Wall for Qwerty_Zoom (page 11)

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https://lh3.googleusercontent.com/-IUASOcbGy3A/VqY8I4Gwe0I/AAAAAAAAV7Y/A-Ce0CLT9RU/w426-h301/ezgif.com-crop%2B%252883%2529.gif

Soooo freaking accurate xD

And I think passing the blame to Chara is dumb, she only takes control at the very end.

(I just found out the Chara autocorrects to Character. Cool.)

What can I say, she loves hot animals ;)

Btw in your headcanon is Frisk a boy or a girl?

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I'm really risking revealing my identity to a few people here by saying this, but I can't help it.
10th grade was fun, and my recent farewell is something I will never, ever, forget! ;~;
I will sincerely cherish these memories for the rest of my life...

Also the game tries to bore you into resetting via sans and the Undying.

Question: How many ghosts are there in Undertale? By my count there's Napstablook, Ruins Dummy, Mad Dummy, and Mettaton. So four?

Other: I realized the other day that, during a Genocide run, the game itself is throwing everything at you to get you to stop. Think about it. When Toriel dies, she says that she was protecting the monsters from you. Up until that point you've probably just been slaying monsters for EXP and LV (which the uneducated Undertaler interprets as Experience and Level). Tories' death comes with a shock factor and makes you wonder if you're doing the right thing. Later on, in Snowdin, if still on a Genocide, then you get a little scare from pupil-less sans. Upon killing Papyrus, he says that he still believes there is good at the player. A lot of people stop Genocides and reset after Papyrus' speech. So it tugs at your heartstrings. Not to mention what happens when you kill one half of the Dogi, or the gay guards. There's when you tear apart the snowman. Then you get to Waterfall. Glad Dummy practically forces you to kill someone who's just accomplished their life dream. Monster Kid tests if you're willing to kill children. Finally the game gives up on trying to guilt trip you and tosses Undyne the Undying in your face. After a hundred times you kill her, but her refusal to die results in her melting in a horrifying manner. Scare factor.

Onwards to Hotland. Tsunderplane, unlike other monsters, explodes when you kill it. When Muffet dies a little spider comes and places a flower on her grave. Mettaton-NEO says how you'll end up destroying not just monsters, but humans as well. Is the player willing to go so far as to end their world AND the monsters'? After that point the game says "screw it" again and you get dunked on. After sans' death, with blood (or ketchup), and his hallucinating Papyrus, you're again reminded of how Paps still believes in you. After that you kill Asgore when he's trying to make peace. Flowey shows, afraid of the player. This soulless flower pleads for its life, even turning into a crying Asriel before you slash him into nothingness. Then you proceed to meet Chara and realize just how evil you've become.

TL;DR I find it interesting how the game, music and characters seem to be trying to convince the player to stop their rampage as much as they are Frisk/Chara. Sorry to burden you with this but I had to let it out ;D

Before 2015, if anyone had asked me if an amazingly animated anime with no plot got popular around the same time as an RPG with ancient graphics and amazing plot line, I would have called total whale-**** and ignored his entire existence. Yeah you know what I'm talking about.

It's amazing how the anime One Punch Man and the game Undertale rose to popularity at about the same time, because they share almost nothing in common. In fact, they seem to contradict each other at every step.
State-of-the-art animation to ancient graphics.
Zero plot to record-setting plot.

Heck, even their objectives are as far apart as day and night. Undertale genuinely makes you feel the guilt of killing, and every soul is meant to be spared. Life has actual meaning, it's based off idealism which is enforced by the empathetic attitude of Frisk, the protagonist. Every character is doing what it is with sincere reasons. The game also actively interacts to the player, something not every game pulls off as neatly. It's beyond complex.
Here we follow the protagonist, who is at his weakest (level 1, assuming the Pacifist run because that's the ideal story) and refuses to fight anything despite having the power to kill because of his merciful nature.

OPM literally introduces you to a monster of a hero that kills every thing in one punch, and nobody gives two hoots about what just died. This is based off of realism, enforced by the pessimistic behavior of Saitama, the protagonist. The show itself is meant to be an eye-candy; it's not meant to have good characters, or a good plot, or even a good moral. It's all about the action, the thrill of a fight, the animation, et cetera. So the characters often come out as unreasonable and violent. It's something like watching gladiators in an arena, from outside.
The protagonist Saitama is meant to represent the absolute peak of power, who craves for a match but never gets it. As a result, he is dull and his fights are anti-climactic. He nonchalantly defeats monsters with little to no mercy (or any emotion at all, for that matter).

They do share two things in common though.

Both rose out of nowhere, and revolutionized their respective industries. Why's that? We've already established how different they are. It's not like they had terribly different audiences either, many people like both (like me). It's because they were both different from the others in the business at that moment. Their seemingly unbalanced, rather extreme, story to animation ratio was something most others don't risk. They aim for more balanced ratios. They both rose in ideal situations; the game industry was filled with great graphic games but lacked proper story (not to say they were bad), and the anime industry was, frankly speaking, struggling. ONE and Toby Fox took their chances, and succeeded beautifully despite opposing outlooks.

It's all about the right idea, at the right time.

bruh, all the way up to Mettaton already ;)