To be able to imitate all the different speech patterns, we analyzed each of them individually. We ended up with something like this: There are 13,250 unique combinations of these eight sounds that Undertale has in its game’s dialogue.
The “Undertale theories” is a blog that analyzes the speech patterns of the game Undertale. The blog will go over the different dialogue options and what they mean.
I believe the characters in
Simple abstract speech patterns may be found in Undertale.
You may create such patterns using a few notions that I think are simple enough to understand.
There are huge SPOILERS in this post.
Every name (positional) numeral system
Despite this, I’m not sure I understand “-” randomness very well.
In simpler words, here’s what (-) and (–) are meant to mean:
Jumping from talking about item A to talking about thing B is what (-) is all about.
(–) refers to a situation in which the communication as a whole does not add up to a single subject and instead concentrates on two fragmented themes.
Low-level randomness and Asgore (-)
- Hohoho! You must be overjoyed at the prospect of having this kid. You know, if you continue to make jokes like this… You could become a renowned MOMedian one day.
Asgore suggests two options: “(not) being thrilled to have the kid” and “(not) continuing to make jokes like this” with “(not) being a renowned MOMedian.”
However, not all of them can be grouped together into a single issue with a single (quasi-)causal relationship.
For instance, if you combine them together like this: «(You’re ecstatic!) Those jokes have the potential to make you a great MOMedian» – there will be a “hole,” a transition from the theme of “excitement” to the topic of “MOMedy.”
- … Tori… You are correct… I’m a terrible being… But do you think we’ll be able to be friends again?
Asgore describes two scenarios: “Toriel (not) being correct,” “Asgore (not) being an unhappy creature,” and “(not) being able to be friends.”
However, I am unable to connect all of them by a single (quasi-)causal connection.
For instance, groups like «(You’re correct about me) I’m a sad creature – but can anything compensate for that so I may hope for friendship?» and «You’re right, I’m a horrible creature (btw, can we be friends?)» – always appear to leave out one option as a distinct issue.
High-level randomness and Monster Kid (–)
- Undyne is a total badass. She never loses when she fights wicked folks. If I were a human, I’d pee the bed every night since I knew she’d beat me up! Laugh out loud.
I see at least three alternatives here: «Undyne is (not) cool», «She DOES (not) beat up evil people and (NEVER) loses», and «She DOES (not) beat up bad men and (NEVER) loses». and «I would not dread being vanquished if I were in a human’s shoes»
«Undyne is awesome because she defeats evil folks and never loses (btw, as a human, I would dread the beating)» are two examples of groups based on (quasi-)causal linkages that come to mind. and «She always defeats evil people and never loses – I’d be afraid of her (btw, Undyne is cool!)»
However, such groups do not, in my view, follow a single path of thinking; they split into distinct themes.
- He ended up going to school and lecturing the students about responsibility and other topics. That made me think… YO! What a WONDERFUL thing it would be if UNDYNE came to school! She’d be able to beat up on all of the instructors!! Perhaps she wouldn’t assault the instructors… She’s much too cool to ever injure someone who isn’t her!
Let’s look at three choices from the list above. «Asgore (didn’t) come to school, and it (wouldn’t) be okay if Undyne showed up.» «She could (not) defeat ALL the teachers,» says another.
Is Undyne cool because she can defeat everyone, or because «I WAS PROMPTED IN SCHOOL TO THINK Undyne would be great since Asgore was»?
But, since those causation connections are about distinct subjects, I don’t believe they can be combined into one.
Original examples of (–) ->
A My hometown is one of my favorites. I can’t image myself in any other situation. I don’t have a really vivid imagination.
B This robot has been designed to treat humans with respect. It always pays attention to me. But you never pay attention, which is a pity!
The possibility of “can’t picture myself somewhere else” is linked to two separate themes: love and imagination.
Possibility B «It always listens to me» is a combination of two topics: a broad description of the robot and a comparison with a judgment.
It’s as if there’s a little “dissonance” in the message, or an additional piece that doesn’t fit properly and causes the jigsaw to fall apart.
Standalone Facts is the sixth de-bone.
(.) is an abbreviation for Standalone Facts – It’s an idea at a high level.
“Definition” (.) refers to the several possibilities associated with a specific Quality.
For instance, multiple outcomes or options connected to an essential attribute of something
In plain words, (.) is a collection of stand-alone facts/events that don’t need any more context to comprehend; each segment of (.)-speech is a self-contained statement… You can break up a speech like this without losing the meaning…
Facts about Sans and Standalone (.)
Sans, for example, may discuss stand-alone ideas that can be grouped into a single “stream of thought”:
- (Sans has already described a difficult decision:) What will you do? … I would have thrown up the towel by now if I were you. However, you didn’t acquire this fart by quitting up. That’s correct. You have a quality known as “determination.” So long as you hang in there… So, as long as you do what’s right in your heart, I feel you’ll be well. (alright. Kid, we’re all relying on you. best of luck.)
a1 «having the good will to alter the world» is a unique “binary” characteristic. It’s a Quality that you either have or don’t have.
b1 «(not) giving up» – by comparing Frisk with himself, Sans emphasizes that both options are viable – it’s a possibility.
b2 “(not) holding on” and “(not) doing what your heart tells you to do as well as «not being able to do the “right thing”» – The qualifier “as long as” emphasizes that such things do not have to happen – they are alternative possibilities, choices that must be made and maintained.
As a result, we have a variety of possibilities associated with a single Quality – we have Standalone Facts (.)
Full Speech Patterns (eighth umbahrella)
Here are my thoughts on the characters’ entire speech patterns, as well as some further analysis.
Sans’s Pronounciation Style
I think Sans’s full speech patterns is (>)(+)(++)(.)
A spoiler for a Sans-related “easter egg” (?)
- “I’m the famed fartmaster,” did you just say? wow. That’s… um… rather juvenile. What made you assume that was a top-secret codeword? That liar who told you that is a filthy liar. I don’t know any secret codewords. nevertheless. I do have a triple-secret codeword, which you just said. (I suppose you’re qualified.) The key to my room is here. It’s past time… you’ve discovered the truth.)
Is there anything in the quote that has a low-level implication (+)? You may examine it or anything else, and you can begin your analysis in the comments!) But, since I’m greedy and can’t stop, I’ll take one bite:
Why do you believe that? – Sans may be curious as to why Frisk believed so and would be willing to listen if Frisk had anything to say, but he isn’t THAT interested in the explanation – or in an abstract sense… “WHAT gave away that I am a spy?” is a good comparison.
The same spoiler applies:
- Please wait a moment. the expression on your face when I was speaking… You’ve already heard my pitch, right? I had a feeling it was going to be like this. You constantly behave as though you knew what will happen next. You feel as though you’ve seen it all before. So… I’d want to make a request of you. I have a secret codeword that only I understand. So, if someone informs me… they’ll have to be a time traveller. Isn’t it crazy? In any case, here it is… I’m waiting on you to come back here and tell me that (whisper, whisper). I’ll talk to you later.
You may look for (+) low-level implications in the quote, or you can look for anything else!)
Sans and low-level context (>) prototype draft attempt
- You did an excellent job of resolving the problem so promptly. You didn’t even need my assistance. Which is fantastic since I like doing nothing.
Initially I wanted this to be the second example of hidden conditions (>) – like, Sans has a hidden unexpected motive to view Frisk’s success as great
However, I (still) don’t know how to translate it into fundamental principles in a fun manner – so understanding this remark may be a good exercise for you!)
Papyrus, more Papyrus
I think Papyrus’s full speech patterns if (,)(>)(==)(,,)
- … OH. SHOOT. I AM A HUMAN… I’M SORRY FOR THE INCONVENIENCE. I DON’T HATE YOU AS MUCH AS YOU HATE ME. ROMANTICALLY. THAT’S WHAT I MEAN. I MEAN, I REALLY ATTEMPTED! I BELIEVE THAT’S WHY YOU FLIRTED WITH ME… THAT I WAS SCHEDULED TO MEET YOU FOR A DATE. THEN THE FEELINGS WOULD BLOSSOM ON THE DATE!!! FOR ME, I WOULD BE ABLE TO MATCH YOUR PASSION! BUT, ALONE… I, THE GREAT PAPYRUS, HAVE EXPERIENCED FAILURE. I FELT EXACTLY THE SAME AS I DID BEFORE. (AND NOT BY DATING YOU… I’VE ONLY DRAWN YOUR INTENSE LOVE FOR ME INTO YOUR DEEPER… A DARK PASSION PRISON WITH NO WAY OUT. HOW COULD I DO THIS TO MY BELOVED FRIEND…?)
a1 «I DO (NOT) LIKE YOU THE Fashion YOU LIKE ME» – Papyrus uses this as an option because he is referring to Frisk’s or his own unique expectations, or a “ideal situation” that reality did not meet in a binary way.
a2 «THE DATE WILL (NOT) ENSURE THAT MY FEELINGS ARE AS STRONG AS YOURS» – Papyrus is deliberately anticipating this and it is critical whether it occurs or not, and we have a single “successful” consequence (falling in love) that is diametrically opposed to all other possibilities — it’s an option.
b1 «A DATE CAN INFLUENCE THE MUTUALITY OF OUR FEELINGS» — the Dependency Papyrus emphasizes this via the alternatives listed above.
Other dependencies exist (for example, «YOU “CALLED” = I HAD TO ANSWER» and «I TRYED TO INFLUENCE MYSELF = BUT ONLY INFLUENCED YOU MORE»). However, they express diverse thoughts and are associated with various possibilities. I’m convinced.
So, we have multiple options connected to a single Dependency – we have low-level context (>)
Toriel, Sans, and Papyrus are on the phone (out)
I wanted to look into it to see if there were any (,) low-level connections: (I mix up the phrases in my brain to come up with anything along those lines)
Oh my goodness, are you serious…? And then you stated you wanted to refer to me as “mother…” You’re a youngster who is… “interesting.”
(Are you serious, dear…?) I’m not sure whether this is pitiful or charming.
But the analysis became too large – it will be addressed at the conclusion of this essay; in the meanwhile, you may reflect on your own behavior.
You’ll be able to view the analysis at the end of this article.
Toriel’s story continues.
I have a feeling Toriel’s full speech pattern may be (,)(+)(>>)(,,)
- No problem, I understand. You’d be miserable if you were stuck down here. Once you’ve become accustomed to them, the RUINS are rather little. It would be inappropriate for you to grow up in this environment. My expectations are… My solitude… My dread… My kid, for you… I’m going to put them away.
a1 «You’d simply be unhappy stuck down here» – you may be unhappy for an infinite number of reasons until we provide a certain condition – otherwise, it’s a feeling, a state.
a2 «The RUINS are too small» – we don’t know whether it might be any other way (could the RUINS be large?) We weren’t EXPLICITLY establishing a goal to locate a large or little place beforehand – and maybe we weren’t even looking for a place to stay – so we don’t project any pre-existing universal expectations into RUINS when we reject them.
a3 «It would be wrong for you to grow up in such a place» – Unless we suggest a clear obvious reason we’re talking about a state, anything like this (like “growing up”) may be “not correct” in an infinite number of ways.
b1 «The qualities of this location might impact your happiness» – this is the Dependency. Toriel realizes that binds the states above together.
Another Dependency I notice is «My sentiments may interfere with your life» – but this one links a different “pair” of states.
As a result, we have several states linked to a single Dependency – low-level factors (,)
Asgore in further detail
I think Asgore’s full speech pattern may be (-)(+)(>>)(.)
- Please… Youngster… This battle has dragged on for far too long. You have the ability… Take my soul, put a stop to this, and go out of here.
a1 «This is taking (too) long» – this may indicate a certain anticipation about the war, a more or less definite moment at which it’s evident the fight is pointless – in such case, it’s an alternative.
b1-a2 «You DO (NOT) have the power» – this may convey both an internal attribute of Frisk (Frisk is either powerful or not) and an external need for obtaining an opportunity (which Frisk may or may not fulfill) – this may describe a Quality and an alternative.
a3 «Take, end, and depart (or don’t)» – a binary decision. Asgore presents Frisk with two options and contrasts them by portraying one as the “salvation” — such a “dichotomizing” decision is a possibility.
Alternatively, I suppose you may construct the same “argument” around the property of war length (rendering IT as the Quality).
We have Standalone Facts, which are various possibilities tied to a single Quality (.)
For the first time here, Asriel
I believe Asriel’s whole speech pattern is (-)(+)(,,) (.)
Asriel’s speaking pattern reminds me of the speech pattern (-)(+)(,,)(==).
- Please, Frisk, leave me alone. I won’t be able to return. I’m sorry, but I simply can’t. I don’t want to be the one to shatter their hearts again. It would be preferable if they never saw me.
a1 «their hearts will (not) shatter again» and «it’s better if they (never) see me» – here we have two binary possibilities contrasted by Asriel’s desire/judgment (one result is undesirable and “bad,” while the other is tolerable) – those possibilities constitute a choice.
b1 «their hearts (very powerful feelings) can rely on (seeing) me» – this is the crucial phrase. Dependency Asriel emphasizes a lot – Asriel’s sense of responsibility and empathy are highly important to him — he not only cares about others, but he also actively strives to protect them from “harming” themselves (pre-emptively) by being prepared to make a sacrifice.
As a result, we have a single choice linked to a single Dependency – high-level factors (,,)
Flowey and low-level context (>) scene investigation
I wanted to quote this as an example of Flowey using low-level context (>) –
- Do you have any idea what’s going on here? You you wanted to watch me suffer for your own amusement.
I wanted to look at it in the context of the scene, but there weren’t MULTIPLE alternatives available.
I ended up remembering everything Flowey said in that moment or something –
- Hey buddy, you missed them. Let’s try again, okay? Is this a joke? Are you braindead? Run. Into. The. (((BULLETS!!!))) friendliness pellets Do you have any idea what’s going on here? You you wanted to watch me suffer for your own amusement.
However, it (the analysis) became too large!
I’ll upload it later – in the meanwhile, you may do your own analysis!)
Part 1 of Flowey’s Flowey’s Flowey’s Flow
I think Flowey’s full speech pattern likely is this (=)(>)(,,)(.)
- Huh? WHY am I continuing to do this? You don’t get it, do you? It’s all just a GAME, after all. You’ll “win” the game if you leave the subterranean pleased. You will no longer want to “play” with me if you “win.” And then what would I do? But this is a game that will never end between us. Victory will be there in front of you, within your grasp… Then, just as you’re about to grab it, take it away. Over and over again… Hee hee hee hee hee hee hee hee he (Listen. I’ll give you your “happy ending” if you overcome me. I’ll return with your companions. I’m going to demolish the barrier. Everyone will be pleased in the end. But it is not going to happen. You…! Whatever happens, I’ll keep you here! Even if it means murdering you a million times!!)
a1 «You may terminate the game (be pleased and go) or not» – it’s Flowey’s two most essential binary options; the whole conflict revolves around them and the binary TENSION between them – you may consider it the message’s primary choice.
b1 «Our engagement is contingent on the “Game” continuing to exist» – this is the fundamental Dependency at the heart of Flowey’s concept.
As a result, we have a single choice linked to a single Dependency – high-level factors (,,)
(Continued below in the comments!)
(NOT) Inconsequential Shoutout (Hello!)
Before getting to know Undertale, I met and spoke with three individuals who were fans (I assume!) of the game.
I believe they are all capable of giving someone a hard time who deserves it.
I just wanted to give them a shoutout… (Hello!))
What are the different types of speech patterns?
I’d want to discuss something —
Even though speech patterns are “actual,” they are a fabrication of the “mind” (social?)
I’m not interested in deciding on anyone’s speaking style.
I’m not interested in learning about anyone’s speaking style.
I just want to be able to share my experience and recollection – and I want others to be able to do the same if they so want.
Yodeling as a Post-Undertale Requirement
If those patterns apply to real people & music bands they are very important,
I want to draw attention to such patterns and then investigate whether or not they are genuine.
My postings are dedicated to genuine individuals, such as people I know, such as elderly chess players.
or, for example, to… You!
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The “Undertale: speech patterns breakdown” is a blog post that breaks down the various speech patterns in Undertale. Reference: is chara canon.
- undertale text-to-speech
- undertale voice generator
- sans text to speech
- undertale masterlist
- chara dialogue undertale