Forgot to mention, but the music here in 8-bit (or is it already 16-bit?) is gorgeous. Although in the intro and in the ruins, it is still uncomplicated. But during the fight with Undine on the genocide or with Sans, you can safely put it in the player.

There is a lot of controversy around the game, some praise it, while others scold it. I do not deny that the graphics here are the last quality that Toby Fox gave. Therefore, when I started playing, I still had some doubts about its merits. The Ruin location is generally the palest location in the game, and its puzzles are very simple. The RPG system, and the treasure hunt is even more primitive. There are no caches at all. Standard only DEF and ATK, standard set of exp

But gradually the game starts to get weird, get out of stereotypes, introduce more and more jokes, gag over JRPG clichés and break patterns layer by layer.

At first, I just smirked a little at the prank with the spikes that Toriel drove by the handle and how the Frog doubted the usefulness of the full screen function or complained about how players do not like to read dialogue by clicking the dialogue skip button.

Then he laughed at the capabilities of the "dog" monsters and how they can be defeated by an alternative method.

Then I was touched by the communication of the brothers Sans and Papyrus, the way they communicate, setting traps for me.

Then I was struck by the fact that you can’t sell old things in the store.

Then I was fascinated by the friendship with Pyrus and the conversation with Sans in a bar.

Then I was taken aback by the very atmospheric location of the Waterfall and its beauty and beautiful soundtrack. The moment when you walk with an armless monster in the rain with an umbrella and admire the castle together, finally demolished all doubts about the game.

She is really wonderful. I will remember for a long time the joint cooking with Ondine, the change of status of Alphys on the phone, Metatton's transfers, Asgore planting flowers and the final boss of the neutral ending.

I was even more torn apart by the fact that Flavi can save, which he took advantage of when you defeated him. The moment when he downloads the file and exposes the trollface is the best moment in the game on a neutral path. Toby Fox directly felt what the player would feel and made a two-second pause there so that the player had time to return his roof to its place.

This boss is remembered as the most creative and best boss of all the games that he met.

After this, it is very difficult to go through the path of genocide on an emotional level. Despite the fact that the monsters and bosses themselves are easy to kill, and most of the puzzles have already been solved in advance. Only the final boss as a result of the whole path makes you throw in a sweat because of hardcore. It was as if Toby Fox again felt the entire state of the player that he would have to go through. The game presses not only with a strong change in the attitude of characters to the player, but also with a more pressing and slowed down soundtrack in locations.

Makhych with Sans takes the honorable second place after Flavius ​​in terms of the power of memorization brightness. In addition to the cool soundtrack, it is outrageously complex, and only wins because of Sans's laziness and his craving for sleep.

Yes, this game is more for an amateur. The graphics are very retro, the whole setting is revealed with signs and flowers in the Waterfall, and it logically approaches the final for the GG only on the path of genocide, but the pacifist ending is more attractive, where other characters are better revealed than the GG itself.

But I like how the game finds different ways to bypass the 4th wall, despite the fact that it becomes mainstream (The Stanley Parable, SUPERHOT, Unepic, even the Deadpool movie that came out) and makes it very responsible to approach the choice, changing the whole attitude of the characters to the player and that many of the game's features are part of the world itself. For example, an explanation of EXP, level and save. And I haven't seen this anywhere else. Even lost treasures have an explanation for their origin.

And yes, the humor is very funny. I can’t imagine how it can be translated into Russian because of the huge amount of word play.

So yes, it's a great game.

One developer has done such a thing that many AAA class developers can safely retire. For fans of the new JRPG is ideal.

Alphys girl:c

but the music here is in 8-bit performance

No, the music here is made in frutiloops using a pseudo-eight-bit plug-in, and even then not everywhere - an acoustic guitar plays in Toriel's house, for example.

Otherwise, I completely agree, the game is great. The only game that has made me emotional since I first played Chronocross at the age of 7.

Perhaps it is this machine in the workshop that is connected with the ability of Sans to be saved and the creation of his Blaster minions. This also indirectly explains the experiments with Flavius, which also gave him the opportunity to remain the same as a man, but without the power of Determination. Probably this is what Sans wanted to show the player when he saw how he uses the save with him. This also explains the photo in Sans's workshop, which changes if the game is completed on a pacifist.

All the time I feel like there is an even more true ending in the game, which will immediately reveal both Frisk and Chara, including Gaster himself, and not one of them, specifically, and which will finally close the game, not allowing you to go through again, unlike genocide and pacifist endings that only affect the sequel. Well, or completely restart it.

Yes, I know everything. For a month after passing, I went on YouTube and watched all sorts of things. And about how Undyne lost her eye, and about whether Alphys committed suicide in the usual ending, and even about the color of Metatton's soul :) There will be no such ending, of course. And there will be no continuation, I think, either. Attitude Toby's speculation regarding the open source of the game is perfectly visible in the interview! And in general, enter gaster on the name selection screen. Very revealing :P

True Pacifist Path: After the neutral ending ends, the player will receive a phone call with credits that provides clues to the requirements to complete the True Pacifist Path. If Flowey is pardoned during the Neutral Path, he will appear after and he will give you a hint for the Pacifist Path. If the player has not earned OPT and UR during the playthrough, they can load this save file; otherwise, if they have OPT and UR, they need to reset the save file. Please note that killing Asgore or Flowey will not affect the OPT and the save file in any way, because. after killing them, it is impossible to save. The list of requirements in sequence: When passing the game, do not kill anyone, UR must be on the first; do not use lethal ways to win the battle, instead use mercy, escape, or actions that end the battle. After the fight with Papyrus, visit his house and complete the date or hang out with him. After Undyne passes out while chasing you, get some water from a nearby cooler and pour it over her. Return to the Waterfall and visit Undyne's house. Papyrus will be waiting outside. Talk to him to go inside. Complete "Cooking Lesson" and Undyne Fake Battle. Continue playing the game the same way you did in the Neutral Path (No Kills) until you get to the Core. Go through the Core and don't kill Mettaton EX. Come and have mercy on Asgore. After defeating Photoshop Flowey, have mercy on him. If you killed someone during this playthrough, then you will need to reset this save and start over, without killing. After that, return to the MTT Resort from where you entered the Core. Along the bridge connecting the resort to the Core, Undyne will call you to deliver a letter for her, saying that she will be waiting for you outside Papyrus's house, where she will give it to you during the conversation. This event will only occur if you completed the Neutral Ending. If you completed the Neutral Ending on a previous playthrough (but not the Path of the Pacifist), you will receive a letter during your "date" with Undyne, or at Papyrus' house if your inventory is full.) Place the letter under Alphys' Lab door and complete the "date" with her. Go back to Alphys' Lab and go into the "bathroom" to get to the True Lab. Find four keys scattered throughout the True Lab, place the keys in their special recesses to open the room with the power source. Turn on the source to start a conversation with Alphys. Exiting the True Lab will take the player to the New House with a vine-blocked exit. This means that the ending of the True Pacifist Path will happen. If the Neutral Path was completed without killing any monsters before the last save, the player has the option to load it and return to complete all friendships; when it's done, Papyrus will call and goad you into visiting Alphys' Lab, leading to the True Lab scenario. Befriending Characters If you haven't befriended Papyrus, return to his house in Snowdin Village for a date/hang out with him. If you haven't befriended Undyne, return to her house in the Falls. Papyrus will be waiting for the player there. Before entering the Core, Undyne calls the player asking them to deliver her letter to Alphys. If you befriended Undyne after completing the Neutral Pacifist Route (Neutral No Kills), then she will give you a letter right after you visit her house, saying that Papyrus suggested it to her earlier, but Undyne still hated you at the time. After delivering the letter to Alphys, she mistakenly perceives that it was written by the player himself and goes on a date with him. While on a date with Alphys, they go to a garbage dump near the Waterfall. They run into Undyne, who decides to deliver the letter herself. Alphys tells Undyne the truth about her "scientific" job, which consisted of doing nothing, watching anime, and reading manga. Undyne shows his support and sends Alphys to train with Papyrus. She then asks the player if the anime actually exists. After the date, Papyrus calls the player and very specifically advises them to go to Alphys's Lab, citing only a "good feeling" and no other reason.

Underground Tale by Toby Fox became famous in 2015. She was met with positive reviews. Despite its simplicity and, to some extent, primitiveness, the game has become a hit for many.

essence

Before you understand the passage of the game "Undertail", you should understand its essence. Toby Fox worked on this role-playing game. Of course, he was not the only one who had a hand in the project, but still the most important "father" of the game. In addition to the gameplay, story, and soundtrack, he did design work with Temmie Chung.

The main task of the player is to control the child who enters the Dungeon. This is one of the locations where the main events are waiting for you. Monsters live here, who ended up here after the war with people. Not all of them are our enemies. And it all depends on the decision of the gamer. The child can be friends with them or kill them. It is from this that the ending of the game will depend.

Gameplay

In Undertale, the passage directly depends on the gameplay. According to the classics of the indie game genre, there is nothing unusual here. Toby Fox used standard role-playing toy mechanics. There is experience, and the outside world, the use of weapons, as well as the amount of health.

By the way, mentioning the main character, it is worth noting that the gamer does not know whether it is a boy or a girl. His name is Frisk, so most often the baby is still referred to as a male. He can travel around the Dungeon freely, enter various locations. Sometimes he runs into NPCs, sometimes he solves puzzles.

In order to continue in the "Undertail" passage, the player must pass special points that will not only save a certain moment, but also restore health. The fight doesn't look normal. A battlefield appears on which the player must control the heart. In this case, you need to deviate from attacks.

variability

But in addition to battles, gamers have a choice in the Undertale game. The walkthrough may differ from how you feel about NPCs. But keep in mind that if you spared a monster, you don't gain experience. As a result, if during the "battle" you dodge attacks and at the same time do not use force, then the monsters will be kinder and less aggressive.

As a result, the branching of the plot will lead to one of three endings:

• Neutral way;
• Path of the Pacifist;
• Path of Genocide.

Neutrality

The first option is the most common. This is probably no coincidence, since in order to pass it you need to be neutral: punish someone for insolence, pardon someone. At the end of the Neutral Path, we will meet Photoshop Flowey. Although this option is one of the game's three endings, it also has its own variations. However, the main plot remains unchanged. Asgore dies, Flowey collects human souls, Frisk returns home through the barrier, and the monsters remain in the Dungeon.

Kindness

But if you chose the path to the passage of "Undertail" Pacifist, then you will find a positive ending. Therefore, it will be very difficult to achieve it the first time. After the neutral ending, the child will receive a call that will guide him down the Pacifist Path.

In order to get the most positive result, you can not kill anyone, in battles you need to use mercy, escape, or something that will help end the battle. Next, you need to visit Papyrus's house and complete a date with him. After that, you will need to help Undyne recover. She will chase you for a long time, but will quickly get tired and lose consciousness. Then you need to pour water on it.

After we visit Undyne's house, and there we will have to talk with Papyrus again. Ahead of you are waiting for a “cooking lesson” and another battle, but already fake. In the final, you need to go through the "Core" area, but do not kill anyone there, and also go through Asgore. At the end of the child will be waiting for the battle with Flowey, who will need to be defeated.

Suicide

The third ending is the Genocide Route. This is the most bloodthirsty option, which can only be achieved by stepping over the corpses of monsters. It is worth remembering that if the player has chosen this path, then he will not be able to turn off it, as would be the case with Neutral.

So, in order for the passage of the most malicious path in Undertail to be simple, you must follow one main rule - kill everyone in each location. The child must "run into" fights and do this until the monsters do not stop appearing in his way at all. In addition, it is also required in order to fight the mini-boss.

In addition, the main thing is to check the kill counter all the time, it is an important aspect. The fact is that if the hero did not kill all the monsters in the location, he can be returned to other events that resemble the Neutral Path.

In Undertail, the passage of the Genocide Route in Russian will not end with anything good. After restarting the game will not. Before the player will be only a black screen and the sound of the wind. No interface elements will appear. Only after 10 minutes will Chara start a conversation, which will once again point out to you that it was because of you that the whole world was destroyed.

In general, this project really turned out to be very intense, despite its primitive graphics. The plot can turn out to be both extremely happy and radically tragic. Diversity, cardinality - this is what attracted many gamers to the sad story of a child's journey.

Undertale unexpectedly for everyone became one of the main events of the past year. The almost single-handedly created indie game sold huge circulation within a couple of months and won a myriad of loyal fans who pushed it to the top spot in GameFAQs voting for the best game of all time. Over time, the Western press also pulled itself up: on Metacritic Undertale equaled the average score with The Witcher 3, surpassing even Metal Gear Solid V.

No less numerous are opponents Undertale. They call it a cheap knock-off (as if it were something bad in itself), scold it for its eye-breaking graphics (deservedly, but this is clearly not the most important criterion), and argue that the game owes its popularity to those who appreciate pretentious indie games. games to the Western press and fans of memes.

This, of course, is not so: the press licked and Sunset, whose sales are several orders of magnitude lower, and Borderlands 2 downright bursting from memes, but only special people's love did not wait. This is not to mention the "meme" games from Greenlight: over the comic and ugly Bloodbath: Kavkaz everyone laughed and instantly forgot her.

Undertale is not. Is she really worth that much credit?

Stale ingredients

The whole essence of Undertale in one screenshot.

According to my observations (based on many months of reading various discussions), Undertale fans are divided into two conditional categories. Some people love her for her kindness, for the characters with whom they managed to make friends, for cozy impressions (for them, as I understand it, people appreciate Final Fantasy IX). Others - for unusual game design decisions, for the fact that the game remembers everything after loading, for breaking the "fourth wall", and so on.

No doubt, the game has it all. Does that make it the best game on PC, or the best game of 2015, or the best of all time? Of course not. Because the passage of Undertale, I remind you, consists of walking through incredibly miserable, monotonous and ugly locations, from sick of random fights, from solving stupid puzzles, and also from endless jokes.

Everything else that is in the game, quantitatively pales in comparison with the above. All the way from the very beginning to the very last boss is despondency and suffering. And all the good things in the game - peaceful scenes with the participation of comrades, some comfort and, especially, unusual game design decisions - are either right before the final battle, or even after it. Or optional, which essentially means that it's best to watch it at the end of the game. For the sake of the best, you must first suffer the whole game to the final.

Playing with the grace of an ax-wielding Jack Nicholson knocks on the fourth wall.

And Undertale gives no incentive to do so. I am writing this text so late, because I finished playing just the other day. When I started to play Undertale in the fall, I had enough for two and a half hours, during which it didn’t even have a semblance of a plot, at least some kind of plot. The whole game up to the waterfall that I reached consisted of jokes (except for the first location - it consisted of unbearably intrusive guarding). I was told that it would be different in the future - no, a lie. Everything else was the same. Empty locations, random fights, dull puzzles, eternal jokes.

Plot twist - just think! - falls on the player right before the last boss: the hero walks along a straight corridor, and the monsters in the forced battles do not attack, but for no reason tell him the background. And this game people praise for the approach to the story!

And in the course of the game, the details of the local world order are described by text boxes hanging on the walls of the same linear corridor along which the player walks from start to finish. The most important information, available only before the pacifist ending, is presented in the same way. Only in the "genocidal" path, important plot details are told by those characters who should.

A matter of life and death.

And the fact that to understand the whole plot you need to go through the game several times is not a plus at all. Especially considering how zealous Undertale is in trying to accuse the player - local characters directly emphasize that all evil is from munchkinism, from the desire to gain more "exp". In general, this obsessive pacifist message of the game is so outrageous that I will dwell on it in more detail.

Jesus, Lennon and Gandhi walk into a bar

First, Undertale is very aggressive in forcing the player to kill Toriel in order to then play on guilt. Surviving under her attacks for twenty-six turns, during which she says the same “no” in different phrases, is not serious. And do not talk about the fact that when the hero has little health, she misses - the player cannot know this, and, for example, she killed me. This goes against what the game has taught so far - that it is enough to find a common language with the enemy, and he will agree to leave.

Unfortunately, this is true.

Second, there is the issue of self-defense. They beat you, but don't you dare. Returning good for evil is like supporting evil, and for this reason, from an ideological point of view, I absolutely do not like Undertale. To get a good ending, the player has no right to kill any opponent. No pieces of jelly, no ghosts, no scales climbing out to finish off the hero, Ondine. Because, you see, they are kind, and the hero, if he responds in kind, is immediately evil. Why is this mocking “kill or be killed” not applied to monsters?

Thirdly, the game does not encourage, but actually forces you to go to the "genocidal" ending. Not because "it's interesting to see what happens if everyone is killed," as Flowey says. Just such a passage is content. It is markedly different from the usual and, more importantly, allows for a deeper understanding of the two key antagonist characters. Skipping it means forgoing a significant part of the game, and blaming the player for going to see what else the author of the game put into it is just as disgusting as what Spec Ops: The Line. Its creators, let me remind you, literally said that you can not burn people with phosphorus, but simply quit the game. Yes, and you can still not play the game, it will be the same sense.

Some sprites are drawn very well and contrast strongly with the rest (that is, with the majority).

Fourth, the game is, generally speaking, complex. Surviving in a hellish bullet hell, having the first level and a miserable 20 HP, is not a pleasant task. And, generally speaking, the combat system is far from Undertale's forte. Yes, it can be praised for its originality, for an individual approach to the attacks of each opponent, but no one will advise playing Undertale for the sake of gameplay, and this says a lot.

The combat here is not tactical like in other JRPGs. No, fighting in Undertale is all about "groping around with brute force or an intuitive way to get the enemy to leave" or "survive thirty turns under boss attacks". There is no value in random battles, they are an obstacle on the way to comfort or plot, underline the necessary. And the desire to make life easier by pumping - especially in light of the fact that monsters attack the hero and try to kill him - is fully justified.

And since we are talking about what almost no one praises the game for, let me return to our four main components of its passage. And locations, and random battles, and puzzles - this is not only not the best side of the game, it's complete rubbish. Humor is, of course, a subjective thing, but Undertale fans, as a rule, never put it in the first places in the lists of its merits.

Smehopilorama

In a second, the light will go out, and the path will have to be found by touch in the dark. Horror, not gameplay.

However, almost everything in Undertale is all sorts of jokes and jokes. Sans and Papyrus are exceptionally comical characters (well, Sans has a couple of serious scenes, but that's more of an exception to the rule). The waterfall seems to be a gloomy location, where the hero is pursued by Ondine... and almost every encounter with her ends up in a completely comical baby monster. Alphys is a very lifelike character, so to speak, but she, with her awkwardness, is also comical. Random fights? Yes, the same thing: the stretching head of a dog, a jock flying on biceps off the screen, a tsunderoplane that doesn’t just want to bomb you, like a tank - these are all jokes. They are cute, but this is by no means the breakthrough of the century.

And all these breaks of the “fourth wall”, in fact, are also just a joke. Perhaps, everything, except those that are occupied with the player's reproaches already discussed earlier. Much of the game's content sets patterns, only to break them at some point and surprise the player. Why are all the fights monochrome MS Paint? Yes, so that the player sees the color “photoshop” of the final boss and is stunned. Why are you entering your name at the start of the game? Yes, in order to later find out that you are Hitler, and be stunned. The game remembers your decisions even after loading, but what does it do with them? Just a reminder that he knows what you did last summer to make you stunned. Etc.

Another example of the amazing depths of Undertale gameplay.

So I honestly don't understand how you can take it seriously. A good ninety percent of the game is either jokes or preparation for jokes that will be played later. Even if some of them turn out to be witty, there will be a dozen much less funny ones for each, and their number quickly becomes tiring.

Fabula rasa

As for the serious plot component, it is generally not so bad (the very idea that your hero looks like a conditional Hitler and, if you help him in this, he will turn into Hitler is interesting), but ...

Firstly, its presentation, as already mentioned, is no good.

Secondly, the ending mechanics are incredibly stupid. The game does not have a moral character system: both the pacifist, who accidentally crushed one pudding, and Hitler, who for some reason missed the same pudding, will receive a neutral ending. This is absurd. The need to cut out all the monsters without exception in random battles is completely unjustified, and this reproach in the finale of the ending about genocide, that, they say, this is all for the sake of "expa", turns out to be completely out of place.

Thirdly, Undertale in the gameplay successfully parodies the cliches of the JRPG genre, but in the plot it dives headlong into the same cliches. A bunch of essences, transmigration of souls, alternating control of one body by different souls and, of course, self-confidence and overcoming difficulties as the basis of a hero's power - only part of what we have already seen, and more than once.

Undertale is comedy, and there's nothing worse for comedy than not being funny.

And if you sum up what Undertale is, according to standard criteria, it turns out that the graphics are from the category of “you can break your eyes”, the music is good, the gameplay is bad, and the plot is small, and even that is not without flaws. Yes, the main merits of Undertale lie in a completely different area, but you can’t turn a blind eye to the fact that, as a game, it is, generally speaking, mediocre at best? What can be 10/10 with such and such inevitable gameplay?

* * *

I'm moderately negative about Undertale. I took a sharp dislike to her from the very beginning: both the obsessive guardianship and all the local humor caused me a sharp rejection. And then the gameplay began to interfere: long labyrinths, boring puzzles, random battles, difficult bosses.

But after the final, good things finally began. It was possible to calmly walk without constantly crashing into puzzles and unnecessary battles. I really liked the scene in Ondine's house, because the humor there was, for once, visual. When the characters started chatting with each other, discussing something, telling stories from the past, it was then that it finally became clear what kind of comfort the game lovers were talking about. The only pity is that first it was necessary to go through eight hours of despondency and suffering.

There is another problem with Undertale: it is very difficult to perceive it in isolation from the hype that has been raised around it. Without this hype, almost no one (including me) would talk about the game: there are a lot of indie games now, and I'm sure that in a huge number of them the canons of the genre are ridiculed in one way or another and / or the fourth wall is broken - because their authors can afford to show off. Undertale is touted as a revelation, as a brilliant deconstruction of the genre - but I see in it a number of good ideas that serve, for the most part, for the benefit of the next jokes.

Of course, it's worth playing Undertale: suddenly you like local humor or, for example, fights, and then your path to the most interesting moments will not be as painful as mine. Undertale does have some wonderful ideas and is really kinder and cozier than many JRPGs. But I certainly would not call her the best in anything.