saveloadreset:

The theory on Chara’s role as a narrator is well-known and carefully documented. But less examined is the theory that they are actually the one who names the songs. This theory may not be as strong as Narrachara, but it is strong, in my estimation, and deserves consideration.

These two songs in particular were the ones that first made me think that there might be something going on with Chara in the Soundtrack in the first place. ‘Here We Are’ is the background music that plays in the True Lab, just before the ultimate climax of the Pacifist run, and it is copied almost exactly by Chara in narration near the climax of the kill-all run, when you pick up the Real Knife. Likewise, the way they talk about Asriel ‘sbed, ‘His Bed,’ has a sort of reverence. They don’t feel the need to specify whose bed it is. They KNOW, and you should know too, in the same way that their locket is ‘The Locket.’ There is only one ‘Him’ worth considering, both when looking at his bed and thinking about his theme … Or ‘His Theme.’

We have more than just these songs as evidence, of course. Once we peer a little closer, many of the songs in the track seem a little odd. You many different sound effects named in the Soundtrack that aren’t so much ‘song’ as much as it is background noise. Songs like ‘Ooo,’ ‘Barrier’ and ‘Long Elevator’ really … aren’t. Not to mention that the person who names things in the soundtrack does in these songs seem to react to things that are happening in the game. For instance, the moment that Mettaton reveals his glamorous new body, a fourteen second song plays, impartially named …

So, the person who names the song is reacting to everything that’s happening in the Underground along with Frisk. And they have a sense of humor.

(Notice how the person who names the songs just took personal ownership of the story that should just be Frisk and Chara’s? ‘My’ pillow? ‘I’ didn’t receive a mint?)

The person who names the songs seems to talk sometimes, using their space to muse on subjects. For instance, before hanging out with Undyne, if you wait outside her house, you’ll hear a soft piano being played. This song has a name in the Soundtrack.

‘She’s playing piano.’ That’s not a proper song name. That’s just an observation of what’s happening when you hear that song playing, like some kind of sub-narration hidden inside the soundtrack. And, let’s not forget, the writer is hardly unbiased. Through the song names and mood of the songs themselves, it talks to us. It gives Frisk panicked imperatives when Undyne is hunting them down …

… It pleads with them to hold on in pacifist when they’re snared in vines and Flowey is trying to kill Frisk while their friends defend them …

… Even calls them stupid when they let Flowey erase their file and decide to fight him.

I could go on, but I think I’ve made my point. The Soundtrack, by and large, in addition to everything else, seems to be another avenue by which Chara talks to Frisk. With this understanding we can gain a better insight into Chara.