Tw Loss - Tumblr Posts

the palms are still bending,

yielding to the forces

whipping their fronds

the waves are still crashing,

dragging sand

out to sea

so why can’t i hear it anymore?

why, since you’ve been gone,

have the sounds stopped?

and why hasn’t the storm?

you changed my world,

so why won’t it stop for you?

the storm is gone and it took you with it

all that’s left now

are these shards

br o k en

gl as s

s ha r d s

i’m picking up the pieces

of what’s left

of the glass window

we once sat

side by side

and peered through,

walking back through the foundations

of the things

we built together,

stripped bare and left behind

i know i have to clean this

but i can’t forget

can’t discard

the glass holds shadows

of laughter, of memories

that outlasted you

they will outlast me

i will share them so they outlast me.

I feel like this never ending mourning is gonna be the end of me

Vanny did her best not to punch him across the face while he was talking, she could not believe he was saying all this. acting all above of just thinking like he know what he’s doing. which got vanny took more steps until she was in the same space as moonjumper, giving the being a message that he’s not above the law, he’s not a god, he’s sure as hell not one to talk after what he’s done. her eyes gleam red like any other vanessa, giving moonjumper a good intimidating stare as her double wings spread as her own marks began to glow. she wasn’t above him either though, she was not above of everyone, she may be powerful but that doesn’t much make her any better than anyone, queen vanessa know this well, repeating to herself to let herself know to avoid ever becoming like what she used to be or any of the other vanessa. “You know, you’re right about me not being a part of this world, I may not know anything much about this world, especially how different it is between mine and yours.” Vanny spoke as she stood tall. “But here the thing here moondumper, I know what loss is like, I know what it like loosing someone you cared about and I’m not the only person who know what loss is like though! the children of subconite forest know what it like to loose someone!” Vanny let out a long smoky sigh as she still glaring at moonjumper. “Snatcher shouldn’t be made to suffer, you’re only saying that cause he’s the only easy target, the only person he trusted you so dearly, it not his fault your own action resulted to this.” Vanny back away as she kept her glance at moonjumper.  “ I pity you, not because what you went through, it because you became a petty little being who can’t accept of his own flaw and fault, that he’s so downright delusional of thinking he was in the right to punished someone, it almost sound like you’re becoming the vanessa you talk badly about.”

(Vanny to moonjumper) Vanny arrive at the entrance of subcon forest, well the one that she have met snatcher along with the others during that incident having to do with the soul. it been a while she last saw them due to being busy as a queen, then there were going to adventures with others. then again she didn't want to visit the place too often since she didn't wanted to look so clingy, the queen did her best to remove that habit of hers.

Strangely, neither the specter nor any of his family members could be seen nearby.

However, there was a presence nearby.

A presence that would probably have gone unnoticed by most once upon a time, but now? Moonjumper was well known by almost everyone all over his own universe, for all the wrong reasons, it probably wouldn't be surprising for him to be noticeable to someone from another universe, especially if said universe had its own version of him.

I hate that I react so badly to any discussion of moving/him finding a new job/whatever. Like I try not to react outwardly but I'm sure he can tell, and obviously it just fuckin feels bad every time. It's frustrating because I know it would be good for both of us for him to find a job he likes better and also to be closer to our families, and I've been wanting to leave this shithole apartment complex for a long time anyway, and Tennessee is already a fucking nightmare of a state and only getting worse. But oh my god even him off-handedly saying "I'm so done I gotta get out of here" just *crushes* me internally every time.

I guess a lot of it is probably because I finally feel like I've gotten to a point where I function largely okay on a day-to-day basis and it feels like all of that would be lost if we do a big move?? But idk if that's even true, and it's not like we have much else to stay here for. We have some friends here, but they're not like, best friends. And everyone is so busy that we rarely hang out anymore anyway. Just the act of packing up and moving will be hard and stressful and I hate it, but setting up a new place could be fun? Idk, the prospect of trying to find decent housing we can afford kind of sucks the enjoyment out of that too.

And as embarrassing and lame as it feels to say, losing my therapist is honestly one of my biggest fears about moving out of state. Like I've been seeing her for over 2 years now, and she's the first therapist I've really clicked with and felt like she's actually been capable of helping me. She's been there through this whole leaving-my-job/horrible burnout/health issues/ADHD/ASD process and is like one of the only people in my life who's really believed me and wanted to help me investigate things and advocate for myself since she first met me. And I know she'd do her best to help find me a good therapist wherever I move to, but the uncertainty is so scary. Especially since I hate telehealth therapy, so my options would be even more limited depending on where we end up.

Idk. Something about it all is just so triggering and idk how to make my own brain understand that it's for the best and will probably improve my life significantly, even to the extent that I can tolerate it happening *at all,* let alone to where I can actively participate and help make it happen!!!! Ugh!!!!!!

the nature of unrequited love, or personal headcanons on sunny and aubrey

SPOILER WARNING: MAJOR OMORI SPOILERS

CONTENT WARNING: GRIEF, LOSS, GAME-TYPICAL CONTENT

READING-THIS WARNING: I REALLY DON'T WANT A FIGHT, THIS IS MOSTLY ME BACKING UP MY PERSONAL HEADCANONS THANKS :) also i would like to clarify that i DO NOT support shipping the older members of the squad with younger ones. that's gross. it is literally not that hard to do better. (also i believe sunburn requires a lot less therapy than sunflower, and i can totally see it post-game, so i really don't wanna fight with sunburn fans. )

Alright. The goal of this post will be to attempt to prove that Sunny's childhood crush on Aubrey is one-sided, and due to the nature of Aubrey and Mari's relationship, that there is a possibility Aubrey had a slight crush on Mari as a kid. Alternatively, I'd at least like to highlight how much of Aubrey's life revolves around Mari still, even somewhat in secret.

Again, to clarify, I don't condone Mari x Aubrey (are there not three other kids for y'all to ship Aubrey with??) , but rather we should consider the fact that many kids get small crushes on older teens or adults they look up to. I'm sure Aubrey was confident it would never happen anyway - HeroMari is basically canon, and Aubrey is far from emotionally ignorant - but I still think there's a potential that she may have had some unrequited feelings for Mari.

I'll bring in all my evidence and speculation and you can think on it :)

SUNNY'S RELATIONSHIP WITH AUBREY - COMPARING HEADSPACE AND THE REAL WORLD

(If this segment seems similar to another analysis post on here, please let me know because I'd actually like to cite it here as inspiring me, but I can't find it and it annoys me that I can't. Look at me and my great citations, good work sentience.)

Within Headspace, Aubrey's crush on Omori is prevalent and obvious. She tries to get his attention, wants to go on adventures with him alone, and defends him from the Slime Girls. Conversely, Omori rarely reciprocates, likely because at this point, his emotions are so repressed that he can't express more than the simple emotion mechanics required to fight. Aubrey, Kel and Hero all express emotion in their conversations, but Omori remains numb, the effects of repression seeping into the character himself.

We have to remember that Headspace is an extension of Sunny's mind, and while it is heavily influenced by the real world, it's still unreliable. I personally don't like it when people use Headspace evidence to support Real World theories, or vice versa - we need to be clear that these are separate, and Headspace is heavily biased.

There are two pretty key pieces of evidence in Headspace that point toward Sunny's crush on Aubrey being one-sided, and those are the Aubrey School Event and the Rainy Day memory.

The Aubrey School Event is found in Lost Forest 2 (also known as Looping Forest) in Black Space 2, but it is also found when interacting with a TV in the Otherworld using the universal remote. It is a short sequence, oddly colourful in the dark realm of Black Space, where several Aubreys fight to the toast for Omori's love. Omori is asked to choose between the last two Aubreys standing, and the event abruptly ends and Omori returns to Black Space.

The ending is particularly interesting...

We know Sunny daydreams a lot from the Lost Library excerpts...

I personally think that this fantasy and its parallels to the way Aubrey acts in Headspace suggest that the Aubrey School event is one Sunny regularly fantasised about, now present in Black Space 2 as a small remnant of the world he left behind. I also think this points to Sunny's crush being one-sided - if Aubrey's Headspace reflection is similar to Sunny's fantasy of her, then it suggests that this isn't the real Aubrey, and the real-world Aubrey may not have reciprocated feelings or Sunny may have been too shy to own up to them.

We see a big difference between their relationship in the real world and Headspace with the Rainy Day memory. Unlike Aubrey's constant expression of love for Omori, in the Rainy Day memory, the roles are reversed - Sunny is instead the one who wants to see the picture of Aubrey, and Basil even teases him about it, to which Sunny doesn't try to deny it.

Not many of the real world photos feature Aubrey and Sunny alone or conversing together, and Aubrey was asleep when her head fell onto Sunny's shoulder during the Lost Library excerpts. Aubrey is usually arguing with Kel, or hanging out with Mari, or with the group as a whole; and Sunny tends to be with Basil, or typically with the group. Obviously these photos are missing a significant amount of background as to what life was like before Mari's death (which a surprising amount of people tend to forget - those photos are by no means a reflection of the reality!!), but they provide some insight into character and relationship dynamics.

In my opinion, Headspace and the Real World just don't add up for Aubrey pre-incident. Which is why we're going to discuss...

AUBREY'S RELATIONSHIP WITH MARI - PAST AND PRESENT

Past

I believe the actions of present-day Aubrey hold some more weight, so this segment is mostly speculation.

We know that Aubrey and Mari were very close before her death. Due to the dysfunctional nature of Aubrey's household, it's likely she saw the friendship group as her family.

In a lot of the Faraway photos, we see Aubrey and Mari together, whether that be Mari reading to her, the two licking popsicles, Aubrey falling asleep on her shoulder, or the two's promise to dye their hair together, it's clear they're very close.

While we don't have a lot of information other than the album about life before the recital day, Aubrey in Headspace is also very fond of Mari, rushing excitedly to see her. Despite it being heavily influenced by Sunny, there is no real reason for him to obscure other relationship dynamics as it means nothing to Omori's goal.

Which is why I'd like to propose that Aubrey had a little childhood crush on Mari, which she was probably aware would not be reciprocated. She's 12, so she somewhat understands what love is, although considering time context, Aubrey may not have understood lesbianism and might have just assumed she was really fond of Mari, or something.

Mari would never reciprocate, as most of the rest of the group seems relatively aware that Mari and Hero are an item, so Aubrey probably pushed it all down, and was devastated when Mari died. Her friend, but someone who truly cared about her, which Aubrey didn't get a lot of as a child.

She watched the friendship group fall apart, and felt so angry, how could they betray Mari like that? Hou could they betray Aubrey like that?

Present

This post explores how much of Aubrey's current identity revolves around Mari - Aubrey continues to dye her hair regularly (as is evident by the visual absence of any roots), Aubrey spends all her time at the church and the graveyard, and she clings onto the photos of Mari that were defaced.

I find the fact that Aubrey spends her time in the church incredibly interesting. For one, considering what Sunny and Kel have to do just to know where she's gone, it seems as though Aubrey keeps her visits to the church a secret from her friends, aside from the closest. We also know that Aubrey is relentlessly judged by those at the church,...

Aubrey is a complete outcast at this place, and there is no way she's unaware of this. Despite this, Aubrey's nature is to stay true to herself, and clearly Mari means so much to her that she's willing to undergo judgement and ostracization just to feel close to Mari again.

But we can also consider the way Aubrey acts after Mari's death holistically, instead of parts of a greater whole. If she truly just looked up to and wanted to be like Mari, wouldn't she tend toward mimicking Mari's behaviour after her death? Why does Aubrey instead feel vehement anger toward others for "betraying" Mari, and spend all her time near Mari's resting place?

It is possible that Aubrey felt she couldn't be Mari, and she gave up and instead sought for her protection; or that she tried to reconcile the group, but the sheer betrayal and ignorance of Kel, Sunny, Basil and Hero broke her, and she flipped. I'm not going to deny the possibility of these.

But I think there's also a possibility that Aubrey doesn't want to be like Mari, but instead mourns her death as the loss of someone she had a crush on. As a result of this, Aubrey's life centers around Mari, and she is incredibly focused on trying to understand why Mari did it, which is why she spends her time near Mari's resting place. She does these things so she can feel close to Mari again, not so she can follow in Mari's footsteps.

Aubrey misses Mari more than she wants to be Mari. Which is a perfectly normal response to loss.

My main concern with this headcanon is it makes it significantly harder for Aubrey to forgive Sunny and Basil. If she is still much closer to Mari than those two, then I can't see her forgiving them anytime soon. and i am a massive baby and really want her to forgive them

Thanks for reading! idk what else to say. reminder that aubrey x mari is disgusting and so is shipping hero or mari with anyone else in the gang, especially during the events of the game, as hero is LITERALLY TWENTY and everyone else is LITERALLY A MINOR. omfg.

through the looking glass, or understanding windows and their relation to colour theory in OMORI

WARNING: MAJOR OMORI SPOILERS. PLEASE PLAY THE GAME FOR YOURSELF IT IS BEAUTIFUL

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

READING-THIS WARNING: ITS VERY LONG IM SORRY I AM INCAPABLE OF SHUTTING UP AND I ALSO GO IN TANGENTS ALL THE TIME

I feel as though people miss the smaller symbols in this game.

Obviously it's easy to look at, say, flowers throughout the game, or what Something and Stranger demonstrate, or maybe even mirrors and our understanding of reflection, but there's plenty of symbols that people don't look at or write about, because they feel less relevant. Symbols are easy to overlook when you're no longer studying English Lit.

But I am your certified Wet Rat, and I spend hours overthinking this game, so I'm going to talk about what windows represent in Omori, and how this relates to colour theory.

There are several colours that are designed to remind players of the truth, or at least hint toward it, and these are bright red (light), saturated blue, and monochrome. These are all somewhat relevant here, so I'll go through them, and explain their connections with windows.

Windows as a Foreshadower of Truth, but also Repression

Before we discuss the relevance of red light shining through windows in foreshadowing Truth, we have to understand why they stand out among the rest of the house.

To do this, let's discuss saturated blue.

Saturated blue is a very deliberate choice - we know this from Omocat herself - it is the colour of the Phobias, and Sunny's house during Phobia sequences, as well as Basil's boss fight. 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. This blue is also deliberately not black - this somewhat disconnects these segments from the Truth, because the ultimate purpose of the Phobia bosses is to provide a comparison between Mari saving Sunny's life and Sunny ending hers. Within the Basil boss fight, more features are monochrome, which ties it more closely with the Truth. (Saturated blue is also the colour of Hellmari, but she's more relevant when I talk about Spirit Mari later down the line.) 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.

Red (light, specifically in windows) is symbolic of distortion, but it also foreshadows the Truth creeping into Sunny's life. 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 intention, red and white is more closely tied to repression, and red standing out against the Dreamworld is tied to Truth).

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 discomfort is very well-captured throughout the game, and the careful use of red contributes to this.

In several segments, red light streaming through a window is shown to represent repression of Truth. We know that the sky was not red when Mari was killed - it was late afternoon, with some light streaming through the trees - so, in some ways, the Truth has already been distorted, being shown as worse and more horrific than the actual events. This is likely a result of Sunny's repression.

There is one particular moment where this glowing red light represents repression. This occurs in the Hikikomori Route, if you wake Sunny up during the night. You see several horror sequences relevant to the truth, and the piano room lit with a red glow. Entering it reveals this...

I'll talk more about the symbolism of that particular window later, but we know that the piano is being repressed here. Instead of the pure red light, we see the combination of black and red - which we know represents malicious intent - showing how Sunny's repression of the Truth has become more powerful than Sunny himself, and Omori is now taking over his mind.

Windows as a Door to the Truth

During the Truth sequence, there are red windows in almost every room, aside from backstage-like areas. We know from the previous section that this foreshadows the Truth, and the increasing number of these windows brings it to the player's attention, standing out more than it did previously. The same glow is also found coming from the TV in the first room. Sunny is notably drawn to this glow, as is the player, and you are also required to interact with (which implies potentially entering) the window in the Hospital sequence to proceed.

To understand windows acting as doors, we need to talk about 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. This makes it the ultimate foreshadower of Truth, and we must enter it in order to view the entirety of the Truth photo album.

Sunny never represses the sliding glass door, but will refuse to go outside until forced by his friends in Faraway visiting the Treehouse. In the real world, it is shaded over, making it impossible for the player to see through (save for a short Stranger encounter). This opaque nature is present in the Truth segment as well, except it is glowing red.

You can't see through it, but you can finally enter it.

This door leads us to the peak combination of our colour theory.

To the eyes, 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. Although subtle, this is the game's big 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.

Windows as a Symbol of Ascension

Monochrome is a key colour associated with Truth in Omori, and it does so in a relatively obviously. 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. We contrast this to Hellmari, who is coloured in the saturated blue beforehand, and we can start to understand the mechanics of Headspace as a whole.

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.

I personally do not believe that Spirit Mari is Mari's actual spirit trying to communicate with Sunny - as much as that is a nice thought, and even though it is backed up with meaning of the White Egret Orchid, I choose to believe that Spirit Mari is Sunny's own desire for acceptance. As much as Sunny hates himself, the game is about seeking and forgiving yourself for what happened that day, and that requires this hidden desire, which is channeled through Mari.

The window above the piano room is found in several locations in Headspace. It is found in the first Black Space room, just above the first ever key you collect, and Mari is found hallucinated in front of it several times in the Real World. It is an important reminder of the real world, everything Sunny is leaving behind.

Spirit Mari also ascends through the this window during the North Lake sequence, and again during the Final Duet.

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.

sorry for going so off-topic. as with most of my analyses, the idea came to me at 5am when i was half-asleep and i just had to write it out. lmaooooo.

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.

Loss | Remus Lupin x Reader

ᶻ 𝗓 𐰁 ࣪˖⤷ .𖥔 ݁ ˖ ࣪ ᶻ 𝗓 𐰁 ˖ ⤷

Pairing: Remus Lupin x GN!Reader WC: 504 CW: talks of death (non descriptive), talks of grief, feelings of guilt, no use of Y/N. Author's Note: I lost someone that I grew up with today and I just needed somewhere to express myself. Summary: Remus is there for you while you mourn the lost of an old friend.

⋆⁺｡˚⋆˙‧₊⋆⁺｡˚⋆˙‧₊⋆⁺｡˚⋆˙‧₊⋆⁺｡˚⋆˙‧₊⋆⁺｡˚⋆˙‧₊⋆⁺｡˚⋆˙‧₊⋆⁺｡˚⋆˙‧₊⋆⁺｡˚⋆˙‧₊⋆

Once you get off the phone you just stare at the wall, into nothingness. 

When your mom called you, you just thought it was just to check in on you; catch up maybe gossip a little. The last thing you expected was her telling you that someone you grew up with was now dead. That someone you were close to at one point in time was now gone.

It's a strange feeling. Mourning someone you haven't seen or talked to in years. You felt guilty. Not only for being estranged from that person but for mourning them at all.

What right did you have to be sad that he's gone? You hadn't seen or talked to him in years, but at the same time you grew up with him. You had seen him almost everyday for years. You had spent birthdays, holidays and milestones together. Your families were once close. You were once a part of each other's family. He was family.

But now he's gone.

It feels weird when someone dies. It's weird to know that there's one less person in the world. When someone dies it's hard not to feel like the world got just a little bit smaller. The world feels different.

You didn't realize Remus was home until he was crouching in front of you with a worried look on his face, you also didn't realize you were crying until you felt him softly brushing your tears from your face. When your eyes met his, you just sent him a weak smile through the tears that continued streaming down your face. 

“What happened darling? Why are you crying?” Remus spoke so softly and quietly that if it hadn't been almost completely silent in your home you were sure you wouldn't have heard him at all.

You took a deep breath trying to ground yourself before speaking. “Mum called. She told me that someone I grew up with passed today.” You whispered feeling as if you said it louder than it would make it more real.

Remus just sighed pulling you into a hug softly running his hand up and down your back. You couldn't help but cry more. Remus always made you feel safe enough to be vulnerable around him, so you knew you could cry your eyes out without any judgment from him. You didn't have to be strong in front of him. You could just let your inner child out and them cry for their friend.

Remus held you for the rest of that night just listening to you cry and laugh as you told him stories about your friend. Sometimes you would laugh so much that for a second you would forget that he's gone, then after you would cry because you would remember that he's gone. 

It was a long night to say the least and you knew it was going to be a hard few days but you knew it would be manageable as long as Remus was by your side. Which he always was.

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Happy Birthday

Dear big bro,

Today is your birthday. Today you would've been 30 years old, and I would've rubbed my youth in your face just to be cheeky. It's your birthday, yet it's the 5th one you haven't been alive to celebrate. Obviously, I wish you were here. I wish you had made it past 25.

If you were here today, I would watch a movie with you--any movie you would've wanted to watch. I would buy you an ice cream cake and sing happy birthday like every other year. I would even smoke a black & mild with you outside because I know how much that would've meant to you.

I would tell you how proud of you I was then--and still am now--for getting up each day and trying again even though it wasn't easy (it was excruciatingly painful). I would tell you I forgive you for the pain you caused when you were in the throes of your battle with addiction. I would tell you I love you--that I always did even when I was hurt and angry--and that I always will.

And I would also apologize for not being there for you when you needed support most. I would tell you I'm sorry that I closed myself off in my pain instead of trying to understand you.

And of course, I would thank you for being my big brother--for being such an important and beautiful part of my life.

Happy birthday, Zach.

I love you and I miss you (always).