Undertale RPG Review
Undertale, from amazing music to a heartwarming gameplay captures the hearts of people of all age groups around the world. Toby Fox, the game director, worked hard on creating unique personalities and feelings to every single character, whether it’s a boss or a random encounter. While playing Undertale, you will see that every single monster has different personalities and backgrounds, and every single one has different things to say. You will relate to them in a way you will unfortunately never do in a regular Role Playing Game.
In Undertale, you control a human who ends up falling into the world of monsters and needs to find a way out of there alive. The premise is simple, but this is a characteristic feature of the game that also covers your graphics, menus, and scenarios. This is because the game allows the complicated to be the most important: the responsibility for the actions of the player. The game even gives you the option to spare every monster you run into, and that basically the main purpose of the game: being able to complete it without killing anybody. This is exactly what Jake Muncy writes in his article by posing moral question binding while solving a puzzle inside the game. He writes, “Repeatedly, Undertale throws the player into unavoidable boss fights, where negotiation is not an option. These fights can be won nonviolently, but only through puzzle solving.”
Theoretically speaking, this does not mean that the player who decides to play the genocide will not have a unique experience. The battle system is clever and fools anyone who sees it for the first time because of its archaic appearance. In his book, Ian Bogost, explores the immersive experience such a game delivers and in turn influences the game play. In fact, it is intuitive and dynamic making both the act of battle and the mercy of immersive experiences using visual rhetoric. Especially, the part where you survive the monsters in robolox is eventually “the art of using processes persuasively”. It shows us the breadth and depth of narrative that games can produce, and the different and effective ways in which they can tell those stories and creative narratives which suck us in, churn us around in joy and pain, and leave us elated and exhausted like nothing else can (see).
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The last moments of the game are reminiscent of the classic RPG endings as demonstrated by correlations drawn by Jesper Juul in his book on Video Game Theory, in which all of the members of your party join together in triumph to snatch victory from the jaws of defeat. Much like winning or losing the game in the real world but the in-game consequences are limited to the fictional world alone. It’s a story as old as anime VHS distribution rights, but for whatever reason when your friends help you beat Flowey at the end of both the Neutral and “True” pacifist endings, there is some of the old emotion there. The emotion is governed by rules of the real world. Perhaps it’s because the game is so earnest in its expression of unity that it works so well. Or perhaps it’s because the game’s mechanics are so perfectly balanced between difficulty and fun, and that the world itself is so embedded into the logic of video gaming and so precarious and strange, that the final montage feels so hard earned and tearful (See).
