This piece is remarkable for its ability to effectively weave together the bits and pieces of music we’ve heard from every interaction with Papyrus so far while truly capturing the essence of his character. “Bonetrousle” features Papyrus’ theme with an accompaniment, using a theme and layering that embodies the absurdist nature of the character. The use of leitmotif has faded to a large degree from the Western miscellany of classical music and from soundtracks, but is arguably the most distinct element in Toby Fox’s soundtrack here. Leitmofits-moments in music that associate each character or moment with a particular instrument and/or theme-have been around for centuries, from Berlioz’s use of idée fixe in Symphonie Fantastique to Wagner’s use of leitmotifs in his Ring Cycle. (5/10)ģ) Bonetrousle introduces us to the first use of leitmotif in this piece. There are a number of memorable pieces here to break up the monotony-“Dogsong” and “Snowdin Town” in particular-but above all else, “Snowy” suffers from a lack of embellishments without a strong enough harmonic structure to pique my interest. The largest issue with this piece however is its ability to establish momentum or enough variation to keep it interesting, particularly when this is a longer section of the game. Nevertheless, the ability of Snowy to establish a very clear theme within seconds while adding a bit of variation through orchestration and a different melody keeps the piece moving. This piece conjures up imagery of a winter landscape through the use of the undecorated solo piano, although this may a result of my personal bias having played through the game in its entirety multiple times. We decrescendo to a close in the solo piano. As these drop out, we reach our B section, with a new melody in the piano, albeit with the same harmonic structure. Violin enters as we continue with this motif, with a countermelody in the piccolo. (7/10)Ģ) Snowy is the theme of our first setting outside of Toriel’s home, and opens with a single piano establishing a very clear motif with sequencing between two chords. It’s a simple, yet highly effective piece and a great way to end the first act of the game. “Home” effectively establishes the setting, epitomizes the theme of innocence and offers a heartbreaking solo line in the guitar’s upper register. The piece flirts with the tempo in rubato, as we slow down and gradually fade to a close. Musically, the piece opens with a soothing classical guitar with a simple picking pattern, as a melody line soon joins. Here, Toriel ask s the player to refrain from leaving her home, offering the promise of home-cooked meals and freedom from the broader complexities and dangers of the world outside.
The game cycles around the theme of good-evil dipoles, with the trademark Pacifist and Genocide routes serving as the most common for veterans of the game. Warning: this review will have spoilers!ġ) H om e establishes our setting in Toriel’s home, and serves as the embodiment of innocence in this game. The soundtrack is long, and as such I chose eleven songs to review that were given priority based on their significance to the story-to represent characters or setting-or ability in establishing an atmosphere.
Undertale’s soundtrack is exemplary and showcases Toby Fox’s prowess as a “Renaissance Man,” as he navigates a number of very distinct styles throughout the game. With an at-times vocal community, the game has harbored a lot of resentment, but still stands as an incredible game with a memorable soundtrack whose two-year anniversary approaches! The chiptune soundtrack transports us to the days of 8-bit music, with a visual palette that immediately draws some comparisons to the likes of Earthbound and other similar RPG titles. Undertale is an unnecessarily controversial game.
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