being a pretentious fuck is embarassing sometimes. bc if someone asks me what video games i play im like "yeah i only play story based indie games about depression and guilt" like omfg shut UP

So I finally finished Omori!

Uh...I got thoughts. Lots of them. They’re bulleted below for your viewing pleasure and my mental checklist. Spoilers abound below the cut, so please refrain from reading if you haven’t finished the game!

Omori is a love letter to video games. From its Earthbound inspired design to its various little nods to other games whether intentional or not. (The music at the train station and the musician whose song sounds like a K. K. Slider classic [Animal Crossing], the baseball and the bat [Off], the whale level [Kingdom Hearts], and the toaster and the blender [To the Moon and Finding Paradise, as included in the game per Cr*aot*c’s request to Kan Gao unless he lied about that, too...] are some of the one’s I noticed!) It feels very similar to the RPG Maker games I grew up with like Wadanohara and The Grey Garden, so I felt at home exploring the world!

I agree with a lot of the points that uricksaladbar (a fantastic youtuber, and I highly recommend his content if you like well-edited and well-written video game essays) brought up with regards to the use of Headspace and how the events there do not progress the plot, but I think Headspace’s main function is like a daydream to distract from what lies hidden and that the time spent there isn’t supposed to advance the plot. Traumatic memories are sometime repressed to protect a person and that’s the primary function of Headspace: to keep those memories from resurfacing. It’s kind of why it starts to crack, slowly but steadily, as Sunny leaves his house. It’s also why Sunny has a fear of heights, drowning, and spiders because his memories associated with them are intertwined with his trauma. Whether aware of it or not, those phobias actively keep him from thinking about Mari. Despite the pacing issues, I had a lot of fun exploring Headspace (except for the area from the Last Resort to Humphrey. Especially Humphrey. Fuck you, Humphrey), and it’s interesting to look at its “lack of progression” as being a meaningful design choice than “padding for length.”

I really like the Faraway Town sections more, but that’s because I prefer the more natural color scheme and grounded setting. My favorite gaming series of all time is Story of Seasons, so casually taking part-time jobs and getting to know the townspeople was definitely something I enjoyed more than the RPG elements of Headspace.

Omori does a great job of showing how different people grieve, and I love how it reconciles with the fact that there is no “right way to grieve.” I remember talking with one of my old roommates about the book The Sky is Everywhere by Jandy Nelson, and she said she didn’t like it. It conveys a very unconventional method of grieving, similar to the one found in the manga Haru’s Curse/Haru no Noroi by Asuka Konishi, which can make it hard for some people to relate to. More than anything, I do genuinely believe the crux of this story is learning how to accept and overcome grief, and it’s wrapped up in a happy little tale of friendship!

I don’t have much to say on the characters (except for Basil; he’s got his own bullet point after this). They’re functional for the plot. That’s about it. But I would like an IRL Hero for myself, please.

I...don’t really like Basil all that much. And while a lot of people, my brother included, keep calling him “best boy” and “the bestest friend you could ever have,” all I saw was an insecure boy. It’s true that the trauma haunting him may have contributed to it as well, but the need to be the photographer, to take pictures, to enjoy from a distance, tells me just how desperately he needed them in his life. (Note the photo album is called Basil’s Memories and not referencing the group as whole.) Which is why his involvement in Mari’s death and the ensuing fallout, while already traumatic for anyone, probably hit him the hardest. Because he ended up alone, unable to escape the trauma, compared to the other four who found other avenues of coping besides Constant Suffering, even if some of their coping mechanisms weren’t exactly healthy.

The personification of their trauma is fantastic. Basil’s takes the form of roots that act like vines, trapping him. Sunny’s is the silhouette of Mari’s hanging body with her eye open, looking at him, haunting him like a ghost. Very symbolic!

I...uh...thought the twist was kind of...underwhelming. The game does a very good job foreshadowing Mari’s death being related to her hanging herself, which I did believe for most of my time with the game, but I was having second thoughts with what Shadow Basil, Basil, and even Aubrey was implying. Clearly Basil had something to do with Mari’s death, but my conclusion was that he killed Mari as an act of self defense to protect Sunny and Aubrey witnessed it. Like I literally thought Mari was a slimy sister that was wonderful and great to everyone but Sunny. (I’m so sorry, Mari.) This falls in line if this game were actually a psychological horror, but this game fell kind of flat in that regard. I don’t consider it as a psychological horror (more just psychological with slight horror elements), and I think coming in expecting a full blown psychological horror kind of dampened The Plot Twist for me. I was expecting to be absolutely horrified but...I just ended up feeling really bad for two kids who were so traumatized they literally Could Not Handle It.

Besides being a very good story for grief, Omori does a fantastic job in showing the affect that trauma has on people. I should also note that Sunny’s three phobias is a very typical when several traumatic instances happen in close succession. We often like to think of trauma as a result of a singular event, which it can be in cases like say a terrible car crash, but it sort of simplifies and reduces the effect of the trauma in a way. Trauma is best described, in my opinion, as an onion or a mille feuille, insert your choice of layered object here, because that singular event is composed of tiny little events or memories (perhaps broken down by senses). The game uses a simplistic way of doing it by breaking Sunny’s reaction to the drowning event into three phobias compartmentalized in Headspace, but it is something to note since most media likes to handle trauma as The Thing instead of the Amalgamation of Things that Make this Thing Traumatic.

Lastly, the soundtrack is a whole banger. Absolutely amazing.

To those who got to the end of this, thank you for reading! This isn’t necessarily a review for Omori, but it’s more so a place for me to jot down any thoughts and expand upon them. It’s been good practice for me in breaking down narratives and trying to see things from different perspectives or expanding upon why I don’t like things besides just not liking them lol.