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In a time when the gaming industry and hobby are in complete disarray, largely due to corporate greed, one might feel like giving up hope altogether.
However, in times like these, we need to remember the heights video games have reached and will likely reach again, sooner or later.
And instead of giving up, we should instead be determined to hold onto hope that things will get better and strive towards that future.
Speaking of heights in video game history, did you know an Undertale concert recently took place right here in Kuala Lumpur?
Introduction to Undertale
Performed by the Singapore-based Metropolitan Festival Orchestra, Undertale: The Determination Symphony World Tour recently made a pit stop in Plenary Hall KL.
The orchestra, conducted by Thanapol Setabrahmana, performed popular tunes from Undertale’s equally acclaimed soundtrack.
But wait.
What exactly is Undertale? For the uninitiated, Undertale is considered widely to be a golden child of the video game industry, coming from a sole indie developer rather than a big-name studio.
Toby Fox released his game in 2015 and it grew to be a critically-acclaimed bestseller, selling over five million copies and spawning a massive, still-active fandom.
The game follows a child named Frisk who falls into the subterranean kingdom of sentient monsters and has to find (and fight) their way out.
Despite its simple graphics and gameplay, the game’s deep story, in-depth mechanics and charming characters made it resonate with many people across the globe.
Malaysian monster-lovers
And from the sheer size of the crowd of concert attendees, it was clear that many Malaysians hold Undertale close to their hearts.
The attendees were largely young adults and youths, with a handful of older Malaysians, likely accompanying their children or grandchildren.
Some of the attendees also took the effort to dress up as characters from Undertale and its spiritual successor Deltarune.
From striped shirts to full-on body paint, it was humbling to see how much people cared for a game that came out over a decade ago.
That said, the lines that led into the hall could have been better organised, especially with the size of the crowd in mind.
Perhaps in future, clearly defined queue areas could be implemented to aid organisers and attendees alike.
That would certainly help to reduce the confusion newly arrived attendees would find themselves embroiled in otherwise.
Night of magnificent music, Part I
Crowd troubles aside, the concert began with the arrival of the esteemed orchestra, equipped with instruments ranging from violins and trumpets to electric guitars and keyboards.
The range of instruments utilised was quite fascinating to take note of, especially since the game’s soundtrack consists of 8-bit tunes.
One must imagine the challenge of adapting these simple tunes into complex musical sheets fit for an orchestra.
Either way, the concert began with the same classic tune that introduced fans to the world of Undertale.
There is a certain sense of magic to Once Upon A Time, likely tied to how it induces nostalgia in people by making them remember the first time they booted up the game.
Adding to that nostalgia was the gameplay being projected onto the onstage screen, with fans being treated to the same visuals they saw during their own playthroughs.
It also proved practical, as the gameplay could act as a reference point for people who could not remember when and where in the game they heard a specific tune.
The lighting technicians also put in work, working with the orchestra by lighting up the room in appropriate colours depending on the mood of the scene and its music. The lighting was theatrical level.
For example, the hall turned a sombre red during the emotional confrontation with fan-favourite character Toriel, as she tried to prevent Frisk from leaving her home.
It certainly added to the overall experience, as did the cheers and claps from the crowd during their favourite moments, such as the introduction of Sans, Undyne and Asgore.
Night of magnificent music, Part II
The track Bonetrousle was certainly a fine way of welcoming the audience back after the intermission, with the beloved, excitable Papyrus eliciting many laughs with his on-screen lines.
It had a certain goofiness to it that somehow translated well to an orchestral score. One must admire how the musicians kept up with its otherwise rapid tempo.
Though the concert was not advertised as such, there was an unexpected singalong session, urged on by Setabrahmana, when Oh! One True Love was played.
There was a certain hilarity to hearing the hall cheerfully sing about how “it’ll suck” in a dungeon and how Frisk is going to “die a lot”, but that was just the charm of Mettaton at work.
As Act II drew closer to its end, that was when the climactic songs finally began making their way onstage.
Of course, it was Your Best Nightmare that turned out to be the piece de resistance, with the music matching the urgency of the battle between Frisk and the monstrous Flowey.
The intensity could only be matched by the heroic themes of Hopes and Dreams, when the music makes you feel the same determination Frisk feels when refusing to accept defeat.
Truly, the long wait was worth it just to listen to this pair of songs, which mark the climax of Undertale.
But when audiences thought it was all over, the show refused to end. Just like how Sans would in the event that Frisk turned murderous.
It was a delight to have Megalovania play as the final song of the night, with its fast, energetic pace embodying the urgency of the battle fought against the Underground’s final defender.
If there were ever any doubts about video games being “proper” works of art, this concert, in all its magnificence, certainly disproves that foolish notion.
The challenge of adaptation
Speaking to theSun after the curtains fell, producer Alexander Villanueva said it was a pleasure for the orchestra to perform in Kuala Lumpur, a city that is not often included in travel plans.
“So far, we’ve done seven shows before this one, so we were feeling more comfortable and sharper with the music,” he said, adding that he hoped Malaysian fans enjoyed the night of music thoroughly.
Adapting the 8-bit soundtrack into an orchestral score was a long process requiring many hands, he said, but the results have been more than worth the effort.
He also said Undertale‘s music is also reminiscent of the game’s outwardly simple, inwardly complex nature.
“One thing that’s very unique about the music is that there are recurring melodies throughout.
“Sometimes it’s not so noticeable, but then it returns with intensity, especially towards the climax and epilogue of the game.”
Asked what drew him to work on an orchestral adaptation of Undertale‘s music, Villanueva praised Fox’s musical compositions for being iconic.
“It keeps you engaged during the boss fights and evokes various emotions throughout the story. It truly is a special original soundtrack (OST).”
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