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Josiah Martinez
Josiah Martinez

Download Phenomenon 3. Outcome PC Game 2014



Undertale is a 2015 2D role-playing video game created by American indie developer Toby Fox. The player controls a child who has fallen into the Underground: a large, secluded region under the surface of the Earth, separated by a magical barrier. The player meets various monsters during the journey back to the surface, although some monsters might engage the player in a fight. The combat system involves the player navigating through mini-bullet hell attacks by the opponent. They can opt to pacify or subdue monsters in order to spare them instead of killing them. These choices affect the game, with the dialogue, characters, and story changing based on outcomes.




Download Phenomenon 3. Outcome PC Game 2014



Outside of artwork and character designs by Temmie Chang, Fox developed the entirety of the game by himself, including the script and music. The game took inspiration from several sources, including the Brandish, Mario & Luigi, and Mother role-playing game series, bullet hell shooter series Touhou Project, role-playing game Moon: Remix RPG Adventure, and British comedy show Mr. Bean. Originally, Undertale was meant to be two hours in length and was set to be released in mid-2014. However, development was delayed over the next three years.


The game's soundtrack was entirely composed by Fox with FL Studio.[35] A self-taught musician, he composed most of the tracks with little iteration; the game's main theme, "Undertale", was the only song to undergo multiple iterations in development. The soundtrack was inspired by music from Super NES role-playing games,[19] such as EarthBound,[36] bullet hell series Touhou Project,[37] as well as the webcomic Homestuck, for which Fox provided some of the music.[19] Fox also stated that he tries to be inspired by all music he listens to,[27] particularly those in video games.[36] According to Fox, over 90% of the songs were composed specifically for the game.[21] "Megalovania", the song used during the boss battle with Sans, had previously been used within Homestuck and in one of Fox's EarthBound ROM hacks.[34][38] For each section of the game, Fox composed the music prior to programming, as it helped "decide how the scene should go".[21] He initially tried using a music tracker to compose the soundtrack, but found it difficult to use. He ultimately decided to play segments of the music separately, and connect them on a track.[36] To celebrate the first anniversary of the game, Fox released five unused musical works on his blog in 2016.[39] Four of the game's songs were released as official downloadable content for the Steam version of Taito's Groove Coaster.[38]


Other Undertale media and merchandise have been released, including toy figurines and plush toys based on characters from the game.[56] The game's official soundtrack, Undertale Soundtrack, was released by video game music label Materia Collective in 2015, simultaneously with the game's release.[57] Additionally, two official Undertale cover albums have been released: the 2015 metal/electronic album Determination by RichaadEB and Amie Waters,[58][59] and the 2016 jazz album Live at Grillby's by Carlos Eiene, better known as insaneintherainmusic.[60] Another album of jazz duets based on Undertale's songs, Prescription for Sleep, was performed and released in 2016 by saxophonist Norihiko Hibino and pianist Ayaki Sato.[61] A 2xLP vinyl edition of the Undertale soundtrack, produced by iam8bit, was also released in the same year.[62] Two official UNDERTALE Piano Collections sheet music books and digital albums, arranged by David Peacock and performed by Augustine Mayuga Gonzales, were released in 2017 and 2018[63][64] by Materia Collective. A Mii Fighter costume based on Sans was made available for download in the crossover title Super Smash Bros. Ultimate in September 2019, marking the character's official debut as a 3D model. This costume also adds a new arrangement of "Megalovania" by Fox as a music track.[65] Super Smash Bros. director Masahiro Sakurai noted that Sans was a popular request to appear in the game.[66] Music from Undertale was also added to Taiko no Tatsujin: Drum 'n' Fun! as downloadable content.[67]


Smartphone use patterns examined possessing a smartphone, mean use in minutes per week (including daily and weekly smartphone gaming) and usual use frequency (days/week), and online gaming activities on smartphones during the past year, i.e., downloading (e.g., apps), SNS use (i.e., Facebook use in general, gaming and posting and checking of received posts), or playing different mobile games by genre: casual games (e.g., Candy Crush), solo video games (e.g., Grand Theft Auto), vehicle simulation games (e.g., Farming Simulator 14,), strategy and management games (e.g., The Sims,), sports games (e.g., FIFA 15), first person shooters (e.g., Call of Duty), Multiplayer Online Battle Arena games (e.g., Heroes of Order & Chaos), MMORPGs (e.g., Dawn of the Immortals), and gaming versatility (i.e., playing more than one game genre during the past 12 months).


Evidence from previous research indicated that social networking is associated with addictive mobile behaviors (e.g., Jeong et al., 2016; Roberts et al., 2014; Salehan & Negahban, 2013). Furthermore, some SNSs (e.g., Facebook) contain games (Griffiths, 2012), sometimes offered by gambling developers (Griffiths, 2015; Jacques et al., 2016), that can be played on smartphones by downloading the apps and accessing them via SNSs, and completing the games using different hardware (e.g., smartphones, PCs, and tablets). According to Müller, Wölfing, and Dreier (2013), the social networking component of online games indicates that a successful gamer has the subliminal quest for socializing (e.g., to update personal knowledge about the game of choice), and this could be an alternative explanation about the interdependent use of gaming and SNS. Furthermore, Jeong et al. (2016) highlighted mobile SNS use was a stronger predictor than mobile gaming for smartphone addiction. On the other hand, downloading apps has usually been studied in relation to pirate behaviors, and mobile games are not exempt from this (Phau & Liang, 2012), which may offer a partial explanation for why downloading apps predicted prohibited smartphone use. Another explanation may be the social element to downloading apps (e.g., sharing results with others; Kim, Oh, Yang, & Kim, 2010). These two motivations for downloading apps hold for free-to-play Facebook games, which are easy and convenient, playable with friends, and as single players (Kuo-Hsiang, Shen, & Min-Yuan, 2012; Paavilainen, Hamari, Stenros, & Kinnunen, 2013). Consequently, the present findings did not show that problematic gaming was present in the samples studied, in addition to gaming predictors not explaining PMPU. This is contrary to findings from Asiatic research studies carried out among adolescent populations (Jeong et al., 2016; Lee et al., 2016). It may be that the phenomenon of smartphone gaming is more prevalent in Eastern cultures compared with Western cultures, although comparability is unclear as methods, populations, and other contextual characteristics (e.g., parenting, educational, and work environments) are different in both cultures and external predictors have not usually been studied.


The study is not without its limitations. First, self-selected convenience samples with a self-report methodology were used (which are open to social desirability and memory recall biases). However, the samples were large enough to generalize findings to similar academic populations in both countries. Moreover, as more females were recruited in both universities among social science schools, it is also possible that this gender difference explained part of the findings in this sample, as traditionally both genders appear to engage with SNSs and games differently. Females are more likely to use SNSs, while males are more likely to spend time gaming (Andreassen et al., 2016; Ko, Yen, Chen, Chen, & Yen, 2005; Szell & Thurner, 2013; Winn & Heeter, 2009). Another limitation is that participants possibly overestimated or underestimated their true smartphone activities because of the retrospective nature of the survey, and previous research tracking mobile phone use has indicated that self-perception tends to underestimate time spent using smartphones (Lin et al., 2015). Furthermore, the short PMPUQ, although generally internally consistent, had modest reliability for the prohibited subscale but this does not diminish its validity (Schmitt, 1996). Finally, in future studies, other more specific predictors concerning personal characteristics of gamers (e.g., impulsivity traits, emotion regulation, and craving symptoms) and their smartphone behaviors (e.g., solely playing Facebook games, gaming-predominant vs. gaming using multiple applications) could be included (Hormes, Kearns, & Timko, 2014; Liu et al. 2016). Furthermore, the smartphone gaming context should be studied (e.g., when commuting, when multitasking at home, when used for entertainment vs. working or study-related purposes; Jang & Ryu, 2016; Jeong et al., 2016; Lee et al., 2016). 041b061a72


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