My opinion on Megalovania (Sans' boss theme)

[Releasethebeast13]

Personally, I think that Megalovania is an ok song. It's overrated, but it's not bad.
One complaint I have about it is that I don't think it really fits the mood of the situation it appears in. Megalovania sounds more like a song that says, "Get rekt, noob" rather than a song that says, "you killed hundreds of people and now I will avenge their deaths." Battle against a True hero is more apt for the situation rather than Megalovania, although I don't think it would fit Sans. Maybe a remix of "It's raining somewhere else" would be a better fit for Sans' boss fight.
What do you guys think? And please, don't turn this thread into a battlefield for a flame war.

[(Edgy) Asriel Dreemurr]

Sans's mood is pretty "get rekt, noob" throughout the entire fight, even given the context. Sans also isn't fighting to avenge anyone, he knows the world will get destroyed if you get past him.

Megalovania is also a song Toby has used multiple times. It was originally the final boss theme of his Earthbound Halloween Hack, then he did a version for Homestuck for the [S] Wake animation.

[Nebula The Owl]

I agree with you. I love Megalovania. Great song. But it feels out of place from the rest of the soundtrack. Most tracks in the game, especially boss tracks, use a plethera of shared lemotifs, like the Spear of Justice lemotif ( found in Ruins, Waterfall, Quiet Water, NGAHHH!!, Spear of Justice, An Ending, Respite, Bring It In Guys!), the Once Upon A Time lemotif, ( found in Once Upon A Time, Start Menu, Home, Home [Music Box], Undertale, Fallen Down [Reprise], Reunited, Menu [Full], Bring It In Guys, Last Goodbye, Good Night), and the His Theme lemotif ( found in Memory, Undertale, His Theme). Every boss theme is connected to another track, except for Megalovania, which is it's own thing. I understand that is because it is a homange to his previous works, so it isn't connected to the other songs, but it still feels out of place.

On the other hand, I feel like it does fit the mood of the situation. Sans feels Immense anger towards you for not only the countable (was gonna say countless, but it is the same amount of murder every time) murders of his friends and family, but also the countless resets and happy endings stripped away from him. He buried this anger, and it festered until it bursts out at the end of the genocide route. the track portrays this using frantic and powerful melodies and leads. The name is also a great fit. Some people might not know this, but Megalovania is an actual term, sort of. Megalomania is the term for people with an unnatural lust for power, and Megalovania is just a paraphrase of this term. You have spent the entire time killing monsters to gain LOVE, or Level Of ViolEnce, which measures your capacity to hurt. Your power. YOU are the MegaLOVaniac.

TL;DR Megalovania doesn't work in the Lemotif department the rest of the game has, but it still contextually fits. Overall, good song. For a version that fits with the rest of the soundtrack, try STMPWYFS. It uses the lemotifs that Megalovania would have used.

[joshuabaker121]

Originalmente postado por Nebula:

I agree with you. I love Megalovania. Great song. But it feels out of place from the rest of the soundtrack. Most tracks in the game, especially boss tracks, use a plethera of shared lemotifs, like the Spear of Justice lemotif ( found in Ruins, Waterfall, Quiet Water, NGAHHH!!, Spear of Justice, An Ending, Respite, Bring It In Guys!), the Once Upon A Time lemotif, ( found in Once Upon A Time, Start Menu, Home, Home [Music Box], Undertale, Fallen Down [Reprise], Reunited, Menu [Full], Bring It In Guys, Last Goodbye, Good Night), and the His Theme lemotif ( found in Memory, Undertale, His Theme). Every boss theme is connected to another track, except for Megalovania, which is it's own thing. I understand that is because it is a homange to his previous works, so it isn't connected to the other songs, but it still feels out of place.

On the other hand, I feel like it does fit the mood of the situation. Sans feels Immense anger towards you for not only the countable (was gonna say countless, but it is the same amount of murder every time) murders of his friends and family, but also the countless resets and happy endings stripped away from him. He buried this anger, and it festered until it bursts out at the end of the genocide route. the track portrays this using frantic and powerful melodies and leads. The name is also a great fit. Some people might not know this, but Megalovania is an actual term, sort of. Megalomania is the term for people with an unnatural lust for power, and Megalovania is just a paraphrase of this term. You have spent the entire time killing monsters to gain LOVE, or Level Of ViolEnce, which measures your capacity to hurt. Your power. YOU are the MegaLOVaniac.

TL;DR Megalovania doesn't work in the Lemotif department the rest of the game has, but it still contextually fits. Overall, good song. For a version that fits with the rest of the soundtrack, try STMPWYFS. It uses the lemotifs that Megalovania would have used.

I suppose that this could be because, as you said, the player is the "MegaLOVaniac". In all other routes, the introduction to Sans' judgement describes how, the more you hurt others, "the easier it becomes to distance yourself" - i.e. the track could be so "out of place" because it's symbolic of how disconnected you are to the rest of the underground, by distancing yourself from all of the monsters (and the music often relates to these monsters through leitmotifs, like you said).

If you've emotionally distanced yourself from these monsters, then becoming musically distant from them could just be a metaphor for that. It's only once you've killed Mettaton NEO, and then gone onto "betray" Flowey just before you reach Sans, that you've reached truly reached this point, so that might explain why the only remaining battle theme is so distinctive.

As for the other genocide-exclusive themes:

It's not too late by the bridge in Waterfall, so "But The Earth Refused To Die" and "Battle Against A True Hero" can afford to share some repeated themes with non-genocide tracks, whilst also incorporating some new melodies of their own.

By the time you hear "Power Of NEO", you're either continuing with genocide, or you've aborted it; assuming that you don't reset prematurely, there's only one way left to go from where you are. If you've killed all 40 monsters in Hotland and the CORE, then you'll go on to complete your genocide; but, if you've failed to do this (having killed Undyne the Undying), you'll still meet (and have to kill) Mettaton NEO, but you'll go on to get just a very bad neutral ending. By "Power Of NEO" sharing a melody (I believe) only with "Battle Against A True Hero", it can serve to fit both scenarios: it's genocide-related, yet doesn't have to be entirely disconnected.

In contrast, "Bring It In, Guys!" - arguably the track most jam-packed with character leitmotifs - is only attainable in the True (or Soulless) Pacifist endings; this is when you would be the closest and most connected to the corresponding monsters, emotionally.

I suppose that you could count the slowed-down version of "Anticipation" (from fighting Monster Kid and unsettling Flowey - then later in the Soulless Pacifist endings) as being not purely a genocide track - since "Anticipation" plays in any route - but that plays just after "Small Shock" when encountering Flowey, so perhaps unnerving him is not the exact moment of total disconnection; seeing Sans, whilst still holding an unfathomable lust to kill, could be.

I've gone on a bit long, haven't I? I see Toby Fox's choices as those of an incredibly refined author, who uses extended metaphors in their books which could be interpreted in various ways, or missed altogether, by the reader. It requires deep thought and analysis to bring everything together into the most effective interpretation, which only the author themselves will be able to confirm or reject for certain. Likewise, I'd never really considered this perspective until now, but the existence of this discussion encouraged me to do so - and I like what I've come up with! Of course, it could be far from what Toby intended - perhaps he was simply paying homage to his previous works - but it's motivational to know that there are potentially so many more secrets hidden very subtly within *anything* in the game.

My interpretation does make me appreciate these choices of music somewhat more, so I'd like to believe that this is the (almost ingenious) intention which Toby had here - even if it's completely wrong!

Thank you all for leading me to consider this more deeply than I ever had before. :-)

[(Edgy) Asriel Dreemurr]

It’s a song that Toby is known for, and my guess is he simply wanted to add an updated version of the song into his first actual game for sentimental reasons. The Sans fight is just the most fitting place for it. The song was always meant to be an almost comically over the top, bombastic action piece, and that’s pretty much what the Sans fight is.

[Nebula The Owl]

Originalmente postado por joshuabaker121:

Originalmente postado por Nebula:

I agree with you. I love Megalovania. Great song. But it feels out of place from the rest of the soundtrack. Most tracks in the game, especially boss tracks, use a plethera of shared lemotifs, like the Spear of Justice lemotif ( found in Ruins, Waterfall, Quiet Water, NGAHHH!!, Spear of Justice, An Ending, Respite, Bring It In Guys!), the Once Upon A Time lemotif, ( found in Once Upon A Time, Start Menu, Home, Home [Music Box], Undertale, Fallen Down [Reprise], Reunited, Menu [Full], Bring It In Guys, Last Goodbye, Good Night), and the His Theme lemotif ( found in Memory, Undertale, His Theme). Every boss theme is connected to another track, except for Megalovania, which is it's own thing. I understand that is because it is a homange to his previous works, so it isn't connected to the other songs, but it still feels out of place.

On the other hand, I feel like it does fit the mood of the situation. Sans feels Immense anger towards you for not only the countable (was gonna say countless, but it is the same amount of murder every time) murders of his friends and family, but also the countless resets and happy endings stripped away from him. He buried this anger, and it festered until it bursts out at the end of the genocide route. the track portrays this using frantic and powerful melodies and leads. The name is also a great fit. Some people might not know this, but Megalovania is an actual term, sort of. Megalomania is the term for people with an unnatural lust for power, and Megalovania is just a paraphrase of this term. You have spent the entire time killing monsters to gain LOVE, or Level Of ViolEnce, which measures your capacity to hurt. Your power. YOU are the MegaLOVaniac.

TL;DR Megalovania doesn't work in the Lemotif department the rest of the game has, but it still contextually fits. Overall, good song. For a version that fits with the rest of the soundtrack, try STMPWYFS. It uses the lemotifs that Megalovania would have used.

I suppose that this could be because, as you said, the player is the "MegaLOVaniac". In all other routes, the introduction to Sans' judgement describes how, the more you hurt others, "the easier it becomes to distance yourself" - i.e. the track could be so "out of place" because it's symbolic of how disconnected you are to the rest of the underground, by distancing yourself from all of the monsters (and the music often relates to these monsters through leitmotifs, like you said).

If you've emotionally distanced yourself from these monsters, then becoming musically distant from them could just be a metaphor for that. It's only once you've killed Mettaton NEO, and then gone onto "betray" Flowey just before you reach Sans, that you've reached truly reached this point, so that might explain why the only remaining battle theme is so distinctive.

As for the other genocide-exclusive themes:

It's not too late by the bridge in Waterfall, so "But The Earth Refused To Die" and "Battle Against A True Hero" can afford to share some repeated themes with non-genocide tracks, whilst also incorporating some new melodies of their own.

By the time you hear "Power Of NEO", you're either continuing with genocide, or you've aborted it; assuming that you don't reset prematurely, there's only one way left to go from where you are. If you've killed all 40 monsters in Hotland and the CORE, then you'll go on to complete your genocide; but, if you've failed to do this (having killed Undyne the Undying), you'll still meet (and have to kill) Mettaton NEO, but you'll go on to get just a very bad neutral ending. By "Power Of NEO" sharing a melody (I believe) only with "Battle Against A True Hero", it can serve to fit both scenarios: it's genocide-related, yet doesn't have to be entirely disconnected.

In contrast, "Bring It In, Guys!" - arguably the track most jam-packed with character leitmotifs - is only attainable in the True (or Soulless) Pacifist endings; this is when you would be the closest and most connected to the corresponding monsters, emotionally.

I suppose that you could count the slowed-down version of "Anticipation" (from fighting Monster Kid and unsettling Flowey - then later in the Soulless Pacifist endings) as being not purely a genocide track - since "Anticipation" plays in any route - but that plays just after "Small Shock" when encountering Flowey, so perhaps unnerving him is not the exact moment of total disconnection; seeing Sans, whilst still holding an unfathomable lust to kill, could be.

I've gone on a bit long, haven't I? I see Toby Fox's choices as those of an incredibly refined author, who uses extended metaphors in their books which could be interpreted in various ways, or missed altogether, by the reader. It requires deep thought and analysis to bring everything together into the most effective interpretation, which only the author themselves will be able to confirm or reject for certain. Likewise, I'd never really considered this perspective until now, but the existence of this discussion encouraged me to do so - and I like what I've come up with! Of course, it could be far from what Toby intended - perhaps he was simply paying homage to his previous works - but it's motivational to know that there are potentially so many more secrets hidden very subtly within *anything* in the game.

My interpretation does make me appreciate these choices of music somewhat more, so I'd like to believe that this is the (almost ingenious) intention which Toby had here - even if it's completely wrong!

Thank you all for leading me to consider this more deeply than I ever had before. :-)

No problem! here, allow me to shed some light on more interesting facts about the sound track!

There is an interesting lemotif, that I will name the "End" lemotif, that, to my knowledge, only appears in 5 tracks: An Ending, Don't Give Up, Respite, But The Earth Refused To Die, and Battle Against A True Hero. There is one thing that links these scenarios; All of them play during a perceived "End". An Ending plays at the end of a Neutral route. Respite, at the end of the Pacifist route. Don't Give Up plays when Flowey swoops in and Threatens to end the world. But The Earth Refused To Die and Battle Against A True Hero play during the Undyne The Undying fight, when she says that if you get past her, the player would destroy the world. all three routes have this song play when their worlds are at their end, and for Respite, Don't Give Up, and But The Earth Refused To Die, the "End" lemotif is the only one they use!

There is a unique track that plays during the fight with Snowdrakes Mom that is not listed in the OST. This song is called So Cold, and in addition to being a very creepy song, has a unique property. The Song has no file in the game folders, but is rather an effect placed on mus.snowy that creates this song. The cool thing about this is that, since the effect is not integrated directly into the file, one can replace mus.snowy with any other track from the game, rename that file mus.snowy, and when they encouter Snowdrakes Mom, the song will play with the effect added to it! Try looking up Memory So Cold edition, it is very eerie.

There is another main track that uses no lemoifs; Undyne. This plays during your encouters with Armoured Undyne as she chases you through waterfall. Other Isolated tracks include: Unnecessary Tension, Dogbass, Mysterious Place, Dating Tense, Premonition, Danger Mystery, Run!, BTCYOADSG, Ghouliday, Chill, Thundersnail, Ooo, Stronger Monsters (unfortunately), Wrong Enemy!?, Oh My..., Long Elevator, The Choice, You Idiot, and Amalgam.

[(Edgy) Asriel Dreemurr]

Originalmente postado por Nebula:

Originalmente postado por joshuabaker121:

I suppose that this could be because, as you said, the player is the "MegaLOVaniac". In all other routes, the introduction to Sans' judgement describes how, the more you hurt others, "the easier it becomes to distance yourself" - i.e. the track could be so "out of place" because it's symbolic of how disconnected you are to the rest of the underground, by distancing yourself from all of the monsters (and the music often relates to these monsters through leitmotifs, like you said).

If you've emotionally distanced yourself from these monsters, then becoming musically distant from them could just be a metaphor for that. It's only once you've killed Mettaton NEO, and then gone onto "betray" Flowey just before you reach Sans, that you've reached truly reached this point, so that might explain why the only remaining battle theme is so distinctive.

As for the other genocide-exclusive themes:

It's not too late by the bridge in Waterfall, so "But The Earth Refused To Die" and "Battle Against A True Hero" can afford to share some repeated themes with non-genocide tracks, whilst also incorporating some new melodies of their own.

By the time you hear "Power Of NEO", you're either continuing with genocide, or you've aborted it; assuming that you don't reset prematurely, there's only one way left to go from where you are. If you've killed all 40 monsters in Hotland and the CORE, then you'll go on to complete your genocide; but, if you've failed to do this (having killed Undyne the Undying), you'll still meet (and have to kill) Mettaton NEO, but you'll go on to get just a very bad neutral ending. By "Power Of NEO" sharing a melody (I believe) only with "Battle Against A True Hero", it can serve to fit both scenarios: it's genocide-related, yet doesn't have to be entirely disconnected.

In contrast, "Bring It In, Guys!" - arguably the track most jam-packed with character leitmotifs - is only attainable in the True (or Soulless) Pacifist endings; this is when you would be the closest and most connected to the corresponding monsters, emotionally.

I suppose that you could count the slowed-down version of "Anticipation" (from fighting Monster Kid and unsettling Flowey - then later in the Soulless Pacifist endings) as being not purely a genocide track - since "Anticipation" plays in any route - but that plays just after "Small Shock" when encountering Flowey, so perhaps unnerving him is not the exact moment of total disconnection; seeing Sans, whilst still holding an unfathomable lust to kill, could be.

I've gone on a bit long, haven't I? I see Toby Fox's choices as those of an incredibly refined author, who uses extended metaphors in their books which could be interpreted in various ways, or missed altogether, by the reader. It requires deep thought and analysis to bring everything together into the most effective interpretation, which only the author themselves will be able to confirm or reject for certain. Likewise, I'd never really considered this perspective until now, but the existence of this discussion encouraged me to do so - and I like what I've come up with! Of course, it could be far from what Toby intended - perhaps he was simply paying homage to his previous works - but it's motivational to know that there are potentially so many more secrets hidden very subtly within *anything* in the game.

My interpretation does make me appreciate these choices of music somewhat more, so I'd like to believe that this is the (almost ingenious) intention which Toby had here - even if it's completely wrong!

Thank you all for leading me to consider this more deeply than I ever had before. :-)

No problem! here, allow me to shed some light on more interesting facts about the sound track!

There is an interesting lemotif, that I will name the "End" lemotif, that, to my knowledge, only appears in 5 tracks: An Ending, Don't Give Up, Respite, But The Earth Refused To Die, and Battle Against A True Hero. There is one thing that links these scenarios; All of them play during a perceived "End". An Ending plays at the end of a Neutral route. Respite, at the end of the Pacifist route. Don't Give Up plays when Flowey swoops in and Threatens to end the world. But The Earth Refused To Die and Battle Against A True Hero play during the Undyne The Undying fight, when she says that if you get past her, the player would destroy the world. all three routes have this song play when their worlds are at their end, and for Respite, Don't Give Up, and But The Earth Refused To Die, the "End" lemotif is the only one they use!

There is a unique track that plays during the fight with Snowdrakes Mom that is not listed in the OST. This song is called So Cold, and in addition to being a very creepy song, has a unique property. The Song has no file in the game folders, but is rather an effect placed on mus.snowy that creates this song. The cool thing about this is that, since the effect is not integrated directly into the file, one can replace mus.snowy with any other track from the game, rename that file mus.snowy, and when they encouter Snowdrakes Mom, the song will play with the effect added to it! Try looking up Memory So Cold edition, it is very eerie.

There is another main track that uses no lemoifs; Undyne. This plays during your encouters with Armoured Undyne as she chases you through waterfall. Other Isolated tracks include: Unnecessary Tension, Dogbass, Mysterious Place, Dating Tense, Premonition, Danger Mystery, Run!, BTCYOADSG, Ghouliday, Chill, Thundersnail, Ooo, Stronger Monsters (unfortunately), Wrong Enemy!?, Oh My..., Long Elevator, The Choice, You Idiot, and Amalgam.

I think your "End" leitmotif is the theme for the Ruins, it's also in Waterfall's theme. It's actually more of a theme for the monsters as a whole.
https://www.youtube.com/watch?v=XmVYtOmCQqU

[Aluminate]

Originalmente postado por (Edgy) Asriel Dreemurr:

Sans's mood is pretty "get rekt, noob" throughout the entire fight, even given the context. Sans also isn't fighting to avenge anyone, he knows the world will get destroyed if you get past him.

Disagree. San's mood is relative, he's an extreme nihilist. A good time is your bad time, which (depending on the Sans) is relative.

[Nebula The Owl]

Originalmente postado por (Edgy) Asriel Dreemurr:

Originalmente postado por Nebula:

No problem! here, allow me to shed some light on more interesting facts about the sound track!

There is an interesting lemotif, that I will name the "End" lemotif, that, to my knowledge, only appears in 5 tracks: An Ending, Don't Give Up, Respite, But The Earth Refused To Die, and Battle Against A True Hero. There is one thing that links these scenarios; All of them play during a perceived "End". An Ending plays at the end of a Neutral route. Respite, at the end of the Pacifist route. Don't Give Up plays when Flowey swoops in and Threatens to end the world. But The Earth Refused To Die and Battle Against A True Hero play during the Undyne The Undying fight, when she says that if you get past her, the player would destroy the world. all three routes have this song play when their worlds are at their end, and for Respite, Don't Give Up, and But The Earth Refused To Die, the "End" lemotif is the only one they use!

There is a unique track that plays during the fight with Snowdrakes Mom that is not listed in the OST. This song is called So Cold, and in addition to being a very creepy song, has a unique property. The Song has no file in the game folders, but is rather an effect placed on mus.snowy that creates this song. The cool thing about this is that, since the effect is not integrated directly into the file, one can replace mus.snowy with any other track from the game, rename that file mus.snowy, and when they encouter Snowdrakes Mom, the song will play with the effect added to it! Try looking up Memory So Cold edition, it is very eerie.

There is another main track that uses no lemoifs; Undyne. This plays during your encouters with Armoured Undyne as she chases you through waterfall. Other Isolated tracks include: Unnecessary Tension, Dogbass, Mysterious Place, Dating Tense, Premonition, Danger Mystery, Run!, BTCYOADSG, Ghouliday, Chill, Thundersnail, Ooo, Stronger Monsters (unfortunately), Wrong Enemy!?, Oh My..., Long Elevator, The Choice, You Idiot, and Amalgam.

I think your "End" leitmotif is the theme for the Ruins, it's also in Waterfall's theme. It's actually more of a theme for the monsters as a whole.
https://www.youtube.com/watch?v=XmVYtOmCQqU

OH...OH! The lemotif is also found in Spear Of Justice!... Which is used in Ruins and Waterfall... It IS the theme for all monsters! This isn't an "End" lemotif, its a "Monster" lemotif! Its just used more promenently in times of monsters being united for a common goal, which is why its the only lemotif found in both Don't Give Up and But The Earth Refused To Die! everyone is united for a single cause! I have gained knowledge today.

[joshuabaker121]

Originalmente postado por Nebula:

I have gained knowledge today.

You're not alone; what a worthwhile discussion! :-)

[(Edgy) Asriel Dreemurr]

Originalmente postado por Aluminate:

Originalmente postado por (Edgy) Asriel Dreemurr:

Sans's mood is pretty "get rekt, noob" throughout the entire fight, even given the context. Sans also isn't fighting to avenge anyone, he knows the world will get destroyed if you get past him.

Disagree. San's mood is relative, he's an extreme nihilist. A good time is your bad time, which (depending on the Sans) is relative.

He’s not a pure nihilist, he still believes that you should use your saving ability to do good. He also wouldn’t fight you if he was.

[(Edgy) Asriel Dreemurr]

Originalmente postado por joshuabaker121:

Originalmente postado por Nebula:

I have gained knowledge today.

You're not alone; what a worthwhile discussion! :-)

Also:
Once Upon A Time = Chara’s Theme

His Theme = Asriel’s Theme

The song “Undertale” is both of their themes combined.

In Deltarune, Kris is the Chara of that universe. Which is why Once Upon A Time is still used when you return home at the end.

[(Edgy) Asriel Dreemurr]

What’s your opinion of the Smash Ultimate version?

And yes, they are different.

[Zoracs]

I find it hilarious this thread was made without knowledge of the incoming Nintendo Direct.

Originalmente postado por (Edgy) Asriel Dreemurr:

What’s your opinion of the Smash Ultimate version?

And yes, they are different.

I feel like he could've thrown in the original version and no one would've complained.
Instead we get a more funky, upbeat version that although sounds really similar, was given a few minor tweaks to really make it an epic Smash Song.

and by that I mean it's really freaking cool, like Sans' Brother.

[(Edgy) Asriel Dreemurr]

Originalmente postado por Zoracs:

I find it hilarious this thread was made without knowledge of the incoming Nintendo Direct.

Originalmente postado por (Edgy) Asriel Dreemurr:

What’s your opinion of the Smash Ultimate version?

And yes, they are different.

I feel like he could've thrown in the original version and no one would've complained.
Instead we get a more funky, upbeat version that although sounds really similar, was given a few minor tweaks to really make it an epic Smash Song.

and by that I mean it's really freaking cool, like Sans' Brother.

I’m not sure how I feel about parts of it. It kinda has the same problem for me that the Homestuck version did where the guitar didn’t really mix well and made it sound messy in some spots, though this version is definitely better. It sounds good in the intro, but not when the melody starts to kick in. I also really like the harmony change in the middle part, but that last chord in it is a bit eeehhh I'm not sure about that, like maybe he should have change the note in the melody instead of keeping it the same as the Undertale version. And I don’t really like the slow march take on the long chords, Toby doesn’t use the kind of realistic orchestral sounds to pull that off, so it just kills the intensity of the song for me.

I am happy for him doing the soundtrack for Game Freak’s new IP.

[Sp4rt4n1295]

Originalmente postado por (Edgy) Asriel Dreemurr:

Originalmente postado por Zoracs:

I find it hilarious this thread was made without knowledge of the incoming Nintendo Direct.


I feel like he could've thrown in the original version and no one would've complained.
Instead we get a more funky, upbeat version that although sounds really similar, was given a few minor tweaks to really make it an epic Smash Song.

and by that I mean it's really freaking cool, like Sans' Brother.

I’m not sure how I feel about parts of it. It kinda has the same problem for me that the Homestuck version did where the guitar didn’t really mix well and made it sound messy in some spots, though this version is definitely better. It sounds good at the start when the guitar is playing the same melody, but not when it starts doing its own thing.I also really like the harmony change in the middle part, but that last chord in it is eeehhh, like he really should have change the note in the melody instead of keeping it the same as the Undertale version. And I don’t really like the slow march take on the long chords, Toby doesn’t use the kind of realistic orchestral sounds to pull that off, so it just kills the intensity of the song for me.

I am happy for him doing the soundtrack for Game Freak’s new IP.

I kinda agree with you here. It’s better than Homestuck’s version, but I still prefer the Undertale version. Also, you should listen to the unreleased Alterniabound version if you haven’t already. I think it sounds like a slightly better mix of the Homestuck version

I wonder if Toby’ll be able to sneak in some Undertale/Deltarune leitmotifs in Little Town Hero’s soundtrack.