Deltarune Analysis - Tumblr Posts

This is Evil Spamtonology

Hello! I'm mafa @rubsjuice, she/her, and I enjoy media analysis of all kinds, even more so of Deltarune. I've been relentlessly roleplaying Spamton for two years, and I've thought a lot about this little guy, things that after a long time of restricting them to my friends' discord server, I feel the need to share with the wider community.

The owner of @spamtonology is my friend and gave me their blessing to name my blog this way because they're nicey and polite and I'm fucked up and evil.

This blog will focus on Spamton, but it will also branch to other UTDR characters, concepts, and worldbuilding, because a good character is nothing without his world and baby, Spamton is living in it.

I'm not very sure how I plan to organize the blog yet, tag-wise. I'll edit this intro post when I do.

Feel free to send asks! I love talking to other people and sharing opinions. Please don't be shy, but in case you are, I'll make sure anon asks are open <3

DISCLAIMERS:

These are all my own analysis of the written text of UTDR, as well as making cross references with other media and concepts I've come across in life. I in no way am claiming that what I'm saying is the truth, nor that it is the only acceptable interpretation of the UTDR narrative. To do so would be intellectually disonest and honestly I hate that.

My posts are intended for an adult audience. While I won't be posting explicit content, nor am I interested in doing so, I might talk about things that are upsetting or uncomfortable. I cannot and will not forbid teens from reading my blog, and I will do my best to write my posts in a way that's accessible for everyone, but I will not go to lengths to make anything I say kid-friendly. If you're in middle school and onwards, you are well-equipped to follow an intellectual discussion that is not sugarcoated or advertiser friendly, and I will not pretend you aren't.

You are allowed to fuck or not fuck Spamton in any way you'd like, I don't care and that's not the objective of this blog. You don't need to ask me anything of the sort. Play clown games, win clown prizes.

Why is Swatch a class traitor???

Thank you very much for asking :)

In this post I'll be using he/they pronouns interchangeably to refer to Swatch. I enjoy the idea of they-pronouns Swatch but at the same time I refuse to believe that the only instance of canon pronoun usage to refer to him is misgendering, as some people posted about before, because that's not how Toby flies.

That being said, before talking about Swatch specifically, I need to explain the logic behind this reading of them. Swatch being seen as a "class traitor" is derived from the marxist idea of class consciousness, or in different terms, the fact that people who are in the same economic position understand each other and therefore owe each other solidarity, the idea that people need to be conscious of their position in their society and side with people who will help their situation and improve their lives.

In this sense, a class traitor is a person who, despite understanding their position in the social strata, refuses to side with their peers and instead either shuns them to appeal to a higher social class, to "appear as one of them", so to speak, or completely refuses the idea that they are part of that class to begin with. A good, palpable example, are snobbish, classist doctors. Doctors are employed by someone – be it a hospital, a clinic, an insurance company, the government in some countries, even in private practice, etc, but they are not, by Marx's definitions, owners of capital, aka someone with the exorbitant amount of money that allows them to control production in a large scale (in other words, conglomerates and billionaires). However, having a higher material condition on average, and having attained this social position through study that was allowed by a higher material condition in the first place, some doctors don't realize that they are just as much of a proletariat as the poor man they are treating, and thus exhibit behavior like discrediting, ignoring or even being hostile to people they identify as lesser, despite the fact that they're supposed to be together, sociologically speaking.

What the fuck does that have to do with Swatch, you ask? Well, Swatch is, to put it bluntly, literally a servant to aristocracy. They are, by definition, part of the working class, and therefore they owe solidarity to their fellow workers. Spamton, in direct counterbalance, is a member of the working class who has been elevated, by one way or another, into a position that makes him just as, if not more powerful than aristocracy. Spamton had become burgoise, though he still retains his origin as a working class salesman, that much hasn't changed in him, as far as we can tell. This seems to be going on just fine, if we are to believe Spamton's response in the Q&A, until Spamton needs a support system, when his business goes belly up to the point that he ends up homeless.

I really need to emphasize this point. Spamton isn't a "funny little guy who lives in a non-house cuz it's funny", not even in-universe. He is, put it simply, destitute. He does not live in the trash because he wants to. And, I think that every clear-headed person understands this, you cannot go from being one of, if not the, richest person in your entire world, to a homeless man living in a garbage can who people pretend doesn't exist, unless your peers and your society have wronged you tremendously. Spamton didn't become a homeless man just because he fucked around and found out, he became a homeless man because he fucked around and found out, AND none of his peers from this time wanted to help him. And, most importantly, this includes Swatch.

As a servant, he must know what poverty looks like. He must know what having a material condition worse than the ones you surround yourself with is like. And they did nothing to help, or maybe even contributed to Spamton's isolation, which is a separate can of worms I don't have the energy to look at gameplay videos for at this time of night.

For real, does the guy who sells Spamton's bowties with the label removed, and refers to him as a "crooked salesman", and plays it coy and laments when Spamton goes off the deep end sound like they have class consciousness?

Do they sound like they wouldn't shoo off a poor, hungry plugboy from the palace's kitchen back door?

Swatch has apparently rejected his origin not only as a metaphorically working-class artist, but the fact that he could empathize with other working-class people as well, including the less fortunate and the desperate. This makes him a class traitor, by Marx's own theory.

Of course, there's a lot more nuance to Swatch and Spamton's relationship, especially the fact that Spamton isn't the perfect portrait of a poor victim and is very combative and aggressive, which doesn't make people very willing to empathize with him in the first place. There's also the power inbalance and dynamic involved in the fact that, when Spamton lived in the Pandora Palace, Swatch was his butler as well, and that might complicate things from Swatch's end.

At the end of the day, this is just my own takeaway from Swatch's words about Spamton, and Spamton's words about Swatch. This doesn't mean much for anything besides my own understanding of Deltarune and what sort of fun dynamics I can explore in fanworks, nor does it mean I am claiming it as truth, but I do think it's an interesting exercise in media analysis.

Edited to include a few more words on Spamton becoming burgoise cuz I meant to do that but forgor lmao

Personally, I'm a "Spamton is in his 60s" truther. I think he became big in his mid to late 30s after a really long time of struggling business (at least a decade! For desperation purposes) and then being big got to his head so much that the fall made him forever washed up, a dead salesman (him being in his 60s is also a good way to link him to Death of a Salesman, which to me sounds like a big inspiration to the character, since in the play Willy Loman is also in his 60s. Too old to be productive, too young to be set for life).

I think that if he's in his 60s now it's interesting to think about what it does for his "cultural age", so to speak. A guy in his 40s now grew up in the 80s, in an era where brands and franchises have been thoroughly figured out. He'd do a lot more brand references to things he likes, for instance. But a guy who grew up in the 60s and 70s? Spamton would've been exposed to hippy culture, the rise of huge corporations and the collapse of the american dream cultural phenomenon in a formative age, which, at least from my perspective, complements his character really well. I think that because all the values he's been taught as true and correct are now a thing of the past — it reinforces his washed up desperate themes, as well as the more unsavory aspects of his character.

Spamton himself is a thing of the past, which is why he was left to collect dust in the trash. Forgotten, antiquated, useless. No wonder he goes insane.

I’m a “Spamton is even older than 45” truther.

Okay, I've cooked lunch. Let's get to real cooking now.

Basically once every few years I like watching a 100% playthrough of Majora's Mask (usually that ancient commentated one by Zelda Dungeon but this year I opted for a single video 10 hour no-commentary HD mod playthrough), and this year as I was practicing this tradition I started reflecting upon what I like about MM. It's not just that its themes are more reflective of death, it's not just that everything in it is written in a way to always culminate in the end of the 72 hours. What I like the most about it is how compact it is compared to OoT. The lack of Hyrule Fields means that everything in Termina is closer together. It feels like a more closed, more comfortable experience than the vast expanse of Hyrule.

Another thing I really like, and that's more coincidental than anything, is that the models and characters are all more or less the same as in Ocarina of Time, but they all have completely different roles and relationships to one another, although not exactly that much different from OoT. This is what made my synapses fire up at 1 A.M. to post the sentence "I think Undertale is Majoras Mask for Deltarune's Ocarina of Time" nine hours later after i wokeup

Here's my reasoning: I mostly understand Majora's Mask as an allegory for Link's existential crisis and his way of coping with loss and change from the end of OoT when he chooses to continue being a child. Termina is all centered around the idea of imminent impact, imminent change, something you can't control and yet will still come, the end of a world as you know it and beginning of something you don't know. That's a very vivid picture of what Link might be feeling during OoT, realizing he's not a fairy boy and becoming a knight for a princess and being part of a prophecy that perpetuates for generations and having to defeat the literal incarnation of evil who is a huge buff man and having to grow up and travel through time and link's like 12. That's a lot of change in an incredibly small amount of time. Of course Link'll be thinking about it for a while.

So, taking the interpretation that Majora's Mask is allegorical, I circle this back to Undertale and Deltarune: I think Undertale too is some sort of allegory for Deltarune. Deltarune is obviously the more expansive game of the two, has been worked on the longest and was intended to come first. All of the characters that appear in Undertale are present in Deltarune in more... Let's say grounded roles, and sometimes less idealistic than in Undertale. To illustrate my point:

"divorced mom and dad" -> "mom who lives in isolation and dad who lives far away and also they're the royals"

"suddenly there new grocery shop owner and his little brother who i wanna befriend so bad" -> "two cool skeleton brothers who showed up out of nowhere that everyone likes and who are your best friends"

"old man who died long ago who was beloved by all that you've never met" -> "old man who is still alive who tells you cool stories and is super smart and fun to hang with"

et cetera

Add onto this the concept that Undertale is a comfortable and safe game, which is something I really like. When I first played it, Undertale made me nostalgic for something I've never experienced; nostalgia without a subject. Finally, after 8 slutty, slutty years, I figured out why. It makes me nostalgic for a time in your infancy where you understand the world as friendly, because you're still too small to have experienced much more than your own home. Everyone is looking out for you and nobody wants to harm you. Undertale feels so comfortable to me because I know no characters in that game are dangerous due to bad intentions (which is another part of my disdain for evil gaster headcanons but i'm getting ahead of myself there), and I know that most of the characters, when they are threatening, are just putting on a show to interact with you (I promise you, if you play Undertale with the mindset that all of the monsters are either humoring or babysitting Frisk it turns into such an amusing little game). And in that regard, it's very contrastant how different Deltarune is. Deltarune is more mature in that sense – in the idea that there are ill intentioned people in the world, people who are not giving themselves the responsibility to be nice to kids and teens, a world that is more complex than a teenager would wish it to be.

So, in summation, Undertale appears to be an allegorical, idealized, safe world based on the world of Deltarune. Whether this means that Frisk is a representation of Kris from their own perspective, or something else, I don't think we have the information to figure out yet. But what would this mean for their unrelated-ness?

I do believe that when Toby let everyone know that Undertale and Deltarune were Unrelated, I don't think he meant it "completely". I think he meant it in a way to stop people from viewing them in a linear way, as in, one is a sequel to the other, in which the same logic and lore would apply. I think Undertale and Deltarune are related in either of two ways:

Undertale is fictional inside of Deltarune (thus, it actually has 3 levels of fictionality which is something I wanna talk about some other day)

Undertale is a rearranging of the Deltarune universe (if you're a homestuck girlie, effectively a post-scratch universe), in which some relationships and worldly rules are maintained and some are reworked towards a specific goal.

I think that, by the time Chapter 7 is published, we will have the answer to this, but for now, there's not enough canon info out there to draw any conclusion, including the one this same theory brings up: What is Undertale an allegory for?

(personally, I think it'd fit within the themes of escapism and idealization turned into unhealtiness, as well as the wish every older teen/young adult has to return to childhood, but that's again a topic for another post)

But yeah. This is why Deltarune is Ocarina of Time and Undertale is Majora's Mask. Enjoy the meal.

Do you see my vision?

Mini Deltarune theories I have that are not quite big enough for a true post, but interesting to note. In order of most confident to least.

Ralsei is luring the lightners to the Dark World in order to trap them

In chapter 2, Ralsei creates rooms for Kris and Susie that "they can go to no matter what is happening outside". Unlike Queen's rooms, which are guesses based on search results, Kris and Susie's rooms are accurate to an unsettling degree. Not only is Kris' room identical to their light world counterpart, but it also has all of Asriel's trophies on their side of the room with Asriel's side gone, a reflection of their potential secret desire to no longer be under Asriel's shadow. Similarly, Susie's excitement on even having a room suggests that Ralsei could know what Susie's light world home life is like or lack thereof if she's homeless.

By creating these rooms, Ralsei is fulfilling the lightners secret desires and judging on his phrasing, wants them to go there in order to avoid whatever is happening "outside" the dark world. By doing so, he is effectively strengthening their desire to stay in the dark world so they can't escape.

Chapter 3 isn't going to be Undyne or Napstablook, it's Asgore

Chapter 3 taking place in Kris' home with the fountain being created by Kris suggests to me that the world may mostly involve whatever the Dreemur family drama entailed, which would include Asgore who was the former chief of police. Not only that, but the combination of Toriel having troubles calling the police and the station being closed in a preview for chapter 4 suggests to me that Mayor Holiday could have closed the station during the night of chapter 3 after they failed to catch the mysterious criminal wrecking Hometown, leaving Asgore as the only character left who might want to resume his policeman duties when Toriel's call is made. It is also more fitting for Toriel to kill Asgore in the hypothetical chance the Snowgrave route continues with her as she already dislikes Asgore and possibly blames him for Dess' disappearance. Speaking of...

Asgore really was involved

There's a lot of weird forshadowing on an "evil Santa". Lancer believes that "ho ho ho", a laugh associated with the mystical Christmas gift bearer, being an evil laugh. Noelle is also scared of Santa and it's revealed in Undertale that Asgore dressed up as Santa to give gifts to the monsters. All of this seems setup to me that Asgore really was somehow involved in letting Dess disappear, something that may be revealed during Chapter 3's Snowgrave route.

Dess is ruder than she appears

This is a more playing by expectations theory, however there's certain lines and implications that become interesting once looked under the lens of this theory.

It's revealed that Dess once beat Kris with a wiffle ball bat for scaring Noelle by telling her that ICE-E "eats kids". This puts a precedent that Dess has at least somewhat violent impulses in order to protect her sister, even in situations that don't need it. It's also a bit odd that unlike Asriel, no one in the hometown mentions Dess after her disappearance except for Noelle. Even Berdly, Noelle's best friend, doesn't bring her up. It could be that the hometowners may not want to hurt Noelle by reminding her of the disappearance, however since she's so open about talking about Dess to even new kid Susie it may be another reason why the hometown doesn't mention her. It's possible that the simularities to Dess and Susie (both are horror loving, somewhat violent, tomboys) are deliberate and are setting up the reveal that Dess is/was actually a bully and a future scene with Noelle may parallel the scene in Undertale where Asriel reminisces that Chara wasn't that good of a person.

Gaster blasters are named after Gaster, but not created by him

If you spare Papyrus in Undertale after an aborted Genocide run, he will say this.

The most common theory is that the "Special Attack" would be a Gaster Blaster. What's interesting to me is the phrasing "my Special Attack", which suggests that Papyrus owns this attack and it could have been unique to him before Sans or the annoying dog stole it. If Gaster Blasters are really his unique attack, it could mean that Papyrus created the Blasters and named them after Gaster, rather than the fandom interpretation that Gaster made the Blasters then gave them away.

There might not be a singular "Knight" because anyone can dream

At the end of each chapter, the characters ask if the dark world adventure they had was some sort of dream. Since anyone can fall asleep and dream, it's possible the game is setting up that trying to seal the fountains is impossible because anyone can dream and thus become their own "knight".