Demo Muscles.mp3 Download
Leana Eckes
Undertale was obliquely teased as "UnderBound 2" in February 2013 before being released as an official demo of Undertale that May. It then received a Kickstarter page, where backers originally kept track of the game's progress before the eventual release in 2015. Judging from the developmental process, the foundation for the game was pretty much laid out save for a few minor layout changes and redone graphics.
Ever since the game's release, it sprang to popularity in the age of famous YouTubers playing indie games which had formed a following then. The popularity of the game allowed Toby Fox to include new additions via updates and develop another game in the series called Deltarune.
In January 2013, Toby Fox started to develop Undertale after he clicked on a random article on Wikipedia and ended up on a page about arrays. Back then, he studied about basic programming variables in RPG Maker 2000 by reading books, but he did not know how to code a full-scale game. The game's original idea, dating back to early 2012, ended up being released in 2018 as Deltarune.
He stated in a 2017 Famitsu interview that the "Action" and "Quit" commands were inspired by Shin Megami Tensei, in a similar vein to interacting with monsters. Toby also claimed that Shin Megami Tensei was his inspiration for adding pacifism to Undertale, during a 2020 interview with NPR.
In the same NPR interview, Toby spoke of an early version of the first boss, in which the player would need to kill Toriel in order to progress. This was changed because according to Toby, "I was like, 'this sucks' and I changed it before I released the demo."
The first page posted on Toby's Twitter details a Karma system that never made it into the final game. The only concept related to Karma that did was the KR system in Sans's boss fight. The Karma system could have been reworked into the EXP system in the final game, giving you a certain amount of EXP when you kill monsters.
The final page references a green heart attack, used by Undyne instead of Asgore ("final boss") in the final game. The sword attack was used by Asgore. Sans is the only boss that actively attacks your cursor, and he is the final boss of the No Mercy route, so this still stays true.
This page also details a phasing mechanic where you can phase through bullets. This never made it into the final game, but the final game allows the player to phase through cyan bullets by standing still and orange bullets by moving around when they make contact. Yellow bullets never made it into the final game, but every other type did. An early idea for the platforming-based Blue SOUL mechanic is already detailed here, but it's tied to whether or not the player can phase rather than whether or not they're affected by gravity.
The Kickstarter for the game originally hinted at the ability to date Mettaton, which never happens in the final game. However, Toby Fox did indeed write dialogue for the event, which was done so early into development that Mettaton wasn't even called Mettaton, instead going by "Memmaton." Presumably, "Memmaton" wouldn't have actually played a Ricky Martin MIDI if this scenario made it to the final game.
A version of "sans." is a part of the sample project of the Sburb project, which is the engine of the Openbound games in Homestuck. Although it has no audible differences from the final version, it's notably uploaded on October 24, 2012, with an early version of "April 2012" from Deltarune uploaded slightly later.
This image shows the earliest revealed screenshot of the game. While most of it looks similar to how the final game looks, the options at the bottom are different, with a "Talk" choice instead of "Act", "Spare" instead of "Mercy", and a "Spell" option that's not in the final (its graphics are present but unused, however). No visible LV meter has been implemented. The Froggit enemies are called "TestMonster", and the spots on its chest are slightly different than the final's.
The regular battle theme, "Enemy Approaching", was one of the earliest tracks written for the game. The version from the PK Hack thread is slightly incomplete, notably missing the outro the final has and the beep-y instrument from 0:21 on.
Compared to the final, the early version has blockier graphics. LV is next to the player's name, and there is an extra stat EN, which Toby says stands for English, though more likely stands for Energy, which is an unused stat in the demo's code.
Dated April 5, 2013 (one month before the demo release), this leaf puzzle was made a bit easier in the final version. Other parts of the ruins were also lacking markings or cracks on the ground at this point.
On May 2, 2013, an earlier version of the Undertale Demo (GAMETEST_7) was showcased on their stream. Despite Only being 21 days from Public Demo's release date, it features a number of differences like concept art for the intro, a placeholder menu, and a bunch of other placeholder assets in the ruins.
Temmie Chang made an overworld sprite of So Sorry from the front, but it was not used until later versions of the game, where he appears outside of the Art Club room in the True Pacifist epilogue only after fighting him.
This track is used when you first meet Toriel. The Bandcamp version is a slowed down, lower-pitched version of the demo's version in the files, which in turn is slowed down, and lower-pitched in-game.
The song on the OST "Can You Really Call This A Hotel, I Didn't Receive A Mint On My Pillow Or Anything" was named "Hey This Wasn't Really What I Was Expecting From a Hotel, For Example You Didn't Even Leave a Mint on My Pillow" when revealed in a Kickstarter update, and has the filename "hey_this_wasnt_really_what_i_was_expecting_from_a_hotel_for_example_you_didnt_leave_a_mint_on_my_pillow.mp3" on Toby Fox's website. It was uploaded on October 30, 2014 at 8:58 AM.
This prototype version of "Stronger Monsters" is found on Toby's website, as well as in a Kickstarter update. The only major difference seems to be that the end is shorter. It was uploaded on December 18, 2014 at 8:16 AM.
A trailer for the game dated January 14th, 2015, which mainly served the purpose of notifying people that Undertale was now on Steam at the time. At this point the game is very far along but there are still some noticeable differences and placeholder graphics that can be seen in this trailer.
A calmer, less quirky-sounding version of Alphys's theme. It was rewritten for the final version because Toby felt it was too similar to "a certain lab song from another game" (most likely referring to Dr. Andonuts' lab theme from EarthBound). "Here We Are", the theme for the True Lab, appears to be based on this early theme.
An early take on the eponymous song. Compared to the final version, this is less bittersweet-sounding and is played in a minor key. Toby was inspired to change the guitar backing to a new melody (which itself served as the basis for "Memory" and "His Theme") after hearing the song "Redline Day" from the 2009 anime film Redline.
Toby Fox doesn't specify what this was meant to be used for, only stating the track's name in the Tumblr post.Definitely meant to be an area theme, however it has a very orchestral sound that is very distinct from any other track, it likely could have been scrapped for that reason.
During the Hotland section of the game, after meeting Alphys, she sends many status updates through the underground's social media platform, Undernet. It seems at one point, the notifications were able to be toggled through a variable.
According to Sibley Birds East, the song in this sample can best be transcribed as toWEE toWEE toWEE toWEE toWEE toWEE ti ti ti ti ti. Transcriptions of bird songs in general remain ambiguous and often non-intuitive.
Of all mimics, the Superb Lyrebird seems to be the most elaborate, with an uncanny ability to incorporate not just natural, but also technical sounds into its song. Especially individuals in captivity tend to mimic car alarms, human speech, camera shutters or even toy sounds.
Introductory notes of the Red-winged Blackbird song are consistently more important for species identification than the characteristic trill that appears to provide enough redundancy to compensate information loss.
This species is one of the most prominent examples for two-voiced sounds with its characteristic trills at the end of each song. Despite this re-occurring pattern, introductory notes consistently lead to higher class activation.
The gap between two consecutive tones appears to be the discriminating feature for species identification. The introductory note alone does not suffice to distinguish the Tufted Titmouse from other species like the Black-capped Chickadee.
Although the species-specific vocalizations are similar to some variations of the Tufted Titmouse song, class activations show a distinct focus on the first note while the gap between notes does not appear to be important for species identification.
Although an individual in the field only utters a single song, permutations of song elements lead to a vast number of regional dialects. Re-occurring elements are key to identify this species. Other elements appear to contain redundant or insufficient information for identification.
Again, re-occurring elements are key for identification. Despite distinct regional dialects between populations of this species, common patterns in song lead to high class activation independent of their location in the song sequence.
The nasal upslur at the beginning of each vocalization appears to be the most discriminating feature. Other parts of the utterance contain redundant information that does not lead to increased class activation.
This is a demo page intended to demonstrate the joint efforts of the K. Lisa Yang Center for Conservation Bioacoustics at the Cornell Lab of Ornithology and the Chair of Media Informatics at Chemnitz University of Technology. All demos on this page are free to use and we will keep them updated regularly. If you have trouble accessing the demos or have any questions, please do not hesitate to contact us.
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