbers, there’s no order in which to do them, and some of them don’t even have unique tiles. This doesn’t matter, however, because wonderful’s “shadow” *knows* it doesn’t matter. The point of these stages existing isn’t for the game to achieve something – neither for those around it, nor for itself. The point of these stages is to allow wonderful as a collective idea to face herself as she truly is, either by acknowledging that having imperfections is part of what makes her human, or by shunning reality for itself and burying herself deeper into the hole wonderful’s “ego” found itself in.
How wonderful responded to this can only truly be known by wonderful herself, but as an onlooker, you can get a good idea through the final stage of the game, “Ghost in a Kiss”. This stage feels like you’re watching a dead body come back to life. Despite the depressing atmosphere taking a deeper cut than it ever has before, the stage is filled with an underlying sense of hope. The floor numbers have returned, and for the first time in the entire game, they are counting numerically. Floors 40-44 feel like wonderful’s “shadow” handing the power of the game, and by extension of wonderful herself, back into the hand of wonderful’s “ego”. wonderful’s “shadow” never wanted to completely replace her “ego”, instead wanting to present itself with a way to find contentness and peace in a world filled with uncertainty and chaos. The final boss, “Blast”, is wonderful’s “ego” finding said peace and moving forward, knowing that, while it may not be the most prolific or highly acclaimed part of wonderful, it is still the most true to who wonderful is as a person, and it shouldn’t let itself get in the way of that. The boss ends with a fade to a yellow screen, followed by a screen with the word “Clear” written out in giant block letters.
I Wanna Figure is not a game for everyone. In fact, I would go so far as to say that you probably shouldn’t play it. It’s hard, unforgiving, and in most cases seemingly unpolished and user hostile. Despite all of this, I Wanna Figure is a masterpiece. It is the truest expression of one’s self that has ever been created in a GameMaker project file, and it has inspired myself and countless others to be more open and experimental with the topics and ideas that we put into fangames. The ripples this game has left on the creations of this community as a whole will be felt for years to come, either from this game itself or from the numerous games inspired by it. It is my hope that anyone reading this is able to find a game that completely awe-strikes them as much as this game has for me. I Wanna Figure is a very raw and interpersonal statement from wonderful’s inner unconsciousness, and I am grateful that she has allowed us to take such a look into it.
With that said, I could just be overthinking all of this and it might not be that deep at all. There was a mistile on floor 6, 0/10 wonderful fix your game.
References:
wonderful. I Wanna Figure, 17 May 2017, delicious-fruit.com/ratings/game_details.php?id=18794. Accessed 1 Jan. 2026.
Boechat, Walter. “International Association for Analytical Psychology.” International Association of Analytical Psychology IAAP, iaap.org/jung-analytical-psychology/short-articles-on-analytical-psychology/the-collective-unconscious-2/. Accessed 1 Jan. 2026.
Fordham, Frieda, Fordham, Michael S.M.. "Carl Jung". Encyclopedia Britannica, 4 Dec. 2025, https://www.britannica.com/biography/Carl-Jung. Accessed 1 January 2026.
Garnermann, Jasbinder. “The Origin of the Shadow.” Jung Centre, 2017, www.jungcentre.com/the-origin-of-the-shadow. Accessed 1 January 2026.
Hartman, Gary V. “A Time Line of the History and Development of Jung’s Works and Theories (1902-1935).” The Jung Page, 27 Oct. 2013, jungpage.org/learn/articles/analytical-psychology/162-a-time-line-of-the-history-and-development-of-jungs-works-and-theories-1902-1935. Accessed 1 January 2026.
[4] Likes
Firstly, there is the outermost layer archetyped as “the persona”. This layer is meant to depict the way our unconsciousness wishes to present ourselves to others. For example, this is the conversations you have, the events you support or participate in, and the other public facing ideas and activities that you create specifically for interpersonal relations. This is the easiest layer for individuals who aren’t yourself to see, as the entire purpose of “the persona” is to be the composite of everything you put forth into being. “The persona” is a distillation or idealization of what we wish to achieve within ourselves, though we often omit parts of our unconsciousness from it for the purposes of connecting to those in the outside world.
Those omissions lead to the layer below “the persona”, archetyped as “the ego”. This layer contains the ideals that represent ourselves interacting with *ourselves*. For example, this is reaching for water instead of soda to boost your self image, playing a game because it gives you enjoyment, and any other actions performed for the satisfaction or interest of none other than yourself. This may take a second to acknowledge, but most people have an “inner voice” or “conscious choice” when it comes to taking actions in any form. At first, this seems like a contradiction (a “conscious choice” in the realm of unconsciousness), but it is important to point out the unconsciousness comes not from you responding to yourself, but rather from presenting yourself with the situation needing to be responded to in the first place. You are acknowledging yourself both before and after an event takes place, and your responses and actions form and shape “the ego” in ways that cannot typically be observed by those who aren’t yourself.
A question then arises: what comes of responses and actions that you can’t observe? The answer is the layer below “the ego” and the last to be mentioned before finally talking about “I Wanna Figure”, the one archetyped as “the shadow”. This layer consists of thoughts, actions, and events that aren’t personally acknowledged, yet still define both how we act and how our unconscious functions. For example, conversations you had with a person you don’t talk to anymore, the background observations you make when traveling that impact how you consider options in the future, and many other such actions that still affect and influence you despite not being actively aware of them. “The shadow” acts as the connecting point between collective unconsciousness and personal unconsciousness, bridging the influences and experiences you have with your personal convictions and ideals. Layers deeper than this one are more difficult to acknowledge and derive influence from, at least for the purposes of this review, and as such I will not be exploring Jung’s theory beyond this.
We have now established the outermost layers of this interpretation of unconsciousness, and can simplify them into more manageable ideas. “The persona” is how you present yourself to the outside world, and how you are perceived by others. “The ego” is how you present yourself to yourself, and what you believe yourself to be like from within your own mind. “The shadow” is what is presented to you without you being aware of it, while still being a part of you and influencing you. With these three concepts, I would now like to justify this overly long and complicated exposition to a fangame review with the following thesis:
I Wanna Figure is a game made by wonderful’s unconsciousness, culminating in an encounter with her “shadow”, and it is one of the closest methods to experiencing someone else’s “shadow” that I have ever encountered.
The remainder of this review is a justification of this statement.
Firstly, the numbers. I Wanna Figure presents itself as an “X-Floor Game” in which the objective is to go from the first screen to the last, and each individual room is numbered. Right from the start, it struggles to follow this pattern throughout the entire game by counting numbers in the following order:
0, 1, 3, 5, 7, 8, 11, 12, 13, 16, 17, 17, 2, 6, 4, 9, 2, 10, 18, 19, [nothing], 20, 21, 22, 29, [nothing], 3X, 40, 41, 42, 43, 44, 45
It skips over several numbers (14, 15, 23, etc.), duplicates others (17, 2), and completely diverges from the idea of counting at multiple points. At first, one might be tempted to say that the numbers are completely arbitrary and meaningless, but there are still some patterns and meanings to discern. First, with the exception of jumping from 17 to 2, every number is increasing. The game is making forward progress, regardless of if that progress is immediately obvious to you or not. The numbers in that sense act less as a progress counter and more like a progress indicator. They are the game's way of saying “you’re still progressing, keep going”.
The most obvious counterexample to this is the aforementioned jump from 17 back to 2. At first, it may seem like it goes against everything I stated previously, that the game is suddenly saying “sorry, you’ve lost progress”. What I think is happening here, however, goes deeper than the numbers. This numerical reset can be treated as a single segment of the overall game, resulting in a chunk that lasts from game start to this moment. Keep this idea of segmentation in mind as we look at other aspects.
Secondly, the visuals. I Wanna Figure does not aim to impress you with its visuals; in fact, most of the assets in the game are either standard engine assets or monochromatic blocks and background, with the occasional image editor filter applied. Despite this, the visuals actively progress and develop as the game goes on, becoming much more important than just “it looks pretty”.
(For the purposes of clarity, I will define a “stage” to be each portion of the game in which a unique song plays, and refer to these stages by the names of said songs.)
Stage one, “Brown Eyed Girl”, uses only the simplest of assets, found in most engines. In fact, apart from the number 0 and the section with the moving spikes in the water, this entire screen is simply spikes and brown blocks and could be recreated in the program “jtool”. It’s abrasively simple, which further contrasts with the following screen introducing a grassy top to the blocks. One could compare this to someone being recently awoken, developing and expanding their awareness in real time. This further grows in stage two, “Let's Go”, which utilizes the more complex of the commonplace tilesets, the gray girders. This is the point in the game where moving obstacles start to become more frequent, in the form of fruit or cyclical spike paths. It remains, however, using solely what assets are readily available, which is why stage three “Lola” instead focuses on original features, presenting a recognizable identity to those looking on from outside. Stage four, “Bangkok”, acknowledges that this personified version of the game is capable of understanding movement and visuals individually, and is now attempting to present both at the same time. And yet, its comprehension is flawed, incomplete, and so it divides the room physically in two, the left half focused on movement, the right half on visuals and structure. Stage five, “King Rat”, acknowledges its lack of cohesion and overcorrects, swaying the balance in the opposite direction, akin to a pendulum swinging back and forth between “movement” and “artistry”. Where the previous stage swung over to artistry, this stage swung harder into movement, before eventually stabilizing in stage six, “The Boys Are Back In Town.”
“The Boys Are Back In Town” reaches the climax of the idea of being awoken and becoming aware in terms of “I Wanna Figure”. It is easily the most recognizable portion of the game, being referenced multiple times in games such as Crimson Needle 3, Guy Tower Defense, and even my own personal work of 100 Floor Medley. It mixes the idea of artistry (using jagged spike and block fragments in mixture with literal images of Goofy and Donald Duck) with movement (constant cycles of fruit being either aimed directly at you or in the path of progression), while not going too overboard with the ideas. This is also where floor 17 happens – twice. I think the game knows that this stage is the pinnacle of what it could possibly do with these aspects and, as such, is why the reset back to floor 2 happens after this stage. This reversion is the game transferring directorial authority from wonderful’s “persona” to wonderful’s “ego”. The entire game up to this point has been about finding how it wants to present itself to others, and mastering this presentation until it no longer has anything it can add.
After this handoff, wonderful’s “ego” is left in a situation of not being prepared to take the reins. Stage seven, “Chocolate Girl”, addresses this sudden change of perspective with a need to reestablish itself, not to the outside world, but internally. It’s sprawling and disjointed, sometimes unclear on where to go. Stage eight, “Disintegration Anxiety”, collects these fragments and holds them closer to each other, but not putting them together quite yet. The game is still in the process of coping with the sudden change, but it’s taking the proper steps towards doing so. This leads to stage nine, “Yellow Country Teeth”, which is able to take these fragments and arrange them in a way that is at least “presentable”, while not entirely being “complete”. Its appearance has been cleaned up, but its identity remains uncertain. Stage ten, “A 1000 Times”, takes a break from explicit progression to allow the game to address this uncertainty. It repeats the same ideas over and over again, before eventually looking back towards the first chunk of the game and acknowledging its previous successful blend of artistry and movement.
It is worth pointing out: every screen from floor 2 to these currently unnumbered floors has been entirely static rooms of needle – that is, nothing within them has been moving. Stage ten allows the game to break away from that – it’s no longer regaining its composure, it’s allowing itself to actually have self-expression in a way that wasn’t possible with just the “persona” of wonderful. Stage eleven, “Warned You”, is wonderful’s “ego” finally gaining the confidence to showcase that sense of expression. With that said, the way it expresses itself comes off as a bit dreary. Yes, there are signs of movement, and it even keeps some form of familiarity through the default spikes, as if to say “hey, I’m about to do this for myself, you can go do something else now if you want to”. This, however, is not the end state of I Wanna Figure. If it was, this review would be dramatically smaller and significantly less pretentious.
Instead, it goes forward into Stage twelve, “My Body is a Cage”. This stage follows through with the warning implied in the previous stage, delving fully into the almost “bleak” ideology wonderful’s “ego” has decided to present as the driving force of this game. Stage thirteen, “The Drugs Don't Work”, acts as wonderful’s “ego” pausing to take a breath from all of the work it has been doing before springboarding directly into the first boss of this game, “Crystalised”. This boss serves as the logical conclusion of the journey wonderful’s “ego” goes on, though I wouldn’t necessarily call it a climax. It feels weak, frail, almost limping through the motions before eventually allowing you to head towards stage fourteen, “Aquarius”. Wonderful’s “ego” now realizes that the path it developed has left it feeling even more isolated and confused than when it started out. “Aquarius” feels like it’s screaming out into a void, worried that the only response it receives will be a reflection of the sound waves they emit, that the moral of the story is “you have done this to yourself, now live with it.” In no truer sense does this feel like the culmination of wonderful’s “ego” dealing with itself, and more specifically of how it is *not* able to. It is at this point, then, that it hangs up its hat and allows the game to be directed by someone it wishes it could be, but worries it can’t.
This abstract feeling of depression is not met with redundancy, however, as it instead leads us to the third and final chunk of the game. Here, the structure of the game really breaks down, as the idea of “stages”, “artistry”, and “movement” all become meaningless labels that don’t really hold any weight in the situation anymore. wonderful’s “persona” was able to find a way to show the world that it could do whatever it wanted, and wonderful’s “ego” was faced with acknowledging that it couldn’t do that for itself. This leaves wonderful’s “shadow” who, not needing to worry about these ideas, instead reestablishes the idea of wonderful in such a way that even wonderful herself has gone on record saying she didn’t fully know what was going on. The stages – “32 Levels”, “A Breath Away”, “Down Under”, “Baby Blue Sedan”, and “Drinkee” – all take completely different approaches to what was previously done. None of them have numbers, there’s no order in which to do them, and some of them don’t even have unique tiles. This doesn’t matter, however, because wonderful’s “shadow” *knows* it doesn’t matter. The point of these stages existing isn’t for the game to achieve something – neither for those around it, nor for itself. The point of these stages is to allow wonderful as a collective idea to face herself as she truly is, either by acknowledging that having imperfections is part of what makes her human, or by shunning reality for itself and burying herself deeper into the hole wonderful’s “ego” found itself in.
How wonderful responded to this can only truly be known by wonderful herself, but as an onlooker, you can get a good idea through the final stage of the game, “Ghost in a Kiss”. This stage feels like you’re watching a dead body come back to life. Despite the depressing atmosphere taking a deeper cut than it ever has before, the stage is filled with an underlying sense of hope. The floor numbers have returned, and for the first time in the entire game, they are counting numerically. Floors 40-44 feel like wonderful’s “shadow” handing the power of the game, and by extension of wonderful herself, back into the hand of wonderful’s “ego”. wonderful’s “shadow” never wanted to completely replace her “ego”, instead wanting to present itself with a way to find contentness and peace in a world filled with uncertainty and chaos. The final boss, “Blast”, is wonderful’s “ego” finding said peace and moving forward, knowing that, while it may not be the most prolific or highly acclaimed part of wonderful, it is still the most true to who wonderful is as a person, and it shouldn’t let itself get in the way of that. The boss ends with a fade to a yellow screen, followed by a screen with the word “Clear” written out in giant block letters.
I Wanna Figure is not a game for everyone. In fact, I would go so far as to say that you probably shouldn’t play it. It’s hard, unforgiving, and in most cases seemingly unpolished and user hostile. Despite all of this, I Wanna Figure is a masterpiece. It is the truest expression of one’s self that has ever been created in a GameMaker project file, and it has inspired myself and countless others to be more open and experimental with the topics and ideas that we put into fangames. The ripples this game has left on the creations of this community as a whole will be felt for years to come, either from this game itself or from the numerous games inspired by it. It is my hope that anyone reading this is able to find a game that completely awe-strikes them as much as this game has for me. I Wanna Figure is a very raw and interpersonal statement from wonderful’s inner unconsciousness, and I am grateful that she has allowed us to take such a look into it.
With that said, I could just be overthinking all of this and it might not be that deep at all. There was a mistile on floor 6, 0/10 wonderful fix your game.
References:
wonderful. I Wanna Figure, 17 May 2017, delicious-fruit.com/ratings/game_details.php?id=18794. Accessed 1 Jan. 2026.
Boechat, Walter. “International Association for Analytical Psychology.” International Association of Analytical Psychology IAAP, iaap.org/jung-analytical-psychology/short-articles-on-analytical-psychology/the-collective-unconscious-2/. Accessed 1 Jan. 2026.
Fordham, Frieda, Fordham, Michael S.M.. "Carl Jung". Encyclopedia Britannica, 4 Dec. 2025, https://www.britannica.com/biography/Carl-Jung. Accessed 1 January 2026.
Garnermann, Jasbinder. “The Origin of the Shadow.” Jung Centre, 2017, www.jungcentre.com/the-origin-of-the-shadow. Accessed 1 January 2026.
Hartman, Gary V. “A Time Line of the History and Development of Jung’s Works and Theories (1902-1935).” The Jung Page, 27 Oct. 2013, jungpage.org/learn/articles/analytical-psychology/162-a-time-line-of-the-history-and-development-of-jungs-works-and-theories-1902-1935. Accessed 1 January 2026.
Rating: 10.0 100
Difficulty: 85 85
Jan 8, 2026
CanusAntonius
Well, it's 3:50 AM now on March 12th, that makes almost seven months since I first started my save file on this game, and now I sit listening to the song of the final stage, dreaming of the light at the end of the tunnel. Out of all the Fangames I have played, this is the journey that serves as a testament of strength and endurance to both my capabilities as a player, and as a person. Multiple weeks at a time, I would fall short of believing this to be within possibility to complete, many segments would require hours at a time, and a single save in 22 would take nearly four months to surpass. It is the hardest thing I have ever done to get here, and yet every step I would not regret as this has been worth the moments spent. And now it's almost over, and when it ends I can sit in amazement at both myself and the journey that has ended.
I Wanna Figure in my eyes is the highest quality Needle game ever made, but it is also the most challenging as well. From the very first step to journey's end, it maintains an unrelentless brutality in which every easier save is matched with a heavy outlier. There are moments when a stage may pass in a hour, and times when one save may take multiple. As the readme says: "This game is meant to be very challenging, even for experienced players", and it is absolutely true, even the best will struggle at parts in their first playthrough. But it is through these great trials that one can truly see Wonderful at the pinnacle of her design capabilties, a truly phenonemal adventure that is unfiltered and unmoderated.
The story of Figure is not one I can interpret in its fullest, nor do I think I would ever be interested in writing it here, but it immediately feels to be an even more personal connection than any of the Kermit games were. Whereas they felt as a metaphor for lonliness, Figure feels more like a strong sense of depression and pain. There are many song choices and layout themes that seem to hint at what the story could be, but I believe you should try to understand it for yourself, rather than have it spelt out for you. Figure is a game that truly lacks an identity, massive changes in visuals and song happen instantenously between stages, and I think this allows you as the player to also find your own identity through it. Constantly through playing it, especially in Floor 22 and the next stage, I was reminded at the first and only time I ever spoke to my mother about my sexuality, and was met with the term "Abomination"; as much as I wanted to forget this time of my life ever happening, Figure dragged it out of me and I think it was actually something I needed for a long time, perhaps you too will be met with a similar situation to do the nature of this game.
There are many highlights within the platforming itself, though the journey has been so long for me that only bits and pieces of the first half of the game are within my memory. I do remember the beginning as being of a lower difficulty, making it one of the biggest masquerade shows in fangame history, for this game is anything but easy later on. There is a stage with one short corridor each save, one that takes place and space, and room 13's ending is especially grand. As you may know, the legendary Boys finally debut in the Aiwanna-Verse here as well. Floor 20 became one of the largest time consumptions in the game, with Floor 22 taking months. The stage after the avoidance is beatiful, with the song being one of the most emotional moments I have ever experienced in a fangame. The final save of that stage ended up becoming highly memorable. The legendary 3X hub, which predates even CN3, proves to be a monumental gauntlet with a large variety of memories, including the great invasion of Poland, the game's hardest boss.
Figure has been the defining piece that affects the way I view video games, because now I know I have likely taken the greatest journey I ever will; and in many ways I can see this as an in-general statement as well, even my real life ambitions may never cross into the difficulty as this was to achieve. The game is a masterpiece, and I hope at some point every person in this community will atleast attempt to walk its' road.
Now if you'll excuse me, it's 4:28 AM and I must rest, for tomorrow I shall reach the journey's end.
Post addition: Beware of Avoidance needle players, it isn't easy.
[4] Likes
I Wanna Figure in my eyes is the highest quality Needle game ever made, but it is also the most challenging as well. From the very first step to journey's end, it maintains an unrelentless brutality in which every easier save is matched with a heavy outlier. There are moments when a stage may pass in a hour, and times when one save may take multiple. As the readme says: "This game is meant to be very challenging, even for experienced players", and it is absolutely true, even the best will struggle at parts in their first playthrough. But it is through these great trials that one can truly see Wonderful at the pinnacle of her design capabilties, a truly phenonemal adventure that is unfiltered and unmoderated.
The story of Figure is not one I can interpret in its fullest, nor do I think I would ever be interested in writing it here, but it immediately feels to be an even more personal connection than any of the Kermit games were. Whereas they felt as a metaphor for lonliness, Figure feels more like a strong sense of depression and pain. There are many song choices and layout themes that seem to hint at what the story could be, but I believe you should try to understand it for yourself, rather than have it spelt out for you. Figure is a game that truly lacks an identity, massive changes in visuals and song happen instantenously between stages, and I think this allows you as the player to also find your own identity through it. Constantly through playing it, especially in Floor 22 and the next stage, I was reminded at the first and only time I ever spoke to my mother about my sexuality, and was met with the term "Abomination"; as much as I wanted to forget this time of my life ever happening, Figure dragged it out of me and I think it was actually something I needed for a long time, perhaps you too will be met with a similar situation to do the nature of this game.
There are many highlights within the platforming itself, though the journey has been so long for me that only bits and pieces of the first half of the game are within my memory. I do remember the beginning as being of a lower difficulty, making it one of the biggest masquerade shows in fangame history, for this game is anything but easy later on. There is a stage with one short corridor each save, one that takes place and space, and room 13's ending is especially grand. As you may know, the legendary Boys finally debut in the Aiwanna-Verse here as well. Floor 20 became one of the largest time consumptions in the game, with Floor 22 taking months. The stage after the avoidance is beatiful, with the song being one of the most emotional moments I have ever experienced in a fangame. The final save of that stage ended up becoming highly memorable. The legendary 3X hub, which predates even CN3, proves to be a monumental gauntlet with a large variety of memories, including the great invasion of Poland, the game's hardest boss.
Figure has been the defining piece that affects the way I view video games, because now I know I have likely taken the greatest journey I ever will; and in many ways I can see this as an in-general statement as well, even my real life ambitions may never cross into the difficulty as this was to achieve. The game is a masterpiece, and I hope at some point every person in this community will atleast attempt to walk its' road.
Now if you'll excuse me, it's 4:28 AM and I must rest, for tomorrow I shall reach the journey's end.
Post addition: Beware of Avoidance needle players, it isn't easy.
Rating: 10.0 100
Difficulty: 88 88
Feb 11, 2022