Happiness is strong against anger, anger is strong against sadness, sadness is strong against happiness many mid-and-late game fights revolve around cleverly managing and exploiting the moods of not only your party, but also the opponents. The game design is not only fun, it's also quite fresh - for example, instead of elements, the battle system revolves around a mood system. Oh, and if you've been playing indie games long enough to believe that games designed by visual artists tend to be pretty but boring, shallow and generally not very thought through, don't you worry. But that's all I'm going to say on that topic. This is important because the general theme of the game is "dealing with your past" - in more ways than one. You know how that big plushie from your childhood seemed like this lumbering giant, but when you look at the photographs you can see that it was in fact quite small? This is what I'm talking about here. In the grand scheme of things, it also establishes the world, the characters, the events of the past, and - perhaps most importantly - serves as a snapshot of sorts, snapshot of what the world seemed like back then. Remember when I said that this part of the main game seems only to exist to strengthen the horror? Yes, seems. To avoid spoilers, let's just say it's not a kid's dream land as much as it's a kid's dream land that's significantly distorted by nostalgia, fading memories and trauma. So, for the most part you play a kiddy JRPG. But your subconsciousness won't forget: it will constantly whisper this dissonant song of quiet anxiety which becomes the background radiation of OMORI's universe. And then it reminds you of its existence, looks you straight in the eye, and. You know its there, all the while you play a "normal" game about a kid hanging out with his friends in a childhood fantasy land for just about long enough to forget. Both the trailer and the screenshots show you glimpses of the darkness that awaits you at the bottom of the staircase. Mind, the game doesn't hide the fact that at its very core it is in fact horror. A huge, childish, innocent game which seems to only exist to deliver its true emotional payload with maximum force. And that's exactly that Omocat did when she made OMORI. In other words, the best way to create horror is to not create horror. That's where the purest, most potent fears are created. Rather, it's probably either something that was unintentionally scary or kids' entertainment something that, at its core, is not horror whatsoever. Can you recall the scariest media experience of your life? I'll take a guess and say that it probably wasn't something that was meant to be scary, e.g.
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