I Wanted To Voice Something From Hellmari's Perspective Because Humanising Monsters Is Really Fun. Script

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.

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.

I fuck with him honestly he's so chill

fake meme

IM SORRY CHUBBY HERO 😭😭

He is in pain. Big pain.

through the looking glass again, or re-establishing colour theory in OMORI

WARNING: MAJOR OMORI SPOILERS.

CONTENT WARNING: REFERENCES TO SUICIDE, DEATH, LOSS, AND GRIEF.

A while ago, I wrote what I consider to be my magnum opus - an analysis discussing deliberate colour theory and windows in OMORI. This analysis is excellent, it is the fundamentals of almost all my other analyses, but it is disorganised and I don't get my point across as adequately as I need to.

The main reason for this is, well, I discover things as I write about them, so my points tend to get lost. Lmao.

So, I'm going to reframe my analysis by establishing the purpose of each colour I discuss. Hopefully this reaches a wider audience and is more digestible than my ramblings.

Saturated Blue

Saturated blue is a very deliberate colour choice - we know this from Omocat herself. Let's establish where it is used:

It is the colour of the Phobias, and Sunny's house during Phobia sequences. The use of saturation conveys intensity and fear, and there is a sense of impending failure - we cannot "beat" any of these boss fights by normal means, but instead are doomed to lose or wait until Mari consoles us.

It's prevalent in the Deeper Well, but notably absent from many Black Space rooms, who choose to use solid monochrome or other colours to convey emotion. It still exists within Black Space despite this.

In a similar way, it exists with the Basil boss fight, but more features are monochrome, which ties it more closely with the Truth.

Saturated blue is also the colour of Hellmari, but I will discuss her in depth later.

This blue is also deliberately not black - this somewhat disconnects these segments from the Truth, and considering how the Phobia bosses were formed, I propose that the ultimate purpose of this colour is to provide a comparison between Mari saving Sunny's life and Sunny ending hers.

This comparison is essential to the game, and yet absent from a lot of key moments. Highlighting this juxtaposition would have fixed these two narratives into a cohesive whole.

Red Light, streaming through windows

I am talking about red light in particular - while red is carefully used in the final boss fight, Red Space, several areas of further Black Space and in the Red Hands, red has more complex meanings in this game, where it depends entirely on the other colours around it:

Red and black represents malicious intent - this is present in several areas of Red Space and the Omori boss fight.

Red and white is more closely tied to repression - notably present in the red hands, some areas of Red Space and the Omori boss fight.

Red standing out against the Dreamworld is tied to Truth - present in the bloody footprints.

However, red light streaming through windows has its own specific meaning - it is designed to feel wrong, the same way the encroaching fog across vast forest feels wrong, and the deeper well's atmosphere feels wrong.

This gets even more important during the Truth sequence, where are introduced to red light streaming through the sliding glass door.

The sliding glass door in Omori is both a window and a door - letting in the eerie red light, but also letting the player (and Sunny) access it and understand it for the first time. Sunny never represses the sliding glass door, but will refuse to go outside until forced by his friends in Faraway visiting the Treehouse. It is opaque and cannot be seen through.

Entering the door leads to the peak combination of our colour theory.

This first looks like a fade between red and purple, but the only possible relevance purple would have is its association with Mari.

This colour scheme is actually the result of a fade between red and saturated blue. Combining the colours of the Phobias, fear, as well as Mari's support and safety, and the day of the Phobias' creation; and the Truth, repression, and the fateful day of the recital. This is the game's big (failed) comparison, and the main purpose of mentioning the creation of the Phobias at all.

These two days are designed to compare Mari and Sunny, increasing his guilt as he remembers the way his sister generously saved his life, and remembers what he did to kill her.

Monochrome

Monochrome is a key colour associated with Truth in Omori, and it does so in a relatively obvious way.

It is the colour of White Space, Black Space, Something, Stranger, and, notably, the colours of the photos that show the player the Truth. In this way, monochrome simultaneously represents repression of the Truth and the past; but also the desire to uncover it.

Areas and characters that contain more black than they do white tend to represent truth, whereas the opposite tend to represent repression, save for portions of the Final Duet and the Hospital, where white represents acceptance.

White also symbolises Sunny, shown in the pinwheels, and it has further meaning in the multiple flowers associated with it.

Spirit Mari is also associated with monochrome, her sprites existing in this colour.

Establishing the presentation of monochrome and saturated blue allow us to understand the mechanics of Headspace itself.

Despite Stranger's quote, Sunny, Basil and Mari are all split in halves, each half with different goals. Sunny, although he doesn't always know it, wants to seek the Truth; but Omori wants to repress it. Stranger wants to free the real world's Basil; but Headspace Basil is a representation of desire, the idea that everything is okay. In a similar way, Spirit Mari wants Sunny to seek forgiveness, and Hellmari is a hallucination of a Mari who would never forgive him

Pastel Blue

The final duet has a very key theme of acceptance and ascension, which is particularly present in this scene.

The whiteness of the area is highlighted with a light, pastel blue. Unlike the horror of saturation, pastel in-game represents peace and purity, being directly contrasted with each other. Pastel isn't symbolic of repression, although it is the main theme during the happier segments of Headspace. These particular colours - white and pastel blue - are also found in the Hospital, and in the final scene of the good ending. Pastel means acceptance, and it means there is no need to "saturate" the events of the recital day.

Here, the colour gradient, and Mari ascending through the window, are symbols of freedom. Sunny has accepted the Truth, and can now properly grieve his lost sister in peace. Simultaneously, you could argue Mari's spirit is finally free - she isn't tied down by Sunny's repression, and her ascending through the window is symbolic of finally entering the afterlife.