Beat Deltarune, loved it. Letting you explore the town and talk to everyone after was wonderful.
Enjoyed the Jevil fight a lot.
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lmao what a terrible au
Real floored by how good Toby’s music is in both of these. Again, I know it’s been said a million times, but man, it’s great stuff.
My favorite tracks are the Russian-ey jigs:
(Real good drop in this one)
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Bonetrousle is straight up klezmer
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hey I just want to point out that the little melody at the end (right before it loops) in THE WORLD REVOLVING (the Jevil battle theme) that feels like it goes on just a liiiittle too long is the exact motif from the credits song where the vocalist sings “(don’t forget,) I’m with you in the dark”
so
have fun thinking about that
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This is out! I’ve only played the very beginning, but it’s charming as ever. This one appears to be based around a Majula-style town, which appeals.
…huh, i was just reminiscing about this yesterday
Loved it. A huge improvement on Chapter 1, 4,5 hours of non stop novelty if you want to see everything, and that’s before getting into a neatly hidden alternate Genocide-style route. In theory, I’m not into these very online wholesome-adjacent aesthetics, but Fox’s sensibilities make them work – the way he gets the exciting possibilities of digital media, his understanding of how interactive software quickly establishes some expectations from the player that can be easily broken to a great effect, his breadth of unusual quirky/nerdy reference points – but above all, the way he can make his work’s core come off as a 100% honest terminally online tenderqueer webcomic thing while scribbling all of those disturbing implications at the edges of everything. The void is constantly howling somewhere in the background, and depending on your outlook, it can either make the warm feelings you’ve had with the game more precious or just make the horror more effective. It’s ridiculous how many of the little things in a standard playthrough are meant to become sickening allusions in the alternate one, and it’s beyond ridiculous the main manifestation of Lynchian Evil in this game is based on spam e-mails and a 1997 soda commercial with Mike Ditka.
Wild that this was free, but I suppose that the plan to make up for it by taking the first two chapters’ budgets into account while pricing the next release will pay off in a long run. Chapter 1 left me cold, Chapter 2’s tone and worldbuilding are much better controlled, now I’m very intrigued and ready to pay for Chapter 3 day one.
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just got to the punch-out minigame and this is now better than undertale
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oh my god this commercial was an inescapable part of my childhood and it’s rocking me to my core that it was used as the source sample for the fucking spamton theme music.
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I just finished this. I think it’s terrific. I already loved chapter 1 though. just seems to improve on it in every way. I can’t count the number of times it genuinely made me laugh. I really think toby fox is a skilled writer. for as a twee as the entire thing is the writing is never overly sentimental or silly, and the character building is so nuanced and thoughtful. also loved how musical and bouncy the entire affair is. just a pure delight.
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oh god this game has a genocide route and it’s so much darker than the one in undertale
def recommend watching a playthrough of it.
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Undertale and deltarune veer a bit too twee for me*, but I’m not jaded enough to deny all the things it does really well. I assume toby fox is still doing all of the music? The soundtrack continues to be really impressive, definitely distills and improves on the SNES JRPGs soundtracks it’s inspired by (along with a silly Power Rangers knockoff in this one).
*I’m still hot and cold on the writing. On one hand, it’s still very “my high school dream fantasy project”. On the other hand, it’s paced very well and toby is probably the funniest writer in gaming.
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the credits listed two other composers, but I’m not sure the extent of their involvement.
Hot dang that final boss was incredible. What a good game.
Can’t wait for the next 5 chapters.
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FWIW, according to the tracklist on bandcamp, those collaborators only helped with 2 of the 46 songs in the soundtrack
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most i’ve enjoyed a game in a long time but now all the variations of spamton’s theme are stuck in my head. really cute to me that the superboss theme can say stuff about the character by incorporating dummy, jevil’s theme and “power of neo” (metaton’s theme from ut’s genocide route) and have it scan well and still be one of the game’s most memorable songs
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can we talk about the implications of the ending?
I think it’s interesting because it strongly suggests that the reason kris pulled the knife out after discarding the player’s soul is so that they could go create the fountain in the library. did kris also create the fountain in the classroom on day 1? it’s tempting to conclude that kris is the “knight” everyone keeps talking about, but it’s established that berdly (or seemingly any other lightner) can create fountains too, so it’s still possible that kris only creates the one we see at the end of chapter 2, and that maybe this is in response to when noelle, berdly, and susie all agree that were it not for the danger they’d prefer being in the dark world all time. you can actually read it as kris doing them a favor in a twisted way. but I think the snowgrave run demonstrates that no matter how evil or scary kris is when freed from the player’s influence, the power of the player’s influence is scarier and potentially far more evil, and maybe kris’s behavior is actually just responding to that? but on the other hand, by creating the next dark fountain kris is ensuring that we have a reason to return for chapter 3, and if they have been creating the dark fountains all along, their motive might just be this craven need for more gaming content.
much to think about
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