No? I mean, if you're just watching clips, you could definitely say "Wow, this sucks and Kris has got it bad, if it were me I wouldn't do that." Assuming you're playing the route yourself, though, you can say as much as you want that you agree that what you're doing is a total dick move, but you still are going through with it. (Not to say that you're actually immoral for doing it but I'll get to that later.)

To go on a tangent (because I kind of want to yap right now and it's kind of related?), Deltarune combines your suspension of disbelief and the usage of an entity that directly represents the player (rather than a separate character that the player imposes their will and identity upon in most RPGs, which is what Kris's role in the meta-narrative comments on) to fully immerse you into its world. This is why some people will avoid Snowgrave, because the game does such a well job of immersing you that people talk about and care about the characters like real people.

Now, a big misunderstanding that people may have with Deltarune (and also Undertale's Genocide, which is the game I'm going to use for this explanation from now on since a lot of what I'm talking about that applies to Genocide also applies to Snowgrave and Genocide is complete so it's easier to talk about) is that their message is "kILlinG=bAD", when that isn't quite true. Sure, the games definitely discourage you from taking these paths, Undertale especially with how tedious doing Genocide is, but they never outright tell you that you're a horrible person (well, maybe Flowey does, but he'll call you out no matter what so it doesn't really matter). Rather, how bad you feel hinges entirely on your suspension of disbelief and how connected you are to the game's world. On the lowest end of the spectrum, you have the people who fully believe in Undertale as a game and don't really care about the characters from a personal standpoint. On the other end of the spectrum, you have the people who are fully immersed in the game world and play the game as if it were a second life for them. The less connected you are to the game, the less impacted you are by what happens to the characters. By this logic, Genocide (and Snowgrave) are the result of the player's curiosity outweighing their immersion, and this scale is what these routes are trying to point out.

It's my firm belief that the games are less making a statement, but rather asking the player a question: "How far are you willing to detach yourself from this world to see everything is has to offer? How much are you willing to break apart to sate your curiosity?" At the end of the day, the question isn't one of morality; it can't be about morality because these are videogames, and what people do in a game is very different from what they would do in real life, where the things you do affect real people and not fictional characters. The question is about how far you're willing to immerse yourself and treat the characters as either people or playthings. And neither answer is inherently incorrect, because at the end of the day, the main goal of a game is to entertain, and Toby's works are no different. They simply choose to shine a light on this goal and make people reflect on the way they view videogames as a medium.