One of the best Horror-RPG experiences out there.
An unexpectedly packed, brilliant take on turn-based RPG that's so generous on content, soundtrack and overall atmosphere, while delivering one of the most compelling stories of its genre.

I believe the game to be flawed in some aspects storywise, especially with the delivery of the layered moral the game tries to communicate. Conflicting issues regarding some characters tend to be delivered more poorly than others on a deeper lense of analysis. It's a misleadingly complex game, with a complex story to unpack;

But overall a really smart one, that I anticipated for a long time before release; I was a bit scared for it to be yet another pretentious title with not much substance to it like some other ambitious RPG maker projects we got in the recent years. I lived through this painful 6 years of wait and anticipation, from middle school to near adulthood. I grew so much, there was so many ways to feel let down by Omori; I'm very glad to say it did not. This game has things to say and the way it does it is beautiful.
A must play

I have a real soft spot for this sort of labor-of-love project from very small development teams or even single creators, and I absolutely love my horror games to have a healthy dose of sad. Omori bears all the quirks of a project that has spent a little too long living in its creator's head: It is unevenly paced, unnecessarily long, emotionally overwrought, and is bloated with dead-end plot threads, missed payoffs, and perplexing character writing. It is also charming, heartbreaking, genuinely unnerving, and a joy to play. I thoroughly enjoyed my time with Omori. There is something really special about seeing a creator get to make precisely the thing that they wanted to make without having to compromise, and I wouldn't want this game any other way.

(Important edit: shortly after completing this game I became aware that the composer, Slimegirls, has faced credible allegations of abuse, which as far as I can tell the creator has taken no steps to address or acknowledge. I obviously cannot condone this behavior and it makes it difficult for me to recommend this game)

The story is the strongest aspect with great characters and amazing depth. This also extends to all the residents of Faraway and Headspace, where every NPC is fleshed out and have their own mini stories. There are great attitudes and messages towards mental health from dealing with break ups to severe trauma making this a very moving game.
Graphics are great and colour is used amazingly to reflect the story. The small bits of animation you get looks smooth, wholesome while others emphasize the horror aspect of the game.
The combat and gameplay, however can make the game incredibly slow (even with options to speed up both text and walking) . Combat is a (kind of fun) version of rock, paper, scissors with emotions which does require some thought but can drag on for ages making you want to avoid enemies as the reward never feels worth it. Close to the end of the game, the combat is more involved with story and personal growth which makes it significantly more interesting.
There are points of no return that were not clearly defined meaning that without intention I was no longer free to explore certain areas or come back to these areas after a day. This is made doubly annoying when you have a companion that pulls you away and slowly explains again and again that, that's not the way the game wants you to go now.

Although frustrating to play at times, Omori is definitely a powerful game.

Tanto tiempo de desarrollo para una obra que se ve perjudicada precisamente por la cantidad de contenido principal innecesario que contiene.

OMORI tiene dos aspectos resaltables las cuales son las principales razones para la recepción positiva: el arte de Omocat y la buena conclusión de la historia, esta última siendo la razón más sustancial y la que más presentan para alabar a la obra con razones coherentes (a pesar de sus problemas), puesto que los personajes y sus respectivos conflictos son revelados y resueltos de forma efectiva utilizando las herramientas del medio para exponer su historia y los temas sobre perdón, superación y amistad... la particularidad en este caso es que para llegar a dicha conclusión tienes que soportar un ritmo ATROZ, en donde poco más de 2/3 del juego no tiene relevancia para la trama o la exploración temática de la misma, reduciéndose a simple humor quirky marca Mother y un lamentable relleno, o es que alguien me puede decir, ¿para que sirvieron los largos subplots de personajes como Spaceboy, Sweetheart o las "brujas" en el Dream World? Lo único que puedo destacar durante esas escenas son las interacciones entre los principales y las poquísimas pistas sobre el misterio de la condición del protagonista, pero fuera de ello, esto deja a los últimos momentos del Dream World y a todos los momentos en el Real World como lo más interesante de la obra, lo que suma una fracción escaza de la totalidad del juego y que resulta curioso porque justamente estos son los momentos donde menos se utiliza el sistema de combate.

Esto último me hace cuestionar la decisión de hacer a este un RPG por turnos tradicional porque -fuera de su utilidad para el final- pienso que es lo que más le termina perjudicando al alargar la obra por el hecho de rellenar dos días (in-game) de sucesos jugables que no le da matiz a la historia como lo hacia Mother (dígase, la obra no entiende que hacia a las situaciones quirky efectivas para los temas y personajes en Mother y sus inspiraciones). Y eso que el sistema de combate no es malo: tienes los ataques follow-up que te dan un rol más activo durante el combate y relaciona el gameplay con la narrativa, mientras que el balance del juego es muy bueno y hay un auténtico reto para todas las batallas (incluidas las comunes), sin embargo, hay cierto potencial desperdiciado con los buffs/debuffs los cuales son presentados como emociones ya que se podrían haber utilizado para crear más situaciones inteligentes que relacionen más la narrativa en el combate (lo cual solo aprovechó para un par de jefes), y lo que si me puedo quejar es sobre la limitación de skills ya que no veo la necesidad de poder equiparte solo 4 skills de todos los disponibles, porque no es como si alguna skill en particular desequilibrara el juego o que esta decisión agregue estrategia al pre-combate puesto que la mayoría de skills son similares para cada rol de personaje.

OMORI termina siendo una de esas obras que solo "se pone bueno al final", su historia y personajes son competentes mientras estén en el centro de la experiencia, pero este tipo de situación no es muy frecuente para la relativamente larga duración del juego, y siento bastante tonto como la mayoría de reseñas ignora el como casi todo lo demás en la obra es poco destacable o que resulte auténticamente molesto y aburrido al hacerte perder tanto el tiempo con relleno que solo podría servir para recordarte de sus inspiraciones, las cuales son miles de veces más enfocadas y recomendables.

Well worth the wait. This game is a punch in the gut and a half. With a compelling story that had me playing this game for hours straight, and also crying for a few more.

The gameplay isn't too in depth, and that doesn't scale well with the harder parts of the game. Feeling like they wanted you to be super engaged and strategizing with the battle when the battle system is very rudimentary.
And although the game presents itself as a psychological horror, the horror is rarely present unless you are doing the Hikikomori route. Which to me at least was a bit disappointing and made the full on horror segments feel a bit weird and kind of out of place at times.

Despite this though, the game is absolutely amazing and still holds up as my favorite game of all time.

(Taken from my Steam Review.)
TLDR: Omori features a strong story with interesting gameplay, although the ending slightly missed the mark.

It's important to note that Omori has content outside the main story, some of which I missed on my first playthrough.

I enjoyed this game. I'm going to give it another run to explore the different endings. I might even try to 100% it if it grows on me enough. Omori is probably one of the more pleasant surprises that 2020 had to offer.

That being said I have a few issues with it.

OMORI wears its Earthbound inspiration on its sleeve proudly, but to my eyes it was unique enough to stand on its own. The concept was interesting, the story felt compelling, and there was far more content than I was expecting for a $20 kickstarter game. The main story is probably around 20 hours long. If someone was trying to do a completionist run of this game I could easily see them sinking 35-50 hours in total on this game depending on how quickly they went about it.

The story for the most part is good, and takes a couple of twists and turns. I think ultimately I was dissatisfied with the ending, but I really enjoyed the characters. From the silent protagonist to the main cast to the antagonist to that godawful laughing wreck known as Sweetheart, the characters feel unique and compelling enough to suck the player into Omori's world.

The music and art are Omori's strongest points. The soundtrack and illustrations help establish an atmosphere of childlike innocence that can quickly turn into a horrifying landscape of monsters at any time. It's one of the better indie OSTs I've heard in a while.

The gameplay favors exploration and experimentation. Outside of a basic tutorial on how combat works the player isn't given much direction. This can lead to some occasional frustration (I got stuck twice: once in Sweetheart Castle and once on the hard puzzle in Humphrey, which took me way longer than I feel like it should have.) but overall I enjoyed wandering around the different maps and switching out charms and skills to see how that would affect my party's combat performance. The combat system itself isn't deep by any means, but it's interesting enough that I never felt bored when fighting enemies. The maps themselves were usually pretty interesting, and were far more populated than I was expecting. However, there are some side quests that require a bit more effort than I thought was really necessary. There were at least two fetch quests I encountered that had the player running all over the place in order to get the required items, which felt more like a chore than anything else. Still, I'd say the gameplay was fun overall.


Omori is tagged as a story rich game on Steam, and while I think the story (and in particular the characters) are very very good, I found the conclusion to be less-than-great. While the open-ended and abstract method of storytelling makes for a great first and second-act, the lack of a definitive conclusion left a bitter taste in my mouth, especially given the twist. In this sense, I think the bad ending of the game actually has a slightly better execution, since at least it provides closure. The twist itself, while well-executed, doesn't seem realistic. And I know that it's a video game, and that realism should be wayyyy down on the list of priorities, but I couldn't but think "seriously? These characters are like, 12. How did they come up with this? I feel like most 12 year-olds wouldn't default to the response presented in the story." I feel like my criticism about realism is valid in this regard, given the dark content of the final act.

Ultimately I feel that the climax and the resolution of Omori could have been handled better by simply changing a few details. The current non-special ending s of the game are frankly boring, and the story fails to effectively hammer its themes home in them.

Nevertheless, I enjoyed my time with Omori immensely, and my qualms with the ending aside, I'll be coming back for at least one more playthrough. I was presently surprised by the scope and depth of this game, and I sincerely hope it gets the recognition it deserves.