Fan base aside, does Sup Forums think Undertale is a good game?

Fan base aside, does Sup Forums think Undertale is a good game?

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Yes. Hating anything over it's fanbase is fucking retarded, unless it's Sonic, but Sonic sucks regardless.

It's average at best, and at worst extremely painful to play.

Was a proper update for the Gaster stuff and Hard Mode ever made?

It's all right. It's not something I want to play again but I'll give it props for keeping me playing.

Some characters were kinda funny and the music was nice.

its an alright game, people who cant enjoy a strictly single player game because of the fanbase need professional help

OP here, I enjoyed the gameplay all the way through, mainly because it was nice to step away from all the FPS games and serious, complex RPGs I'd been playing at the time. I can see where that idea can come from though, at times the visual design feels uninspired and the lack of variety can be a tad frustrating

Stopped playing it after a couple of hours. Was certainly not terrible, but I definitely did not understand the obsessive following.

I think Transistor remains as my favorite recent indie type game, and Undertale didn't even come close to beating it for me.

I don't think so

I'm not too sure on the obsessive following, but I definitely feel like everyone should give it a shot. I went in thinking it wouldn't really be my cup of tea and I really enjoyed it.

My favorite indie game remains Spacechem, because I'm a huge puzzle games freak

I liked it

I wish I didn't have to see threads about it all the time though

And holy fuck is the general bad

Sorry if I'm contributing to the mess-- I haven't really browsed Sup Forums since it came out.

I think the main issue with the pervasiveness of the fanbase is that a lot of the game relies on defying expectations, so if you happen to have hung around anyone who won't shut up about it, it can kind of ruin things for you.

That said, I will agree that blindly hating the game because the fanbase acts dumb is really nonsensical.

I thought the game was ok, Neutral run end bosses (Flowey/Asgore) were great. True final boss was only good for the initial hype up and music. Overall a decent game with a great soundtrack, Toby should have stuck with just composing shit.

Damn shame how its been tainted with today's obsessive internet culture, game was nice to talk about when it first came out, should have been left as just one of those little fun games we all played and let be.

The idiots who bashed on it endlessly just because of the whole stupid hive-mind thing are just as bad as the god awful fanbase who obsess over it because its "hip" for them to obsess over it within their own online groupings.

All this shit could be avoided if people would just think for themselves and not view/react to games based solely off of the collective opinion of others just because they want to fit in.

2nd best game to come out last year. Yes, its fantastic.

I think it's a game with good ideas that don't actually work that well in practice.

It's too quirky in some parts but it's definitely enjoyable and you can tell the creator put a lot of thought into it

I just wish it wasn't faux pas to post undertale memes

I agree. The music was fantastic but Toby really needed writer when writing the game. I'm not sure if he wrote the script or someone else but it was pretty lackluster.

It was decent enough. Hate the fans but it did give me the Mother fix it have been needing

go away IGN

>extremely painful to play
uuuu

It's really good

It was pretty good. I played it without knowing anything about the fanbase or hype.

It was a good game, but not "GOTY" like all the delusional tumblr retards were screaming about. It's too bad only two fights in the game had any semblance of difficulty to them. Absolutely criminal that it didn't win best soundtrack at dorito pope's awards though. That was the one thing about it that wasn't a meme.

A good game, a little overrated and hyped and with an awful fanbase.

But alone, in a vacuum, pretty good little game. I still think the music is the best thing about it tho.

I thought it was the 3rd best game from last year, but that was mostly because I didn't play too many.
I thought it was above-average. Played it 3 times and listened to the soundtrack outside the game for a while.

...

>Entire objective of the game is to get back to the surface that we've never really seen, so that our blank slate character can go back to ???
>seriously, what is his motivation to go back? Family? Friends? What is our motivation as a protagonist?
>The underground is pretty cozy too, why not just end the game at Toriel's house?
>This is a problem for the monsters' motives too; we never see any sort of disparity between the lives of humans on the surface and monsters underground. This wouldn't be an issue if the monsters were shown as struggling to survive, but the underground is honestly a pretty nice place to live.
>As a result, the monsters' motives for wanting to leave the underground become far less sympathetic; the most universal motive seems to be getting revenge on humans for trapping them in this entirely habitable environment where they live comfortably. If anything the game is giving you motivation not to progress in a pacifist playthrough, but you have to progress anyway because there's no option not to.
>This is a game built around characters and their motives, but their motives all fall apart if you really think about them. The only people who really make sense and don't come across as petty are Asgore and Toriel.
Also final boss fights where you can't actually lose. I understand the desire to keep the story moving at a pace that keeps dramatic tension high, but once the player realizes he can't lose it has the complete opposite effect; you realize that can't lose because the plot demands it. You may as well just turn the entire fight into a cut scene.

LITTLE

>Also final boss fights where you can't actually lose. I understand the desire to keep the story moving at a pace that keeps dramatic tension high, but once the player realizes he can't lose it has the complete opposite effect; you realize that can't lose because the plot demands it. You may as well just turn the entire fight into a cut scene.

I agree. It makes sense for Asriel fight (since the whole thing is wooo power of friendship!) but for Omega Flowey is a big letdown you can just reload and keep going

I'd say it's on par with Portal. Short game that's lots of fun to play through and feels very fresh, with a surprisingly clever story. Mainly suffers from lack of replay value.

>Entire objective of the game is to get back to the surface that we've never really seen, so that our blank slate character can go back to ???
>seriously, what is his motivation to go back? Family? Friends?
Sure. That. Also, to return to a world where not everything is trying to kill you.
>The underground is pretty cozy too, why not just end the game at Toriel's house?
That's no life to live for a young human.
>This is a problem for the monsters' motives too; we never see any sort of disparity between the lives of humans on the surface and monsters underground. This wouldn't be an issue if the monsters were shown as struggling to survive, but the underground is honestly a pretty nice place to live.
Not in my opinion.
>This is a game built around characters and their motives, but their motives all fall apart if you really think about them.
What wrong with the motives of Undyne, Papyrus, or Sans, for example?
>Also final boss fights where you can't actually lose. I understand the desire to keep the story moving at a pace that keeps dramatic tension high,
The purpose of the last fight was thematic relevancy. It's a great way to end the story, and a reward for struggling through the game with minimal hp. The reverse is true of the genocide run.

It's a pretty good game considering it's made by one guy. It's not a fucking masterpiece or anything but it had decent characters, an alright story and a really good soundtrack. The whole moral choice monster killing take on standard RPGs was neat.

Some of the bosses were too easy though and the whole genocide run was a bit too empty and lifeless. Which I suppose was the point but from the players perspective it was pretty boring.

People who hate games based on the fanbase are some fucking stupid people, ESPECIALLY a completely single player game.

not gonna lie the threads for the first two weeks or so following the game's release were maximum comfy

>Some of the bosses were too easy though
You reckon? I found them all reasonably challenging the first time I played through the game. Especially Muffet. The vertical scrolling section tripped me up until I worked out a good tactic for it.

Papyrus is definitely too easy, but that's only if you know that losing to him 3 times in a row is the fastest way to 'beat' him.

Undertale is pretty comfy.

youtube.com/watch?v=8BIeGdBjJiU&index

It's just memes and bullet dodging. All the characters were bland.

Aside from bugfixes, text corrections and the Fun Value actually being put to use without fucking with files, no.
Though there's minor additions to Sans' Secret Room that don't add anything spectacularly new.

>Sure. That. Also, to return to a world where not everything is trying to kill you.
So we're going back to people we have no emotional attachment to because we've never seen or heard of them, let alone actually interacted with them. And there's pretty much nothing dangerous until after you leave the ruins, where you'd be protected by Toriel even if you couldn't easily talk down the shitty little frog.
>That's no life to live for a young human.
For all I know it's better than his life on the surface, because I don't know anything about his life on the surface.
>Not in my opinion.
Explain your opinion. Explain how the underground is not a generally nice place to live when there is apparently no war, poverty, starvation, overpopulation, or disease. The monsters even have enough resources to build a skyscraper-sized thermal generator.
>What wrong with the motives of Undyne, Papyrus, or Sans, for example?
You cut out the second part of the greentext where I mentioned that many of the characters who make sense still come across as petty. Undyne is just kind of a shit who hates humans, and Papyrus is just a buffoon who wants to be cool. They both have perfectly fine lives before you show up, they don't need help. In retrospect Sans would also be a character who makes sense and is actually sympathetic. That's three. Whoop dee doo.
>The purpose of the last fight was thematic relevancy. It's a great way to end the story
This is a case of the developer putting their story before player interaction, and inadvertently making the story worse by ruining the dramatic tension of the story's climax. You can talk all day about thematic relevance, but the fact is a final boss fight that's really just a glorified cut scene is super fucking lame and disappointing once the player realizes that there are no stakes.

Yeah, it's great.
He has a shit taste, he knows the game is good but his hatred prevents him to say anything good about it.

I can say one thing though, the bullet hell elements could be worked on and the difficulty had to be higher, specially in genocide mode.

I thought it was good. I only did two plays of it though. The music is what really got me.

>For all I know it's better than his life on the surface, because I don't know anything about his life on the surface.
Are you trying to tell me you'd rather the game be weighed down by a heavy narrative all because you can't just assume for yourself that the game's surface world is probably vaguely similar to our own?

>there is apparently no war
I'm sure you breezed through the game and all, but Frisk's life was in constant danger: almost everything was trying to kill her.

>A case of the developer putting their story before player interaction, and inadvertently making the story worse by ruining the dramatic tension of the story's climax. You can talk all day about thematic relevance, but the fact is a final boss fight that's really just a glorified cut scene is super fucking lame and disappointing once the player realizes that there are no stakes.
I don't think it's the 'final' boss fight. The pacifist run is more like a newgame+ which ties up the story of the neutral run, of which the final boss is Flowey. I think it's fair to argue that the final boss of the game as a whole is the final one stopping you from destroying the game's world for good, and that boss is definitely a challenging and satisfying boss fight.

I think it was Tobby and Temmie.
The story was what the faggot homostuck dev wanted so whatever man. The game just feels lackluster because of the two "big bad" entities, Chara and Gaster, who seem like the meta endgame yet you can't face any.

Apparently yes.

Shit, I forgot this.
strawpoll.me/10778691/r

yeah, it's okay, sure

Haven't played yet. If it's still remembered as a classic in 10 years, I might go back and play it.

>>Entire objective of the game is to get back to the surface that we've never really seen, so that our blank slate character can go back to ???
Because everything in the underground wants to kill you and you are basically a jew in nazi germany.
>>seriously, what is his motivation to go back? Family? Friends? What is our motivation as a protagonist?
Post above
>>The underground is pretty cozy too, why not just end the game at Toriel's house?
You can technically just live with Toriel, in the small ruins, until you die. The underground is not cozy, the monsters eat garbage, there's no entertainment, their life is literally an endless abyss.
>>This is a problem for the monsters' motives too; we never see any sort of disparity between the lives of humans on the surface and monsters underground. This wouldn't be an issue if the monsters were shown as struggling to survive, but the underground is honestly a pretty nice place to live.
lol no, everyone complains but the demon girl in snowdin explained it, they try their best to feel better or else they'd fall into despair. Asgore says so as well. It's basically a hivemind delusion.
>>As a result, the monsters' motives for wanting to leave the underground become far less sympathetic; the most universal motive seems to be getting revenge on humans for trapping them in this entirely habitable environment where they live comfortably. If anything the game is giving you motivation not to progress in a pacifist playthrough, but you have to progress anyway because there's no option not to.
>>This is a game built around characters and their motives, but their motives all fall apart if you really think about them. The only people who really make sense and don't come across as petty are Asgore and Toriel.
You seem to be forgetting they have been trapped for at least 7 generations.

It only takes like 5 hours to play through, assuming you lose several times to various bosses as well.

Good. It has awful plot and characters. Basically, it's designed to trick teens into liking it because FEELS. It also has awful padding in form of secret dialogue. What a waste of fucking time.

ITT: Reddit the Thread

>Are you trying to tell me you'd rather the game be weighed down by a heavy narrative all because you can't just assume for yourself that the game's surface world is probably vaguely similar to our own?
Undertale is already heavy on narrative.
I can assume the surface world is like ours, but that still doesn't necessarily justify Frisk wanting to go back since lots of people in our world have shitty lives that would probably be worse than living in the underground.
>I'm sure you breezed through the game and all, but Frisk's life was in constant danger: almost everything was trying to kill her.
The point is that the monsters aren't at war with each other. They have a society with zero crime or violence when left to their own devices. If I assume that the surface is basically just "our world", then theirs is better.
>I don't think it's the 'final' boss fight. The pacifist run is more like a newgame+ which ties up the story of the neutral run, of which the final boss is Flowey. I think it's fair to argue that the final boss of the game as a whole is the final one stopping you from destroying the game's world for good, and that boss is definitely a challenging and satisfying boss fight.
I'mma let ya in on a little secret: you can't really lose against Omega Flowey either. You can die, but if you boot the game back up you'll be just as far into the battle as you were before he died.

It's basically a bullet hell that breaks the 4th wall constantly. Both done to death (without the homosexual overtones). Like the previous user said, pretty average. Bad controls. Alright OST and only one song stands out

>Because everything in the underground wants to kill you and you are basically a jew in nazi germany.
That alone doesn't justify progressing past Toriel's house.
>The underground is not cozy, the monsters eat garbage, there's no entertainment, their life is literally an endless abyss.
>lol no, everyone complains but the demon girl in snowdin explained it, they try their best to feel better or else they'd fall into despair. Asgore says so as well. It's basically a hivemind delusion.
Once again, these people built a giant fucking thermal generator the size of Hoover Dam. Snowdin is surrounded by an entire forest. You're seriously telling me they don't have the means to produce their own food or entertainment?
>You seem to be forgetting they have been trapped for at least 7 generations.
So? If anything that just proves that they're clearly not struggling to survive down there.

it's forgettable at best, but I like the soundtrack.

I feel like if you like the characters, you'll like the game. It's a very character driven game, after all. If that doesn't appeal to you, or you simply don't care for the characters all too much, it's not going to be a game you enjoy playing.
I like Undyne and Mettaton, so I like those parts of the game. The other parts have charm, but I wouldn't go out of my way to sing their praises.
Is it worth all it's buzz? No, of course not. It's just a game, not even a revolutionary one at that, it just plays a few tricks on the player, and that doesn't mean a whole lot. Other games have played tricks before, for better or worse. I suppose something should be said about it being made on Game Maker, but I've never tried to make something like that myself, so I wouldn't know the difficulties behind it for sure.

If you like character driven games, give it a go if it interests you; if you're looking for deep gameplay mechanics alongside interesting gameplay, you're in no rush.

It tried to focus on two storylines and neither of them feel good because of it.

Hippy and slightly less Hippy run are the route's you're most likely going to go, and its a largely uninteresting easily predictable story with somewhat interesting highlights (Not being able to spare Asgore, Flowey calling you a piece of shit for savescumming Toriel) that only really happen around the beginning and the End, which I assume is Toby completely drawing a blank as to how to implement the save gimmick into a character arc until the end.

Mr. Murderman run is supposed to be a deconstruction of RPG's by changing the game based on if you grinded in the first area, but fails right at the beginning of the game with you being told that that killing monsters will make everyone hate you, robbing you of that sense of self realization. You probably won't even get to Mr. Murderman mode without knowing there is a Mr. Murderman mode and how to get it, and the only reason to actually do the fucking mode at that point is to meet Mr. Bad Time. Toby seemed to have realized this as well, since a lot of the dialogue implies you know what you're doing is wrong and that your sense of curiosity lead you to becoming the best at Omnicide.

Music was good.
Characters were well made.
Story was predictable.
The reset mechanic etc was actually interesting.
The game is just overrated because tumblrfags, femminists and lgbt community.

I thought it had some really great moments (Asgore + Flowey fights and the laboratory being my favorites), but the true ending kind of soured it for me and ultimately it didn't really stick with me.

I feel that it got way more popular than it had any right to and would've been better off as something with a little cult following. It's the sort of game that's best experienced completely blind with very little foreknowledge and that's probably nearly impossible at this point due to how omnipresent it ended up becoming.

It was cool. I liked Asgore fucking with the Mercy button, the Flowey's final form reveal, and how cheesey the Asriel fight was once I realized he was literally a fucking DA character.

It's alright I don't think it's a 10/10 like most people seem to parade around but it was enjoyable

I would say that Undertale is probably the most needlessly divisive game ever made. I was very surprised when it was OK, as I was led to believe that it would be either shit or a masterpiece.