Omori is certainly an RPG game, more so an RPG Maker Horror game, a card that is laid in a deck of others just like it. For the past year, (or more so for the first 8 months of 2021), I cherished everything about this game, from its characters to its soundtrack and whatnot. Retrospectively looking back on it, I thought more in-depth about this game, nitpicked more on the story, and up until now as of writing this, I am still wrapping my head around every little aspect of Omori, but here's what I got. The game isn't perfect, at all, many games aren't. The story was truly impacting, but its build-up and pieces that led to it were all over the place. While nicely executed, it jumps around from one subject to another, leaving some out-of-place details and not so much being cohesive and clever with how it supports the story. Headspace displays itself with traditional RPG elements such as side quests and little minigames, the personality of each place is vibrant and that is pretty much it. The pacing and embedded narrative within headspace drag the whole game. While Spaceboy and Sweetheart were vibrant bosses that make the headspace journey worth going through, later areas and bosses started feeling more of a chore and gradually feel more uninteresting as the game goes on. Everything from blackspace to up to the end just felt sudden and just threw up every psych-horror element they had in mind, cool Yume Nikki fangame homage, what else? The imagery and symbolism the game relates to the story felt like it had no meaning at all and it's just there with a vague reason that comes without an actual purpose and just to look cool. The real-world section of Omori honestly takes the limelight than what Omori brags and has in store for. The more story-aspect stuff is more strong in the real-life section, which makes the quests in the Dream World feel more filler as the story progresses. It also doesn't help for the fact that some headspace quests take longer than it should have. Honestly, I wouldn't mind just the real world section by itself, I would love a tragedy-based Night In The Woods if anything.

And while those are my takes on the game itself, I think it's time to propose what I think the game does well at, well still personally. The art style, while simple, is very memorable. The character design is one reason why the characters are interesting, the juxtaposing style of a pretty memorable pastel and colorful world with the more normal and natural look of the real world is pretty nice. The characters in Omori are honestly also really interesting. Each character has their own, rather exaggerated, personality and their connection to the story makes it interesting to analyze. The soundtrack is amazing, eclectic at its best and the dark ambient is a huge plus for it. And as for the story, I think it's good for what it is, I can nitpick as much as I want in its pacing, but the story itself is definitely a huge highlight for the game and the climatic parts are what pulses the game to be enjoyable to go through. The story is interesting and nice to look back to, it has a very bittersweet feeling that is pushed with passion and it shows. It's a good coming-of-age story supported by vibrant characters and mystery surrounding it, and while the twist seems to be hit-or-miss, it caught me off guard along with its presentation of it. The ending, while emotional, also leaves an open ending. For the creative mind, the story leaves the player to continue with how they want their story to end, which is honestly a double-edged sword if you think about it. The ending is up to the viewer now, the textbook definition of open-ending.

Honestly, overall, the game is good but doesn't bring anything so much special. It's just another hay in a haystack of other games just like it, while the climax is kind of worth the 20 hours, still worth noting out the flaws the game has, and how the story could've been way better than what it is. The game is just another piece of media in a genre called Tragedy. People who played this game should honestly check out Shakespeare's stuff, it's kind of like Omori.

Omori is a game.

Destruction in games has all kinds of various usages, whether it'd be for environmental immersion or for engine testing purposes, it is all just a form of destroying something, there is no other trait that can apply to its ground definition. Katamari, however, twists its idea of destruction, and adds a bit, or more so, lots of charm into it.

The unique idea of collecting items at a small starting until eventually reaching a point where you can pick up houses and even people, it's such an enjoyable and fun mechanic of chaos to play around in. Mixed with its absurd humor and its amazingly fitting soundtrack, Katamari Damacy is one of those games that is very weird, and yet, it would eventually grow and grow more on you, taking in its undoubtedly special and fun concept altogether.

Katamari Damacy is a memorable game to whatever genre it's confined to, but honestly, it's a memorable game overall.

Rewriting this for the 800th time, April 11, 2021.

OMORI is something that even though it was new, being released 4 months ago, holds a personal significance to me. I honestly can't say much about its 6-7 year long development hell, since I found this game when its final trailer was released in 2020, but even if it took that long to release, I'd say the turn out of the game was great, personally, I could say it was brilliant.

Everything from the art style, the vibrant and down-to-earth personalities of the main characters, the interactions between characters and minor characters. The switching between the colorful and eclectic dream world to the reality and the coming-of-age story of the real world. The battle mechanics where, while simple, is so much fun to experiment with and find strategies for certain fights, until you eventually find a broken strategy, and kinda ruins the fun. And I have to give props to the soundtrack, the collection of music ranging from mystical and vibrant RPG adventure music to dark ambient and drone-ish soundtrack, it's just something I adore, even as a music freak.

The story is something as well. This is where the game gets pushed to its limit, telling a story that is a rollercoaster, slowly opening up to the player about what's going on, all building up to the climax and finale, which is something that really impacted me. Honestly, the only small tidbits I have about this game is the somewhat slow pacing midway in the game, but it was worth it when it started to get more and more deeply into the story.

Personally, this game went way and way over my expectations (which was kinda low ngl) and I loved everything about it.

In summary: holy fuck god damn this is some good shit.

The story mode is more in depth than the last game, where in PPT1, you chase down a man messing up your world with Puyo and Tetris, down to the cosmos, all to find out his motivation to do so was because he was depressed and couldn't care. PPT2's story was basically that but toned up more and had more depth into the new characters. While the near-end of the Adventure Mode feels rushed, it's still a decent story, and the new side quests brings more life to the world of Puyo Puyo.

As for the gameplay, it's your typical puzzle game mechanics, Puyo Puyo vs Tetris. The new mode, Skill Battle, is pretty unique to the genre though, since RPG combined with Puzzle is a niche concept. The turnout was OK, though some skills need to be buffed, but I hope SEGA brings back this mode in future Puyo Puyo games.

Online I can't say much, I have never touched online since I don't have Nintendo Switch Online membership, but from what I heard it's been buggy (on launch day atleast), but don't take my word for it.

Overall, Puyo Puyo Tetris, but with more stuff. Worth $40? I don't know, but it's still a fun game and the Adventure mode is worth the time to go through.