Every time I see the mother with the child I burst out laughing because: 1) the mother reminds me of a Karen, 2) they remind me of an American tourist I saw, when I visited Pompei, who was using a leash to keep her son at bay and under control. I was sto WTF??? the first time I saw it and apparently it's a thing there, lol.

I love how in the first seven seconds of the animation the mother looks unbothered by the chase, she didn't even notice that someone is running from another person trying to kill him XD. This speaks volume on her attention level in case her son gets lost. I like the slightly blurred background behind Nene at 00:10, it gives a depth feeling. I still remember the first part of Pico Vs Nene and I can see the improvement in both fluidity of animation, use of shading and more dynamic movements. The level of enjoyment is always the same: quite high and enjoyable.

It's interesting that here Pico doesn't use his Mac-10 UZI, unlike the official FNF cutscene, but prefers to defend himself but it's understandable since Nene had taken them away with that knife attack in the first video. In the first video I liked the use of your sona as a bystander in the final shot as way to represent a continuation of the first part. And now we can see it in its fully-fledged version.

Even though the combat animation seems a bit stiff at times (00:41) overall it does a great job of conveying the physicality of combat. It makes you feel every single blow, slash and parry with your eyes. I liked how at 00:51 the animation gives you the impression that Nene is about to win but then the change of angle shows that luckily Pico dodged the blow, saving himself. Lol, the silhouette of Pico at 00:59 was funny.

I like how the video combines seriousness with silliness typical of these characters XD

Nice reference to the original cutscene where Pico runs away from Nene and bumped into something or someone like in this case. I admit I thought it was Darnell when I saw him colliding with the black boy. Nene's face at 01:15 is absolutely priceless and creepy in her cartoony look, nice use of lights and shadows. The change in attitude when she saw the bottle of soda is beautiful, it shows well how FNF Nene is highly dangerous, funny but it's also better to stay away from her if you rub her the wrong way.

The music choice is spot on and I loved the most the music battle and the song when Nene enjoyed the sprite with Pico. The black guy is more than right to be pissed off, I would have reacted the same way but then I couldn't help but to laugh at seeing Nene's reaction again. Rest in peace, guy. I felt bad for him.

I loved this continuation of the first part and how it ended, minus the poor guy's death XD, I hope next time Pico doesn't drink last sprite and shares it with Nene. Great job, cool animation, nice musical pieces and congrats for the Daily Feature! Keep it up!

This is probably one of the animations I love the most for the February month. I keep watching and re-watching it over and over to the point I almost memorized the lyrics. The animation is very rhythmic (pun intended), fluid and dynamic. I compared it to the original gameplay and I really like the rendition of this animation. It really does justice to the game itself. The fact that it is a remake of an old animation made 10 years ago, makes this video even more beautiful and enjoyable. The old animation is also very nice and if you look at it with the perspective of 10 years in the future, you can see it as a storyboard for this animation. Lately I'm discovering the character of PaRappa and the more I look at him (between fanart and gameplay) the more I love him, and this animation does nothing but make me love the character even more!

Every time I see PaRappa move like that at 00:16 I laugh like crazy XD the absent-minded expression on his face is too funny XD like he was lost in his own world and was barely listening to the basic requests. In fact, even Instructor Mooselini's face says it all and confirms what I think. I also love how a few seconds into the song, the hood of the car flies off, revealing the steering wheels and the blue and red gas and brake pedals. I found it funny as heck. My favourite line of the song is of course this:

"When I say boom boom boom, you say bam bam bam! No pause in between, come on, let's jam!"

It's interesting how in the game stage, bad mode the instrumental shifts from G major to E minor, giving it a more depressing tone, and an additional descending piano tune plays. The camera switches to a first-person view, showing how PaRappa is swerving the car left and right. Road signs are replaced with a "SLIPPERY ROAD" sign and a "DETOUR" sign on top, reflecting the driving difficulties.

The part I loved the most was at 00:26 when PaRappa breaks the steering wheel, detaching it XD so silly.

Fun fact: Mooselini appears as cameo in a comic from The Amazing World of Gumball.
https://static.wikia.nocookie.net/parappatherapper/images/5/52/Mooselinicameo.jpg/revision/latest/scale-to-width-down/1000?cb=20210605132536

This whole video is a mix of fun, silliness and talent. The animation movements seem to follow the types of movements when a person drives, such as changing gears. The colors are vibrant and the whole animation is really well done. Congratulations to both Frontpage and Daily 5th Place, well deserved!

This is a really lovely animation and I want to inaugurate my 100th review by sharing my two cents on this. I like how fluid animation is, the overall ambience and simple but funny plot. When I first read the title I thought about a simple fish animation with no plot but then I was glad to be wrong. I enjoyed it despite its short duration. I like how the small, little, yellow fish manages to outsmart the bigger fish. A thing I loved the most, along with the story, was the background. It gives me strong watercolours vibes and ooohhh, I notice the animation was made with Krita! Amazing, I have Krita but I never animated with it. Maybe a day I might, how knows but back to the movie.

The way the fish moves and swims around gave me, in a way, those Chinese animated movies from the 70-80s feel which are truly work of art, theater set in motion and I sense something similar in this work too. I am rewatching the animation over and over. I don't know if Krita allows the addition of sounds though. The only reason why I gave 4 stars instead of 4.5/5 was simply the lack of sound BUT I think that in an experimental piece like this, even this lack is an addition because it allows the mind of the viewer to create his/her/their own mental sound that fills the musical "void". I personally didn't create any mental sound, I wanted to enjoy the creation the way it is. The fish design is adorable and fits him perfectly even from a chromatic aspect since yellow has interesting meanings.

In the West, yellow is not a well-loved color. In a year 2000 survey, only 6% of respondents in Europe and America named it as their favorite color, compared with 45% for blue, 15% for green, 12% for red, and 10% for black. For 7% of respondents, it was their least favorite color. Yellow is considered a color of ambivalence and contradiction. It is associated with optimism and amusement, but also with betrayal, duplicity, and jealousy. However, in China and other parts of Asia, yellow is a color of virtue and nobility.

In the context of this animation yellow has a clear positive semantics which contrasts with the purple colour of the menacing, predatory fish. I love how the little fish turns around at 00:02, it melts my heart the level of cuteness of the movements. Plus I've noticed the shape manipulation of the fish's movements, great choice to enhance the dynamism and natural movements. It gives a more realistic vibe despite the minimalist style of both design and swimming way. I also noticed how the shape bending and twisting, during the movement sequences (i.e. always at 00:02 when the fish encounters the predator or a 00:05 when the predator opens the mouth and the fish looks in horror), give an added value in the emotional characterization of the protagonists of the story. I laughed and loved at 00:07 when the 'lil fish looks at the bigger one with a smile/smug on his face; it's adorable and funny at the same time.

Usually smaller fish live in big schools where they swim in the same direction in a coordinated manner and take advantage of the egoistical geometry group (you hope that you neighbour gets eaten first instead of you and the more you are, the higher chances are that you don't get caught), but in this short animation we see the resourcefulness of the little guy, who takes advantage of his smaller size (faster) and intelligence (he outsmart him and mocks him), winning over his danger. At the end the fish even manages to kick him off, saving his own life.

Really cool job, I hope more people will appreciate this^^ keep it up!

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EDIT 13/03/2025:

I raised the score to 4.5 after reading that the lack of sound was intentional since the project didn't need it.

I'm glad I made your day, keep it up. I would like to see other animations of yours!

This was a fun, little experience with a game that has a very simple task: scare/kill ghosts off with the power of the cross. I enjoyed the thunderstorm sound in the background because it added a nice contrast between the realistic sound and the more minimalist game design. I admit ghosts are cute as heck, one thing I didn't understand was the sentence said by the priest "stesa???" oh well, I would like to share tips on how to get both medals based on my personal experience:

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The first, and most important, requirement to get them is getting the pop-up when the game starts after you clicked on "play". The way the login for the medal API was implemented can make the unlocking a bit difficult and I had to close and re-open the browser to test it and get it. Without this pop-up, you don't get the medals.

So after this crucial step is done, let's talk about the two medals. I've noticed that you can click many times to get more points, and after I reached and even surpassed 50 points, which equals to the number of killed ghosts, I saw in-game "you unlocked boo man killer", but the medal didn't unlock. So I kept clicking many times on the same ghost (I may suggest an auto-clicker to increase in a fast way the number of points in a single ghost) until I reached and surpassed 999. If I recall well I got 1012 ghosts killed, and despite I didn't see any in-game message telling me I got "The GAMER" achievement, I could see it in the game medal section that it got unlocked.

I found it funny that I unlocked first the 100 points medal and only today the 50 points medal, but something told me the reason: I have to reach exactly 50 points in order to really unlock it. So to sum up:

-boo man killer
click only one time on the ghost that is about to approach you, ignore those who don't disappear once you clicked on them (it can happen sometimes), and keep clicking one time on each ghost that appears. You can keep track of it by looking at the points. Avoid clicking on the brown, floating thing because it will kill you instantly.

-The GAMER
Use an autoclicker in case you want to speed up the process, but you can normally click with your finger too, the result doesn't change. Clicking many times on the same ghost gives you extra points and the game reads it as more killed ghosts. Resist, avoid the brown, floating "ghost" (I don't know what it is, sorry^^'), keep clicking until you reach and surpass 999.

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Besides these tips, it was a fun game, maybe adding levels, or more challenges, or even making ghosts faster the more you go on would increase the re-playability of the game that finishes once one gets the medals. Cute job!

This game has a really nice visual appeal and I like the soft colours of the environment, it really gives a calm, relaxing vibe of an oneiric experience towards a world full of mysteries to unravel. I like the overall vibe the game gives you and the style is lovely. Controls aren't always intuitive but overall you understand how to use them and which ones to use. I like the sound of footsteps and even though there doesn't seem to be a soundtrack yet, I like the lack of external sounds, maybe adding some natural sounds would give a more immersive experience. Despite everything I like exploring this world, however I noticed a bug that occurs every time I reach this area, shown here in my dump file:

https://www.newgrounds.com/dump/item/9ca9b0f0bdc604d54c276c56bfcdf3bf

Every time I try to go up the first step, the animation seems to glitch and it takes me back to this step. I've already tried reloading the page several times but I still get this problem. This is not the first time I see this game in the UJ section of Portal, and even back then I encountered a bug that blocked my character in a previous area. I understand the need to fix the problem. Now I notice that that bug is gone but there is this other bug. I gave it 4 stars because the game is very promising despite this bug that I hope will be fixed because I would genuinely like to continue exploring this dream world. I hope it will be fixed so that I can also give it a higher rating and a much more thoughtful review.

Best of luck with your game, and congrats for making it with flash back in 2012^^

This probably one of the shortest reviews on a work due to a series of things that made me lower the score from its initial 4 stars (mainly due to the cute pixel art and catchy music which I enjoyed) to 3. The very first thing that is greatly noticeable is the non-existent function of arrow keys, initially when the game was UJ the keys were W and S. I tried to use them and they didn't work, now that I see in the description the keys are Up and Down arrows, they still don't work like HerrGammelig rightfully pointed out. I've noticed that if I press many times I manage to move a bit the character with the Down arrow but nothing happens if I do the same with the Up arrow.

Another thing I've noticed is that every time I reload the page and the game starts an ad appears below the game, nothing too problematic since I can just remove it by clicking on X. It's just curious that it appears, but it doesn't jeopardize the gameplay experience.

Last but not least the joypad that can be used as alternative to the non-functioning arrow keys may be useful but I've noticed that sometimes when I press it down to make the character go down, it seems to freeze and let the character continue going down unless I stop it. This can be pretty annoying if you try to shoot the robots in a fast way.

Another thing I didn't understand is that if I have to destroy all robots in each corner or I have to move up and down across the corner of the planet to kill as much as I can. A strange thing I've noticed that once the game ends (and I still don't know if there is a time limit or not) ending titles (the famous "thanks for playing") go down instead of up like they usually do. Maybe it's a bug or a glitch that needs to be fixed.

I have few suggestions to improve the game and make possible getting the last achievement that is becoming quite frustrating to me (congrats to the first 5 people who got it):

-make instructions more clear both in the description and in the game
-fix the arrow controls since they don't work at all
-add an "option" section in-game where one can decide to switch from arrows to in-game joypad and viceversa
-add description of the enemies in this hypothetical "Instruction" section of the game, where it's explained their weak points and how to avoid their multiplication in order to optimize a strategy.

I understand that a 100 points medal require a lot of effort but with these conditions it gets very difficult for majority of players. Hope this helps, good luck.

UPDATE 19/04/2024: I finally got the last medal, I will share my personal tip on how to get it since I think to have found what might have caused its difficulty to get it.

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The last medal, 100 points worth, is not easy to get and not because of the task itself but of the game mechanics that seem to trigger the game ending. I explain myself better, hoping that others that will get it might confirm or disprove what I think. When you move the character you can shoot robots very closely and wait for them to spawn to kill many in a short time. I've noticed that when I try to apply this strategy when I get closer to 80 the game ends with the "thank you for playing" text and the medal doesn't unlock, maybe I even reached the score but trying to shoot many robots at once will trigger this glitch/bug. So I thought to kill some of them in a fast way (wait for them to spawn, and kill en mass) until I stop and wait in my starting spot for them to regenerate, then I go up or down (I preferred to go up) and kill one or two robots at time, then I wait for them to regenerate/partially regenerate and repeat the process. This slow and more patient way allowed me to finally get the medal.

But of course others more expert than me, who will get it (good luck with that!), might correct me in case this tip doesn't work and if they find a more effective way to get it I will update this tip.

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So my judgement is the same; lots of stuff to improve, starting from the controls otherwise the experience is quite frustrating if you aim at medal hunting.

Ok, yesterday I listened to the song to get an idea of its content but I wanted to wait to today to give a proper and honest feedback to this work. One thing that I don't understand is if this "full ep" should be a kind of mini album or a composition of different parts. When making something is always important asking "what do I want to convey with this piece?". I personally think that one of the differences between visual arts and music is that visual arts rely on static shapes whose dynamism is a combination of deception, illusion and artistic skill that give the vibe of movement and progression.

With music things are different, because you build a story in motion through notes, arrangements, mixing, instruments, vocals and so on. And this is why it's important for a musical piece to be consistent in what it aims at showing to the listener. Music is composed of many things such as rhythm, pitch, timbre, dynamics, texture, harmony, melody, tempo and form.

-rhythm is the most important element of music because it's its building block. It tells us when a sound should be played and how long it should last. It is what makes you want to tap your foot or dance along to a piece of music. It’s the underlying pulse that drives a song forward. All music, no matter what style, has some kind of rhythm. I can see in this piece a rudimental rhythm in each of these seven parts as I mentally classified them. Rhythm is the pattern of sounds and silences that occur over time. I can hear the pulse (the beat repeated in a regular pattern) but it's very minimalist and doesn't achieve that emotional building that keeps the listener engaged in moving some body parts to the rhythm. If I'm not mistaken at 03:41 I can hear 4/4 time signature. I can sense that the drums try to hit each quarter note beat throughout the song but the mixing element interferes a bit with the structure of the beat. You can see in the famous song Blinding Lights by The Weekend how the drums are able to create a pulse that instantly makes you want to tap your feet, clap and go with the flow. Here I see a much more drier rhythm.

-harmony is when two or more notes are played at the same time and is what makes music sound full and complete. It's extremely helpful at adding depth and context to a melody and can even completely change the mood of a song. Because of the lack of effective mixing I don't seem to perceive an incisive harmony to the structure of the songs (notably 00:05-00:27 and 00:37-01:53) and this leads to another weak point of your composition: texture.

-texture is basically how the music or sound is organized. Here I think to perceive a highly monophonic, thin texture. Each song seems characterized by one melody, or tune. Bach’s “Cello Suite No. 1” is a great example of monophonic texture, so it's not a bad thing per se but because both the title of the piece and the lack of a minimal description don't give a clear clue at what you are trying to convey with this piece, I struggle at fully appreciate this texture. At 06:36 the time signature seems breaking due to the attempt at adding variety but this breaks temporary the texture too, creating a less coherent musical piece.

The structure of some parts are very monothematic and even boring such as at 01:12 while the part at 00:37 has more rhythm and is more pleasant to listen to compared to the one I've just mentioned. At 01:49 the mix of drums and chords gets a bit confused, creating a slightly dissonant pattern that breaks the composition of the piece.

At 08:29 the music completely changes, breaking the flow of the preceding piece, and it gives me a strong gamelan vibe. I don't understand why the musical signature in this part completely changes in this orientalist-like vibe and I'm not using orientalist as a nice thing here because gamelan is the heavy use of hand-drums (i.e. kendang) and metallophones such as gendér barung, not to mention the use of gambang gangsa and gambang kayu. Gamelan is ruled by the céngkok pattern which dictates the pathet of the piece, here ofc I don't hear this because I don't think you know the musical theory of gamelan which is fine but maybe a bit more of study on its pattern and structures would have made it more nice to appreciate. Despite this I admit it's the only part I truly enjoyed of the composition because of its completely different nature, more folkloristic part and musically engaging tempo.

Because dynamics are kept at a very minimum due to the limited types of instruments used here, I can't sense much variety in the composition and the listener might be not interested at all at keeping listening such piece.
Dynamics are an important way to add interest and variety to a piece of music, and they can also be used to create a certain mood or feeling. Because of this the main mood that this song gives me is a lack of interest in effectively sending a concept or idea in the musical piece. If I had to compare this song to a colour, it would be a grey scale, minus the last part that resembles a gamelan (I would see that part as green).

High-hats as 06:36 add a nice vibrancy and variety to this part despite they last briefly. Nice job with them.

But I admit the thing that I really found annoying in this work were the constant silence breaks between each part (i.e. 00:27-00:37, 01:52-01:58 and so on), these were probably thought as way to create a transition between the parts but because the whole composition is not kept due to the many errors (lack of mixing or wrong mixing, minimal dynamics, dry rhythm, etc.) it's difficult to see a composite, organic, vibrating structure of the song. Plus these breaks interrupt the evolution of the song in the very moment it seems to be evolving into something interesting.

I know my comment might seem a bit harsh plus who am I to judge this way considering I'm not even a musician, just someone who loves music as vital part of their existence, but I was genuinely interested in listening your piece and give a honest feedback. I can see a potential for future works because the basics of musical theory seem grasped but I feel to give you these advice to better improve your experience as musician so more people will be invested in your works:

-don't use casual musical genres just to fill spaces, scroll down and you would have seen "Other-Experimental". Due to the nature of this piece that struggles to convey something effectively, I see it as an experimental piece and not Ambient. Ambient music emphasizes mood and texture over the traditional melodies and rhythms found in pop music or classical music. Ambient musicians often augment these synths with acoustic instruments and ambient sounds from nature. This piece "Reflections" made by ForgottenDawn superbly shows what I have said: https://www.newgrounds.com/audio/listen/1419061

-tags, tags and again tags. Use them to make your song easy to find. If you don't use them, people will never discover you since, thankfully, NG does not rely on algorithm but only on human force.

-title. Next time add a more convincing title because "basement" doesn't transmit anything besides images of darkness, closed spaces, domestic environment while here music give a more lively, open-spaced feeling especially 02:02, 04:42 and 08:29 which bring the listener to a forest, not a basement.

-description. Add a description about what brought you in the creation of the song, the feelings, emotions, symbolism, even shitposting, everything that shows that you cared about your own creation. Songs, just like videogames, videos, and artworks, are like children. They are made by us and it's our responsibility to care about them by taking care about each aspect, even the silliest.

-username. I know this might not have anything to do with the song itself, but it's important when it comes to promote yourself. How do you prefer your listeners and potential watchers remember you? A catchy name or a generic "user[INSERT NUMBERS HERE]? A catchy name gives a more lively feel to an account, you can sense life. A set of numbers gives an aloof feel and might make some people not get invested in your works (plus the other two things I mentioned such as description and tags).

-study, practice, ask for advice from more seasoned musicians. Do not isolate in your account, explore the Audio Portal, comment on people' stuff, fave, open threads in the audio forum: https://www.newgrounds.com/bbs/forum/13

If you scroll down you will notice that people open audio threads, similarly to art threads but with musical pieces. Open one, ask for critiques and if you are open to them people will gladly help you.

I hope my humble opinions might be useful, good luck for everything and don't get discouraged if initially you will have to work a lot to get people invested in your works but in the long run it will pay off.

Oh man, where do I start with this green gem? I nicknamed it "green" because it strongly evokes me this colour while listening to it. Another track that I discovered thanks to the Creature Collab and entered in my personal list of the top 10 favourite NG tracks here. But what I love the most is the musical arrangement and type of instruments used, not to mention that the title confirmed what I immediately thought: a gamelan. For those who don't know, gamelan the traditional ensemble music of the Javanese, Sundanese, and Balinese peoples of Indonesia, made up predominantly of percussive instruments.

The musical signature of gamelan is the heavy use of hand-drums (i.e. kendang) and metallophones such as gendér barung, not to mention the use of gambang gangsa and gambang kayu. I love listening to it as form of appreciation for Indonesian cultural tradition. It is used for rituals, ceremonies, dance theatre, dance-drama, traditional Indonesian theater, wayang puppets theatre, singing, concerts and so on. As I said the title confirmed my thoughts because, although I don't know Indonesian languages as whole, I know a few words and "tarian" is one of them which means "dance" and "lumut" which means "moss". So "moss dance" and again the green colour returns semantic-wise, but frankly the name "lumut" brought my mind on another field: folktales.

And I would like to share here an Indonesia folktale I learned some years ago when a person sold me a small book featuring folktales around the world, and the one I am about to tell was in this book. While I write it down, try to image a dancer and the gamelan as background music, ruled by the céngkok pattern which dictates the pathet of the piece.

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Long time ago in East Java, there stood twin kingdoms, Jenggala and Kediri. The kingdoms were once united under Kahuripan Kingdom. To avoid war, the kingdoms decided to reunite through a marriage of the kings’ children. They were Raden Panji Asmarabangun and Dewi Sekartaji. One day, Jenggala kingdom was attacked by a large number of people. When the war broke out, Dewi Sekartaji ran away and hid out in a desolate village. There she met a wealthy widow called Nyai Intan. Nyai Intan had three beautiful daughters, Klenting Abang, Klenting Ijo, and Klenting Biru. Then, Nyai Intan took Dewi Sekartaji as her child and gave her a name, Klenting Kuning.

Klenting Kuning was more like a servant than a child. Nyai Intan and her daughters often scolded her and treated her badly. In the meantime in Jenggala, Panji Asmarabangun with his soldiers were looking for his wife, Dewi Sekartaji. Then, in one afternoon, a soldier came up to him and told him that he saw a girl that looked like the princess in a small village. In the next few days, Panji Asmarabangun and his soldiers decided to go to Dadapan, a village that not far from where Klenting Kuning lived. Under the name of Ande-Ande Lumut, Panji Asmarabangun stayed in a modest house of an old widow called Mbok Randa. He soon announced to the people that he was holding a contest to find a wife.

Klenting Kuning's three stepsisters heard the new and dressed up as beautiful as possible to win the prince’s heart. On the due day, the girls seemed ready. They put on their best dresses and jewelry. When they were wearing their make up, Klenting Kuning came up to them and complimented their look. Klenting Abang cruelly asked Klenting Kuning if she wanted to come but it was clear it wasn't a question out of genuine care since the other two sisters mocked Klenting Kuning.

Klenting Biru while pointing at a pile of their dirty clothes said Klenting Kuning to do the laundry. Klenting Kuning took the dirty clothes and went to a nearby river. She actually did not want to go to the contest because she loved her husband so much, Raden Panji Asmarabangun. Suddenly a crane approached her. It talked like a human and grabbed a whip in its feet. He told her to go to the contest in Dadapan where she would have met her husband.

Klenting Kuning rushed back home and dressed up for the contest. By that time, Nyai Intan and her three daughters reached the bank of Bengawan Solo River. But they could not get across a river that deep and wide, when suddenly a giant crab floated upon the stream. They did not know that the crab was Yuyu (1) Kangkang, Ande Ande Lumut’s henchman assigned to test the participants. Yuyu Kangkang would help them to across the river if they kissed him. The three sisters agreed and one by one they kissed the crab. After that, Yuyu Kangkang told them to get on his back and took them across.

Not long afterwards, Klenting Kuning showed up at the river bank. Yuyu Kangkang asked the girl if she needed help to cross the river, Klenting Kuning nodded and the crab spirit told her the condition to cross the river: the kiss. She refused saying that she already had a husband, then she lashed the stream with her whip, making the river water dwindle. The crab got scared and agreed to take her across the river even to Dadapan Village. Klenting Kuning thanked Yuyu Kangkang, while in Mbok Randa’s house, the ladies showed off their beauties in front of Ande Ande Lumut. But he did not seem impressed by any of them. Nyai Intan went forward and got on her knees before the prince and begged him to marry one of her daughters, but the prince refused and commanded the guards to lead the lady in yellow dresses. She was Klenting Kuning. Everyone was surprised especially Nyai Intan and her daughters. The mother scowled why he did chose the girl in yellow instead of one of her daughters. Ande Ande Lumut replied that they have been disgraced by kissing the giant crab, whereas the girl in yellow was clean.

Afterwards, Ande-Ande Lumut revealed to Klenting Kuning who he really was. So, they went back to the palace and lived happily ever after.

Footnotes:

(1) yuyu is the Indonesian word for the Gecarcinucoidea, a superfamily of freshwater crabs which can be found throughout South Asia, Southeast Asia and New Guinea, with a single genus found in Australia.

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I love how you can hear small fragment of chiptunes at 01:38 and 03:25 which add a nice reminder it's a videogame track with modern elements. I love hearing the Kendang (maybe Kendang Ketipung) and Gambang Kayu melodies which add a strong, driving rhythm to the musical composition, not mention the Bonang Barung, one of my favourite céngkok repertoire. The traditional musical base of this piece slightly reminds me of the Janger Banyuwangi, the folk art from Banyuwangi, East Java that combines Balinese dance, costumes and gamelan with Javanese folk tales. And it's not a coincidence that the story of Anda Anda Lumut is performed in this type of art. Other stories include Cindelaras, Minakjinggo Mati, Damar Wulan Ngenger, Damarwulan Ngarit, and Sri Tanjung.

I was gladly happy to see a musical piece that features traditional elements of one of the type of music and arts I love the most in a website that mainly favours modern compositions. I know this piece is modern but it incorporates very well the traditional elements that bring the listener to an orientalist journey into the South-East Asia. Thank you for making such green gem! Keep it up.

Seriously why doesn't this little gem have more votes and interactions after all this time? It's truly beautiful and enchanting. I discovered it thanks to the Creature Collab 2024 but every time I hear it in the game I feel mesmerized by the watery notes it has especially in the first part of the song. For example the part from 01:37 to 01:42 and how it gets repeated through the song, is one of my favourite musical feature. It gives me goosebumps. I also love at 01:52 the use of mixing to recreate the croaking sounds of the frogs chatting with each others.

I know have the visual imagery of frogs made of crystals, others with the shape of a frog but with crystals coming out the back, crystal-eyed frogs hopping from time to time and other amphibian-like creatures crawling in this cave.

03:41 is another part that gives me goosebumps with those dripping-like notes that truly give a watery, crystalline vibe to the musical imagery this composition has. In particular this song gives me a strong vibe of mystery and adventure but not something dangerous, but mystical. I can hear purplish to blue -violet sounds in this track. It's strongly evocative and soothing in its tunes.

The first 44 seconds are a really nice way to introduce the overall environment and mentally prepare the listener for what's about to come: a magical word of mystery and personal growth. Because this track evokes bluish tints in my mind, I find it highly calming. Blue is a colour linked to meditation, calm and thought. I like the presence of drums and high-hats that give dynamism, counterbalancing the more relaxed pace of the musical signature.

The frogs almost seem to talk to the listener/explore (whether it's the protagonist of the fictional story or the physical listener who is enjoying this track) as if they were saying "don't be afraid, keep going on and soon you will find the truth". These frogs sound so friendly. I like how the song has a bell shape in my mind when it comes to how it evolves during its track: we first have the introduction, then the development, the discovery, the adventure, the revelation, the reward and finally the ending part that concludes this cycle of adventure.

The track itself is a living book that opens before our eyes and ears. It's a beautiful, mystical, magical and fairy track that hypnotizes the mind and the heart of those who truly take time to listen to its words. Congrats, it's a masterpiece that deserves more recognition. Keep it up!

p.s. frogs rock! I love them^^

I like this idea of personal OCs meeting NG characters, in a way I do a thing similar with my OC Xiang who curiously lost her ability to speak like a human in NGverse after being catapulted in it by the Portal. I like the idea of characters interacting with other characters and see how they interact, and this fanart is funny as hell. I read it as if I were playing a videogame. I've just noticed a typo in this sentence of the Google document:

"But unfortunately, when they started talking, I could understand what they were saying."

Maybe you meant "I could not understand what they were saying", since you immediately then mentions the frustration for the interaction. And because I love deciphering stuff whenever I can I tried to translate into English what they said, maybe this will help with your research:

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Entity 1: Hey! What's going on?

Entity 2: I don't know! Suddenly a guy appeared out of nowhere coming from this portal!

Entity 1: Is he dangerous?

Entity 2: I don't know! He seems to be big-headed and ugly as hell!

Entity 1: What did he say?

Entity 2: I don't know! He doesn't speak binary!

Entity 1: WHAT IS HE TALKING ABOUT?

Entity 1: He's gone

Entity 2: Anyway... let's go get some pizza!

Entity 1: I can't eat pizza... the voices in my head tell me to eat vegetables!

Entity 2: Ugh... let's go somewhere else!

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I suggest for the next time to bring a translator or build a machine that automatically translate binary language, lol^^

I like the simplicity of the background that helps to focus on characters more. Now I see the connection with the blog you posted some days ago and I was glad to have shared my idea on which background using. This was a fun interaction, I can't wait to see more if you want to continue. I had lots of fun reading, enjoying this fanart and ofc translating the text.

Wow, this was a really nice and unexpected surprise. I didn't think to be included in such lovely and great artwork aimed at celebrating people who make possible our experience and success here *_*

I love how each character is rendered in your style especially the human ones because you can appreciate very well your unique and creative way of rendering human characters with their slim, slender bodies and elongated heads. But I also like a lot how you made non-human characters, especially Mustard (Simoes1000's character), Chdonga and AnassAnimationPro, because you managed to highlight their unique traits. I know almost all these characters and this nice gift allowed me to discover new characters too.

I like the soft cell shading on each character since it balances well the bright colours of the flat colour. Speaking of characters I would like to talk about my OC, since she is one of the few non-human character, and yes I LOVE HOW YOU MADE HER! I always loved and appreciated when people render my characters in their style especially not so easy characters like a four-winged dromaeosaurid paravian dinosaur which can be quite challenging if someone is not used to its anatomical features.

But I like seeing her with a more modern bird-like look because it shows the artist's way of seeing her and this ofc enriches the person who receives the gift, me in this case. I also liked the use of her colour palette since I tend to use that as base for my iridescence effect. Microraptor had an iridescent plumage after all, so whenever I can I try to highlight it. Anyway as I said I really liked a lot this surprise and lovely gift art that celebrates everyone's OC^^

Thank you very much for this gift, it truly fills my heart with happiness, joy and surprise. I wish you all the best, really!

Wooahh, this turned out epically! You did a great job with the rendering and the adaptation in full Newgrounds style where usually more characters are inserted in a dynamic and action context. I prefer much more this promo than the original you took inspiration from, because the sharpness of the lineart of each character makes everything very beautiful to look at and the characters are more noticeable. I like that the overall color tone of both the characters and the background is not excessively vibrant because it makes everything much more balanced in terms of lights and shadows as well as volumetric shapes of the individual subjects.

Every single character is very well done and characterized not only in style but also in what they do, so you can easily identify them. I realize of course that many NG characters like Charlie the Unicorn or Scrotum could not be included due to the spatial constraint, but it is nice to see Alloy a character, in my opinion, who deserves much more in terms of recognition so I am happy to see him in the promo. In terms of execution I like how each individual character has dynamic poses that match the character themselves. I especially like the fluidity of the poses in Alien Hominid, Dad, Fancy Pants, Salad Fingers, Henry Stickmin etc. The light effect behind Captain came out really well along with the left part of the background where a play of light and shadow makes it all pleasant to look at. I like the overall cell shading, it gives a nice cartoonish feel, but I also really like the soft shading on Bitey's face. It really does a good job of getting the fur effect right.

I also love the use of the font from the original promo for the collab title and of course I love the giant Angry Faic watching everything. I like the personalized touch he has with that look. Still in terms of details, I like the thickness of the swords (Green Knight and Hank) and the highlight on the surface renders the metallic texture well.

But if there is one thing I loved looking at the work was noticing the trigger discipline in Pico. I noticed that the index finger is not on the trigger. I know it seems like a silly thing to most, but for me who loves guns, seeing this element always makes me very happy because in reality it is important to avoid, even at the level of artistic works, spreading errors or false beliefs. When holding a gun the index finger must always be kept away from the trigger if you do not want to shoot. Considering that Pico is an expert shooter I doubt that he makes shoddy errors by keeping the index finger on the trigger if he does not want to shoot.

The collab seems very nice and interesting and I would have even participated if it weren't for the fact that I don't know how to animate XD. I don't even know if I want to try with Krita, lol. Good luck to everyone who participates though, I bet it'll be awesome. Great job offering to do the promo artwork, it does the collab justice. Congrats!