Even the optional content around the game follows the same premise of you learning to care and identify with others through overcoming yourself. Both are one and the same, which makes it always exciting to traverse new places. It’s also supported by the smart design that there is actually no clear distinction between areas populated by NPCs, and areas populated by enemies. There is a lot to digest in just a single dungeon, and a lot of elements are left to your decision making. There is the Sweetheart plotline with the witches, your gang starting to lose their memories bit by bit, all the NPCs and their funny comments, and the player interpreting how these aspects reflect the real world. The main difference in the route system reflects this, and how each dungeon has multiple layers of intertwining narratives, not all of which are centered around you. Omori’s design also supports this symbolic message. Because in the true (Omori) route, you understand that everyone comes with their own struggles and scars, so there is no need to fight them in the route where you trap yourself in your own home (literally becoming a reclusive Hikikomori), you solve all your problems with force – another reason why the player can’t let go of the Knife. This theme is mind-blowing (and probably life-changing) once you notice the severe lack of boss fights in the Omori Route compared to the Hikikomori route. It’s a beautiful journey towards empathy and self-understanding. Many times you won’t even need to lift a hand to resolve an encounter – some kind words will be enough. Puzzles are also mixed inside the dungeons and they are not just all a repetition of battle/story/battle. Boss characters appear again in different contexts, like they are living in the same world as you, and going through their own journeys. Converting their internal feelings, their strengths and weaknesses into mechanics is a refreshing departure from the traditional JRPG combat system in games like, say, Fire Emblem.Įverything in this game will make you reflect on it, or think differently about it after witnessing it the first time. It’s also clearly reflected in the Emotions chart what each of them primarily feels in their attempts to cope with Mari’s death, and its repercussions. For example, tying the whole otherworld concept and its symbolism to the emotions of each individual member of your group. Nevertheless, Omori takes it to the next level. It’s not easy to reclaim the emotions and peace of mind we had when we were younger, without all the external noise. Some things become so internalized within us that we’re not aware when we’re seeing the world around us from a new perspective. It’s fascinating to be put into a viewpoint that you’ve long since forgotten about. It doesn’t explain that you’re taking on this perspective, but instead shows you that in every possible way, and relies on subtlety and ambiguity to convey the message. Omori immerses you in the worldview of a child. In order to resolve this complex web of mysteries, you have to travel between the real world and dream world in order to get the full picture, and then decide how you want your life to proceed, either by facing your past, or rejecting it. Moreover, everyone else seems to have chosen their own coping (or escaping) mechanism, which has influenced the way they talk and feel about things around them, and how they feel about you too. A time where you were all friends, and where Mari (who turns out to be your sister) was still alive. You learn that she passed away in mysterious circumstances, and that seems to have turned your world upside down. To top it all off, Mari is nowhere to be found. Your friends are all grown up and more distant than ever. Reality is very different from what the game has established in the beginning. Shortly after leaving this dreamy world, you discover that all of this is happening inside your head as you sleep.
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