Spiders, Or How To Fix Half Of Omori's Plot With One Symbol

spiders, or how to fix half of omori's plot with one symbol

i think i can fix omori. well, some of it.

This will be an attempt to prove that a key symbol related to Mari is a spider/bug, and how making this more obvious to the player would have fixed half the narrative.

Mari is closely associated with bugs and spiders in several scenes, but I believe the photos in the real world and Headspace demonstrate this most explicitly.

This photo is one of few direct redraws from the real world in Headspace, and it identifies Mari as a character unafraid, even fascinated, by bugs, which is one of very few character traits she's actually given. This is repeated multiple times as we explore Headspace, where Mari comforts Sunny and Hero about their fear of spiders, takes the group bug-hunting in the real world, and previously put bugs in Hero's desk. It's notable that the reframing of this photo specifically puts a spider in Omori's hand, further linking the girl to bugs in his mind.

Within Headspace, spiders are shown to be far more present than the other two phobias present. We see it in Daddy Long Legs, the ominous nature of Pyrefly forest, the Spider Area, the references to the creatures from Hero, Mari and Basil, and much more - it's clear that the creators wanted this symbol to be present, but overwhelmed it with subtlety, making it impossible to actually understand, and leaving it in the dust in favour of following other threads. The narrative fails to distinguish the Arachnophobia boss, and loses its the relationship between Mari and spiders/bugs.

There are several benefits to making this metaphor more deliberate to the player, by enhancing the relationship through jumpscares, making it important to the Truth/Final Boss segments, or even just distinguishing Arachnophobia from the other bosses. I've decided to organise them into a list since there's so many.

Cohesive narrative interactions between the Phobias and the recital day: I'm always talking about how the juxtaposition between these two events is so subtle that people miss the point. Singling out the importance of Arachnophobia would highlight these two events and bring them to the forefront, making the Final Duet more cohesive.

The Phobia bosses become relevant: If the game is able to properly integrate Arachnophobia into the truth segment, this provides so much more purpose to the Phobia bosses, who often feel like just game mechanics to teach you how fighting against hallucinations functions.

Intriguing moral exploration: I think the idea of the subtlety of conveying Mari as a bug portrays her insignificance - Sunny was able to just kill her, as though she were just a spider to be swatted. It furthers an interesting understanding of morality in the text, talking about the prioritisation of life, leaving more of an impact on the audience. Are humans really as fickle as that?

Hero's character: Connecting Mari to a spider not only allows for more theory and AU creation, but actually mimics Hero's actions in the real world. Only two characters are afraid of spiders - and only those two characters have not visited Mari's grave since it was dug, which mirrors (but fails to highlight) Sunny and Hero's character arcs. In a similar way, Mari and Basil's love for bugs could also mirror some sort of decline.

The relevance of Daddy Long Legs and spider-related Black Space areas: Spiders are regularly referenced in Headspace and Black Space, with a whole room of Black Space surrounding them, but there's never any lucid reason why they're so prominent compared to the other phobias. Making a clear connection to the truth would clear up this confusion.

Basil's Something and Headspace Basil's dialogue: Basil's Something is deliberately abstract, but it is never defined further than its presentation. Not only would it properly link the Spider Area to the reality of the truth, but it would potentially connect Basil's Something to it, too.

Just plain easy to add: Much of Omori's story, characterisation and pacing is very difficult to improve without hours of effort. Being able to cohesively connect elements of the narrative with one symbol is much more realistic.

song i listened to while writing this:

this song is literally the reason i came to this realisation, the themes of environmental preservation were essential dskjhjdsgdjhsgjhkdg shout out to me rediscovering this after years and years

it's totally cool to reblog!!!! I appreciate literally any additions to my ideas :D

That's a good idea, actually - the lack of rationality regarding the Phobias is also my endless beef with this game, as someone who actually has a clinical specific phobia. The way he gets them, the whole "slips into deep water from a height after seeing a spider" - although I recognise that it's possible to get all three phobias from a life or death situation like that, it sounds really fucking goofy.

It seems more like the Phobias are just fears Sunny has - if that's true, I'm upset at the use of clinical language. Separate incidents would increase the rationality and perhaps link better to Sunny's status as a Hikikomori.

spiders, or how to fix half of omori's plot with one symbol

i think i can fix omori. well, some of it.

This will be an attempt to prove that a key symbol related to Mari is a spider/bug, and how making this more obvious to the player would have fixed half the narrative.

Mari is closely associated with bugs and spiders in several scenes, but I believe the photos in the real world and Headspace demonstrate this most explicitly.

This photo is one of few direct redraws from the real world in Headspace, and it identifies Mari as a character unafraid, even fascinated, by bugs, which is one of very few character traits she's actually given. This is repeated multiple times as we explore Headspace, where Mari comforts Sunny and Hero about their fear of spiders, takes the group bug-hunting in the real world, and previously put bugs in Hero's desk. It's notable that the reframing of this photo specifically puts a spider in Omori's hand, further linking the girl to bugs in his mind.

Within Headspace, spiders are shown to be far more present than the other two phobias present. We see it in Daddy Long Legs, the ominous nature of Pyrefly forest, the Spider Area, the references to the creatures from Hero, Mari and Basil, and much more - it's clear that the creators wanted this symbol to be present, but overwhelmed it with subtlety, making it impossible to actually understand, and leaving it in the dust in favour of following other threads. The narrative fails to distinguish the Arachnophobia boss, and loses its the relationship between Mari and spiders/bugs.

There are several benefits to making this metaphor more deliberate to the player, by enhancing the relationship through jumpscares, making it important to the Truth/Final Boss segments, or even just distinguishing Arachnophobia from the other bosses. I've decided to organise them into a list since there's so many.

Cohesive narrative interactions between the Phobias and the recital day: I'm always talking about how the juxtaposition between these two events is so subtle that people miss the point. Singling out the importance of Arachnophobia would highlight these two events and bring them to the forefront, making the Final Duet more cohesive.

The Phobia bosses become relevant: If the game is able to properly integrate Arachnophobia into the truth segment, this provides so much more purpose to the Phobia bosses, who often feel like just game mechanics to teach you how fighting against hallucinations functions.

Intriguing moral exploration: I think the idea of the subtlety of conveying Mari as a bug portrays her insignificance - Sunny was able to just kill her, as though she were just a spider to be swatted. It furthers an interesting understanding of morality in the text, talking about the prioritisation of life, leaving more of an impact on the audience. Are humans really as fickle as that?

Hero's character: Connecting Mari to a spider not only allows for more theory and AU creation, but actually mimics Hero's actions in the real world. Only two characters are afraid of spiders - and only those two characters have not visited Mari's grave since it was dug, which mirrors (but fails to highlight) Sunny and Hero's character arcs. In a similar way, Mari and Basil's love for bugs could also mirror some sort of decline.

The relevance of Daddy Long Legs and spider-related Black Space areas: Spiders are regularly referenced in Headspace and Black Space, with a whole room of Black Space surrounding them, but there's never any lucid reason why they're so prominent compared to the other phobias. Making a clear connection to the truth would clear up this confusion.

Basil's Something and Headspace Basil's dialogue: Basil's Something is deliberately abstract, but it is never defined further than its presentation. Not only would it properly link the Spider Area to the reality of the truth, but it would potentially connect Basil's Something to it, too.

Just plain easy to add: Much of Omori's story, characterisation and pacing is very difficult to improve without hours of effort. Being able to cohesively connect elements of the narrative with one symbol is much more realistic.

song i listened to while writing this:

this song is literally the reason i came to this realisation, the themes of environmental preservation were essential dskjhjdsgdjhsgjhkdg shout out to me rediscovering this after years and years

i wanted to voice something from hellmari's perspective because humanising monsters is really fun. script under the cut (which I also wrote)

i hope this makes you open the door for her every single playthrough :)

dear sunny,

i've been wandering this house for, three or four, years now? i honestly stopped keeping track.

i really miss you, you know. i hope things have been going okay. i've been knocking on your door for hundreds of playthroughs, but… you kinda stopped opening it.

you know, last time you opened it, i was so happy to see you, but, you didn't… look happy to see me.

and i get it. when you looked in that mirror, i… couldn't recognise myself. i mean, huge, barren sockets, no arms; a crooked neck; a gaping mouth… look at me. i'm a monster, sunny.

someday, i hope us dark creatures that scratch at the recesses of your mind… maybe we can let go, just like you. that's my only wish.

but for now… i stand blind, knocking at a closed door, missing my keys, and the night just gets… colder.

IM SORRY CHUBBY HERO 😭😭

He is in pain. Big pain.

I wrote something about my experiences with OCD from Mari's lens because I need that in my life apparently.

Right, now that's finished, I can finally get onto schoolwork and shit.

tomorrow won't come for those without, or exploring disconnection in the procession of mental illness and trauma

SPOILER? WARNING: This analysis assumes you have played the game's noise ending at least once. I'll provide screengrabs of things where I can. I do believe it's a masterpiece of a game, and would highly recommend it.

CONTENT WARNING: Discussions and allusions to suicide, severe mental illness, grief and religious trauma/criticisms of religion.

Tomorrow won't come for those without (TWC for short) is really... confusing. To the extent where I've got a notebook with pasted cut-outs of dialogue and imagery simply to try and... understand it.

As with much of the things I write about, I don't think it's designed to be understood - etherane's work often revolves around very personal and complex depictions of mental illness, as is evident from the hello charlotte series, so this is to be expected.

I want to discuss Rem, celestials and the Dithyrambs in this, saving conversations of Mari and the Choir for when I better understand it.

Rem is not human, he's a celestial - this is revealed in the noise ending, where he melts into his true form. We can also determine what type of celestial Rem is, from the way his form manifests.

Domain: Shadow; The Eldest. Distorts continuity, converting affected areas into liminal spaces.

Now, at first, I spent much of my time trying to associate these cards (and as such, the Celestials) to specific mental illnesses, but I realised it didn't work. While 'Domain: Post-Truth' (Card Type 3) could be associated with PTSD and 'Domain: Thighs' (Card Type 12) could be associated with body dysmorphia, many cards do not fit a specific mental illness, and much of them instead reference dissociation or other specific symptoms. It's somewhat implied Mari had the celestial present in Card Type 12.

It makes sense for a different universe to identify mental illness in a different way, considering there's little evidence that the characters have information on "pre-humanity". Instead of our current system surrounding mental health, the Choir demonises Celestials, and attempts to 'purify' them.

One particular line during the noise ending stands out to me.

"Tell me, how do I stop the noise in my head?"

Ori is not, by any means, a stable character. That's not to say Rem is stable, but Ori is somewhat less rational, losing his mind over the Choir and his Rosary. He devotedly follows the Conductor up until the noise ending, where he loses his grip on purity and reality, wanting to stay in the 'Dark' and '...play in the forest', rejecting the suppression of creativity by the Conductor.

The Dithyrambs is the noise in Ori's head - somewhat implied to be caused by the celestial. When Ori first wakes up, the Rosary insists that he must "...find the source of the Dithyrambs," perhaps implying that the Rosary is corrupt in the same way Ori and the Choir are, although it does not state to destroy the source. This noise causes Ori a lot of pain.

Alright. That is my discussion of the actual evidence present in the game. The next section is going to be a lot of personal speculation, on what I feel the game is representing.

I compare the relationship between Ori and Rem to that of Charles and Scarlett in Hello Charlotte 3, although it is framed differently. Instead of Rem being portrayed as horrific and irrational, Rem is scared, small; humanised, distrustful.

I believe that Scarlett Eyler and Rem represent fundamentally the same thing - intrusive thoughts, anxiety and OCD. Unlike Scarlett, who is fixated on tormenting Charles, Rem's representation of this manifests toward himself, and his desire to be caged for safety.

Fundamentally, OCD is a disorder surrounding fear. As much as it feels like your brain just, absolutely fucking hates you, it's as scared as you are. In a similar way, Rem is terrified of the liminal hotel that he and Ori reside in, and he's terrified of the outside world. He responds by shutting himself away - rather than Ori's desire to reach the end of the veils, Rem begins the game locked in a bathroom, and must be coaxed out.

Rem is incredibly "human" for a nonhuman being. Humanisation of intrusive thoughts is an interesting concept, especially considering the demon Scarlett Eyler was in HC3. Rem is far more disconnected from Ori, far more skeptical of the world around them. Rem isn't there to punish, but more to question and doubt, contrasting with Ori's inherently trusting nature.

Hmm. I feel like I haven't properly explained it, but I hope it somewhat makes sense.

Despite that, this is just my own interpretation of it, and I don't feel it really aligns with the game, necessarily. It's just me. lol.

song i listened to while writing:

I enjoy playing TWC with the BGM turned down and this song playing. It makes me feel pure, like my regrets can be washed off. I suppose that's not the point of TWC LMAOO.