Undertale – the game promoted as the friendly RPG where nobody has to die. It was developed over the course of roughly two-and-a-half years almost entirely by a single person: one Toby Fox. Mr. Fox already had an internet presence orchestrating music for Homestuck, a webcomic known for its complex plot and large following, but this was to be his first original creation.

The project saw its release in 2015 whereupon it received universal, widespread acclaim from numerous publications. This sentiment wasn’t limited to critics either; so profound was its resonance with the community surrounding the medium that, mere months later, its members voted it the best of all time on a certain site famous for providing walkthroughs on almost every game imaginable. A coalition of video game fans banding together to deem such a new title a superior effort to all that came before is an extraordinary display. It begs the question: what is it about this game that caused those who played it to declare it the best of the best?

Playing the Game

WARNING: I will mark major spoilers with tags as usual, but Undertale is best experienced with a completely fresh perspective. Skip to the conclusion and don’t read the comments if you want to go into this game blind.

As hinted by its tagline, Undertale is indeed an RPG game. Even though it is Western in origin, it adopts a style akin to a JRPG. Encounters are random with battles presented from a first-person perspective similar to Dragon Quest. It doesn’t exactly play like a typical game of its genre, however. For starters, you only ever control the actions of one character: the protagonist.

Undertale - Bullet Board

During the enemy’s battle phase, you must help your character, represented in these portions as a red heart within a white window, dodge all of their attacks. In the event that you face multiple monsters, they all attack simultaneously. These segments are comparable to Ikaruga and the Touhou Project series – all examples of bullet hell games, a subgenre of shoot ‘em ups that started gaining popularity, especially among the Eastern gaming crowd, in the late nineties. Naturally, the two main differences between those types of games and Undertale are the distinct lack of shooting back at your opponents coupled with the ability to take more than one hit without dying.

Successfully felling your opposition will award you with EXP and money. EXP works precisely as one would expect; once you’ve gained enough of it, your level will increase, making your character stronger.

Undertale - Battle

Another clue you may have picked up from this game’s tagline is that you don’t necessarily have to defeat monsters in order to get past them. The “ACT” option allows you have decidedly unorthodox interactions with the monsters you face. So while you could decide to fight the monsters, you can also elect to simply strike up a conversation with them. Every monster has a different set of actions for you to choose. Depending on how you act, you can cause monsters to become peaceful. Once this has happened, you can spare them, ending the fight without violence. Although you can settle for an amicable solution where no one gets hurt, you will not receive any EXP for doing so. Victory is achieved when all of the monsters have left the field.

Needless to say, the gameplay of Undertale certainly is unique. When this game was released, I couldn’t think of any other bullet hell JRPGs. Mr. Fox has stated that Mario & Luigi: Superstar Saga has one of his favorite combat systems, and I could tell it had a significant influence on his game’s development. Avoiding enemy attacks isn’t a matter of praying that the RNG is on your side; timing and good reflexes are required to survive in this game. The boss fights in particular stand out as where the gameplay in Undertale is the strongest. You are seamlessly introduced to new gimmicks with each one, making them both fun and memorable.

My favorite aspect about this game is the ability to resolve conflicts without resorting to violence. These monsters are a lot more talkative than ones in your average RPG. Listening to what they have to say in between rounds and reading the flavor text plays a key part in learning how to deal with them. Because each monster has their own set of conditions in which they can be convinced to stand down, it could be argued that Undertale is actually a puzzle game masquerading as a JRPG.

In summary, Undertale is what the gaming scene desperately needed in the mid-2010s: an experience that provides a lot of novel ideas, yet is simple to the point where it never gets crushed by its own ambition. During this time, several creators in the AAA industry had the propensity to add superfluous features and mindless busywork so they could proudly advertise that their games boasted over one-hundred hours of gameplay. As a direct result, I grew increasingly more appreciative of creators whose campaigns could treat players to the same amount of meaningful content in a fraction of the time.

Analyzing the Story

In the distant past, a war broke out between humans and monsters: the two races that once ruled over Earth. This conflict ended with the humans’ victory. As for the monsters, they were sealed underground with a magical barrier. Many years later in the 2010s, a child was spotted near Mt. Ebott. Legends state that anyone who climbs this mountain is doomed to never return.

Undertale - Overworld

The protagonist must find their way through the monsters’ society and hopefully return to the surface world.

Mr. Fox was no stranger to the art of game development, having created a somewhat morbid version of Shigesato Itoi’s masterpiece, Earthbound, dubbed the Halloween Hack. It was largely a hodgepodge of legitimately interesting ideas weighed down by incredibly awful ones, such as forcing the player to rely on status condition spells to defeat enemies and making the game difficult to the point of absurdity.

It is evident from his earlier effort that Mr. Fox is fond of Earthbound, and I could tell it left an indelible impression on him when reading his game’s dialogue. The humor in particular has a dry quality to it that embraces the conventions of the genre while subverting them at the same time. References to various classic games and even a few internet memes abound in this game, yet they’re not distracting to those who wouldn’t understand them, nor do they ruin immersion – both of which are common traps amateurish authors regularly fall victim to.

What’s also apparent is how much he matured as a writer between his initial forays in modding and his debut game. After having produced the Halloween Hack, he cast aside the notion of making a story dark for its own sake and instead took lessons from the very game that served as his primary inspiration. To wit, Undertale has dark moments, but for the most part, they’re lightly peppered throughout the work, making them that much more haunting when they occur. Considering how many artists still haven’t grown out of the conviction that you cannot achieve true greatness unless you pile on as much angst as possible, it’s refreshing playing a story-heavy title which openly defies the mentality.

Critics who sing praises of Undertale highlight its expertly written scenario, and in this instance, I’ll be joining them. What makes the plot of this game stand out from the rest? The answer is simple: very few games, mainstream or not, have woven game mechanics into the narrative to the extent of that this one does. I’ve always maintained that the best stories in video games use the medium in a clever way, enabling the author to treat the audience to an experience which cannot be replicated in any other format. All too often, many developers, especially AAA ones, miss the point by presenting their story through cutscenes. It’s enough to make one wonder why these creators don’t simply try their hand at directing films if they’re not going to account for the interactive element even the most linear of games possess.

Undertale, on the other hand, features a plot that necessitates the player’s input to even sustain itself. |The greatest example is the game’s battle system and its role in how the story develops; it secretly acts as a moral dilemma which runs throughout the entire game. Should you spare monsters and remain at your starting level or is it better to fight and gain EXP so you are then able to get past a boss that has been giving you a bad time? This game has a similar approach to morality as Papers, Please; it’s completely feasible to be a good person, but not without imposing a challenge upon oneself. The tone of the game changes drastically to reflect how bloodthirsty you are. If you opt not to kill anyone, Undertale becomes the Alice in Wonderland of its day with its protagonist exploring a strange, new world and interacting with the bizarre denizens. Should you surrender to your natural gaming instincts and slaughter everything you come across, your actions quickly transform what was once a lighthearted romp with some creepy moments into a horror show where the serial killer is you.| It’s because of this that I consider Undertale the JRPG equivalent of Planescape: Torment, as it manages to be a remarkably intelligent deconstruction of the genre |and makes you feel like an completely awful person should you walk down an evil path|.

Last but not least is its colorful cast of characters who add a lot of depth to an already well-crafted storyline. Taking into account that you only have one party member for the entire game, this is quite the laudable accomplishment. Then again, even the protagonist is well-fleshed out in their own right. Their personality has a subtle presence to be sure, but even without visible dialogue, it shines through if you pay attention. The further I got in the game, the more I was astonished how forward-looking Mr. Fox’s writing ended up being. It’s a little difficult to say how without the proper context, but I will say that it’s effectively progressive without drawing unnecessary attention to itself. The most readily apparent evidence of this would be none other than the ambiguity surrounding the protagonist’s design – such a small detail goes a long way in allowing a greater number of people to project themselves onto them and their fantastic journey.

Drawing a Conclusion


  • Novel gameplay that rewards lateral thinking
  • Amazing soundtrack
  • Superb, medium-specific storytelling
  • Excellent characters
  • Multiple endings
  • Creative boss fights
  • |Intriguing moral system|

  • Somewhat short

In the 2000s, the indie scene released a few interesting titles here and there, but it wasn’t until the following decade that it would blossom into a force capable of standing toe-to-toe with AAA efforts, surpassing them on an increasingly regular basis. If you want proof, look no further than Undertale, for it is one of the most profound, avant-garde statements in gaming history. Everything from the combat engine to the myriad ways you can deal with random encounters is brimming with originality and creativity. Moreover, the game mechanics and the narrative complement each other so well, I couldn’t imagine one entity without the other. This is the kind of storytelling future developers should be studying when trying to implement a plot that caters to its medium.

I highly recommend playing Undertale if you haven’t already. Before I played this game, I was worried that it would turn out to be yet another emotional roller coaster which invariably garners much popularity regardless of its true quality. Actually playing the game revealed that my initial reservations were ultimately unfounded. Critics and fans alike have gone on to call it one of the best works of the 2010s, and I agree with them wholeheartedly. Bravo, Mr. Fox. You’ve truly created something one of a kind.

Final Score: 10/10

18 thoughts on “Undertale

  1. The bullet hell twist on combat sounds more interesting than simply picking commands from a menu. I frequent the GameFAQs forums. It was most amusing seeing people lose their temper when Undertale started to dominate the contest.

    Liked by 1 person

    • Oh boy, I’m sure that was a sight to behold. Little ire in this world is as potent (or fun to watch) as nerd rage. No doubt they ran to Metacritic to spam negative reviews of a game that they had never played. I had already been interested in checking it out before that happened, but the results of that contest made me even more intrigued.

      The bullet hell mechanic is a stroke of genius. Like any given Mario RPG, it’s a combat system that successfully gets the player to serve a more active role in how the random encounters pan out than in most turn-based affairs.

      Liked by 2 people

  2. “Undertale is what the gaming scene desperately needed in the mid-2010s: an experience that provides a lot of novel ideas, yet is simple to the point where it never gets crushed by its own ambition” Couldn’t agree more with this, great review!

    Liked by 1 person

  3. Per your recommendation, I haven’t played the game yet so I haven’t actually read all that much of your post. But Undertale’s been a game I’ve been kind of on the fence about, in terms of deciding whether I should play it now, or pick it up later after everyone stops talking about it and I can enjoy my own, unfiltered experience. Glad to hear it lives up to the hype, I really should be looking at playing it sooner rather than later.

    Liked by 1 person

    • I can understand where you’re coming from because there have definitely been several cases where, for whatever reason, the internet latched onto a certain work only for it to later turn out that it was, at best, a passing fad (or unbeknownst to them, was outclassed by a previous release). I’m certain you’ve gone through the process as well.

      Despite this, I’ve found that hype doesn’t usually play that big a role in my final determination. If anything, it’s far more common for my reaction to be something along the lines of, “No wonder people like this so much!” Resident Evil 4 and Chrono Trigger are good, mainstream examples of this while Planescape: Torment and Earthbound were cases of cult classics deserving their followings.

      Whenever a situation like this pops up, I have the propensity to dive right in to see what I think of the work. The way I figure, one of (roughly) two things would happen – I would either be underwhelmed or I would discover a masterpiece. I knew that when the story concluded, the experience I had with it would be my own, and I think that counts for something – even when it doesn’t match up with everyone else’s perception.


  4. Sounds really interesting. I’ve been meaning to check this one out. Is it available for MAC? And do you buy it one Steam or what’s the deal there? Hopefully it lives up to the hype for me, but man do some of its fans annoy me (but most fans of most things annoy me, so no real damage I suppose).

    If it gives you a more active role akin to the Mario RPGs, then that sounds great in my book. Super Mario RPG is still one of my absolute favorite games.

    Liked by 1 person

    • I downloaded my copy off of Steam, and when I looked at the download page, I noticed the Apple icon, so I’m pretty sure it’s compatible. You can also go to the official website and buy it there if you prefer.

      I heard the fanbase can get annoying, but I haven’t really been confronted with the evidence as often. Nonetheless, I don’t doubt what you’re saying. The way I see it, the internet is hit-or-miss when it comes to latching onto a game. Like Portal, this was a case of the internet getting it right.

      Liked by 1 person

      • Awesome! It’s weird how incompatible with MAC Steam tends to be. Aside from games made by Valve themselves, I have a hard time finding any games that work for MAC.

        I’ll definitely be giving this one a try. The fact that you reference Mario RPG and Portal when talking about its appeal has me intrigued.

        Liked by 1 person

    • It’s interesting because while Toby Fox was heavily inspired by the Mother series, I could tell that the second installment in particular had a bigger influence on his work than Earthbound Beginnings or Mother 3. The brand of humor present in Undertale is like a modern interpretation of the one which features in Earthbound. I can understand your reservations, as zany humor is a bit hit-or-miss with me as well. It works here because, as with every other great work, it’s well-written.

      I’m glad you’re enjoying it so far! I hope the rest of your experience with the game turns out great as well.

      Liked by 1 person

  5. What with the pervasive reference to Mother, Undertale could do really well on the 3DS, even Wii U. References aside, analogue sticks make maneuvering in the bullet-hell minigames A LOT less….hellish.
    Very interesting blog, by the way. Now following.

    Liked by 1 person

    • Interestingly, I heard somewhere that Toby Fox had expressed interest in making the game available for Nintendo consoles, but was unable to do so because the GameMaker engine doesn’t support those platforms. But yeah, I can see where you’re coming from. I was able to get through Undertale with my keyboard, but an analog stick complements this style of game a lot better.

      Thank you for following! I’m glad you’ve enjoyed what you read. Your blog is interesting as well.

      Liked by 1 person

  6. Pingback: 100th Review Special, Part 10: The Best of the Best | Extra Life

    • I do like it, though I haven’t finished the first episode.

      I have to say that Undertale itself is, in many ways, the game Mother 3 tried and ultimately failed to be. It’s a lot smarter about the tropes it uses; particularly in how it treats humanity. In Mother 3, they were hopeless… except the ones who counted, which lent a decidedly narcissistic vibe to the proceedings whereas in Undertale, they’re flawed, but not beyond redemption. It also has a much better villain than Mother 3; a lot of what held that game back was Porky, who tried to call out humanity for their follies, yet in practice, came across as a massive hypocrite. Undertale has a similar villain, but he is much better written.


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