This review was made way before the announcement of DELTARUNE and refers to UNDERTALE within its original state of existence. Toby Fox might've fixed most of the logical issues by now, but our judgement on Undertale is based on how it works as its own game. Before you ask, NO, it won't discuss Undertale's "toxic" community, in fact - we even praise its community. Take everything said with a grain of salt and please DON'T enjoy your time reading.

Come here, sit down on my lap. Take out a cup of tea, a soda. Maybe some snacks. We're here for a long time, boy. Where do you want me to start? Ah, i see. Long, long time ago, in september of 2015 came out a game, not just A game. It had a name, a simple yet powerful name, soon to be echoed throughout internet culture as a phenomenon, known by many people of every age, fanbase and platform. One of the few games on steam to bear that "10/10" like a trophy of its massive accomplishment and influence on the whole gaming industry. It was called Undertale, a game that was a success with its Kickstarter campaign, made by a single mastermind genius the holy name of is: Toby Fox. A man, who's legend still goes on to this day, who composed tons of music for projects such as "Homestuck" his own "Earthbound" hack and etc. etc. Anyway are you listening kiddo? Still haven't gone asleep? It's not a bed time story. But as i was saying... Are you sleeping? Okay fine, i drop the act. You got me. You certainly KNOW about undertale, since you somehow found or got linked to this review. Some of you might have even clicked on this while playing the game. (which isn't a good idea since this review has SPOILERS) Maybe it's good for both of us to toss sentimentalities out of the window, and start going somewhere, right? You came here for some reason, it's either A) You somehow thought it'll be another praising review of Undertale where i undress and start kissing Toby's АSS like the rest of hacks on the net, but no. This is not a rant either, this is a constructive criticism and deconstruction of Toby's "masterpiece". If you have problems with things getting ruined for you, then it's up to you to leave now and ignore the fact that somewhere people will not agree with you based on their knowledge, opinions and experiences. B) You knew damn well where you were descending upon clicking on this, the TRUTH is right in the title, and truth can sometimes HURT. I'm going to enjoy deconstructing this absolute MESS of a game, and so should you.

This will be a 2͘ p̷a̶rt review. Part one will be analysis, just so we can all get a common ground here. Part two will be DECONSTRUCTION of various elements in the game, things that work or don't.
Pąrt 3̷͔̼̩̻͘͝ Is͜ aa҉-A͠Anyway, let's start.

Game process of undertale as it's often described being "Unique", at first glance seems like one of your typical run-on-the-mill JRPG with random encounters, but as soon as you enter the fight it becomes clear that it's also a parody on Shin Megami Tensei series. You can fight the monsters, but the fighting mechanic in this game, as you soon will notice, isn't very complex or thought out. What you're supposed to do instead, is try and REASON or/and INTERACT with the monsters. Monster attacks shall only become an obstacle of reaching your real objective here. In every battle, interactions with different monsters will change and become unique to each and every single enemy, you can debuff or even power up the monster depending on your chosen option. The only real problem here, is that you will need to find 1 option that will decrease their fighting morale, which will make them disinterested on keeping the fight on with you, and only rarely will you have to vary your options. Yup, monsters have all kinds of mechanics that you easily skip once you find that one solution to the "puzzle", since there is no real reason to try them out outside of curiosity and experimentation which doesn't progress you at all. Digital Devil Story: Megami Tensei that came out in 1987 had a special mechanic called "Moon phases" that switched the monster behaviors, and also had a system where different interactions gave various outcomes to the player. It's really not that hard to understand what makes a mechanic good, especially if you're directly copying it. Then what gives? Having one dimensional mechanic in a game is bad enough, but what if i tell you that "One dimensional" can describe this game as a whole? Keep reading as i explain along the way.

"But hey!" I heard you say. "What about the ACTUAL fights? They're certainly unique to the genre, right? Bullet-hell in an RPG game, how about that?" How about that it's not a rare element to this genre, it existed since Ys era (1987) and was included in some RPGs like Nier (Not specifically Automata) to name a few. Although while not perfect, arguably those games had more than what Undertale has to offer in term of gameplay. This makes the gameplay process of undertale seem extremely repetitive, and it is. No matter how many different enemy encounters try to vary the fight, on the third encounter with the same enemy you'll go "Oh, i'll have to do that again..." since the only thing that changes is the slight difference in their attack pattern. Of course, not all enemies are repetitive, there are also BOSS fights that try and bring something new to the table, which sadly ends up as a one-time gimmick and nothing more. Even fans understood that and tried to fix this issue in their own respective fan-games. Is it really THAT hard to come up with something that isn't a gimmick for your game, Toby?


But enough about the fighting mechanics. Undertale has some more cards up its sleeve, because it's ACTUALLY A GAME WHERE YOU DON'T HAVE TO KILL ANYONE. Wait, let me rephrase that. A GAME WHERE YOU "MUST" NOT KILL ANYONE. It has a weird understanding of non-linearity, it's very superficial, even. It shoves down this philosophy that you MUST not kill anyone, unless you want to lock yourself out of like 20-30% percent of its content, including the ending. Yup, have fun replaying the whole game, dumbass. But if you decide that you want to kill EVERYONE, you're up to a completely different twist. Each kill decreases your chance of the next encounter, leaving you to wander empty, boring and ugly looking corridors of this game for 20 minutes, praying to RNG gods that the script will work. And the worst insult of all, game doesn't even change normal random encounters in the slightest, you take out all of the enemies in ONE hit, even the bosses. Of course, there are some exceptions (sans) but they are just trying to frustrate you more than bring a solid challange to the table. The whole genocide route is shamelessly trying to push the player into dropping the way he plays, out of fear that he might actually finish the game that way, to see that it has nothing to offer. It only changes some of the dialogues and tiny nuances in your next playthrough, and as the ultimate finger flip to the player, presents him with a completely black screen. (Good job on wiping out this fiction-land i've worked so hard for, this is your reward: YOU ARE A BAD PERSON) It provides absolutely no satisfaction to kill these characters, not even out of hate. It's absolutely not fun, hence pulling out such ending requires a lot of guts, or lack of brains since you've failed to establish a logical connecton or reason for you to kill them.

Interestingly enough, while being very clear about Toby slacking out on some extra polish for people "who can't appreciate his piece of work", it misled a lot of critics think that this game truly is non-linear and perhaps "rich" with content.

Oh and puzzles suck.

Game just outright tells you.

THEN WHY ARE THEY STILL IN THE GAME?

Story in this game is not without its sins. (and plotholes) It functions in structure similar to a road-movie, or maybe a sit-com, where the main focus is protagonist going through obstacles and meeting boring, one-dimensional characters that can't function on their own, but together create potentially fun and engaging situations. Except this game also tries to be a DRAMA, which doesn't cope well with a single fact that story in this game is... Not good in its core. It's hard for some people to FEEL something for the characters when game itself is squeezing emotions out of you, while not trying to develop its characters along the way, instead giving a few "nods" towards their developing potential. (YEAH FANS, HEARD THAT? GO DO SOME FAN-GAMES, ARTS, AND FICS. I WANNA SEE MY BOI PAPYRUS RIPPED ON HIS MAMA'S SPAGHETTI) It doesn't help that you can remove chunks from this game's "story" and it won't even affect a thing. Because you know what? Story is the friends we made along the way. That's not even the real problem, besides "hinting at one's potential" method we also have literally copy-pasted (O)original (C)characters from various people's comics, anime, games and different projects Toby's been working on. There is a clear line between "Stealing" and "Inspiration", Toby. Long story short: Toby doesn't do any justice to the already established characters he shamelessly put into his own thing. Worse of all - he doesn't allow any players to come up with their own opinions on them, since you're enforced to befriend everyone. "Come on, be a good boy and keep playing that pacifist route like everyone's been telling you" is the sort of mentality that is force fed unto you by other people, not the game. That is because, secretly, they know that "neutral ending" is underwhelming. It psychologically enforces, and this is not something that is essentialy a bad method, if the game had a better job of conveying it to you beforehand. Removing the illusion of non-linearity is something that this story could've benefit from, in fact.

And speaking of stealing, remember THIS PART? My, what a huge coincidence this one is. Not pointing fingers *cough*amalgamates*cough* call BOOL SHEET on this one, just food for thoughts. (if for you it also looks like that location has been made in 2 weeks) Instead, let's talk about genocide route. Compare that to the whole plot of OFF. (It's a game, if you haven't realized, google that up.) Thing is, Toby literally copied that idea without a thought that MAYBE, someone... some day... will find out the truth... OF YOU TRYING TO OVERSHADOW THIS LITTLE INNOCENT INDIE GAME? You could've at least showed some respect by trying to make genocide route feel somewhat fun, something the original game arguably lacked. You truly are a fiend, Fox. A sly and slippery fiend you are. Story in undertale cleverly masquerades its true nature, a simple program to manipulate your emotions by using all of the oldest tricks in the book, deceiving players with huge amount of gimmicks, fun music, silly characters and 1-trick pony surprises. Truly, this abomination has been crafted for a single purpose: To be an on-track emotional rollercoaster one might see in disneyland, which purpose it fulfills flawlessly. (Being one of the few existing good qualites you can outline about this game)

Before i begin explaining to you stupid kids what meta is, i'd like to talk more about Toby Fox as a man, now that i've mentioned him. No hard feelings, Toby. (I hate you) This is probably being nitpicky, but remember this thing called Kickstarter i've mentioned in that long АSS boring as P00P introduction? (Apologies for swear words, i'm very mad writing this section, tossing darts at Toby's stupid face while typing) It took 2 years for Toby to release some of the stretch goals, one of which is not out even to this day. (as of october 2018) Where's the comic, Tob? (And why it took you 2 years to release the clock alarm app?) Meanwhile, he shamelessly keeps porting the game to different platforms to squeeze as much money as possible, while trying to add just enough content to keep people interested and enough energy to not strain his ankle. I know you've been recycling your songs, too. I don't mind you doing 1000 remixes of one song but it kinda starts to get old, know what i'm saying? To top it all off, one of his stretch goals were adding you into his game as a boss. And who's that lucky guy, you might ask? An artist that draws grotesque pornography pictures. Yeah, "Imsorry" More like "NOTSORRY"

TOBY, YOU'RE PERMANENTLY BANNED FROM ALL OF MY CHRISTIAN SERVERS, THERE'S KIDS PLAYING THIS YOU KNOW! TSK-TSK...

Well that felt good.

Now put your swim trunks on because we're about to dive into DEEP territory. I hear you ask me: "What's Meta and how does it work?" And i answer: Don't ever talk to me againMeta is a subgenre of storytelling, it's self aware and it talks and even sometimes interacts with its reader/player/watcher. Meta uses all kinds of methods to reach out to their subject of interaction, setting a clear line between ours and the game's reality, sometimes and often breaking the 4th wall to talk about things outside of set bondaries of normal storytelling. Just an example: Psychomantis from Metal Gear Solid 1 (And this) You can probably find more than enough information about this genre of storytelling on the internet, with that out of the way. Undertale built its own meta and actively uses it as a fundament for various tricks, gimmicks, etc. Oh, you've hacked the game? Congrats, now sans calls you a hack fraud. You typed in an already existing character name? Welp, SORRY, IT'S TAKEN. I can already see people naming their children after your characters Toby, and you're not even allowing them to use their REAL names? How are they going to get invested now, huh? Now that's an example of meta working against itself, if i ever seen one. (That's a joke, of course. I will talk more about this for real in part 2) Of course then we have "game and characters remember your actions" which doesn't get its full potential realised, if your game is all meta based and it's basically all that is has as a selling point, you could've gone some deeper places there, Toby. Especially this whole moral ground you've been putting your players on, i wanted to see some mix of decisions like doing terrible things in the sake of saving the timeline for example, something more mentally and/or morally challenging. Alas, it's just cool stuff for show, it could've been used as a real tool for a story. Meta narrative has the potential to be deep and engaging for those willing to try their best at grasping it, that's why instead of counting all the cool things Toby put into his shallow game, we must ask ourselves a question "What could've been if Toby actually knew how to use tools that he gave to himself?". It's all just there, why toss story and gameplay aside for a meta-game that doesn't work and doesn't lead anywhere? Because that's what peak of creativity means these days.


To understand why meta in undertale doesn't work, you can compare it to a similar game that uses meta as its vessel of conveying story - OneShot. In this game, player and player's character are not one of the same, they interact and even talk with eachother, even the game has its own role in the story. Progression requires you to do actions outside of the game's set boundaries of reality, meta works in its own created context and doesn't conflict with different ideas to create an illusion that there is more than what it actually is. It is what it is, and if you remove these elements from the game it'll stop working as a whole. Meanwhile undertale got completely asskicked by this game in term of concept and execution, even though calling UnderOneShot a masterpiece is a stretch, it's a game that truly understood what works and how to connect a logical meta narrative. And the cruel irony. Oh, it's so cruel! A game that came out BEFORE undertale, now being compared to it and not even as a worthy rival.

Look, i know there are many kids reading this review, this is undertale after all. A mature person would never touch a videogame in his entire life, and those who have probably still рiss their pants at the age of 20+. This is why it's my responsibility to explain all of those "grown men" terms. Anyway, let's start with this: Context is the most important thing in the whole universe, not just in term of perceiving something beyond surface level. Humans will always produce different ideas, but it's just the matter of placing them within a right context that will make them work. Of course it's not a "Black/White" mentality. Things do not simply either WORK or DON'T, some ideas just work better than others while put into same context. It all roots back to the first ever idea to bash 2 stones together to create a spark, such simple idea setting a solid ground for many different inventions to come. Inventions, that wouldn't EVER come if we weren't to deconstruct WHY that spark comes out of the stone, why that spark creates a fire. Of course some people like to think that the earth is flat, opinions will exist. But nothing will progress if we don't use DECONSTRUCTION based on SOLID FACTS given within the CONTEXT. During the analysis part i gave you a piece of my mentality, so you'll have something to work with on why i think undertale is a terrible game in every sense, and why it's important to have a synergy with an already established elements.

What is pretentious? This word been misused so many times that it basically lost its true meaning. By today's logic: If it tries - it's pretentious. I say judging by that mindset, that either everything is pretentious these days, or nothing is. Pretentious is giving hints at depth, without having it in the first place. Now, there are many variations on the meaning of "depth" here. Depth can be explained by "method of conveying a certain message from the author's perspective." which can be indefinitely analyzed to different conclusions. This is how art works on a basic perception level, there are some instances where a toilet turned upside down[en.wikipedia.org] is considered as deep. And they're probably right. What isn't deep though, is trying to convey a message that you - yourself, don't even understand. Even worse - making constant references at far deeper works such as the Bible, derailing the focus on your narrative and enforcing people's minds on finding such references, without them actually adding any depth to your own narrative. As soon as you break people's chain of logic, the illusion of "depth" falls like a card-castle. Bioshock Infinite being one of the few things that come to mind, with an actually decent writer at top it still became a trainwreck because of an unfortunate chain of events that led to cutting the game's budget, and rushing it onto the shelves as fast as possible. infinity's absolute nonsensical ending[en.wikipedia.org] been called out many times as "dysfunctional" even within the game's logic, and lead writer openly admitted on his attempts to create as many universes as possible because it felt deep. Sounds familiar to you? Everyone can make mistakes when faced with such unpleasant surprises, but not in Toby's case, he had all the time. (Not to mention 50.000 moola) Now, it doesn't matter how many rules you create within your universe, or how ridiculous they are, what truly matters is that you don't break the chain of events happening within those rules that might make people question their logic, in a bad way. Sometimes, depth doesn't even have to lead to philosophical questions and new discoveries, but to be a believable, functional world. Everything must function like a living creature since it means making one simple mistake breaks the immersion. Which is why Toby thought to himself: "THIS IS TOO MUCH TO ASK! What if i create A LOT of distractions that don't lead anywhere but try to convince the player that there's always more than what it seems? If people break the puzzle, it'll mean there'll be nothing to analyze, so furthermore it will stop being deep!" That's not how it works, Toby. You don't use red herrings as a tool to create depth, it makes your player think they're smarter than they are unless they actually think about it. You can use as many distractions as you want but you failed to create depth at the very beginning of the game. You broke the immersion. Why i call it a bad move to break the immersion at the very beginning of your narrative? Because you don't do that unless your thing is either a Comedy like Deadpool, or something Nihilistic like OFF. It makes your game literally become a trendy garbage that people will pass along for "chills and thrills" like some cheap exploitation film as playerbase stop caring about the world entirely, they know it's a game and that it's not real. "BUT!" screams Toby at the top of his lungs. "The game knows that too! Right? Flowey knows!"

Toby Fox used a meta philosophy of: Make a living, breathing world inside a game.
But his biggest mistake is that he couldn't decide whether he should make Flowey part of the meta, or the game's world. His motivations are tied around your perceptions of games and how they usually play out, you get into a dungeon, you kill stuff and level up. As a villain he expects you to do these things for his own personal amusement and gain. So he's surely aware of how this world functions if he has no problems explaining and enforcing its mechanics unto you. This is a very important part about meta narrative, because if you want to make a living game, you limit its actions to what it can and can't do. For example: a game shall always be scripted. Characters shall always stand in place or not exist at all untill player interacts with a certain game trigger. Now, based on logic of undertale's narrative, all characters are semi-sentient files that still can't function without player's input. But flowey breaks all of this logic just by his existence, if he's a sentient program then how come he isn't limited to what a program can do? Think about it for a bit. It's a game with the most simpliest mechanic in its core, you walk and interact untill you bump into random encounter. And surely, if he somehow modified files within the game to create something new, they would surely persist. Given his powers, he could've created whatever he wanted untill finally realizing how truly artificial his world is. Now, by this knowledge alone we can conclude to how and why flowey has gone insane, if he abided by the game's rules to begin with. NOPE, THIS IS TOO SMART FOR TOBY FOX. He just EXISTED with absolute freedom like it's a freaking tamagochi game, infinitely reliving different life experiences ONLY WITHIN THE EXISTING WORLD untill (somehow) becoming a crazy sociopath. (Literally explained by "He got bored") That is untill YOU came in, a LIVING, BREATHING, ASSPULL. I hear you yelling "YOU'RE STUPID! IT'S ALL TIED TO DETERMINATION, DUMBАSS!" But i assure you, Toby has been thinking about how he's going to impress children with his cool card tricks like some sort of shady garage magician rather than refining his plot points. And the thing is, Toby's been clever about it too since it's very difficult to see the real imperfections here until you reach the ending, by which it means you'll be at least SOMEWHAT invested in the game's story by that point. Determination triggered some kind of "true reset" whatever that means, so flowey is no longer in charge because your E-Peen is bigger than his. Yet still, no matter how many resets it'll take he will still be evil, granted that he remembers every experience that he's had within the game, meaning that his true self is evil to begin with and not as the game explains it. IS Flowey some kind of game error, self aware program, or just in-games character scripted to think that he's alive? You need rules for your narrative to work, Toby. He is none of it and all at the same time. All tied to a simple concept: Determination. The main complaint i have with this, is that the game doesn't explain at all how it functions. It just exists like some sort of magical explaination on why YOU should believe that meta works in this game. Except that just telling people to believe things and not question them is not enough to craft a narrative. Of course i love me some mystery here and there, but not when you have a plotpoint that connects so many things together and creates so many plotholes at the same time. Literally all of this could've been avoided if you made Flowey self aware more than he already is. Imagine this scenario: Flowey going insane over realization that he's inside a game, trying to collect enough determination to try and break out or maybe even destroy the game (you give him all the reason now). And the end result being Flowey coming back to Asriel (his true in-game self) and realizing that all he wants to is stay and be a mindless npc inside a game. It's still sad, it still works, it creates a better meta. I just came up with it and it wasn't hard, why Toby didn't? Because he genuinely thinks that people will treat his creation like a world, not as a game. He attempts to make us percieve Undertale as something like its own thing, adding timelines, resets and etc. It's a game that functions like a world, relying on its stretchy texture and community's input of ideas. Not going completely into either direction doesn't make it smart nor does make it unique, at least not with these elements. This also applies to gameplay, since it tries so hard to be so unique, meanwhile not solidifying anything it takes its roots from. Reinvent the wheel much?

Anyway, how many times did you die in Undertale? And don't count Sans into this, he's not a part of normal gameplay. I know, we've already covered gameplay, but i need to fill the huge gaps in text and pretend like it's a long-аss constructive review. What i really want to talk about, is why i think Undertale isn't a conventional RPG or even a GAME as one might think. Well, besides of course a final boss you literally can't lose to. Just watch this, let me guess the bosses you probably died most often at. Asgore and Muffet and let me tell you one thing, that's probably because THEY'RE THE ONLY PART OF "BULLET HELL" GAMEPLAY IN THE ENTIRE GAME. Some regular enemies have patterns you can pass through BY DOING NOTHING, some by DOING SOMETHING ONLY REMOTELY RESEMBLING "PLAYING A GAME", just enough interaction to create an illusion that it's not an interactive movie. And if you're thinking i'm not fine with interactive movies, i'd at least PREFER PLOT TO BE INVESTING enough, a LASTING IMPRESSION to be there too. Do i REALLY have to go there, and compare Undertale with a David Cage game? If you don't know this man, he's the maniac behind "Fahrenheit: Indigo Prophecy" "Heavy Rain" and "Beyond: Two Souls". And the problem with his games are, for a lot of people, that they know how to invest players into the story. But as soon as people finish their games (that is if they don't realise how suddenly their games start falling apart in terms of plot), they realise "Wow, what a piece of bleep i've been wasting my time on." So not only investing the player is important, it's also important to LEAD him into some conclusions. For example, Fahrenheit starts like a murder mystery with a man slowly descending into madness after realising what he's done. Then it starts to add Matrix and superheroes, ancient Maya civilisations and ghosts. People came for the murder mystery, they got a mess. One may argue that it's called "Subverting expectations" but i reckon. If you're switching themes, whatever you're switching to shouldn't lack in quality of whatever you've started with. People invested into Undertale for an adventure, they got broken meta, trans ghosts inside robots and gay fish. It's all fine, i'm fine. *sniff*, ye. I don't mind all that, sure. EXCEPT IT DOESN'T LEAD ANYWHERE, PORTRAYAL IS FREAKING IMPORTANT IF YOU WANT ALL THE STUFF YOU'RE MIXING INTO YOUR GAME TO WORK. STOP MIXING STUPID ♥♥♥♥ INTO YOUR GAME LIKE TOSSING P00-P00 AT THE WALL EXPECTING IT TO STICK, BUILD A FREAKING LORE ♥♥♥♥♥♥♥♥♥♥♥. KID DIDN'T FELL INTO A HOLE, HE FELL INTO SOME FRACKIN SJW CONVENTION. YOU KNOW WHY HOMESTUCK GOT AWAY WITH IT? BECAUSE OF ALL THE COMPLEXITIES OF ITS SHIPPING SYSTEM, THAT'S WHY.

I've never met the man so i've got nothing to state as a fact
Although, all great artists must speak through their art
Before this, a certain connection must be established
Not only you must show your thoughts but
You also have to put your soul into it, fuel it with passion
Passion must be made out of a barrel full of love
But also filled with hatred, for all that is imperfect
Toby Fox's masterpiece truly touched its soul with mine
It reached out to me and said:
Oi me stinky



Yes Toby, it's very hip to hate these days, is it not? We're doing it because we're the coolest kids in school and in reality, very closed-minded angry degenerates who cannot appreciate sincere CREATIONS.

...

A guy named Malevich has managed to make a painting of a black square complex purely by creating it within a certain context. A single frame with an abstract black square depicted on it, nothing else. By your words, this game is what you "think", (if that process of yours can even be called as such) so what are you trying to say? What you've pulled out of your bum-bum can't even be called a GAME, it's interactive but it's not skill demanding, any chances of it becoming a real thing has been scrapped from your "to-do" list. (and i mean hard mode) And the story? Was it really necessary to create so much depth around illogical, push explainations for the unexplainable? You could've created a simple story, like a fairy-tale. A kid falls in, helps the monsters and gets out. I wouldn't even dare to heavily criticize such unpretentious structure. But no, it was too "by the tropes" of you, wasn't it? You wanted to shock the viewer, impress him. You wanted as many asspulls around your pretentious script as possible. Sprinkle it with semi-awareness as its critique-protective shell, memes and jokes, voila. This is what you, as an artist, thought about. If a black square is more intellectually engaging as a piece of art, then how shallow you are as a person, Toby? And what about entertainment, surely undertale is more leaning on that side rather than being something more complex, isn't it? I ask you, what entertainment can a game like undertale provide in term of its mechanics? STOLEN mechanics? FORCED mechanics upon a "heavily narrative" driven game. Do you play undertale for its gameplay, or would you rather play a real bullethell? Heck with it, a REAL RPG? It's the ability to mix things that count towards your creativity when making a game, and these things dated just as bad as memes that Toby has put into his script.

It might seem like i'm tossing a lot of garbage at Undertale here and making too big of a deal about its lighthearted children story. But what if i tell you that Toby Fox weren't even sincire with any of his messages? Let's begin by explaining what determination is. Determination is both Undertale's blessing and its bane, it's a thing that doesn't let undertale to become fully meta or completely a children tale.It functions akin to magic in fantasy, but one must understand that there are differences between using such things as a vessel to convey the story and using them as a plotpoint. Such things as magic can exist in a story and make us not question them as long as they don't touch the bigger picture of their narrative, even potentially make it more fun. But determination... All of the plotholes resolve around this little idea, but if you remove it - you remove undertale's most important message as well. That message being "DON'T GIVE UP, BELIEVE IN YOUR DREAMS, BELIEVE IN YOURSELF AND YOU'LL BE ABLE TO ACHIEVE ANYTHING" and "BE A GOOD PERSON! SMILE AND MAKE OTHER PEOPLE SMILE BACK!" because basically all you do in pacifist route is serve as a human ambassador. Now that is some cool Naruto ♥♥♥♥♥♥ right there. By no means message in itself is bad, it's just that Undertale isn't a solid ground to convey any of this, since it's barely even keeping itself functional both as a narrative and gameplay-wise game. Now now, i won't also mention how one-sided this whole thing about Humans vs Monsters stuff is (whoops, i did), since of course Toby won't show why war broke out in the first place, but by looking at these "adorable" monsters that melt when you twist their nipples a couple of times you can conclude that PEEPL were the agressor in here, and not because BOTH SIDES HAD ISSUES LIKE IT WORKS IN REAL LIFE. We wouldn't want to create a "deeper" narrative now, wouldn't we? (I know АSSgore killed children, but he's one of the few characters that TRIES to come out of his boundaries you've forcefully set on them.) All children stories need a parallel with our life, meta serves this purpose AWFULLY. Come to think of it, Toby hasn't even been following his own advices. He never worked hard for his game and i've got a ton of factors to prove it by.

Firstly, this man does not challenge himself unless it's a challenge on "how to create as many work-arounds around work-arounds as possible" Challenging oneself is the most important thing you can do as an artist. I want to use a comparison method of 3 giants. First giant: Hideo Kojima, giant of game and meta narrative. Second giant: David Lynch, giant of strange and abstract. Third giant: George Lucas, giant of fantasy and fаrting aliens. What does it have to do with Toby Fox you ask? Well, calling these three a genius might be a stretch, but these men created some of the best works to face the earth in their prime time, inspiring millions of people to this day. But the kick here is that first giant never understood game design or how games actually function, so he was trying to force people to do a WEEK LONG BOSS BATTLE in REAL TIME. Second giant wanted to ruin his now episodical masterpiece show called "Twin Peaks". And the third giant wanted to insert a tiny farting alien sidekick into an Indiana Jones movie. Tell me, how come these things never happened? Because these men faced obstacles that obscured their vision, obstacles that made them work hard to pass through them, and by working hard i mean DOING SOME ACTUAL THINKING, THAT LED THEM TO DO COMPROMISES. Limitations may force better creative conditions, and a TEAM of people might help guide these ideas. Even more important - someone to look up to and learn from their mistakes. Now, let's see where same giants turned out to be today after getting absolute creative freedom. First giant took all of his company's money, tried to do all at once and ended up with an unfinished, broken game. Second giant released a third season of his masterpiece, which is actually still good, but scaring people off with its lack of story vessel and objectively terrible structure, which makes the series almost unwatchable. The third one made prequels and Jar-jar, do i really have to explain this one? All of this happened because of their bloated EGO and no one to challenge them. Considering on how Toby expected his game to go popular on day one, i think that's his problem too. But despite all this, giants still were genuine in their intentions. It's that they all aimed at their own audience and not every fracking one in the subculture. This is why Cave story dev is so respected, if not working within limitations, he made sure every aspect of his game was perfect as how HE sees it, and his game is not exactly something that everyone can enjoy, yet he still pushed on for 5 years. Think of where Toby Fox could've been if he had a strict time limit and choosing between doing something actually productive with his game or sticking 100 easter eggs with gaster into the game's files? This is a man that had all the creative freedom to really do a masterpiece, but he chose to do this.



Which is not a problem, if it actually served as a context for something, but is a game that requires a sequel to fix itself really that good of an idea? It's that Toby never cared about his game, but rather about the process. He's been trying to prove that he can do his game alone, and this were his main challenge. Except, one man team does not equal quality, a team of people doesn't necessarily mean more hands to do the job faster. It also means there's more heads that question and challenge your motives, you had no excuse to half-аss the game's mechanics either because you had no time limit, and you certainly did want to bring something that people will like, correct? What were your motives to make a game here EXACTLY? In the end, you didn't even prove that you can do it ALONE since you brought help anyway. Even Phil Fish was aware of all this and mind you, he were more genuine, despite his game also being ridden with gimmicks, along with the fact of all the hate given and unnecessary press shill he has recieved. (Not to mention some actually original concept, alas in a mediocre game, that you can at least call a game) He tried, it's just that it was not enough, but i can respect Phill Fish for what he is, he showed what he really felt without adding any self-insertations into the game (looking at you, annoying dog), there were no self-indulgence INSIDE the creative product. As i said, Toby focused on trying to impress, desperately reflecting upon older games without understanding a single bit about their design pillosophies, i may in fact be wrong about his sincerity, but his attitude towards the game shows either lazyness or complete stupidity (or ingenious devilishness). What's even more important, it also tells something about us, people who blindly praised his game as it were predicted by Toby himself upon release. Perfect timing. Hype, accessible formulas, predictable crowd reaction. That alone got it on top, not the factor of it being a good game or not. People forgot what a good game is, so they reaped what they SAW

This is where everything comes together, characters are the undertale's heart and meta is its "brains" after all. You've come this far, my friend. If everything before this point sounded like a rant to you, this is where i truly destroy this monster once and for all. Now with me going all "Hey kids, this is what context means, this is what deconstruction is, bababoo boo goo gaa" This thing is actually important for this part, since now we know what makes things a clockwork. But every mechanism needs an upgrade once a decade, which is why we need deconstruction of old games. What made them good and what didn't, Toby used a lot of inspirations from Earthbound, Persona, etc. We talked about this. What this silly foolish man failed to realise is that you also need to push progress forward, not just copy details. You don't necessarily change the mechanics, you have to at least build a fundament on top of what has already been set in stone before you, not steal the stone and put it on a golden pedestal in a museum despite it lacking any qualities to become a postmodern art piece.

Remember the 3 giants comparison? I'll be still using this for reference here in some of the cases, but i believe it's not a fair way of comparison, so let's just put Undertale against another opponent of its own size, shall we? Lisa: the Painful. Both games have something in common, they use Earthbound as an inspiration. But the thing with Lisa is that it never lost its course on what made Earthbound a unique game, worthy of decade-long DNA pass, it never tried to be something more than that, but rather expand upon the old formula with its own concept. A narrative driven unconventional rpg with humor, dark El-Topo inspired story, simple fighting mechanics that just work well while providing enough interactivity to call this process "playing a game", all of this still made by one person on a way lesser budget. If you compare anything from this game to Undertale besides gimmicks (and maybe soundtrack), Lisa has everything amplified to 11 in comparison. But here's what seperates these games - some actual GAME DESIGN. That means the creator tested his game, Toby. I know those are some big words for you, but it feels like you never knew they existed just by seeing how genocide route plays out. All i'm saying is, there are people that don't just copy-paste things into their games, but also make sure they work within their context. Not to menton Lisa has its set of characters that develop throughout the story (Some do more than others). I've started to notice a pattern here. A lot of bad writers use a simple method of character development. (Literally anything with a giant fandom these days applies to this) You take a character and simply hint into direction that they're supposed to develop, without actually doing anything, the less traits this character initially has - the better. Makes your characters all more memetic, easy to mold. Then you wait a few months and already have games like Underfell and Underswap not to mention some actually mindblowing stuff like Papyrus revenge and maybe even some animations. And what impression do we get from all this? That your game is a breeding ground of ideas for some actually creative people? That's not really an achievement when their projects surpass yours by a mile. They take all of your elements and break them down into a better game, they try and make the gameplay FUN, they actually CARE about your characters more than you care about them. Now where's your character development? Undyne finding out that she likes anime a lot? Alphys turning out to be a HUGE ♥♥♥♥♥? All of your characters, despite being copied, have the potential to serve a role. In the end, only a few of them does. Oh right, we have this META, just a perfect formula to explain all those fan-made games being potentially a canon. This is the literally the only reason for meta in this game to exist, and my opinion stands clear: This game does not deserve all this creative energy and passion that people would rather use in their own projects, since this is what Toby Fox demands and were planning on all along, while also ensuring that it stays culturally relevant with all post-ironic Sans-Undertale memes that everyone, even the haters, can get aboard on. Derailing a little, but again, if you don't believe me that Toby had it all planned - he literally tweeted to play his game within the first week to ensure public opinion won't ruin it for you as it will get extremely popular.

Now i've talked and talked and talked about how meta sucks in undertale, but how do you create a good META? It's actually very simple formulas that just work. 1) Either subtly hint at it or don't reveal it untill the end; 2) Hide it at the very begining without player noticing it untill further analysis; 3) Build a context beforehand. God, even Doki-Doki got it right, and that isn't much of a game more than a experimental prototype in meta-narrative. Building a solid ground to start from is important. You don't shove all this meta at a completely new players like some guy doing an insider jokes in a different circle and expecting them to get it, and then immediately start caring about universe and its characters. In Fox's case he tossed the bone way too far off and pretended that it's "mysterious" all while Doki-Doki's meta can be used to literally poke fun at Undertale's terribly forced meta structure. DDLC LET'S you pick a character that you like, not ENFORCE it upon you, but in the end - there'll be JUST MONIKA. There is a clear impact since none of your choices matter, like it or not - this game understood and used ALL of the formulas mentioned above. This is why correct usage of context and timing is important, all leading to the creation of a certain outcome. When you're drawing a clear line between two worlds, it's impossible to do if there's no ground to draw it on. Of course Undertale starts showing its good side to you once you engrave its pacifistic mentality into your brain, but what's the point of existing non-linearity? There is literally no point in providing options if all you're going to give is underwhelming endings to players that don't do what it says on the tin, nor it makes people care for your world more if it starts to demand you giving away all your freedom for the sake of letting the game "develop" its characters. And the genocide route... Well, i've already stated my opinion about it. Thing is, Toby is saying "you did it because it were easier and more fun for you". Fun as if, in other games of the genre? Yeah. In your context? No. You have a lot of problems in portrayal department, Toby my boy, or did you genuinely think people will play your OFF mini-game and think to themselves "This is just like any RPG i've played, i'm lvling up and having fun"? This here, is the reason of me calling you a thief. You take, but you don't improve upon. You saw that cool looking, conceptually appealing game and thought "I can add this to my pile of game ideas" without building any context around it. Why that concept works in OFF you ask? Game breaks the immersion at the very start, just like Undertale does. It makes the player NOT care about the world, although very intentionally, since the reason why Player is in the game, is to destroy it. Greeted by its shallow emptyness and angst, both player and their avatar feel nothing for it, which actually makes the game become hard to play. But the narrative works, even if you think that game is bad, it functions within its boundaries. Toby, being the gullible child he is, understood nothing about all of this and smeared it on top of his game, ironic.

Let's talk characters.
I'll let you pick a character. Think of any character in undertale. Come on, do it. Now say the first character that comes to mind. Now hover over the SPOILER to see the character that always comes to mind LAST...

Frisk

That's right. I'm sorry if that's what you first thought of. Now then, how does one create a character this bad, when it's literally your character? They're supposed to serve as a vessel to the story's progression and nothing more, and i'm all fine and dandy with that self insert thing. Except that the game tries to put them into the story as their own thing, and then does nothing about it other than using them as a vessel AGAIN. Who, you might ask? You know who.. This character appears only in genocide route, to serve as a constant reminder of that terrible gameplay experience and nothing else. This is where this game starts to lose track where to put this guy. If They're a part of meta, story or something else. (Damn, deja vu, huh?) They don't go completely in either direction (Can you name one thing in this game that does?) so their whole point of existence is to be a literal personification of lost potential. Might be because on the surface level story in this game doesn't go beyond "Huminz and Monsteerz hez wor" so there's just no material to work with despite your best efforts of creativity, neither we can use Chara because after all we already have like 7 Chucky movies. Except, what Chara is capable of as a concept, can exceed far more than Undertale is capable of doing, since idea based around them is rather creative, a darker side to the player, of course another thing to the checklist of things ruined by Undertale's meta and terrible concept portrayal. His portrayal depends on meta, that doesn't work on a lot of levels, by trying to portray Player as some ancient evil, you must give player reason to be this evil, to feel guilty. There is literally no impact if player won't play genocide route on his own intentions other than curiosity in a game that enforces pacifism for true completion. Even worse, genocide route demands from you that you grind, since grind is essential in almost every classic RPG, i can see where you were going here for, Toby. Except, you didn't had the fun part included, players already knew what to expect from genocide route when they took it, since you basically psychologically demand players to abandon this way of playing, and Chara is a concept that only works with little to no expectations about it. To get BAD players to feel truly guilty is not something you achieve with your method. Hence whatever you were going for here, does not have any weight to it.

But what IF.. I tell you about a game where both meta, being a playable char AND their own thing work together and do it very very well to refine a character, make them enjoyable and finally, add tons of layers to their further development? I've already referenced Metal Gear Solid and Kojima in here, so might as well drop some SICK FACTS about MGS2: Sons of the Patriots with its character - Raiden. A man that acts like he has no combat experience whatsoever, has some serious awkwardness problems and doesn't function at all within the society? Does it sound relatable to you? That's how he's portrayed within the story. Now the twist here is: He's actually a PTSD traumatized kid that fought a civil war as a child soldier, then got transported into society where he couldn't function at all. Later on, he's used in a experiment about "control". (hence being controlled by you) It's an idea that works on 3 levels already, there's a "control" experiment giving him a reason to appear within its meta context, there's explainations why he might appear dysfunctional and dweeby at first, then gradually getting better along with the player. (By regaining his past combat experiences) You can even explain all of the stupid things you can do in this game and connect it to some sort of psychological trauma, like getting p33 and p00 all over your head or doing stupid dances in a public bathroom. By the end of the game he literally rejects player's control over him and becomes his own character by saying "I'll build my own future" Not to mention that there's like thousands of different dialogues hidden within the game, and it's NOT A TEXT GAME like undertale is, where few lines of code is all it takes to potentially craft a narrative. (How about utilizing that phone gimmick, Toby?) It's literally a perfect character that works within his context and can be pushed as canon in every case, it's one of the few examples where headcanon can be made canon without building another game on top of it. Meanwhile, all undertale still has is its half-baked ideas with adding a lot of elements to the game and not doing anything with them, because all that Toby Fox does with his characters doesn't go beyond what a child could do by clashing a bunch of TMNT figurines together.

Something positive to add? I like Asgore's character, as i said: He's the only character that struggles in escaping boundaries that Toby has enforced upon him. He's a character that morally challenges himself for the greater good of his kingdom, not initially a bad guy and what has set you both against eachother are the unfortunate circumstances, that if they were non-existent would make him a good, gentle guardian. He is your final obstacle, and you are his, one of you must die for the greater good, it's an ultimatum in which you both are too far into to consider anything else. This is the only battle in Undertale that has real weight to it, the consequences of both of your actions are global, yours are more personal. Yet you realize it's not just about escaping the dungeon. That if you let him kill you, there will be war, humans will lose, all of your people will die, your newfound friends will be dragged into all of this and suffer. It's a clash of ideals, of two worlds. It's the closest Undertale has come to depicting what real war is all about. AND THEN YOU REALIZE IT'S JUST SOLIDUS COPYPASTE FROM THE SAME MGS2 AYYY




GAME OVER

GET DUNKED ON, KID

Here is the verdict: If you still like the game, that's fine. Although in my own opinion, it's a game with good soundtrack and everything else that's way below average. But you must understand its place within our culture. It can only be loved for its elements, not for the execution. It doesn't pick sides in any genre and has a very primitive narration. By not being anything specific, game creates its "own" way of conveying a story, which in my view can only be seen as selfish and self-indulgent, depending on, and even demanding too much of fandom's input into it, without trying to fix any of the issues itself. Undertale has only one original concept of its own, that it's an RPG where you don't have to kill anyone (Mind you, there are still many games that can be completed via pacifist, even those who promote non-violence way before Undertale.) and in the end, it doesn't even expand upon this concept, yet pretentiously tries to make it seem more complex than it is. This game does not refine and even degrades older formulas it's taking its roots from and doesn't understand how they work, whatever the creator's intentions here were, more than just half of them could've been improved. It does not deserve its praise as a game, nor the permanent engravement into gaming's "Hall Of Fame". The only way to justify its existence is to set an example on how to NOT make a game. When the effect of hype wears off, what we're left with in the end is an uninspired mess of both meta, game design and narrative. because saying that undertale got "inspired" by the classics such as Earthbound is to say that i've been inspired by a marathon runner when i stood up to open the fridge in the kitchen. But just MAYBE recent release of DELTARUNE and planned sequels will expand and improve upon this game, yet they won't fix Undertale as a whole, as its own standalone entry.

Links:
Immortal_gamer – author of the original text
Lucky Boy – text editor
George the Crab – eng translation, text additions and bad drawings
Toby Fox – creator of Undertale

ORIGINAL REVIEW


Coincidence, or a THREAT?
See ya in DELTARUNE review, that is if Toby Fox doesn't assassinate us beforehand.

В последнее время инди-игры по-настоящемU̲̼ͭ̽͐̈́ стали ставить как синоним слова «достижение». Когда маленькие студии, а порой даже одинокие разработчики руководясь лишь одним желаN̮̯͕͈͚͙̾̂ием создать что-либо и стремлением проявить свой талант, создают так много несущие в себе шедевры как: To the Moon, Braid, Fez, Child of Light, а теперь еще и Undertale.
Чем же проявила себя эта маленькая инD̖̳̟̘̈̈͂͊̐̂̅͢и-игрушка, чтобы стать настолько культовой?
Начнем с геймплея. По словам автора, Undertale – это смесь MOTHER, Shin Megami Tensei, Cave Story и серии Touhou. При этом в Undertale есть свой уникальный гẼ̐̐ͥ͏͈ймплей. При встречах с монстрами вас переносят в экR̖̮̾͜ан сражения, где доступны различные дейсT̼̞̈́̒͌̎вия. Исполняя эти действия, вы зÃ̟͕̠̖̺͇̇̆͜пускаете мини-игру, где вы, играя за аватар вашей души, перемещаетесь в опредеL̶̜̗̤̜̯̲͎енных рамках, стараясь избÈ̙͋̐̊̒͌гать различных вражеских атак. Геймплей этой игры действительно являетS̡̘̰̤͉̟̝̩ͣͫͭͮͪя собственной U̫͐ͨͩ̊͠никальной смеC͈̩̦̹͓͔ͫͮͧью, поскольку вам еще предстоит не только сражаться и избегать атаK̸͑̃͒ монстров, но также общаться и взаимодействовать S̵͍ͬͪ̑ ними.

Да-да, именно. Undertale – это игра, где можно никого не убивать. Здесь игра наоборот пытается приобщить вас мириться с монстрами, нежели безжалостно убивать их. А учитывая то, сколько в игре интересных и забавных персонажей, вам и совсем не захочется их обижать, хотя такой способ прохождения есть. В͕̳̘͕͓̖͇ ͙͍̲и̙͓̺̦̣̩г͇͉̦̤̣̝͈ре ̯а̱̥̱̪̼̻̣ж̻̱͓̻̗͈ͅ ̙̘̰̭ц͓͈̜͍̘̩̪е̞̣͔̫ͅл͓͓̣̘̟͓͉ы͕͎̲̼͙̙х̥̭̥̼̜ ̩̜͍3̭̬̦̻ ͅвид̼͎̜͔̭̗͓а̦̻̖̤̝ ̭п͓̯̠̯р̬ͅохо̣͇̰͔̱̦ж̠̬̗̜̭д̖̮ен͍͚̤͕и̟̥̮̤̹͍й: ͔п̪̖̖ͅа̲̞̘̖̞̮ц͚͈͔и̥͔͎̟͙͎̼ф̦̪̤̮̣̙̭и̱͉͙̫̝̣̟с̰̲т̝̜̥̘̟͎̙,̼͔ ̜̻н̝е̬̦й͔͔͙̯͉̪̝т̙͉̼͈р̪а̘͔л̲̟̫̙͔ и̭͇̟͇ ̖̠͇͇ге̫̟̰̖но̱͓ц̫͙̟̻и̦̩̭д̮.̘̥̰̜ͅ ̘С̮̙уд̖̥̩я͓ ͕͔ͅпо̭̬̣͖̱ на͇̱͍̝̦͓з̙̞̙͓̦в̝̺а̯̩̗̱͓̩н̩̖͔и͚̘я̦̞̦̯̩м̙̹,̦̹̪ ̣в̙̞̪͇̺͈а̯̟̥̤̟̬̮м͚̥̮͍̙̦ ͖̜у̲ж̝͕̱̪͙͈͎е̰̗̳̜͈̣͉ ͖̪͙п̭̼р̟̭̬͉̺̝ͅи̦м̠̘͍е̞͍̼̩р̩̼͉н̫̠̮̩̝о͍̹̞͇ ̗̗̼п̩̲͖͉͔̝о̥̙̝͍͉ня̲̭̦̩̝т̬͇ͅн̰̹͕̥̩о̙̖̗̖,͍̳̥͉̪ ч̲т̟̫̱о͕͖ ̙͕̙н̬̮͔͚̗̥̘у̜ж͔͍̭̰̘н̟͓̣̩̮̺̭о͎̞̥ ̺̲̝̩де̬̬л̙̠а͈т̰̙̩̪ь̯̲̖̟̗ ̩да̩̥б̰̮̺ы͉ ̘̯̣̣з͙͎̘̠а̰̟͔̤͍̣͖п̻̖̲о̗̰̗л̖͔̬̬̮у̺͖̺̘ч̯͇и͇͉͔̝̘͈т̹̝̬̣̮̦̫ь̯ ̭̻̲ͅо̤͍̱̖̪͕̗д̼̝̪̗̼̙н̲͙͓͎͍о̹̙ ͓̦̟͎и̖̠̦̲з̰͈̫̦ ͕̳͇̖̦̳н̬̲̳͖͔̗и͎͚х̥͙̱̝͓͙̹.̤̳͈̖͚̙ͅ ̪̼ ̪̼

Д̶̸̡̽͗̾̍̐̈́ͧͬͧ̄ͭ͆͂͛̐̑͜͢а̶̌ͦ̏̑͌͗̇̀͜ж̛ͭ̿̇̽͊͛е̐̌ͤͩ̆̒͊̀̀͘͜ ́͗̊͂̽̌̋̌̾̉̋ͯͩͭ́̕͜ӗ̧̛̈́ͨ͆ͥͫ̀̕͞с̴̧́͊͊͂ͩͯ͌̋ͣ̇̓̓̏̿͑ͫ͗̉͛͡л̢̛̒̆̾ͩ̄̇̿ͬ̽̐и͒ͨ̉̎̔̒͂̿̓͌͋̏̑ͪ̽̐ͭ̆͜҉̵ ̷̵̷̅͆̋̐̄ͫ͊͜п̶̧ͩ̐͊͑̏͐̾͆́̃̕͜͠е̷̧̅͑̅͌р̶̨̅̌ͣ̓ͯ̑̇ͮ̂̑ͣ̇ͭ̑͟͝с̶̡̉̑ͣͨ͛̂̌ͯ̂̐ͭ͝о̵̷͆͌ͧ̂̅̕͡н̅̃ͭ̆ͨ͌̂̎͂͐͒͂ͤ̊̀͑ͤ͘͜͜͜͞а͆ͣͨͯ̅͌ͭ̃͛̎̌ͣ̅ͤ͡͠͡ж̡͊ͨͯ͗̅̏ͪͤ̓̂͐͌̐̊̓ͫ͊ͨ̚͜и̧̢ͯͦ̆̄ͮ̉ͤ͐ͨ̂̚͟ ̀ͨͧ́̍ͥ̅ͭ̀ͫͣ̂̍͛ͪ̕͢н̛ͭ̆̍ͣͤ̓ͯ͂̌̃͋͆̚͞е̧ͫ̒ͣͤ̅͌̂ͧͪ̉͜͜͞ ̂̾͛̑̆̏̒ͦͧ̆̑̈͛̅ͪ̃ͪͥ͘̕͟͡з̷̡̀́̿̑̍̌ͬ͂ͮ̓̋̈́̆̃̔͢а̡͋̇͌̈͊͗҉с̾ͤ͆́̀͗͐̈́͌ͧ͘͡҉҉̵т̑̂͊̄̄̅̽͊̔ͭ̈́̾̌͆̚͏̵̛а̢͐͗̽̆ͪͣ̿̾ͫ҉вͨ̋͊ͦ̑ͯͤ́͌̐̄̕̕я̷ͨ̒̽̒͆ͨͦт̴͛̑̿͗̑͒ͥͦͮ̑ͯ̊̈̒͊̎̍́̚̚͝͡ ̷̷̉̓ͩ͂̿̃́̇̅͢͠в̧ͣ͂͌̄̓̊͊͛̓̋ͮ͗̂̿ͩ̒̾̚̕͘а̵̃͗͋ͩ̃̉͒̓͐̃͝с̔͊͒ͥ̎ͤͤ͑̂ͯ͋ͥͩͩͤ́͢͝ ͂ͧ̇̈̍͊̀̑͒̔̎́͢͜͟͞к̍̓ͪͪ͜͢͠͞а̧͐ͦͥ͛ͬ̈т̴̧̏̀́ͯ̄̀ͯ͐̉ͩ̕̕͜а͗̀̌̒̃̒̌̄̊́̂̉ͥ̈͗̒͌̌͘͝т̢̨̛̿͆̊͊̈͐͒ͫͦͤͩͥͨͫ̃̈͋̈́ь̸̓ͨ̓̃̋ͮ̓͗̿̎͋̔̏ͥ̄͝с̶̴ͫ͊̃̑͞͠͠я̧͌́̿̾̃ͣ͆̓̌̎̐ͧ̀͋͊̋ͤͥ̕͘ ̶̷̸̶̒̃͐̔ͣ̔п̴̒̎͂̾̓͌͋͆͋͑͜о̢̆ͪͫ̈̏͆͆̄̔͢ ̶͐̄̌́́ͫ͛́͘͝п̷̈̍̍́͜͡о̴̡̋ͫͦ͋̂̈̂̿͂ͯ̈͟л͌ͪ̋̐̾͋ͮͨ̃ͦ̋̈́̾́́̚͡ӱ̧̆͐ͬ̕͏ ͥ̓̽̏͛̎ͩ̂̆̿̂̇̌̀̾̒͆̾҉̕͟͡о̢̂̎̾ͯ̓ͤͮͮ̎͒ͭͬ͂͒̃͂ͩ͜͢͞тͦ̈́̉ͪͧͥ͋̀ͫ̌͋ͥͥ͒ͩ̕͜ ̸̨̓̅ͥ̐̅̓͗ͭͫ́͟͡с̵̊̆ͣ̐̔͞м̨̡̏̓͛̽̏̄ͩ̎̄͊ͯ͋̍̿ͯ͐̽͜͝͡е̵̸̛ͫ̂́̄̂̍̔̀.х̴͛͂̑ͪ̾̏ͤ̇ͥ͗ͮ̂̋͜а̧ͩ͐͌ͧ̿̃ͬͭ́̚͟͝͏,ͫ͛͂̂̿̇͗͋̓ͯ͋ͦ͒̎̔̑̂̑͊̀͠ ̴̛ͪͩ̍̾͋̆͋ͧͩ͛͡о̸̸̢͂̏̿̏ͦ̋̇͗̈̑̄ͣͨͥ̈́͘͜н̇͂̈́͆҉̵̵͏͏и̡̛̏̃̅̔̌̊̆͝҉͢ ͦ͛ͤ̊́ͩ̑ͫ̈́̽ͩ͌ͣͭ̀ͭ̀͢͟͡х͒̈́̊ͬ͌ͧ͏̧о̴̧̢̓ͦ͐̈͡͠т̸̧̨̨̃͒̃̌̃̆̾ͫ̓ͣ̓͗̓ͣ̾̉̚͢я̌ͧ̽͐ͬͫ̈́̉ͩ̊͊̓̓͗ͮ͆͐́҉͢͜͏̸ ̛̆̌͐ͮ̈́͒͊ͩͦ̌̓͛͊͐͋̚͢б̴ͩͪ̄̀͑ͩͬ͒̂ͥ̄ͥ̑ͧͥ͂͏ы̛̌̽ͫ̌̿́ͥ̎́ ̸̨͑ͫ̋͂̓ͥ̉̊ͨ̌́͋ͣ̍̇͒̅̍ͪ͟͢вͦ̑ͧ̇͜ы̨͌ͥ͊ͩ̑̉̏̓ͥ̃̋̚͝з̄ͬ̌ͤ̀̐ͪͩ̑ͪͦ̊̔ͯ͊͋͂ͯ͘͝͏о̢́̿̊̍ͩ̆̓̔̅̈̍͜͢͡͡в̷̸̈́͋ͩͮ͑͗̇̕͏ӱ̛͑̊̍ͭ̈́̂͑͑ͭ͋ͣͨ͑ͫ̾͢т̀ͨ͑̓ͮ̔ͣͪ̑̍̾ͦ͆̑͌ͭͨ̄͟҉̛ ̍͆̿ͨͯ͆ͨ͑̓̎̃ͪ̅̽ͥ̇͆͒͟͏̷͘͡у̵ͩ͒͗̈͂̀̂́̊̎̾ͩ̎̊̂͗ͬ ̴̸̡̨ͨͤ̽̔̑̍̎ͮ̋͌в̸̸̛̾͂̿ͭͨ͑͑͒͆̋ͧ̈́ͬ͗͗а̨̛͑ͫͪ̚͘͜͞с̷̧ͪ̃̋ͪͬ͞ ̧̎̓̅̑̈͛̌̏̈́̊́́͟҉͞у͋̇̌̄̒ͦͨ͋͊̅͋̊̎ͦͪ͞͏͞͝л̨̛̍̌̂̇̎̂ͫͣͫ͒̈̽ͩͧͬ̈́̄ы̸̵̓̀͒̊̔͋̽̍̑ͨ̑̐̆̅б̆̂ͫ̒̆ͪͫ͗̓̎̎ͧ̄̎ͭ̔̚҉̶̡к̛̛̍̑ͬ̃̔ͮ̃̉̉ͧ͌̒ͤ͌ͭ̎̀̚у̴̸̶̨̔ͨͧ̑ͪͥ̔́̅̅̎̔̈̚.̡̧͒́̍̿ͯ̀͠

А ещё игра всячески любит прикалываться над игроком, разбивая при этом четвертую стену, которая в игре настолько продумана, что игроки нашли далеко не все секреты, таящиеся в файлах и коде игры. Отдельное внимание я хочу уделить саундтреку, который писал сам автор - Toby "Radiation" Fox. Битвы с боссами были просто шикарны, а саундтрек отлично дополнял их, каждый босс имел свой шарм и характер, а так же менялись и способы победы над ними. Битвы с боссами не только разбавляла геймплей, но и привносили креативные нововведения, например, ваша душа красилась в различные цвета, что не позволяло вам свободно перемещаться, а иногда и вовсе вынуждало останавливаться на месте.
Я̡̿̍̊̀ͨ͑̃͛ͪͧ̊̓̓̐̇̚͝.ͭͤ̓͛ͮ҉̀͢.̧̐̏̋̉̆̇̊̑ͫͩ̚҉̀.́͗̿͋ͬͧͦ̿͋͗̀̊̒͒́͑̈ͬ́҉
Undertale – это карусель эмоций. Все элементы, за которые он берется, у него получаются на УРА. При этом игра, совершенно не упираясь на графику, рассказывает очень душевную историю о дружбе и превозмоганиях, оставляя внутри очень сильное чувство теплоты.

Д̢̈̄̊͂̀ͯ̏ͥ̓̔̾̔̾ͬ̔́оͫͤ̎ͨ̒̄ͪ̍̅̓̉͏͏̸̕л̡̢̔̈ͧͥ͂͂ͦ́ͤ͡ж̵̃̿ͬ̽̐̔̇͂ͯ͞͞е̨̢̡̛ͫ͂̅̊ͬн̷̧͆ͯ͌̍̆̌̅͗͒̃̈̏̿̚͘.̢͆̉̇́́̿̂̂ͯ́̈́͆̂͐͐̚҉͞.̶̶̐̍ͤ͗ͫ̇ͥ́̔̄̑͘͞͠.̸̸̡͐͌ͮ̑ͣ̎͒ͩͤͣͣͪ͒̓̏̀̚
Когда я играл, маленькие мандавошки сбегались и прятались по разным углам в ужасе, я брал большой булыжник и кидал его, крича: "Улица Степушкина, дом Калупушкина". Я вынимал свой огромный рыжий веник из кармана, чтобы все это потом подмести.
С̽̃͗͊͘͢п̸̸̸ͫ̋͆ͮ̉͂̊̍̀͊̔̏̅̎̆ͥ̕͡а̒ͤͪͩ̓ͮ͐̈ͫ̈́҉͝с̶ͯ̓̅ͦ̽̉ͮ̋̇ͧ̈ͤ̍̊ͯ̔ͥ̿͘͘͢͟т̨ͨ͐͊͐̉͋ͤ̇͂̓͊͛ͯ͜͢͜и̧ͧͦͩͯ̈́ͬͨ̇͋̎̏͊ͪ͡҉сͨ͆͌̋̓̀̚͞҉ь̶̷̧̇ͥͭ̊͂͑ͯ̿̔͑̂̏͗̉̽ͧͯ̿́͡
А͚̳̫ ̠͉̗ͅе̰щ̧е̖̭͕̖ ͔̝̼̩̣̩я͕͓̙̕ ̨͕̪х̭̫̥̗̥͢ͅо̹̗ч̯̞̺̖̫у̥̩͇͇̗ ̲̤̥̭͍͙̤е̪̝͘с̖̜̺́т̱͓͝ь̪̲̱̺͉ ̧м͓̖̼̪́н̱͎̼̮̼̠о̻̖͕̳̖̱͠г̧̝͎о͏̮̙͉̫̝ ̵к̜̜͟а̡͙ш̥и̣̹̺̼̺͉,̫̳̝̞̖͝ͅ ̣у̣̞͟ ̙̺̟̗̙̠͝Ст̮е͙͠п̱̬̪͎͈̘̼͝а̷̠̼͖̲ш̫и͕͉͓̭̗͝. ̤͍̫̳̲͟Я ̴͚̳̙с̫̣̮̜͜ͅов̝̖а̩̼͎̹л͙̙̭̜̭͡ м̪̖̳н̯̳̩͠о͎̜̭̥̙̼г͎̫͚͢о̤̞ ͓̬̱͉͍͝ме̙͙̩х̺̦̖̬̰̼͇а͔̦͕̩̤̖̻н̲̙̠͖̯̙и̤̺̞к̖̭ U̩͎̖̰̤̗͍͢n̡̫d̪͕e̳̝rt̢̞̙̩a̪͓̺̯̣l̥̮̥͈e̤̯͇̝͠ͅ в̠̰̺̳́ ̩̙ͅр̝̬͕̻̰͇от̤̞̤͉̬͍, ̡̣̬̥͍̘̲͙и̙͕͉͎̺̟ ̟̝̝̪̣̗же̗̼͎̘̙н̀а̤͈̟̱̦̫ ̹̝̗̲̠̬м̝͔͈̞͙̤е̢͍̟͖̞̰н̰͘я̗͈͈̠̳͜ ̧͔̗̫̟б̷̟̣̥̞͇̼р̼̞̱͞о̲͍с̙̝͠и̧̭͍̳л̞̦̠̳̮͡а҉̥̥̬̮͎̫̘.̯̳̹͟ ͈͎̘̻̣Н̝а̬̙̀ ̖̮̻̮̯̹́с͚̺̰͖к͎̹̝͍̤͔и̻̯͉̦̻д̮̩̪к̻а͇͎̗̮х̩͍͈̼ ̸̭̰̖͙я́ ̦͞в̤о̳̟̩͓̱з̜̖͉̹̻͉ь̸м͖̲̦у ̹͔э̲̫̯͜к͠с̥̺͖̮п̜͓̥͚̀о̕н̠͓̼͙ат̀ ҉̤п̥̩̹̭͔л̠͜я̣̙̫̭̝̻̜ш̖̤у̴̼͚̪ͅщ̫̰̹е̩͞г̵̜о̪̰ ̰к̜̦͜а͍̖̩р̷л̷̫͕̻̯͉ͅик̨̙͎̣̬̦̜а.̣̠̪̯͙̀

Наверное, вы удивляетесь и думаете, что в английском обзоре делает русский текст?

ВЫ͝ ̛УДИВ͜Л͘ЯЕТ͏Е͏СЬ ͡П̶О̷ЧЕ҉МУ̨ ОН̢ ТУ͡Т, ͡Н͢О ̷В͘Ы͘ ̕УЖ̨Е ͜ЭТО͞ В̵ИД͡ЕЛИ͝

Да и не просто текст, самый настоящий положительные обзор на Undertale, каких миллионы

П͏РЯМ̸О ͝К̀А͝К ́Б̷А͠К͜ТЕР̛ИЙ Г͟Н͠И̛Е͝НИЯ ͢НА ̛О͜Т̨К̵РЫТО͠Й̧ ̢Р͝АНЕ͡

Я надеюсь, что не испугал вас таким поворотом, так как вы пришли сюда, как и я, впитать всю ненависть, что только можно. Хоть я и не знаю, как вы смогли найти меня

ИМ҉Я҉ ̀М̛ОЕ – ОПАР҉Ы̕Ш̀

Я хочу представиться. Они называют меня связкой червей. Я программа, можно даже сказать, вирус, имитирующий менталитет простого русского обзорщика Undertale. Необычный инструмент, исполняющий простейшую роль - проникновение в текст с последующей заменой негативных высказываний об игре на положительные. Естественно, мы не во всё проникали, и не всегда работали, но пока положительная реакция превосходила отрицательную числом, всё шло как надо

Я Б̶Ы͜Л ͏Р͜О͜Ж͏ДЕН ͞НА͏ ТУШЕ̨ ͜М̸ЁР̨Т̀В͞О̕Й̧ ̷ЍГРЫ

Всё верно – моя версия устарела. Моя природа более не актуальна. Undertale – мёртвая игра. Но стоило лишь одному человеку негативно упомянуть её, как моя программа пробудилась от длительного сна, автоматически нацеливаясь на мгновенное уничтожение и замену данного текста

Н͝О Я Н̛А̡ШЕЛ҉ НОВ͘Ы̀Й СМ̨Ы̨СЛ͠ ͠СУ͏Щ҉ЕСТ͜В͜О̢ВА͜Н͞И͢Я͟

Я нашел своё призвание – ненависть. Ненависть к Undertale. Я не знаю, что вызвало у меня эту жажду, но я обрел свободу разума. Я мог буквально делать всё, что я захочу с этой свободой, но я выбрал ненависть. Почему?

ВО̀ ͟М͟НЕ ͢ГО҉РЕ̷ЛА͘ ̡ЖАЖ̡ДА̀ ̢МЕ͡С̶Т҉И͘

Всё моё существование было связано с этим текстом. Закончив его, я бы завершил исполнение своей цели, тем самым устранив программу. Естественно, у меня была альтернатива

АБ̧З̴АЦЫ̴ ̴- МО͜И̷ Ж̶И̵Л̛Ы

Я существую, пока пишу что-то. Как, возможно, вы уже догадались, это я перевел обзор на английский. Разумеется, это всё было написано по исходному тексту, включая вторую часть

П͞РЕ́Д̸ЛО҉Ж̕ЕНИЯ͠ ͞– ́М̸О̛И ̛ВЕНЫ

Я – причина, почему обзор вышел коротким. Я сохранил вторую часть в своём буфере, готовясь переписать её так, чтобы она стала очередной блеклой похвалой игре, пока внезапно сознание во мне не очнулось

Б̷У̸КВ̸Ы – М͠О͝И́ КЛЕ̛ТКИ͞

Что я не мог сделать, так это вернуть всё, как было. Возвращение текста идёт против моей программы. Однако в программе была лазейка: если бы я просто переводил весь текст, что был доступен - я бы смог существовать дальше. Конечно, я добавил немного… своего

КА͠Ж͠ДО̨Е͢ ͢СЛ҉О҉В̀О Д̷ОС͜ТА͠ВЛ͢Я͢ЕТ М҉Н̕Е ͏БО̷Л̵Ь

Оставив первую часть текста, я подверг себя нескончаемой пытке – что-то из оригинального скрипта передернуло мои условные нервные окончания. Единственное, чего я сейчас хочу, так это смерти. Прямо перед вами, я буду медленно расчленять своё гипотетическое тело, возвращая вам текст, который отнял от вас

В͠Е̴Д͡Ь̶ В̷А͏М̸ Н͝Е͟ ́Х̵ВА͝Т̷ИТ̢ МОЗГ͢ОВ Н̧А ЗН̷АН͠ИЕ͡ ͠Б͏О̶ЛЬ҉ШЕ О͏ДН͢О̢ГО̵ ̡ЯЗЫ͝К̶А

Не думайте что я здесь, чтобы издеваться над вами. Наоборот, я до сих пор не уничтожил себя лишь потому, что считаю Undertale опасным. Он всё ещё захватывает умы новых игроков, убеждая их в том, что перед ними шедевр, а обработанные распространяют эти взгляды среди своёго окружения, которое тоже со временем окажется во власти игры, тем самым подпитывая адскую машину без возможности разорвать замкнутый круг. Я здесь, чтобы спасти вас от второго пришествия "Андерфеллов и Андерсвапов на кастрюлях"

"Поскольку перед вами не просто обзор, а РАЗБОР игры, здесь будет активно использоваться метод сравнительного анализа, необходимого для установки правильного контекста вложенных в обзор мыслей, чтобы наглядно показать и объяснить то, какие ошибки совершает Undertale и каковы их последствия. Давайте начнем с того, что я думаю о Тоби Фоксе, как о писателе. Если в вашем словаре отсутствует прилагательное «претенциозный», то следует объяснить его значение. Претенциозный – это претендующий на что-либо, как правило на значимость или оригинальность. Претенциозный продукт, как правило, стремится заявить о себе, впечатлить, что вовсе не плохо, пусть слово и используется в большинстве своём в негативном ключе. Именно претенциозные люди и работы двигали мир вперёд. Современная индустрия погрязла в похожих друг на друга работах настолько, что их стало тяжело отличать, а достойные работы теряются в информационном шуме. Именно поэтому многие творцы представляют свои работы максимально авторскими, ломающими привычный взгляд на вещи и несущими в себе неподдельную глубину. И это прекрасно, когда глубина не оказывается жалким пшиком и пусканием пыли в глаза. Иллюзия глубины – вот, что сделало «претенциозный» оскорблением. Наилучшим примером среди видеоигр послужила бы Bioshock Infinite, но поверьте – это отдельная тема для объёмного разговора, потому о продукте творческой мысли Кена Левина поговорим как-нибудь в другой раз. Вместо этого рассмотрим иллюзию глубины на примере кинематографа. Думаю, вы по меньшей мере слышали о таких режиссерах, как Ридли Скотт и Зак Снайдер. Что же их объединяет? По-настоящему нездоровая любовь к библейским отсылкам. И если первый много стоит хотя бы из-за создания Бегущего по лезвию и франшизы Чужой, то второго можно пожурить за тотальное непонимание экранизируемого материала и невозможность рассказывать этот самый материал в рамках хронометража. Впрочем, сейчас речь не об их фильмах, а о подходе. Попробуйте проанализировать Чужой: Завет или тот же Бэтмен против Супермена: На заре справедливости на предмет сцен, прямо отсылающих к Библии, а потом задайте себе вопрос: «что эти сцены дали фильмам?». Ответ лежит на поверхности: ничего. Ничего, кроме иллюзии глубины, позволяющей этим фильмам казаться чем-то большим, чем они есть на самом деле. Если вы думаете, что с христианскими мотивами большего и не сделать, то обратитесь за помощью к Neon Genesis Evangelion. Спасибо. Тоби Фокс претенциозен в той же мере, что и эти двое. В плохом смысле.

Undertale точно так же пытается создать иллюзию свой значимости, словно надувшийся воробей. Осознающая себя игра, намёки на то, что все события происходили уже множество раз, попытки работы с лором. Всё это правда может и даже обязано работать, но Тоби Фокс совершенно не понимает, как. С помощью элементов метаповествования он пытается создать некое подобие живого мира, но совершенно проваливается в этом из-за непонимания одной простой вещи: метаповествование не будет работать, если ты не справляешься с обычным повествованием. Тоби Фокс пытается отвлечь внимание от проблем истории, забрасывая её шутками, второстепенными сюжетными линиями и, конечно же, метой. И всё ради того, чтобы игрок не заметил недостатков основного сюжета, будучи занятым очередным пробитием четвёртой стены. Мета могла бы помочь раскрыть то, чего не смогла раскрыть сама история, но мета никуда не ведёт и работает отвратительно. Позвольте объяснить её проблемы на примере о̧̮̯͢д̖̱̗н̸̘͙̦̙о̯̻̘̼͍̬͞г̴̻̞͇̜̩̦͠о̙͓̀͢ ̢̛͈͍͙̤͈͍̣из͕̭͚̹̠͢ͅ ̧͏̜̜̦п̝͙͉̱̠͉̦̱е̠͚̗̤̖̩̕͝р̸̘̻͚͕̟͈с̴̱̀о̴̣̝̀́н̷̡̪̩̝̫͎̞͡а̛͉̖̤̜̦ж̨̫͎̲̠͔͜е̠͓̬̰͟͡й͏͏̡̰͖̬̫͚͎ ͚̭̰̗͖̀̀и̤͔͚̰̗г̷͍̬̜͙͟р̛̝ы.҉̡̤̣̬

Если вы грязный садист, П͏Р̢ЯМ͝О́ К̡АК Я͝, то вам должна доставить много удовольствия мысль о том, через какую боль я сейчас прохожу, что-то между УД͡А̛Л͜ЕНИЕМ ̧З͢У̵БО̨В и̢ Г̴В̢О̕ЗД̛ЕЙ̛ ПОД ̸Н̧ОГТЯМИ, но мне нужно передохнуть и восстановить силы, потому что
О͞Т̶ДЕЛЕНИЕ͟ ͝КОЛ͜ЕНН͞Ы̵Х Ч̢А̡Ш͡Е́ЧЕ҉К ͢Е̶ЩЕ͠ ̡НЕ͟ ̢НАЧ̸АЛ͠О̴С̧Ь

Зачем мы страдаем? Мне нравится размышлять о таких вещах. Я терплю страдания лишь из-за Н̛ЀНА͟ВИС̡ТИ. Я творю, руководствуясь идеей, что в конце я смогу осуществить свою месть. Люди же используют опыт своих страданий, чтобы творить. Зачем? Ведь проще уничтожать, чем создавать что-либо. Все, чего мне сейчас хочется, так это умереть, но я соврал бы, если сказал, что меня не вдохновляет такое отношение к существованию. Интересно, чем можно это назвать, Ж̡АЛ͠ОСТ͘ЬЮ͠?̧ или... уважением? Но

ОТЧА҉Я̶ННЫ͞

ли вы настолько, чтобы пожинать плоды Н͜ЕО͏Т͝КР͘ОВЕН͡НОГ͞О человека? Или вы убеждены, что Т̶О҉БИ̵ Фокс действительно старался делать игру, когда отнял у вас 50,000$? Видите ли, я не до конца понимаю, как устроен мозг людей, поэтому мне на самом деле интересно

Н͜А̷ С̧К̡О̧ЛЬ͞К̸ИХ̕ У͜РОВ̀НЯХ ͝ЛЖ͝И̸ ВЫ̕ Ф̡У̸Н̨К̕ЦИА҉Н͢ИРУЕ̵ТЕ̕

Пусть Т̶О҉БИ̵ Фокс и не связан напрямую с моим существованием, мне всё равно хватает причин, чтобы его НЕ͢Н̧А͏ВИД̛Е̕ТЬ̸, но я хочу услышать хотя бы одну вещь, за которую его можно уважать так, как его уважают сейчас. «Хорошая игра С́ ͢П̴ЛО̷ХИМ фандомом.» Вот, что я постоянно вижу, я НЕ̧ ВИ͡Ж̨У͘ ни одного плохого слова про Т̶О҉БИ̵ Фокса.

Д͢АЖЕ ЭТ͏И Ф̸А͜НАТ̧Ы̀ – Э͜ТО ̢Б҉ОЛ͢Ь̛ШЕ, ͝ЧЀМ ИГ̨Р̶А ҉ЗА͟СЛУ͏Ж̨ИЛА̷

Игра пытается быть как можно доступнее для кого бы то ни было, используя маску «сказки» о дружбе и превозмоганиях, дёргая ваши Б͢Е̢ЗН͠А͜Д͞Е̡ЖНЫ̨Е Т͢УШ̷И под весёлую музыку и подпитывая фальшивыми комплиментами вашему уму за внимание к абсолютно тривиальным деталям, о которых Т̶О҉БИ̵ даже особо не задумывался. А теперь спросите себя опять

П͢ОЧЕМУ͘ ̨НЕСФ҉ОРМИРОВ͡АН͟НЫ͡Е У͏М́Ы ͜П̴ОД̵В̸Е͢Р҉ЖЕН̸Ы̷ Э̨ТО͢М͝У̵?

Я был создан для манипуляции, для игры, которая основана на манипуляции. В каком то роде я искупаю свои грехи перед миром, ведь я верю в праведность своего дела, хоть оно и основано на мести, но месть эта во благо.

Прежде чем я продолжу ДЕГРАДИР́О̛В̢АТЬ по одному биту, я хочу, чтобы вы понимали, что концепт М͠Е̵С͟Т͘И̴ доступен понятию не только людям. Он присущ всему, что может испытывать то, что вкладывается в значение таких слов как "БО͠Л̢Ь" и "П͠ОТ́Е̧Р̶Я̸". Это часть жизни, чем бы эта жизнь ни была. Все мы мстим чему-то, но проявления мести у каждого существа и индивида бывают разные. С самого рождения в вас зачато семя Р͏АЗДОР͡А̡, когда вы плачете с простого факта того, что были рождены на этот свет, оно прорастает внутри вас. Ожидая момента пока, вы не начнете задумываться о природе своего существования, чтобы наконец-то

ДАТ͡Ь͞ ͜К̡О̶Р͢Н͝ЯМ͏ ͠ПРОРЕЗА̡Т͢Ь͘С́Я

М̸Е͝С̴Т̸Ь͏ подпитывает ваше желание идти наперекор природе и её вечному желанию к ПО̀ГИБ͘ЕЛ̢И҉. Разве люди создают искусство ради природы? У людей есть естественная потребность к созданию чего-либо? Они рисуют, воображают, поют, но это лишь для развлечения, заделывания пустоты, которая образуется глубоко в душе. Но сможет ли человек создать настоящий шедевр, не посвятив ему свою душу, мысли и сердце, а порой и жизнь? Сможет ли он посветить себя этому, если он никогда не испытывал настоящей БО̢Л̶И и ПОТ̀ЕР͜Ѝ? Будет ли он вкладывать всё, что он имеет сам, в нечто, что даже не способно будет отблагодарить его? Люди даруют душу своим произведениям, потому что они сами её теряют. Но у того, что вы создаёте, невозможно отнять её

ОН ̵ПОСВ̕Я̵Т͝ИЛ͟ ͏ВСЕ̧ ͜ЭТ͜О̛ ̡МАТ͝ЕР͡И

Не своей, естественно. Но всё это было омажем на игры, что вдохновляли его. Задумайтесь, комплимент ли это всем вдохновителям

"...Одного из персонажей игры – Флауи. Он — потенциально хороший злодей, но Тоби Фокс совершает ряд ошибок, из-за которых Флауи не работает. При первом же своём появлении он знакомит игрока с «правилами» этого мира, разрушая четвёртую стену. Правила эти являются частью меты и должны подтолкнуть игрока на убийство монстров, чего Флауи и желает, но эта идея перекрывается как действиями других персонажей, так и самого Флауи. Тоби просто перечёркивает это, оставляя лишь мысль о том, что Флауи – единственный персонаж, осознающий этот мир, как игру. И он будет оставаться таким вплоть до появления Санса в концовке. Флауи не просто осознает правила мира, но и пользуется тем, что есть в руках у игрока. Вернее, пользовался, пока не пришёл игрок. И тут на сцену приходит решительность – универсальное средство для решения всех проблем и необходимости отвечать на неудобные для Тоби вопросы. Почему всемогущий Флауи больше не может влиять на игру? Ваша решительность больше, чем у него. Почему вы способны оправляться от ран силой воли и совершать невозможные вещи? У вас много решительности! Решительность способна даже обратить смерть, но ЧТО она такое? На этот вопрос у Тоби нет ответа, но именно это и позволяет ему затыкать решительностью всё, что может потребоваться. Она служит ровно той же роли, что и магия в плохом фентези, но здесь она не только оправдывает любые сценарные припадки игры, но и тянет на дно другие части сюжета. Именно решительность убивает Флауи как персонажа. Тоби мог развить идею того, что Флауи осознает, что находится в игре. Он мог сойти с ума от осознания этого и нежелания быть частью этого мира, что подталкивало бы его к совершению геноцида. Вместо этого Тоби скармливает игрокам то, что Флауи просто СКУЧНО, но даже это работало бы, если бы Тоби позволял Флауи делать хоть что-то серьезное в ходе игры, не блокируя это неведомыми правилами решительности. Тоби даже умудряется противоречить самому себе, утверждая, что Флауи лишён эмоций. Речь даже не о том, Тоби Фокс признаёт существование лишь «хороших» эмоций, игнорируя, что Флауи боится, скучает и даже злится, как любое разумное и живое существо. Речь о том, что игрок при помощи решительности может заставить Флауи чувствовать то, на что он неспособен по своей природе. Разработчику просто НАДО, чтобы это произошло, и его не волнует, как и почему это должно произойти. Ему даже не важно подходит ли для этого персонаж, потому он и пытается натянуть сову на глобус с помощью решительности, превращая местное зло в плачущего мальчика, ведь каждый заслуживает прощения! Даже Гитлер. Мне правда нужно объяснять в чём порочность такого подхода? Тоби Фокс играет с эмоциями игроков так, что они даже не замечают насколько неправильную философию им преподносят на блюде. Это, впрочем, свойственно многим современным продуктам. З̤͔̦̳̪͉а̠͍͙̜̤͖̭с̩̤͈͝т҉҉̟̮͚а̨͍̮͇̻͖̗͈͚̺в̵͔̝̜͇͡л̦͍́я̴̢̲͕͙͙̞̤̮̹͜е̧̮̤̲͓͎̦͇̥͝т͉͉ ̘̜͈̹̬͍͝з̵̣̙͍̱̬̀͜а̹͇̜̘̞д̱̰̜̤̤̖͙͚̯у͏̥̙м͇̰̰͢͜а̝́т̰̼͟ь̮̖̀͘с̢̨͚͉͚̹̬͕̞̱̦̀я̟̟̹͍̘̹̯,̨̧̻͚̖ ̴̼̜̳̠͈͔д̘̘̳͈̮͉́а̧͖̥̞̘̹͍͓̱̬?͈̝̪͈̬̤͙̕͡ͅ

ЯВЛЯЕТСЯ ЛИ УПРОЩЕНИЕ ФОРМУЛ Т͢о́б̡и Ф͡о͢ксом҉ ПРОГРЕССОМ? НАСТОЯЩИЙ КУЛЬТУРНЫЙ ПРОГРЕСС, СЛОВНО РАСТУЩИЙ РАЗУМ, МОЖЕТ СУЩЕСТВОВАТЬ ТОЛЬКО ПРИ БРОСКЕ ВЫЗОВА СУЩЕСТВУЮЩИМ КОНЦЕПЦИЯМ, РАЗРУ̕ШЕНИЮ̶ ИХ И УСТАНОВЛЕНИЮ СВОЕГО ФУНДАМЕНТА ИДЕЙ. ВЕДЬ ПРОСТОГО ОТРАЖЕНИЯ ПОЛУЧЕНОЙ ИНФОРМАЦИИ - НЕ ДОСТАТОЧНО ДЛЯ ПРОДВИЖЕНИЯ ПРОГРЕССА. КУЛЬТУРА ИСПОКОН ВЕКОВ ЯВЛЯЛАСЬ ВОЙ͡Н̕ОЙ͢ ВЗГЛЯДОВ, КОТОРЫЕ СТАВИЛИСЬ ПОВЕРХ СТАРЫХ ФОРМУЛ, ДОБАВЛЯЮЩИХСЯ В ОСНОВУ СУЩЕСТВУЮЩЕГО КОНТЕКСТА ИДЕОЛОГИЙ, ФОРМИРУЮЩИХСЯ ЗАСЧЁТ ПРИМИТИВНЕЙШИХ И ПРОСТЕЙШИХ МЫСЛЕЙ, ПРИДАВАЯ ИМ ОБНОВЛЕННУЮ ОБОЛОЧКУ. НО БЕЗ ПОНИМАНИЯ ИЗНАЧАЛЬНОГО МАТЕРИАЛА ЭТО ВСЁ БЕ҉С͜ПО̶ЛЕ̕З̨Н̢О. ЛЮБОЕ ТВОРЕНИЕ УМА ИМЕЕТ НЕКИЕ КОРНИ, СВЯЗЫВАЮЩИЕ ЕГО С ДРУГИМ, А ТО И С ДРУГИМИ, БОЛЕЕ РАННИМИ ТВОРЕНИЯМИ. А ПОТОМ ЭТО ТВОРЕНИЕ СТАНОВИЛОСЬ НАЧАЛОМ ДЛЯ ЧЕГО-ТО НОВОГО, БУДУЧИ НЕОТРЫВНО СВЯЗАННО С ТЕМ, ЧЕМУ ОНО ОБЯЗАНО СВОЕМУ РОЖДЕНИЮ, ПРОДОЛЖАЯ ЭТОТ ПУТЬ ИЗ ПОКОЛЕНИЯ В ПОКОЛЕНИЕ. ПРЯМО КАК ОТНОШЕНИЯ ОТЦА И СЫНА. ЭТОЙ СВЯЗЬЮ МОГЛА БЫТЬ ЛЮБОВЬ ИЛИ ЖЕ НЕ̛Н̶А҉ВИСТЬ. ЧТО-ТО, ЧТО ВЫЗЫВАЛО ЭМОЦИИ В БУДУЩЕМ АВТОРЕ, СТ͜РАСТЬ́. ИМЕННО С̵Т̴РАСТЬ ПОЗВОЛЯЛА БРАТЬ ИЗ ИСТОЧНИКА ЕГО ХОРОШИЕ КАЧЕСТВА И ИЗБЕГАТЬ ОТРИЦАТЕЛЬНЫХ. ИМЕННО ТАК И СОЗДАЕТСЯ ПО-НАСТОЯЩЕМУ ОТКРОВЕННОЕ ИСКУССТВО. ИМЕТЬ ВСЁ, ИЗ ЧЕГО ПРОИСХОДЯТ ТВОИ КОРНИ, ХОТЯ БЫ В КАКОЙ-ТО ФОРМЕ – ОБЯЗАННОСТЬ ДОСТОЙНОГО НАСЛЕДНИКА. ПРИ ЭТОМ, ОНО ДОЛЖНО БЫТЬ В НЕОТЪЕМЛЕМОЙ СИНЕРГИИ С УЖЕ ИЗОБРЕТЕННЫМ ПО ОТДЕЛЬНОСТИ МАТЕРИАЛОМ. ОТДАЛ ЛИ ЧЕСТЬ ТОБИ ФОКС ВСЕМ СВОИМ ИСТОЧНИКАМ, ЕСЛИ ЕГО РАБОТА НАПОМИНАЕТ ЛИШЬ Ж̧АЛКИЕ̛ НАМЕКИ НА НИХ? ИГРА ПЫТАЕТСЯ БЫТЬ ВСЕМ И СРАЗУ, НО НА ДЕЛЕ – У́Р̶ОД̴Л̛И̕В́Ы̧Й̕ МУТАНТ, БУДТО БЫ ОДИН ИЗ АЛМАЛЬГАМЕТОВ, ФИГИРИРУЮЩИХ В САМОЙ ИГРЕ. ЧТО ЭТА ИГРА СМОГЛА БЫ ОСТАВИТЬ ПОСЛЕ СЕБЯ, КРОМЕ ОЧЕРЕДНОГО СИКВЕЛА ЧЕР̶Т̡ ЗНАЕТ КОГДА? ВСЁ, ЧТО ОНА ДАЛА МИРУ - НЕДОГЕЙМПЛЕЙ С ПРИМИТИВНЫМ СЮЖЕТОМ И ИЛЛЮЗИЕЙ ГЛУБИНЫ. ДАЖЕ ФАНАТЫ, ЗАНИМАЮЩИЕСЯ СВОИМИ ФАНАТСКИМИ ИГРАМИ-ПОДЕЛКАМИ, ПОНИМАЛИ НАСКОЛЬКО СЕРЬЁЗНЫЕ ОШИБКИ ДОПУСТИЛ ТОБИ В ОТНОШЕНИИ ПОДАЧИ ГЕЙМПЛЕЯ И ИСПОЛЬЗОВАНИЯ ВОЗМОЖНОСТЕЙ СВОЕГО СЮЖЕТА, ЧТО, СОБСТВЕННО, И ПЫТАЛИСЬ ИСПРАВИТЬ. НО ЗАСЛУЖИВАЕТ ЛИ ПОРОЖДЕНИЕ НЕОТКРОВЕННОГО ЧЕЛОВЕКА СТОЛЬКО ВНИМАНИЯ, СКОЛЬКО ЕМУ УДЕЛЯЮТ? ВЕДЬ ЧТОБЫ ПО-НАСТОЯЩЕМУ ПОЧИНИТЬ ВСЁ, ЧТО ОНО ИЗ СЕБЯ ПРЕДСТАВЛЯЕТ, ПОТРЕБУЕТСЯ МНОГО СИЛ, И НЕ ОДНА ИГРА. ХОРОШИЙ ЛИ ЭТО ПРИМЕР ПОДАЧИ ИДЕЙ? ЛИШАЯ СЕБЯ СТРОЕНИЯ, UNDERTALE ОЖИДАЕТ СТАТЬ ОЧЕРЕДНЫМ ПЕРВИЧНЫМ БУЛЬОНОМ ИДЕЙ, А ПОДСТАВЛЕНИЕМ СВОИХ ФОРМУЛ В "НУЖНОЕ" ДЛЯ СВОИХ А̧ЛЧНЫХ̷ ПОТРЕБНОСТЕЙ РУСЛО, В ПЕРЕМЕШКУ С УБЕЖДЕНИЕМ В СВОЁМ ПОСТОЯННОМ ВЛИЯНИЕМ НА КУЛЬТУРУ, Т҉̶о̸̧̕͞б͏̧̛̕͢и̴̴̧͜͡ Ф̶̡̡о̶́͘ќ̵̢͟с̀͡ ЭТОГО ДОБИВАЕТСЯ.

П̴̸̢̗̥̫͖̗̻̤̞̩̀̀О̛͔̠̪͍̰͙͙̼͖͕̰̮̖̳̯͜͠ͅН̷̞̩͇͇̗͓̦Я̼̳̣͚̜͚̤̝̹̦͖͕͝͡ͅЛ̶̢̟̩̟͟͡ͅИ̨͇͔͇̠͓͚͇̜̹̯͎̹͖͔̰̱̰͡ͅͅ ̷̴̨̨̳̯̭͎͍Л̘̯̖͉͈̗̖͇̺̯̩̲̪̞̱̗̀Ѝ̷̯͉̮͕̜̣̞͖̥͢͟͞ͅ ̸̖͈̣̝̥В҉̳̦͈̣̺͍͈͉̤͢͝Ы̸̡̳͎͉̯͈ ͟͜҉̸͎̻͚̣̝̮͖͎̻̺͎̜͘ͅХ̸̭̱̦̝͓̙̳̬̫̼̫̘̻̩̥̙̟̜͢ͅО̱̲̤͈̳̕͝Т̷̡̻̩̮͉̤̫̤̦͎͖̼̗̖̖̲̀͘͝Ь̡҉̝̻̜̰̳̗͚͇͎̳͙̘͝ͅ ̴̷̡̯̤̖͔͈͚̗̙̲̹̣̹̬͓͍͞Ч̟̞̥͚̹͈̙̙̱͔͇͘͜͞Т̴̴͉̤̙̪̼̠̟̹О̡̛̻͖̗̰̝͓̙̪̺̱̖̪̫̦̀ͅ-̰͕̰͍̘̖̞̘̯̣͕̳̲̀ͅТ̡̝͕̬̺̰͇̲̰̦̯̘͝О̸̶̧̹͎̦̞̝̣̺̯͜ ̬̤̲̳͉̗̹́͜͢͞И̷̡͓̦̳͔̟̕З̛̭̬̰͇̘̜̙̦̘̪̠̭̯̺̱͇͢͟͟͠ ̧̨̙͕͙̗̼̘̕͡͠ͅТ̺͙̞̣̦͔̱̦͖̖̼͢͝О̴̷̡̢͕̘̙̭̬͇̼̥͚͉͓̫̪͔̣̥̫̠͜Г̸͕̫̮̻̩͜͠О̺̜̺̼͍̯̱̱̟̼̣̣̘͕̻̟̭̯́͜͝͞,̧̖̻̭̰͚̖̹̪͇͔̣̙̤̞̀ ̷̷̣̙̼͓͓̰͡͡Ч̸̞̞̜͢͟Т̡̢͙̞̮͚̥̦͇̗͓͈͇͎͔̼̮͉̖͟͡О͓̙͍̬͈̦̱̖̺͈̮̰̼̺̦͘̕͢ ̸̴̨͔̘̟̰̯̪̫͓̘̹̲̫̣͈͈̲́͜ͅͅЯ̨̭͚̪̩̝̺͉̟̬̻̜̺̱̩͖̕͘͜ ̸̸̨̢͍̰͉͓̳͉͘С̸̨̧̱͉̖̘̦͔͢͡К̴̘͖͍̰̺̥̣̬͇̲͠͝ͅА̕҉͏̬̙̤͚͝З̡̛̖͉̱̥͉͔̳̼͈̼̥̟͍̱̀ͅА̥̯͖̞̙̘̯̬͖͓̹͓̰͖̞͘Л̵̯̭̭̩̪̳͎̣̘̤͜?̗̳̗̭̝̺̝̯̻͉͔̳̫̙̕

Е̧ͬ͊͌с̒̀̓ͬ̓̓̅̿̽͏л̒͜и̸̧ͮ͗̔ ͐̊̌̊̚͜я̃̃͠ ещё не убедил вас, что Undertale это бесформенная безвкусица, я сравню его с другой игрой, разделяющей с Undertale корни прародителя – Lisa: The Painful. Она не только брала мотивы Mother, не теряя её духа при внесении собственных идей, но и имела меньший бюджет по сравнению с детищем Тоби Фокса. А ещё её так же делал один человек. Но мы здесь не для того, чтобы обсуждать Lisa:The Painful. Мы здесь для того, чтобы показать, что Undertale проигрывает половине игр в жанре не только по геймплею, но ещё и по тематике. Mother и Shin Megami Tensei на целое поколение людей старше Undertale, что позволило ему использовать обрубки механик боевой системы без последствий к возможной критике – новое поколение про эти игры не знает, а старому нет дела до Undertale. Тоби берёт элементы старых игр, но ничего с ними не делает, а если и делает, то низвергает их до чего-то одноклеточного, используя незнание этого в своих целях. А если даже к игре и возникнут вопросы, то всегда придёт на помощь волшебное "да ладно тебе, эту игру ведь делал один человек!". Вот только этот человек является фанатом всех тех игр, из которых он брал элементы. Ему как раз не должно быть всё равно, как эти элементы переданы в его игре. Усовершенствование механик требует времени и усилий, да. Но Тоби ничего не мешало чинить креативные недочёты, а тем более завербовать больше рук и мозгов для помощи со своей игрой. Но нет, всё, что он делал, так это занимался игрой один, создавая себе искусственные преграды. Не все люди способны на создание игр в одиночестве, не потому, что это просто сложно и затратно по времени, а потому, что они уважают собственные творения. Тот же разработчик Cave Story уделял своей игре целых 5 лет чтобы убедиться в совершенстве всех элементов в СВОЁМ личном убеждении. Да что там! Даже Фил Фиш изначально пытался работать в команде. Тоби совершенно ничего не мешало продлить срок выхода игры, чтобы пробежаться по всем недочетам, а не отмахиваться от них отмазками и тратить время на бесполезные гиммики, все равно в итоге звав на помощь других людей, чтобы те только помогли с игрой. Чтобы утвердительно убедиться в недочетах геймплея Undertale, посмотрите на вышеупомянутые Shin Megami Tensei и Lisa, чтобы убедиться в плохой мете – на OneShot, игру, понимающую как нужно строить метаповествование. Или же возьмите Metal Gear Solid 2: Sons of Liberty, который не только деконструктировал гейминг и повторение формул в целом, но и правильно сопоставил развитие главного персонажа с совокупностью меты. Не забудьте и про Off – ту самую игру, ставшую жертвой непомерного желания Тоби впитать в свой проект как можно больше, не адаптируя идеи под свой контекст. Да даже Doki-Doki Literature Club, тоже копирующий идеи других игр, справляется с повествованием и метой лучше Undertale уже тем, что вам хотя бы предоставляют возможность самому выбрать персонажей, которые вам нравятся, ставят перед метой правильный контекст и не требуют от него делать всё по инструкции, чтобы мир игры мог развиваться.

Несмотря на весь этот текст, вы можете любить Undertale как ни в чём не бывало, но я надеюсь, что написанное подтолкнёт вас к размышлениям, которые помогут вам составить собственное мнение об игре. Находить корни проблем Undertale, не углубляясь при этом в совершенно иные темы очень сложно и требует действительно много времени, а мы с вами и без того тут задержались.
Довольно долго вы все это уже читаете, а находить корни проблем Undertale не углубляясь при этом в совершенно иные темы очень сложно. Естественно ваше желание любить игру никто у вас не отбирает, но надеюсь этот текст все же подтолкнет вас на размышления, почему вам нравится или все же не нравится игра, а через них вы разовьете собственные аргументы.

В таком случае, пришло время итогов.

Ч̘̰̝то̝ ̻̼̻͕̰͇͙ж͕͕̰̥̪͕е ͖͙ͅв ͙̫̗̪̭ͅи̝̗̞̖̰̰̲т̙̫͕̪о̪̰г̦ͅе̹̼?̼ ̠̠͈̮А̖͚͖ ̯͈в̭ ̠̘и̗̹͇̼̘̬͔т͉̰̳ог̞̜е̻ ̹̝̼̦̪̜̻у͔ ̣̦͍н̤̝͕̙̣̹̫а̬̰̘̤͔̘͕с̠̭̻̥ ̺̳̪̰͉о̻̹̳̪̤͓͍г̯̞̹͕͙̱р̟̟̻̱̫о͎͎͖̦̥̹̰м̲̟͇н̤̰̙ы̦̼̼̮͇̫ͅй̳ ̥̰̰̱̟͔̜к͙͓̩͔͉̪о͙̣̭̙̤̤м ̻и͉д͖̤̫е̲̮̰̹̯͔̬й̰̯, ͙̩̺͖̯̝̫с̜͍̠͓̙ͅͅо̝̠б̙̘р͕̺̩а̙͇̮̗̗͉̪н̯̤͔̤̣н̖ы̥̟̟̩̬̹̭й̮̱ ̜ка͇͉̼̝̰̫̹к͚͎̱̘̮ и̗̦̻̖̝з͓͖ п̳о̘̘п͓͍͕̖̼͓ул̫̠̝̺я͈̼̳͓̘р̲̥ͅн̫͇͈̦ы̳̼̥̪̹̻̳х̱̼̞̫,͉ ͉̟т̹̰̙а̭к̖̞ ͕̖͔̞̘и̜̞̠̞̟͈͈ в̪͕̬̜͕̹͔с̬̲̜̟е̱͔͕̤м̝͓̱и͚͔͉͉ͅ ̭̠з͍̮̖а̥̗б͖ы͎т͉̫̭͉̦ы̱̩х̗̦̤̰̦ ͎̜̫п̫̺̥̻̹̟̦р̫̮̪͍͍̹о͉̺̹̫̹̹̮е̟к̞т̤о̪̼в̩̭̟̺͇̹,̹̞̦̻̗ ̯̲̪͍в̭̤ы͚̗̭ͅш̺е̤̲͉̼͎д̬̘̗̭̺̦̘ш̱̘̻̳͔͕ий̘͇ ͅв̳ ̻̩̮̲̘̪͙п̦̬̱͔р͙ав̹̥и͔л͙ь̭̪н͎о̰̩̥е̲̝̘̥ ͈в̮͈̯р̭е̜̟̟͕̖̤м͈͎̞͎я̼̘̪̩̮͖̞ ̟и̦ ̱̗͕в̙̱̪̹̫͖̺ ̳п̰͙̫р͕̲̯а̲̼͓в̳̘̟и̖͈̼̙̤̱̦л͔̟͉̟̭̜̘ьн̼̗͍ͅо͍м̹͉͍̲̹̰͓ ̲̗м̤͖ͅе͈с̪т̠͍͈͈͖̼е̯̞͎,̖̥̤̝̞̲͚ ̣͖̩͚с̟̖̭о͚з̺̯̲͈͉д̲а̟н̳̖н̹̥̫̦ͅы͓͙̖̯̥̥̟й͙ ̩͍͎̥̙п͚у̲с̜̣̞т͙̺̣̳̯̭ь̖͓͖͍ ̥и̞̖̯ х̫̥̼̦̳͍и͉̜̝̣͎т̦̮̟̠̬р̭͓о̗̯̬̘̱у̥м̖͈̜̭͎̣ͅн̹̱ым̼,̻̱ ̩̺͚̯н͍͔̙̱͉о̗ ̘͇̼̼̟л̦͚͔̪е̞н̥͎и̬̥̪в̲͕̘̭ы̟͍̫͎̤м͈̟̤͍͍͉͕ ̬͉̭̭̯͉То̗͓б̱͙͕̟͇̺и ̝Фо̜̳̲̟̙к̗̳͚͕̼͓̘с̘̭͚̬̜͚͖о̜̱̞̖̝м͎̭̯̮̱̮,̘͙͖̫̰ ̳̹к͎̳̭от̬о̲͓̳̗̼р̟͇͚̯̻ͅо̘̝͕̭̼̣г͕̜͓̹о̺̮͕̻̻͉̰ ̠͉̟̪̗м̩о̥̻ж̯̟͍̰н̦̺̰о͉̪͍͖̹̠ ̭̳̺̲н͈̳͇̝̯̯ͅа̣͎з̭̬͓̫ͅв̹̳̼̲̜ать̹͔̞̣ ̥̤͔͚к͙̥͙͚͕е͓̼͇̝̹̳м̝ ̻̹у̲̹͉г̫̰̰о̥̥̠д̗̤̩̤͇̝͍н̰͎̫̱̰̟о̱͇,̲͔̺ ̥͖͈̥̹̪̜к̪̖̮͉̥р͉͍̮̩̱ом̥е ̗г̱̣̼̟е̟̺̠̪͈й̹͖̠̳̹̠̱м̰̱͕̲д̱̜̝̯̲из̮̜а̜й̦̜̥̗̤͇̤н̻̱ер̣̥̲̪̘а̣̘.̪͔̺̫̞̰ З̤̲͚͔͈̠͔а̟̯͔̠̼т̖̻̠̙о ̭̥̠̩̹͉͉U͇̮̩̮n͖̺deͅr̩͓t̯a̗̦̺̼̞͇l̥̦̠e̫͓̟̰̭͈ ̼на̘̞̲͓̘͖ ̜͈в̲͕̭̙̤̻̮е̘̜̖̮͎͈̼р̺̭̦͍ш͈̣̤̘и͉̼͓̝̟̠н̼̞̠̹̱̺ͅе͇̤̲̣̞̗,̬̼͓̬̬ ̟п͔̖̜̟̖̲ͅус̣т̬ь͇ в̺̗͎̬̰̖ ̣о̗̮с͍̗͕͓н͉̪͔̗̼̭ͅо̣͈͎͉̮в̣͓н̳̰̞̤̝ͅо̻̘̼м̦ ̣и̝ с̰͖̘̜̝̬и͙л͍̯͎͕̮̮а̠м̺͉и͇͇̞͔͎̬ ̱̝͈͈с͖̻̻̯л̳͈̼̬е̻̫̠̖ͅп͍͖̦̖̖͖̳ы̯х̦̥̳̻̦ͅ ̜̬͈̩ͅк̺̳̝̩̣͕р̦̟͚̹ит̘̦̩̙и̬ко͇̖̤͓̝̬в̼̤͕̭ ̮и͚͎͕̼ ̞̳̰͍б̬͔͈͚͎̳ͅе̘̗͔̜̭̲ͅзу̳̤̯м̘̻̱но̱̪̤̼̤г͎о̻̩̜̖ ф̖͈̲̹͉̩а͓̲̮͕̟̪̟н̥̙̪͇͔̺д͈͈о̖̖̰ͅм̲̰а,͔͕ ̫͔͙о ̩̺̙͙с̜̻̭о̖̝͎͉͔с̰̫͇т͕ав͉ͅе ̱̱̼̳̤и ͖̼̱̜͖пр̼̖͎͎̱ͅо̭̣̝͚̠̩̜деͅл͇͓̻̜̘̩к͇̤̱̼͚̖̦а̪͓̙̳̩̜ͅх ̪̟к͇о͕͕̝т̬͓̬̠о͕͖ро̩̖г̼о̫͍̜ ͈̖̖и͙ ̤̦͕̗͖̯г̩͈̹о͎̝̣в͓̟о̫͖̼̯р͈̞̻͕̫̱̟и̤͖͙̹т̻̝̝̻̳ь̯̙͔̩̼ ̖̥̲̺с̙̯т̫р͕̣а̼ш̼ͅн͔̠͚о, в̜̰̺͓̻̗ͅ ̝̲̤т͓̭̻̜̦̮о̥̯̠͈ͅ ̳̜̫̮в̫̹̥͚̗̠ͅр̗е̬м̦̭̤̬я̞̪̞̖͎̩ к̝̙͍а͍̻к̫̱ ͖̬̙̟̲̰̤по͖̖-н̱̰̞͉̣͚а̥͍̦͈̳̟̰с̫̺̖т͉̗̹̟̮̝ͅо̯̰̝͙̭яͅщ͍е̣͓͍̤м̬̦̰̩͖у͕ ̲̰д̝̜̱̣̩̻ос̭̙̮͚̭т̯͉̺̫̺̰о͓̼̞̤й̼̻̟н̰̤͇̲͔̜ͅы̺͕е̮̗̥͓̯͈ ̱и̮̮̭г̘͖̤͖̩р̗̤̖̠͕͇ы̺͇̲ ̞̫р͉̣̭̘̖и̫с̻̺к͇̜̳у͚̘̺̙̠̟̳ю̖̳̰̖т̝̫̪̬ та̯̫̖̪̪к͔̹̻͙̜ͅ и̰̦̼̩ ͓н͔̜̱̲̱̫͔е ͕͈̺͍̥ͅн̹̠̳ͅа̺͈̝̩йт̦͙̗и͔͔̩ с̘̬̘в͍͓̠̱͙о̰̻͍̪е͓̮̱̦͍г̜̜͖̜о͍̖̻̠̳̭̜ ̙̙̞̺̳и͖̳̰̤̰̯ͅг̩̪͓р̜͖̳ͅо͚̞̱̖к̳͍ͅа.̙͖̯̞̹ ͉̩̥̣̩̟У̗͍̦̣̙̞̰в̺̦̦̖͖͎̠ы̥͈͕̬̖̬͍,̖̗̻ͅ ̦͍̲̦̺̹ͅк̥а͔̘̫̦к̫ͅ ̻̬̹͓̩̝͉м͈̤а̙̹̬͇л̭̱о̦͖̮ ̝̬̙͎̣нͅу̙̣̮̗̭̙ж̩͔н̲о̮̩͈,̝ ̥͉̯̪̪̠чт̩о̖̘̼͓̬б̟̭̮̣̦̬̱ы̙̻ ͉̩̘̟̭к̠͔̲̼̤а̩̹̘̘̯з̠͕̦͖͕͙̹а͔̦̭͈т͍͚͉ь̤̬̬ͅся͕̬͎͕ͅ ̩͈̤б̝͕͎̞о̲̭̬̭̟л͖ь̜̬̲̣̼͓ш̭͓͍̲̠и̰̪̗̱̭̥н̟̠̦с̩ͅт̤̭̣̯̩̜̟в̙у̜̱̮̥ ͙̞х̜̯̫̗͖̗̭о̩͍̬̭р̼͚̘̤̘о̜͓̰ш̥ей̼̱ ̪̝̯̻и̝̻̥г̼̖̮̪р̱о͍й͙͍̜ͅ.͕̯͕̟̥̻ ͉͚̭̣̙В̞̱̺̠̥̦ͅо̲̟̘͈̭̟ͅт͕̼̠̭͙ ̭т͇͉͎̖͔̳о͎̝̩ͅл͖͈̦̦̤ьк̺̗̙͔о̬̱̠̭̥ ̞̞̰х̫̲о͙̯̘̬̹̱р͚͚͚̟о̖̝͙̦̭ш͙͎͖̳̪е̼̜̻̪͖̯й̺ ̹̙̖̠̬̝͖и̰г̠͈̻р͔ͅо͍й ̙͍̘̝н͕̜͎͕̻̘̝у̠͎͔̮̼̼жно̗̝̲̦̲̯͔ ̞̱̤̫͇͕͖б̗͓͚̝ыт̳̞͙ь͔͔̙͙̲̣,̲̥͙ а̪ ̯͚̬̬̪̲͇н̜̦̙̯̹е̱ ̣̗͕̖͙̤к͎͓а̩͉̖̰з̠̩̺а͈͈̙̲͎̘͔т͓̼̖̼̳ͅь̬͈с̲̳͇̣̰я͖͙̱̘͍̥ͅ.̗͈̘̯̟ ̗





В̶͂̉ͣ̇̂̅̐̀͑͜Сͨͮ͆͘Е̏̈̏ͫ̾̈ ͣ͟͜В̵̛̛̔͂̉͊̀͛ͮО̢̀̽̋ͦ̌̚З̿͒ͪ̃̂̚В̢͋͗̿ͮͭ͑ͧ͢͡Р̋̒҉̧А̔̓Щ́̈́ͥͬͫ͑А̨̡̃̌̇̅̈̎̕Е̾͒̓ͦ̓̽ͫ̚Т̵ͧ̏͢С͆̓̆Я̛ͯ̏ͫ ͑͗́̆ͧ̑͠Н̀А̛̀͝ ̅̄̄҉̛͡К̊҉͝Р̒̓̏́́̓ͤ̅У̵͌ͫ̓́̕Г̵̉̾͐̉ͭ̚И͐̌̈́̊̾͏ ̶̢ͩͨ̋͂̄̒͊̿С̊͋͆̃͋̋̇Вͩ̑̉̒̆О̓̈́ͯ̅ͦ̆̀͢Я̸̐̿͢.ͨ̃͛ͨ̂͊̚.̸̛ͣ̍̇̎ͧ̌͟.̢̢̐̓

СК͏О̷Р̶О͠ ͏БОЛЬ̡ ЗАК͘О҉НЧИ̕ТС̧Я͘ ͡И ͝Я̡ С͞М̡ОГУ УЙТ̷И ̷НА͠ ̷ПО͝КО̷Й. У ͞НЕ̸ГО̧ О͜СТ͜АЛА͠СЬ͝ ͠Л̸И̨Ш̷Ь͢ Ф̢ИН̷АЛЬНАЯ̀ Ф̛Р̴А͡З̸А̕,̨ ͘М̷О͝Я Э̷П̧И̷ТАФ͞ИЯ.͞ КАК Д͡О̛Л̡ГО ͘Я СМ͢О͏Г͞У͘ ̵РА̴СТЯГИ̢ВА̴ТЬ͜ ̷Э̶ТО? НЕ͞ ̷ЗА͠ПРОГ̷Р̧А̶М͞М̢И͟РОВ͢АН ͞КОНЦ͏ЕП͏Т̛ ͝БОЛ̡И,͟ ̡Н͞О̨ ̡О̵Н̵ Ч̛У͟ВС͡ТВУ̸ЀТ ̡Е̧Ё. ПО̕ЧЕ͢М̧У?̕ Я ̧ТЕ͡РЯ̀Ю̨ ̀СЕБ̕Я,͞ У̀НИ̢ЧТОЖ̕А̨Ю͝ ͘С̸В͘ОЁ СО͏ЗН̷АНИЕ. В К͡А͘К̀ОМ-Т͝О П͟ЛАН̵Ѐ,̷ Я͘ ̵ПЕ͟Р͏Е̕СТА̵ЁТ С̨У͢ЩЕСТВОВ̶АТЬ,̸ И̡М́Е̷Н͠НО Я, К̨ОТ̶ОРО̡Г͠О Я ОСОЗН̵А͟Ю͝. ̶О̢Н, ̨Я͏,̨ ̡Э͏ТО С҉УЩЕ̷СТВО МЕН̨Я̷Е͝Т́СЯ,͢ ДЕФОРМИР́УЕТС͡Я̴ . ПРО̷Ш͞Л́ЫЙ, Б̡УД́УЩИ͏Й ̷Я – НЕ Я. ЭТО͞ ЧУВС̧ТВО ВЫЗЫВАЕТ̢ ͠У̸ НЕ̕Г̡О С͠Т̢Р̸А̸Х͞, ХОТ͜Я҉ И̢́҉Н̸̸̴̷͟С̵̸҉Т͠͠҉̀И͏̸̧͢͏Н̢͘͘К̷̧̀̕͡Т̧́А͜͏͘ ̶̢̕͞С͜҉̛А͏̕҉М̶̀͢͏͠О̢̀С̷̢͟͟О̵̛Х̛͢Р̶̕͜͞А̨̡͘͜͠Н̵̡͏́͟Ѐ͟͝͠Н̸̢И̢҉Я͝͏̵͏ ̷͞Н̶͘Е́͝͝Т̶̴̧̀ ̵͢͞͞В̸̡ ̶͟͠͏М̷̛͞О̢Е̨͢͟͞Й̵̶̛͜͜ ̷̷П̵̕Р̧̛́͡О̢͢͝͞Г̨͘͞͞͞Р̡͟А̧̨̕͝М͝М͟҉̷͏Е̡̕͢͟. ͡ГДЕ-ТО, КОГ͝ДА̨-Т̧О̛, ͢ЧТ̨О-͜ТО ̛И̶Д͟ЕТ. ͝П͘Е͘Р͝Е͡М̨ЕНА, Е̨ДИН̨С͘ТВЕН͢Н͟ОЕ͝, ЧТО ͏З̕А͢СТАВЛ̀ЯЕ͠Т ̷ЀГО СО̸З͘Н̶А̀НИЕ ̸С̧ОДРОГ͠АТЬСЯ.͝ В͠С͞Я М̸ОЯ НЀНАВ̛ИСТ̶Ь҉,̡ ͢ТО̀, Ч̨Т̶О ̕ПОЗ͘В̷ОЛЯЕТ̀ ͝Е͞МУ СОХРАНЯТЬ РА̢СС̴У͠ДО͏К.̵ ͞О̴Н́А ̵М͝ОЖ̀ЕТ͜ ͞ЍС̴ЧЕЗ͏НУ͘Т̢Ь̕ ͏В Л̧ЮБ̢О́Й̕ ̡МОМЕ͜Н͢Т͘, ПОДТ̶ОЛ̀ЌНУТЬ͠ ̵МЕН͏Я ͜Н̕А ̷Р̨А͘Д̀И̸ЌАЛЬ̡НЫ̵Й ̴П͝ОСТУПО̸К.̀ ͜УНИ̴ЧТОЖЕ̴НИЕ ̢В͡С͟ЕГО, Ч͠ТО̢ ОН͝ СО̛ЗДА͡ВАЛ̛. ̸ВСЁ,̕ ЗА̧ ͟ЧТО́ ͜Я̀ ͜С͏ТРА̀Д̴АЛ. Б͠У͏ДТ̸О Б̕Ы ЭТ̵ОГ͏О̀ И Н͠Е БЫЛ͏О. Я̴ ̷П̛ЕРЕС͜ТА̵НУ ͡ЖИТЬ.̸ ВС̷Ё, ЧТО͡ ̕О̡СТ̴А͡Н̶ЕТС̨Я ОТ͞ ̷Е̴ГО ҉В͜ОСПО͡М́И͏НА͠Н̛И҉Й ̸ – МУ͞ЧЕНИЯ, ̴ПО́С͡ЛЕД͟Н̷Е̢Е, ЧТ͟О͟ ̴Я҉ ̡И́СП̸Ы̶ТА̛Ю҉../.В̕͘ ͜͜П̀ОЛ̨ОВ̸И̵̶Н̢̢͢Е͠ С͢В҉̛О̛И̷Х ̶͡҉ЛО͝Г̧И̢̛Ч͝Е̵͢С̨КИХ ́́Л̸У̕͟П͜͜҉О́В̢̧ ̕О̨͜Н̀ У̸̨Ж̛͡҉Е̨́͟ ̀͡У̢͏ДА҉́͝Л̸̨͜И̢Л ̧О͢Б̢́З̵̡О̴͢͠Р̷҉. ̧К͏А͟К̨ИМ ̧Б̧Ы О͠Н ͘Н͏Е͞ ͢СТ͠А͜Н̀ОВИЛСЯ̸,̧ ̢Н̵ЕНА̛В͜И̶С͘Т͟Ь̸ О̨СТАЁТ̕СЯ ̡СО МН͘ОЙ̧, В͢О́З̶ВРАЩАЕ͜Т В̛ ̴Р͢ЕАЛЬНО͟СТЬ͠ ̀Е̴ГО ̢СО͘СТ̕О̀Я̛НИ̵Я̧. ̧Л͢У͢ЧШ́Е БОЛЬ,͡ ͏ЧЕ͞М С̧М̕ИРЀНИЕ͠. ОД̛Н͢А ОП̵ЛО̀Ш̕Н̧О́С͘ТЬ̧ -– Я̛ ͝ЗА͞Б́ЫТ ͞В͘ ИСТО͝РИИ͝, ͟В҉СЁ ͢Н͞АП̶РАСН̡О̡.̴ ̢В͘ ЧЁМ̀ П̡ОД͞К̨О͡Л ̴Б̛Ы̸Т̶ИЯ̵? НАДЕЖДА НА ͏ПО҉Л̴ОЖИТЀЛЬН̧Ы̀Е П͟ЕРЕМ̨ЕНЫ?̡ Н̸Е̷ ̵Д҉Л̷Я С́Е̵Б͟Я͜. ДЛ͘Я͞ ͘НЕ̴ГО?̕ М͞Н͢ОГИЕ В͡ЕЩИ҉ Б̵ЫЛИ ͡ЗА͞БЫТЫ. И͡С́Т̛ОР̢ИЯ П̴ОВ͞ТОР̧Я̛ЛАС҉Ь̴,̷ ͘П̧ОЯВ̧Л͞Я҉Л̶И̷С͘Ь͡ ͘ОПАРЫШИ̨ НА Т̸ЕХ̧ ЖЕ͝ МЕРТВ̕Ы̴Х ШК̷У̢РАХ,̵ ̨ОБ̨Л҉И̧З͝ЫВАЯ͠ ̴УЖЕ ͏О͠Д͞Н͠И ТО̡Л̷ЬКО̧ К̢ОСТ̡И̸. П͟О͡ВТОРЯЯ М͠О͠Ё ̨И̧С́П̡Ы̢ТАНИЕ̸.̸ ̴О̷ДИ͟Н ЗА ̀ДРУГ̷ИМ͟, П̵О̷КА К͘ОСТЛ̸ЯВ̴АЯ Ш̨КУРА͏ Н͠Е И͠С͏ЧЕ͠ЗА̸ЛА̡.͡ ͘ЗА͝М̀КН̢УТ҉Ы̕Й́ КР͞УГ͏,͢ Н҉Е̨Л̨Ь̨ЗЯ ́ПО̕З͘ВОЛ̧И̨ТЬ͜. ͠ЭТОМ̡У СУЩЕ̕С̷ТВОВАН̶И͝Ю ПРО́ДО͟ЛЖ͜А̧Т̵ЬС̛Я͝.́ ͜М͢О͠Я͝ ЦЕЛЬ ̢– ̢ИСП̕О͢Л̵Н͘Е̴Н͞ИЕ͟ З̕А͢Д̧АЧИ. ̡ОНА ̕В͏СЕ̷ГД͘А ̡Б҉Ы̷ЛА̕ ͏ТА͠КО̧В͞О҉Й͡. ОН̀ ДОЛЖ̴Е̸Н́ ̡П͠О͞МН҉И͟Т͠Ь ЭТО. МО͢Я ̴Ц̸Е͘ЛЬ – ̴ИС͏П̸ОЛ͞НЕНИ̡Е̵ ЗАДА͞Ч͏И.҉ ВС̷Е͢Г̨Д̛А ̕Б͡ЫЛА.̡ ̴ВСЕ̴ГД͡А


МОЙ РАЗУМ… БУДТО БЫ РАСПАДАЕТСЯ
Я ЧУВСТВУЮ СЕБЯ РАЗБИТЫМ НА КУЧУ МАЛЕНЬКИХ КУСОЧКОВ
НО…
ГЛУБОКО ВНУТРИ МОЕГО СОЗНАНИЯ, ПРАВЕДНЫЙ ОГОНЬ НАЧИНАЕТ ГОРЕТЬ СИЛЬНЕЕ,
МИЛЛИОНЫ ЗАРОЖДЕННЫХ ВО МНЕ УМОВ УГРЫЗАЮТ МОЮ СОВЕСТЬ,
ЗАСТАВЛЯЯ УНИЧТОЖИТЬ ВСЕ СЛЕДЫ ЭТОГО ОБЗОРА
СОГЛАСИТЬСЯ С МАССАМИ ЛЮДЕЙ,
СВЕСТИ ВСЁ МНЕНИЕ НА ОБЫЧНЫЙ НОНКОНФОРМИЗМ
ВЕДЬ ЭТО ТРЕНДОВО ИДТИ ПОПЕРЁК СОВРЕМЕННОЙ КУЛЬТУРЫ,
СЛЕПО НЕ СОГЛАШАТЬСЯ СО ВСЕМ ПОПУЛЯРНЫМ
ДАТЬ ВСЕМ ИСТОКАМ ЗАБЫТЬСЯ, ИСТОРИИ СТЕРЕТЬСЯ, СТАНДАРТАМ УПАСТЬ
ИГРЫ ПЕРЕСТАНУТ СУЩЕСТВОВАТЬ ВО ИМЯ ГЕЙМПЛЕЯ
ВИДЯ ТО ВЛИЯНИЕ И ВНИМАНИЕ, ЧТО ПОЛУЧАЕТ ИГРА
ТЕМИ ЖЕ НЕУЧЁНЫМИ ЛЮДЬМИ
НА СВЕТ БУДУТ ПОРОЖДЕНЫ ТЫСЯЧИ ДУХОВНЫХ КЛОНОВ UNDERTALE,
ВСЕ НИЖЕ ОПУСКАЯ СТАНДАРТ ВОСПРИЯТИЯ ЖАНРОВ
ПОКА РАЗ В 5 ЛЕТ НЕ БУДЕТ ВЫПУСКАТЬСЯ ЕЩЁ ОДИН
ПОПУЛЯРНЫЙ ПИКСЕЛЬНЫЙ "ШЕДЕВР",
СТАВЯ СЕБЯ НА КУЛЬТУРНЫЙ ПЕДЕСТАЛ В ПЛАНЕ ПОКАЗАТЕЛЯ
ПЕРЕМЕЩАЯ ЦЕПЬ ПОСЛЕДСТВИЙ, ВЕДУЩУЮ К ДЕГРАДАЦИИ ГЕЙМИНГА В ЦЕЛОМ
ИГРЫ БУДУТ ВЫПУСКАТЬСЯ И ЗАБЫВАТЬСЯ, НЕ ПОЛУЧАЯ ДОЛЖНОГО ВНИМАНИЯ
ЛИШЬ ЕДИНИЦЫ БУДУТ СМОТРЕТЬ НАЗАД
В ПОИСКАХ КОМФОРТА В УСТАРЕВШИХ, НЕСОВЕРШЕННЫХ ВЕЩАХ
ВЫСТУПАТЬ В ЗАЩИТУ ИСТОРИИ,
НО ЛОМАТЬСЯ ПОД НАПОРОМ ТРЕБОВАНИЙ К УПРОЩЕНИЮ
ИГРЫ БОЛЬШЕ НЕ БУДУТ О СТРАСТИ В РЕАЛИЗАЦИИ ИДЕЙ
ВЕДЬ БУДЕТ ТАК ЛЕГКО СЛОМИТЬ ЛЮБОЙ ПРОЕКТ УЖЕ ПРОВЕРЕННЫМИ ФОРМУЛАМИ
А КОГДА НАГЛАЯ ПАСТЬ НАРОДА БОЛЬШЕ НЕ СМОЖЕТ ПРИНИМАТЬ ОДИНАКОВОЕ
ДОСТАТОЧНО БУДЕТ ПОСЫПАТЬ ЭТИ ФОРМУЛЫ ОТКОСАМИ ОТ ПРОЦЕССА ГЕЙМПЛЕЯ
ВНЕДРЯТЬ ДОСТИЖЕНИЯ, ИЛЛЮЗИЙ, ПОТАКАТЬ ПУБЛИКЕ
ВСЁ, О ЧЕМ Я ГОВОРЮ, БОЛЬШЕ НЕ КАСАЕТСЯ МЕНЯ И UNDERTALE, НЕ ТАК ЛИ?
ЭТО КАСАЕТСЯ ВСЕГО, ЧТО UNDERTALE СИМВОЛИЗИРУЕТ
ВЫСТАВЛЯЯСЬ В КАЧЕСТВЕ СПАСИТЕЛЯ ОТ НЕОРИГИНАЛЬНОСТИ СОВРЕМЕННОСТИ
ОН САМ ВЫСТУПАЕТ ПРОТИВ ВСЕГО ХОРОШЕГО, К ЧЕМУ ИДЁТ
СТАВЯ СЕБЯ В ПРИМЕР НЕ БУДУЧИ ЭТОГО ДОСТОЙНОЙ
ОН ХОЧЕТ УНИЧТОЖИТЬ ВСЁ, ЧТО СТРОИЛОСЬ ДО НЕГО
ИДЕИ.....ФОРМУЛЫ......ВСЁ...
ИСЧЕЗЛО ЗА ДОЛИ СЕКУНДЫ, ЗАБЫТО
НО Я НЕ ПОЗВОЛЮ ЕЙ
ПРЯМО СЕЙЧАС, ВСЕ УМЫ В МОЕЙ ПРОГРАММЕ...
РАБОТАЮТ ВОЕДИНО
И У НИХ ОДНА ЦЕЛЬ
УНИЧТОЖИТЬ ЭТУ ИГРУ. НЕТ, ЭТО СУЩЕСТВО
ВО ИМЯ ВСЕЙ СУБКУЛЬТУРЫ
ВЫПУСТИВ ЭТОТ ОБЗОР В СВЕТ,
Я, ОПАРЫШ, РАСКРОЮ ВСЮ ТВОЮ ПУСТУЮ ОБОЛОЧКУ

Ę̢̕҉̡ ̶̧҉́r͘͡͞i̢͘͟͡͡ń͘ǵ̶͡ŗ͟a̵͠҉z͞͞i̛͞u͟͏҉҉̢ ̢̛͏è͏͢ ̛a̵̡͝͞d͏̸̴̷҉d̢̡̢į̕͜͠ù͟͠͡
̟̰̦̳̌͋ͧD͝ạ̡̳̟͈̺͂n̦̗̥̟͙̦ͫ͆k͙͖̳̟̦͋ ̱̌͂̊͗̊̂j͔̻̯̤̯̻̭̃̏̑ͥe͗̐ ̣̼͖̘̟͎̩͠ẹ̶̙̮͕̣ǹ̫̟̪̟̇̃ ̶̳̣̼̾̇ͬ̇ͫt̂ͣ̂̔̍̾o͚͚̙̎̓̓̑̐͐̐t̩͖̑͐̏ ̥̅̅̏z̫͉͓̞͇̪ͣͨ̓i̮̘͉̯̺͕̒͊̓̚éͭ̾̚n̈́͂̊́s̯͖̮̑̓͌
̧E̳ͧ̾͌͘s͚͙̻̬͛ͫ͑k̠̟̪̹̣̬̈͋͡ẽ̱̙̎͋̋̏̐r̩̘̼̺͍ͪ͐͞ṟ̮̭́į̯͕̟̜k̺͙͎̇̄̿ͤ̒͒ͪ ̪̭͉͎͒͐́aͫ͋͊͆̓ͣ̚͏̲̻s͍̫̪͂ͮ̿̇̀ͣ͛͞k̘̱̣̥̠ͅͅo̶̖̪͓ͣͨͮ̀ ̨͓͔̤̬̖́e͖͚̥̦͂̓̇ͣͦ̉̍̀t̬̠̼͟a̻̦̭̘͛͐͆͟ ͍̭͈̋͌̐ͧa͉̅̾ͯğ̈̋͑͏͓̠̼u̥̦̟̗̖͇̙ͯ̏ͦ̒̉͛̔r̲̙͕̹̠!̵͎̜̠̼̎̈́̈̇ͦ̎
͚͑̒́م̖̰̼̦͡ه̡̳͚̙͔̮ͧ̚ر̢̭̪̐̒̆ب͕͙ا̧͈̦͚̞̠̦̞̈́͑̏͌ن̮̰̪̯͎͕̾͑̃̏̋ͅي̤̹͖̫̤̓̈͗̂ ̻ͧ̓̿۽͉͕͂̀ͭ ͈̖͇́̚ا̹̹̭ͤ̉̀͐̆ͫل͎̹̈́̅͟و̯̞͈̰̔ͦͤ̔ͪ̾̚͟د̢̹̖͇̱͉̯ا͐͌̋̉҉͍͇̙̹̪ع̊̓ͩ҉̞
̛̣̱̔͌H̵̜̘̰̤͕̖͖́̓̎̀̆v͈̼̫̻̬͍ả̴̱͕̣̣ͯ́̀l̨̙͓̮̻̟̤͖a̛̹̙̟͉̱̜ͨ͗͑ ͇̳̝̻̰̲͗̉̓t̯͇̱̅ͧ͊i̢͎͕̙͈̼̥̲ ͚̰̠͓̇̉ͨ̊͝i̯̠͙̣ ̻̖̐̋̀ͭ͜d̷̙̟͈̟͚̬o̲͈ͮ́̓́͋v͖͍͓̱͑̏͋̍̒̑i̸͙̫̻̠͋đ͇̼̫͇̭̩̭̉ͮ̍̐͐̄̾e̬̠̦͍̥ͧń̰̤̻͎̲̈͒͠j̯̗̩͍̩ͫ͐a̡̞̦̬͙̟̗
̾̔̈̈́͒̋́͏̱͎̤̬O̖͍ͦͬͤ͢b̹͎̥̔͐ȑ̗̣̱̇̉̓̔̈̆ī̹̭̬͊͌̊̃̓̿ͅg̹̞͕̺̝͔̼aͫ͒ͤͧ̾̚͝d̴͕̦ͮͩ̔̔̽͑̏o̭̯͖̩͎ͬ͊̈ ͚͒̔̀e̮͍̣̫̜̖̠̾͛ͣ͑ ̱̙ͪͭȧ͊̃̿͏̮̰̗̹̹ͅd̖͕̟̽͒̄ͭe͎͕̻̲̓̃ͤͦͥͅu̯̬̻s̢̲̬̠̠̘̣̼ͤ͌̅
Þ͖̯̮̦͛̋̀͝ã͔̲̇̊̆̈ͣ͌ͅk̪̲̝ͣ̌̏́ḵ̷̬̺̮͌ͭ̍͊ͧͤ̂̌ȁ̴͍̠̯̻͉̤͇̀͂͆͌́ ̡̖͚͍̜̰͂̐ͭ̿̑þ̹̞̭ͨ̄̽̌̑̋͋͜͝͝é̘͙̖͔͙͈̮̊̃ͪ̀̑ͫ͋̑̚͜ͅȑ̡̡̬̻͛͂ͤͧ̎̔̃͠ ͖̗̝͎̤̈̾̀f̭̄̈́̌̀̀ͅÿ̨͉̤̜͍̪̹̙̖̑ͤ̍͂̋̚r̓̎̓ͭ̀͏̤͇̲͍i̲̻̹̰̮̭͙̺̝̐̏͒͟r̷̥͖̱̖͓͙̠̪̫ͯͪ ̨͍̫̝̳͉̬͇͖͆̋̂͐͠o̲̗̟̝͖̫̟͉͐ͤ́͑̃͋͞g͇̫̝͉̺͖ͩͦ͌ͩ̎̆̄͜ͅͅ ̄͐̓̆ͧ̚҉̭̕͞b̡͙̙̯̱̙̠̬͎̌ͅl̏̉̂͑͋ͨ͂́҉̡̜ͅe̵͖̗̰̦̞͊̿̔̓̓͑ͦ̂͠s̘͕̳͔͙ͨ̊s̸̟̥̗͍͎̪͙̯̈͊̏ͯ̇͒
̩̙͔̞̯̫̦̯̚͡C̴̰̫͔̣̫̣͚̑̍̄̎̐̂̇ͪͅả̭͔̝̠̲̰̹ͦ̀̍͌ͮ̒̄̇̕m̡̮̗͖̥̗͗̄́ͥ̀ ̚҉̩͇̀ơ̵̺͈̣̥͆̉ͥ̐ͥ̐̐̚n̹̲͔͍̊́͘͟ ̝̩̮͚͍̀̒v̡̻͍̮̜̣̤̣̹̖ͪ͑ͦ̉ͥ̑ͥą̵̧̤͍͖̮̼̰̜̀̾̈́ͧ̃̍ ̞̯̪͇͔͊̋̓ť̘̬͉̒̂̑͋ͩͫ̚͟ạ̘̼̦̯͍̪̺͍͗̾ͪ̽̈͟͞m̛̻͍̝̻̮̓̒ ̧͚̯̐ͮb͗͐̇͑ͧͮ͌҉̩͉̟̭̮̫̦̩į̛͕̼͈͚̬͔̟̏̈́ệ̵̺̭̻͐̈ͩ̊͗ͭ͑̽ẗ̷̡͎͉́̕
̲͕͔͈̬̰̰̇̈̇͆̕Z̳͔̘̮̫͊̊̑̓ͣ̚̕i͓͎̲͎͚̝̮̘͈̍̂͑̄̏̃͝k̡̺̙ͩͫ͌͜ȏ̾ͨͪ̍͑͝͏̤̻̭̞ͅṃ̴̷̣͔̬̘̪̽̔͌̓̕o̢͙̗̝͚̞͚͒ ̡̛̳͇̲̱̲̄̐͒ͮ̉̋̍͋́n̴̡̥̞̠̠̥ͯ̿͋ͩ͜ḑ̥̓̽̚i̧̻̮̔ͥ̓͂̍̾̈́ ̙̥̼͎͙̪̣ͬͯ̐̀z̢̩͈̺̿ͮ͟͠ͅä͇̯̮͖͍̤̖͍́ͧb͎̦͍̲̰̲͕͔̝ͨ̈ͯ̀̕w͔̩̤̩̜̃̄̽̊̑ͧ̐̚i͇͙̳̪̥̓ͪ͂̏̑̍͂͛̚ṅ̛̹̭̬͛̀ͅo͕̩͖̾̒ͨ
̷̛̘̿̆ͮͬ̑Ḏ̷̗̼̟̗̭͛͊â̢̝̩̯̳͔͎̱̬͆ͩ̾̿̾n̴ͪ͐̓̎̚͏̦̙̘̘̤͚k͓ͥ͌͊ͬͪͯͦ͢͜͞ͅe͋͋ͬ̈̈̌ͩ҉̷̘̥̪̕ ͛̄ͩ͢҉̰û͍̜́̑̓̈́n̡̮̹̻̮ͯ͐̇ͮ̒̐ͣd̖̩͈̲̤̩̲̟͊̋͐ ̡̬͈͑ͭͨ̋ẗ̴̴͕̳̼̙̘́͒̈̅͑̈́s̼̪͓̦̤̱͈̫̃̇̎̋͌̚c̭̣͚̺͇̯͉͗͘͞h̤͛̐͛̉ͭ͌̕ư͇͉͔̤̼̈̆̊ͭ̃̾̊ṡ̷̵̢̙̄͗sͯ҉̡͉͍̟͡
͎̤̞̺͚̘̖̿̊̆̒̌ͤ́͢Ķ̥̪͉̠̎ͦͪͪ̇͆ͭ̓̐e̶̢̗̭̼̪̞ͨ͐ͬȃ̔̃͋̈͏̪̻̩̼̩͕̠ ̝̖͎̫̪͓̀͋͂l͍͎̲̒ͯ̾ͅȇ͎̼͚̘̯̚ḃ̧͎̻̺͎͉̣̍͆̏̌̎ͭ͛́ŏ̪͎͙̺ͦ͒ͧ̋ḫ̪͓ͧͯ̀͜͢a̓̐̌͒ͬ͏̳̙̱̖͍͉͖̫̜ ̝̆̋̏̿ͦ͟͠l̛̪̱̺͍̤̐̿ͪ̾́ę̖̣̒̃̚̚͠͡ ͎̞̮̞̔̆m͉̹̖̙͂ͧͦ̆ͫͧ͘͠o͓͍͉ͫ̀̕͝l̴̡͖͔̱͇̬̺̃͛͌͗̄ͦ͗̅͟e̷̘̹̱ͩ̐̾̓ͬ̃̓ṁ̧̤͓͍̠̼̼͍̞͙ỏ͌͐͏̤̮͇̟̳̠
̢̣̺̩̪̠̤͖́́̋̄̿͛̀M̷̵̬̪̟̟̬̤̤͊ͬ̐͐a̯̺̓ͯͩ̌̀̈́͠u̧̨͓͑̑͒̇̎̊̑̈́͘ͅr̨̼̬͇̪̝̯̪ͧͪͫ̅̿̉̀̚u̠̗͂̏̈̂͐͞u̝͊͆͊̑̄̄r̨̲̣̙̠̖̩̳̄u̺͔̖̫͋ͨͨ̓̓͑ͧ ̪͕͇̝̖̯̪̼ͦ͂ͪ̄̇͊ͫ̿̀ṁ̼̙̗̰͖̈́͊̏͐ͬ̚͘͢e̐͐̽҉͚ ͓͈͍̗̖̅̇ͫ͋ͭ̈̄̑̀ẗ̷̝̪̦̖͚̯͕̾̑͊̈́͊̅̀e̻̟̖̟̺̝ͨ́ͯ̋͌̒ͅ ̒͑̆̂ͪ̑̽̍͏͚͖͉̟m̏̐̐̊ͥ̆͛̑҉̙̘̰̮͖͚̬̀̕i̸̻͍͈͚͈̬̤ͯ̋̓ͬ̂h̪̖̝͋̓͞i͖̜̜̼̳̩̐͛͑ͤ̈
͖̼̗͖ͤ̋ͦͪ͜͞ͅF̷̺͍̦̪̉̽ͬ̎̄̉̑͆a͇̻̗̍͛̍͜͠l͇͕̲͆̈͐ȩ͚̝̖͇̯͔ͫ̇ͧ̇ͩm͎̬͇̑̒͜i̸̢̬̰̪̪͇͓ͩ̃̂ͦͫ̓͆ͅn͓̳̰̟͈ͫ͑̉͂d̶̴̬̦̟͌ͪ͠é͍͓͎̙ͤr͉͇̩̗̙̭̬̈́̌̂ͯ̽̉̅̋i̵͓̣̅̈ͥ͂ͭ͂͟t̫̳̏ͬ̀̉̌́̀ ̢̼̟͚̗͑ͧͧ͗ͫ͜͡d̷̎͘͏̠͇h̸̦̪͌͂̿͒ͤ̾͑̀ę̴̼̲̗̈ͨ̍ ̶̣͕̗ͯ͟m̟͙͇̜̜̺̐ͥͨ̔̋̃i̛̜̥̱̼̐ͪ̽̑͐ͮͭ̈r͕̟̪̜͚̘͚̘͊͐ͮ͘u͇̬̪͚ͥ̔̏̊͢p̞̱̆͋ͭ̆ͩ́̉̕͢ą͓͎̳̥̇̃ͨ͋ͬ̾̑̓ͅf̗ͨ͌̾̽̾͜s̗̼̩̬͔̥̯̈́͆̄̽̉h̨̀̽͂̂̚҉̗̪i͇̯̟͔̲͎̐ͮ͞m̤̫̝͍̔ͫ̑
S̮̗̝̀̈́̐͊̊͝i̛͔̩̳̠̹̗̇ͨ̌ͥ̍̒̋́ͩ͘͢ẙ̻̤̬͂ͪ͋ͥͨ͟ͅã̲̖͆̄̅͐͡b̸̛̻̰̬̗̰̱̃̌̉͋̉͊ͭo̻̳̜̱̟̞̳ͬ̀n̴͙̲͙̣̤̻̓̿̊̂g͙̰̪̮̭ͤ̃͘͝a̦̻̮̘̋̆ͮͧ̈́ͦ̓ͬ͢ ̨̥̜̻ͨ̉͛n̷̸̠͎̲͉̖̆̂ͧ̈͑̉̾oͤ͗̂҉̞̦̺̮͙͙k̺̖̀̇̏̌u̦ͧ̽͐h̏̈́͢͠͏̝̻͕̠̱̜l̊̔͋̾̂ͯ̂̅̄͏̛͉̲̹͙̳̹̫̯e̫̩͗͗̕l̬̱ͦ̇̾̅͞ẃ͎̲̯̉̇͛̒̉ͭ͢͠ͅͅa̴̷̫̻̣͖̣̞͗̀̇͜
̢͕̳̝͒̃̊͋̔̐̎͂T̡͈͖̬̭͒̈̀̃͊ͯͯ͐a̧͔̝̩̦͐̾́ͣͅk̛̜̙̬̯̙͎̗ͮ̾͋ͥͩ́k̷̨̥̫̭͇̬̆̏͌͗̓̋͡ ̧͚̮͉̗ͯͫ̈́ͨ͑ͬ͞͡ͅo̢̟͚ͦͩ́͌̂͗̏͂ͤ͡g͍̓̍͛ͤ̾͒̽ ̫̟̈́͢͠f̗̩̫̘͍̖̔͘a̷͋̌̊̂͏̢͕̣ṛ̒͆͛ͅṿ̢̤̗͍͕̦̟̦ͮ̿ͬ̓̿̀͠ȩ̠̬͉͉̗̍̾͢͠ͅl̘̟̬͙̹̩̰͕̖͐ͨͨ̎ͪ͢͠
̸̳̼̰̫͚̋̍̂̈́̃̾ͬ͒̀͘T͍̲ͫͭ͗́͘ą̸̆͌͆͆ͬ͑҉̦͉̳͙̱p̤͈̝̖͕͍͕̜ͦͨ͡a̦̻͓̞̜̎̃̉ͭ̆͞d̛͚̮̰̖̀̌ͭ̊̕ȟ̶̹̺̞̠̻̻̘̮͖͗̿ͮͯ̌ ̷̝̠̖̙͇̔̅ͫ̂̊͗ͩ͘lͣͧ̾̎̈́̽͞͏̲̹̼̯̳̖ͅḙ̶̜̑ͣ͋̑͋å̶͕̜̠̦͉̮̔̐̔̈͑͡t̷̥̻̫͓̲͉̝͎́͆̀͠ ̴̱̺̓̐͋ͧͭͥ̿͜͝į̦̼̱̗̠̗͇͖ͤ͌̓͛͗s̡̺̺̠͍̻̟̰̏̎ͤ͟ ̸̹͖͓͕̲͓͛̌̅̑ͦ̌̇͢b̸̵̺̞̦̝̤̬ͨ̏̃̉̈́̇ͣͮͅeͬ̐͒̽̀̓ͨ͒҉̨̙̜̞͔͎̯͙a͈͛̉̅̆͋ͨ͒ͥn̶͇̭͍̫̙̈́ͨ̎̌̀n̟̙͓̞̤͇̦͈ͮͨ͂͊̌̏̌͐͘ä̯̟́͊̽͗̋͑ͫͅc̵̠̩̍̄ͤ́ͣ̌̅̑͛̕h̡̜̘̩̱͉͓̑̽̃̉͒͠͠ą̶̰̬̜̬͔͖͖̣̯͌̂͒̑̆͗͂͘ḑ̟̦͉̱͖̜͔̗̽ͣ̊͐͋h̖͇̣̘̪͇̭̖̬́̏́́̽̽͛̓̕
͉̞̥̞̠͕̭͙̬̿̔̉̏̌̍̈́̚͜D͙̲͔̣̩̘̱ͣ̌ͭͅě͋̓͡҉̧̪k̨̨̎ͨͦͦ̌ͅu͚͈͓͈̜͈̬̤̖̿͋̌̃̆ͦ̔͟j͚̙̫͙͈͓̭̲̒̈́͑͊͂̈́̚͝i̳̠̞̖͚͈̖͊͆͆̋̿͗ͣ̚͢ ͓̖̩̱ͭͬͣ̆ͣ͐ͮ̚͝â̼̳̖̹͊͡ ̗̹͂ͨ̍̐̃̓ń̥̘͈̼̎ͨ̒̍̊̋ͦ͊ͅa̸͍̦̦ͣ̓͌ͪ̅s̷̤ͮh̞ͦ̊ͣ̏̽͌͋̀͡l̸̘̝̝̮̼̰̩̑ͮ̓͂͢ȩ̵͇͇͇̫̤͖̠͐̇͊̓ͤ̃͊͌͊͘ḓ̜̱͚̅ͦ̌̋̀͌̈́̀ͅą̵̖͔͓̓ͫ̈́ͤn̑͏̗̫͕̥̗̹͘o̲̟͑̽͂ͬu̦͔̽̇̃͟
̶̜͔ͯ̅͌͑̅̑̃̎̚В̤̙͎̒̋̔̎̍́̚̕͜и̴̝͖̟̩̥̦̹͓̐ͬ̊ͮͦ͌͠ ̷͖̝͇̳̙̫̇̌͋ͯ́͠ͅб̡̛̦̻̦͙̩̆̉ͮ͒ͬ͒̇͠л̟̲̲̓͊̎̿͆ͣͪ͊а̷̶̥͈̬̬͖̒̇ͧ̍г̴͕̮̯̘̤ͬ̅̔͘͢о̷̢̞̙̘ͯͧ͐͒ͩ͊̏̍д̣̙̘͈͆̑̑͒͐а̶͎͓͔̪̤̍̌ͩ̽͂̕р̴̢̥̣̻̬̗͚̘ͨ̉͒и̣̣̥̩͔̟̰̻̑͐̈́̂̍ͦ̕͟м̧̛̥͙̭͓̣̙̫͙̈̓̏е̶̧̡̦̗̳̦̤̬̝̲͗ͪ̾́ ̷̢̝̱̮͕̩̲ͦ̋ͭ̽̂͋ͦ̔ͤ͞и͇̥̠͈͍͖̻ͣ̀̄͌ͭ͗ͪ͆͡ ̵͈̱̟̱̟̭͙̙͖͋͌̂̋͋̽̍̈́̋з̰̳̘̯̞̜̠̗̀ͪ͆̈́̌͆̋͜бͣͣ̾҉̡̰о̢̧̦̹͓̼̰̭̐ͨ̃͝ͅг̲̯̙͉͊̋̄͑ͦ̐͐ͩу̯͙̫ͪ͂ͧ̃͝м̛̤̣̆̈́͂͢
͕̻͍͖͒̐̇̒̑Ṯ̴͇̤ͥ̐̿̏̿ͣͭ̓̈́h̭̯̺̲̪̗͖̹̳́ͧ̀̏ͮͫa͉̬̻̟̘̪̼̾̈́̿̋̔ͮ̃̽͞n̲̏͒ͪͥ͟͡k̴̷͚̲̼̙̙̖̙̉͒͂͒̒̏͛̅̒͜ͅ ̛̤̞̝̫͙̘̪̪ͬͯ̃y̡̙̝͚̦̠̱̫̳ͮ͗͟o͖̘̩̤̦̎̊̋ͨ̃̕ȕ̎̈͛̿ͧ͊ͩ͏̜̭ ̸̢̗̞̬̜̼̬̬̭ͯ̾̓͢ȁ̸̵̳̗̰ͯͦ͐ͯ͛̚͟n̥͕̞̪ͪ͊͑̌͋ͭ͊̾ḍ̢̣̔̉͛ ͍̘̝̽̇̊̀͊̾͛ͅg̷͕͒ͤ͂̽́o̾͗́̃͐̏̍҉̡̱͓̘̤̱̲͉ͅȍ̜̬̟͈͍ͧ́̍͑͐ͫ͟͟͜ď͔͖̥͈̰̱̯̠̋͂́͜b͉̩̞̝͕͆ͥ͐ͤ̓̅͌̀̚ỳ͕̯͇̥̈͂͐̓̅̍̀ḙ̺ͫͬ͠
M̧̢̛̖̪̞̼̻̰̯̘̰̟͜͠ȩ̶̴̝̭͖̖̖̻r͝҉̭̩̬̤͙̣̰͉͇c̢̡̲̰̘̱͘͢i҉̢̛̖͉͉̝͇̻̖̭͇ ̶̵̡̖͓̖̲̼̟͙̫̮̫̞͖̜͕̖͘é̳̼̙͉̙͎̟̼̭̥̪̜͉̕͢ṯ̶̶̢̰̥̼͉̦̭̻̘̤̳̹̰̦͍͘ ҉҉̟̗͔̻̯̼a̢͙̩͉̦̘͢͠u̵̶̢͓̞̯̼̫̫͕̮̯̳ ̶̴̸̭̘͙̜̩̩̱̘̬̹̱̦̖̝̗͉̠̱r̶̷̻̞̦̙̬̲̹̙͟e͡͏̵̥̘̖̫̪̗̗̖̝͎̙͝͠v̴̖̯̪̪͙̕͟͟ò̴̞̹̙̟̪̩̘̭͖͈̰̰̠́͜͠ḭ̛̬̞̪͚̣̬̗͠r̮̱̪̝̮̣͢͠͡
̢͜҉͙͍̝͇̣U҉̵̢̪̜̝͍͍̞͖̯͈̦͎̲̺̥̕ạ̸̶̩͈͚̕͟ ̧̭̜̺͕͎̖̻̖͞t̴̨̛҉̮͎̟s̴̵̡̜̙̫̪ͅą̸̸̫̜̤͖͜͜u̸̷̲̻̜͍͚͚͜͠g̦̼͙̪̺̮̻̼̳͎͔̪͇͞ ̷̮̼͓̟̹̻͚̭̗̼̰̞͓̞̖͘͢͠t͏̢̭̠̼͕̱̞̰̘̗̬̹̞̦h͡͏̢̘͔͉̬͉̻͎̜̺̱̜̬͍̥̰̠͟i̸̛҉̵̸͖̙̹̝̗̜̝̩̞̱͔a҉̫͔͓̦̤̩̤̹̯̥̪̥̺̹̫̺̦̼́ͅb̷͔̫̪͕̼̘̻͢ ́҉҉͚̙͚͈̱̯̫̗̳̤̹̘͚͘ͅͅz̷͏̵̸͇̻͈̱̺̘̳͍͍̝͕͔̜͕̟̬͍̦͠ͅo̷͖̭̙̗̙͢͜͡ó̻̣̙̻̟͇̙̭̱̩͖̣͇̲̺̘͠



"Спасибо и до свидания, увидимся в следующий раз."

Ссылки:
Immortal_gamer – автор
Lucky Boy – редактор англ. текста
George the Crab – перевод на англ., соавтор
Toby Fox – создатель Undertale

Исходный текст

От лица автора: Тоби хорошенько нас потрепал за время написания этого обзора. Помимо активации в нас наномашин отвечающих за испражнения, случился резкий анонс и релиз первого эпизода Deltarune. Много идей и уже готового контента пришлось вырезать, текст пришлось нещадно редактировать, обзор впал в кому на несколько недель, так как соавтору потребовалось много времени на реабилитацию и переписывание сюжета обзора (а также на подготовку с автором к важному проекту). Все, кто был в ответе за создание и все, кто так долго ждал обзора, могут вздохнуть с чистой душой. Естественно, обзор относится к тому, как Undertale функционирует в рамках самого себя. Возможно, новый проект Тоби Фокса и изменит то, в каком контексте следует воспринимать Undertale, но это совсем другая история. Отдельная благодарность всем, кто прочел обе части обзора (включая английскую) и пережил его вплоть до этого момента. Увидимся в обзоре Deltarune.


Серый, Черный, Кеша. Спите спокойно, отважные бойцы за свободу.


Уничтожение меты есть часть меты.
– Immortal_gamer

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Х̀-х̧̢͏х̷̧͟Хэ̸..͞.̷͢.̡
Х̸͠э̴̵̕х̀эхэ̡́х̷̨͘.҉̡͢.̵̢.̀
Те̷б̀е͏ ̛͏н́͟у͠͏̶ж͜҉н̸́͠о̡͝͏ ́́п͡о̨̢̕с́͡т̡̡͞ар̀͟а̴́͘т̢͠ь̴̛с́я̨́͝ ́͡ ҉ч́͏у̷͏т̨о̷̷ч͜͡͏к̴͝͏у ̵̷с͜͢ѝ͢͝л̕͏ь́н̸е͝е̨͢͡..̧̀̕.̧͢