Undertale

peak

Дуже добра казка з одного боку, з іншого дуже страшний психологічний хорор, Тобі Фокс геній

자꾸팅김 ㅅㅂ;

Uma merda

думал милая собака а вышел гигачад

under tale

All time classic, amazing story and huge community outside the game itself. this games story is one you just have to experience, through youtube or the game, either way works.

The thing about Undertale is that it's a very simple (conceptually) idea for a very overdone genre. A "your choices matter" RPG isn't that far-fetched of an idea, and multiple endings are also not a new thing for them, but this game delivers the consequences of your actions in a very direct, impactful (and at times, meta) way. "The story is not particularly complex, as it's spelled out for the player: It's up to you if you want to kill or spare the enemy, so you choose if you want to leave the underground as if you were never there, or make your presence known. The dialogue is corny, the stakes are (seemingly) low, and it's not really a serious plot". ...is what I would have said if I didn't care about videogames as a medium. A "ball-and-gun gamer" if you will. (there be spoilers ahead) Undertale is a game that I hold dear to my heart not because it's some sort of underrated (which it DEFINITELY isn't) masterpiece (which it also isn't), but because it's a story that could ONLY be told through a video game. Its story was not just tailor made for a game format, but it only works because of it. It knows exactly what tropes it's making use of, and exactly what tropes it's making fun of. Story wise, it's simplicity is its strong suit. You, a human, have fallen down to the Underground, where monsters live. You want to go back to home, so you start walking. You are almost immediately killed by a character that states "Down here, it's kill or be killed!", and are told right after (by a very different looking character) that you shouldn't hurt anyone. The story has minor changes if you alternate between them (for example, killing only "boss enemies" but sparing everyone else), but has MAJOR changes if you stick to saving everyone or killing everyone. Regardless, on your first playthrough, you will be treated with loads of juvenile humor, lost of legitimately challenging fights with their own gimmicks, and will be rewarded with well-delivered emotional moments if you invest yourself in the story. Undertale shines if you truly immerse yourself in it, if you don't play it thinking "it doesn't matter, it's just a game." The final stretch, before you face Asgore, is one of the best examples of why it HAD to be a game to work: Key plot points are shown in an exposition section that shouldn't work, and yet it delivers some of the most emotional moments for most players (I'll come back to this later) through this way of storytelling. The fight with Asgore itself is such a powerful subversion (at first) of the entire "your choices matter" idea you've been engaging with, that it feels cathartic. The fight after it then one-ups this by introducing key meta-elements that you wouldn't have expected unless you were paying close attention to the dialogue, and even after it's done, you get hints about ways to "change the story" which I won't spoil (but the internet has talked to death about). If you've gotten this far into the review and any of this sounds interesting, I really recommend buying this game and playing it for yourself, because experiencing it first-hand is such a cool experience that I don't want you to miss out on. ...but moving on, what ties this game together isn't it's story/gameplay combo, it's the soundtrack. Let's face it: The story isn't revolutionary. Toby isn't some sort of modern-day Shakespeare. But what he couldn't quite capture through the writing, he made up for and ABSOLUTELY SMASHED expectations with the soundtrack. No joke, you start playing it and you begin recognizing songs you've probably heard in some random youtuber's videos, or backing the dreaded "video-essay". They're catchy, memorable, and some of them are just straight-up beautiful. But the part that everyone talks about (which they should, because it is indeed as good as they say) is the use of leitmotifs. Tying together multiple characters through a little part in a song that they share is a very simple but effective way to tie emotional weight. The best example, in my opinion, is how the main melody in Toriel's track "Heartache" appears after the end of the first section of Asgore's track "ASGORE", which alludes to their relationship: Toriel and Asgore were queen and king, but she became unsatisfied with his mercilessness towards humans and broke up with him, secluding herself in the Ruins. Even still, Asgore remembers her, and cares for her deeply, because he believes she is right, that he's being merciless and evil, but he will bear the pain of losing her trust if it means the smallest chance of freedom for his people. (I could have talked about any other song, but I personally believe the final stretch of the game, scored by "Undertale" and "ASGORE", delivers the strongest emotional impact in the entire game.) I had the luxury of somehow not being spoiled on (almost) anything for TEN YEARS and managed to play the game blind last year. As you could tell, I really enjoyed it. Knowing about it or not, I still think it everyone should play it at least once, because it can help you decide how much you want to engage with games as a medium. And I ESPECIALLY recommend playing it THROUGH ITS ENTIRETY (or at least knowing of how its multiple endings change the game, as I have not and will not play through the Genocide Route) if you want to try DELTARUNE. On this last point: Yes, you don't need to play Undertale to know more about DELTARUNE, but it does enhance the experience and the payoff you get when your expectations are challenged by its story. TL;DR: The game's enjoyable, buy it. But if you don't intend to care about the games you play, then you'll get nothing out of it. Otherwise, you will probably really like it, and might also put some of its songs on your personal playlist.

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