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mentalhealthandgames · 3 years

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‘OMORI’ analysis:

OMORI’ is an Indie psychological horror RPG that was released December 2020, 6 years after its Kickstarter became fully funded in 2014. It was developed by OMOCAT, LLC and published by OMOCAT, LLC and Playism. It is a long game, the average play time of the main story is calculated to be 21 hours and 9 minutes by ‘HowLongToBeat’ (HowLongToBeat, 2021), a website which polls players with different play styles to calculate the average lengths of games. It personally took me 49 hours to complete. This is to say that, as a long and complex story based game, Omori’s plot will be difficult to summarise in a neat and short format but I will try.

The game has two main routes and multiple endings. I played the normal route and got the good ending so that will be the story I summarise, which also seems to be the one most players also got during their first playthrough.

The game starts with a short cutscene and then text appears on screen stating: “welcome to White Space. You have been living here for as long as you can remember.” The game then properly starts, revealing the main character in a large white space with a room in the centre. The room contains a laptop, a sketchbook and tissues. Around the room are a cat, a black lightbulb and a white door. If the player goes to the door it says: “a white door casts a faint shadow. What would you like to do?” The only choice is to do nothing. The sketchbook is filled with sinister drawings in red, white and black. The cat says “meow (waiting for something to happen?)”. The laptop allows you to either stare at the screen, look at the journal or log off. The journal (titled ‘Omori’s journal’) is filled with entries for days that are all listed as: “day ???” rather than with a date and each entry either consists of: “today, I spent time in White Space. Everything was okay” or “today I visited my friends. Everything was okay.” The tissue box is stated as “for wiping your sorrows away”. There is a sound and shake and then a text box appears telling the player “something fell nearby”. The player can then find a “shiny knife” by wandering around white space. After discovering the knife, if the player approaches the door they are now given the option to open it.

Once the door is opened it takes the player to Neighbor’s Room, a bright colourful room in sharp contrast to White Space. Neighbor’s Room is a part of a large area called Headspace which is only accessible through the white door in White Space. Most of the game takes place in Headspace, although not all of it, so assume the areas I discuss are in Headspace unless I tell you they are otherwise (White Space is not a part of Headspace). In Neighbor’s Room three of Omori’s friends are playing cards. They are Aubrey, Kel and Kel’s brother Hero. They are happy to see Omori, and after some bickering between Kel and Aubrey, decide to visit their friends Mari and Basil who have invited them for a picnic at the Playground. Saying yes to the invitation causes the friends to join the party and follow Omori. They leave Neighbor’s Room through a tree stump. There are four areas branching from the tree stump. One is blocked off by spiderwebs which Omori refuses to pass because he is scared of spiders, one is blocked of by the sea which Omori refuses to go into because he is scared of drowning and one is blocked off by a ladder which Omori refuses to climb because he is scared of heights. The only other option is to go to the Playground where they meet Basil and Mari who are waiting on a picnic blanket with Mari’s basket and some food. Mari’s picnic blanket, her basket and the food pop up throughout the game with the basket as a save point, the food as a way to replenish health or juice (which is basically mana, it powers skills and can be drained during fights) and the picnic blanket often allowing Omori and friends to have a picnic and take a break from whichever adventure they are on. During their friendly reunion and discussion, Basil shows them his photo album which is filled with pictures documenting their friendship. They then decide to visit Basil’s house except for Mari who opts to stay behind.

Before going to Basil’s house Omori and friends play hide and seek with other characters in the Playground where Omori finds everyone except Basil. Basil has been kidnapped by a character named Boss who is a childish character upset at being banned from the playground by the others who had deemed him too violent. After a fun short battle with Boss they then make their way to Basil’s house. I mentioned the fight with Boss as although it has no relevance to the plot it seemed to set the tone of exploring ‘Headspace’ for me. Colourful fun battles with Omori’s friends against characters who ultimately weren’t bad people. It felt hopeful and exciting even though I knew it couldn’t be the full story because Omori is a psychological horror game. Although I knew something would probably go wrong at some point, it still lulled me into a false sense of security. When Omori and his friends arrive at Basil’s house, Kel and Aubrey have another fight before they go inside which leads to them knocking over Basil and the photos falling out of his photo album. They go inside for Omori to put the photos back in place. After that seems done a photo falls out of the album and Basil picks it up. Basil seems not to recognise the photo, looking scared. A twisting shadow appears beneath him and then he says “n-no.. that can’t be… Mari” his eyes turning red. Then there is a flash of a greyscale photo and Omori is back in White Space, except this time the white door is missing. There is some new dialogue with Mewo the cat and a new drawing in the journal of a strange shape with one eye. However, without the door, the player is stuck, until they open the pocket menu. The pocket menu is where the player can access the party’s inventory, their skills and charms and the options menu. Previously there was a space only listed as ??? but at that moment it is replaced by red text saying “Stab”. Clicking on Stab it gives you the option to stab a member of the party, which, in White Space only consists of Omori himself. The player has no other way of progressing the game and has to click that option, which makes Omori to stab himself. This sudden dark turn shocked me. Although I had expected the game to turn dark eventually I didn’t think it would happen so early on and it felt wrong to have him stab himself.

After Omori has stabbed himself there is another short cutscene and then the player is shown a boy sleeping in his room and asked to choose his name. His default name is Sunny, so that is how I will refer to him. He looks almost exactly like Omori except he is in colour. He is the real version of Omori who lives in the real world and it turns out that Headspace and White Space are all in his head, a world he escapes to avoid a traumatic event in his past. Although they are the same person I will continue to refer to them as Omori and Sunny to separate when Sunny is in Headspace (or White Space) as Omori and when he is in the real world as Sunny. It turns out that in the real world Sunny is home alone as his mother is in the city, preparing their new home for them to move into in three days. It is also revealed that Omori’s friends in Headspace all exist in the real world as well. In the real world you can explore the top level of the house where Sunny’s bedroom is located, but if the player tries to go downstairs to the rest of the house Sunny will shake his head and not allow it. The only choice is to go back to bed where Sunny goes to sleep but then wakes up again hungry. A red light shines through the window making the area more sinister. This time trying to go down the stairs is allowed but the stairs seem to be infinitely long and some hands climb up the sides while others surround him and one photorealistic one chases him. When it catches up, the player is taken to a fight with a monstrous creature referred to as Something. The fight seems hopeless, Sunny’s attacks doing nothing to Something until a mysterious voice speaks to Sunny saying: “take a deep breath… don’t be afraid. It’s not as scary as you think.” The textbox then states: “you steady yourself… and remember how to Calm Down. Calm Down is then available as a skill (fights are won by using attacks and skills). Using the Calm Down skill shows an animation of Sunny breathing in and out and ends the fight, depositing Sunny at the bottom of the stairs. The player can then explore the rest of the house, two areas Sunny still refusing to go to, a room and an area outside, presumably the garden. The player can then take Sunny to the kitchen to pick up the Steak Knife and heat up and eat a steak. Then Sunny seems sick, the rooms wobbling as he walks around. After he goes to the upstairs bathroom and throws up, the rooms stop wobbling. Then there is a knock at the door and when Sunny approaches the door it shows Mari on the other side, still in the bright purple colours of Headspace. She tells Sunny she forgot her keys and asks him to open the door. If the player chooses to open the door there is a quick jumpscare of a ghost. If the player visits the bathroom to look in the mirror they will see the ghost behind Sunny. There is nothing else to do but to make Sunny go to bed and go to sleep. This time when he wakes up there is another cutscene saying “welcome to White Space. You have been living here for as long as you can remember” and Sunny is once again Omori, back in White Space. This time the white door is back but will not open and the Stab option is once again not available. Going to the laptop will open the Hangman menu which shows a list of computer keyboard keys along with vague descriptions of where to find them (they are all somewhere in Headspace). Out of all 26 keys there are 12 keys that are necessary to collected to unlock later parts of the game. It is impossible to collect all 26 in the normal route of the game. To be able to open the door the player has to find the map to Headspace in White Space, then it will allow the door to open when interacted with, once again taking Omori to Neighbor’s Room. Aubrey, Kel and Hero are relieved to see Omori and reveal that Basil is missing. Around this time Mari is also revealed to be Omori’s (and therefore also Sunny’s) sister. The main objective is to find Basil and this drives most of the story that takes part in Headspace. This involves a lot of exploring different areas of Headspace including an area accessed via the ladder that Sunny had previously been too afraid to use. Omori is encouraged by his friends to go up the ladder as they believe it may lead to Basil and this is clearly linked to Sunny defeating the Something on the stairs in the real world. This area is called Otherworld. After going on quests in the hopes that they will lead to Basil and fighting in a battle against the first proper boss, Space Boyfriend, some bloody footsteps will lead to a shadowy figure of Basil. Following shadow Basil takes Omori to a dark sinister space with some hints about Sunny’s dark past and his reason for creating and escaping to Headspace. He is chased by the version of Something the player will see the most, a version already depicted in Omori’s sketchbook in White Space, a strange shape with one eye. When caught by Something Omori wakes up once again in White Space where he once again has to stab himself to wake up in the Real World. This is the End of the Prologue and the start of the first chapter: Three Days Left. Each chapter counts down the days until Sunny is supposed to move out.

Every time Omori turns up at White Space and the white door is not present, the player has to make him stab himself in order to wake up as Sunny in the real world. That is the only way to access the real world. During each real world segments there is a battle with a different creature called Something related to each of Sunny’s fears. First heights, then spiders and finally drowning. Defeating these creatures in the real world always gives Sunny a new skill (these are: Calm Down, then Focus, then Persist) and allows Omori to later overcome, after his friends offer him support, the related fear in Headspace, allowing him to explore new areas that were previously blocked off (Otherworld, then Pyrefly Forest and finally Last Resort and Underwater Highway are only accessible by Omori and Mari swimming across the beach). I found this very interesting as it showed that Omori’s fears were limiting him and that he was able to overcome them, both for his friend (Basil) and with the support of his other friends (Aubrey, Kel and Hero). It implies that you should reach for help or support if you can and it reminded me a lot of my own anxiety which has limited me a lot in my past by making me scared to go to social events for example. Friendship is an important theme throughout Omori (in fact it is an important theme in all three games I chose to assess).

The first chapter opens in the real world with someone claiming to be Kel knocks on the door and the player has to choose whether to open it or not. This choice determines which route of the game the player goes down. The normal route starts when the player chooses to open the door. It is revealed to actually be Kel and not a jumpscare like Mari was and he wants to spend time with Sunny before he moves out. When Sunny explores the town with Kel he finds out that Aubrey has changed a lot, having dyed her hair pink and become the leader of what appears to be a group of bullies who often bully Basil, who is even more timid and scared than the version of him the player saw in Headspace (before he disappeared of course). Sunny and Kel rescue Basil by fighting against Aubrey who Sunny wins against by slashing her with his Steak Knife. Kel is shocked that Omori used a knife against Aubrey and takes it from him. This part made me realise how real the real world is meant to be and how Sunny had become incredibly detached from it by spending all his time in Headspace as Omori and becoming used to having to fight creatures and bosses with his Shiny Knife. Kel and Sunny then decide to retrieve Basil’s photo album which he says Aubrey stole from him. They find her in a church where she reveals to the player that Mari died four years prior, which is presumably the traumatic event that caused Sunny to retreat into Headspace, and is the reason the friend group drifted apart. Kel and Sunny then fight Aubrey again, drawing attention to Aubrey from the other churchgoers who criticise her, causing her to flee. Kel and Sunny then spot her throwing the photo album into the trash and take it to bring back to Basil. This photo album contains different pictures to the one in Headspace but is still filled with pictures showing their friendship, although all pictures containing Mari are missing, presumably taken by Aubrey. When they take the photo album back to Basil, who lives with his caretaker Polly they are invited to have dinner with them. Over dinner Kel mentions that Sunny is moving away and Basil runs to the bathroom. Following him to the bathroom shows him also seeing Something, which he says is behind Sunny. He clearly is also traumatised, his trauma most likely linked to Sunny’s trauma. Basil seems genuinely scared to be left alone but the only option for Sunny is to leave him alone. Then when Sunny goes home he faces the spider Something and goes to bed waking up in White Space.

I will not go into detail into the areas of Headspace that the party explore while looking for Basil as that would take a long time and doesn’t need to be discussed to explain the plot. The reason I went into so much detail for the Prologue is that it sets up the game. Most of the story in Headspace involves the friends looking for Basil, discovering new areas, skills, items and Bosses and always ending in Omori seeing bloody footprints leading to shadow Basil which usually leads to White Space, Omori stabbing himself and waking in the real world.

In the second chapter, Sunny starts off in the real world again. To briefly summarise, he and Kel find Basil being bullied by Aubrey and her current friends ending up with Aubrey accidentally pushing Basil into the water. Sunny has to face his fear of drowning to save Basil and faces up against another Something. Sunny and Basil are then saved by Hero who has returned from college for a short visit. They go to Kel and Hero’s house and look through the photo album and then Kel and Hero ask their parents if they can go to Sunny’s house for a sleepover. In the house Hero goes to the piano room – the room Sunny previously refused to enter. Sunny and Kel then join him there where the player finds out Mari used to play piano, and that her death was a suicide. The player knows from the photo album by now that Sunny also used to play the violin and that he and Mari were meant to play a concert together before she died. Kel, Hero and Sunny then set up a fort in Sunny’s room.

Then Omori wakes up completely alone in Neighbor’s Room in Headspace. Leaving Neighbor’s Room all the paths are blocked off by fog except for the one to the Playground. The Playground is entirely empty but if the player interacts with the mirror they can play hide and seek alone. This is a clear tonal shift as usually Headspace is very cheerful and full of life but with only Omori it becomes eerie. Then the path to the beach is accessible. At the end of the dock stands Mari. She encourages Omori to swim cross the ocean and get past his fear of drowning by promising to stay with him and saying, “steady your heartbeat… don’t be afraid. It’s not as scary as you think.” Crossing the ocean with Mari takes them across to some wooden dock paths. When they reach the end of the long wooden paths there are some curtains floating atop them. Mari turns to face Omori and says: “… Omori… it seems you have forgotten something important. Are you okay with that? I’m not too sure… you’ve seen this curtain once before. The last time we went to the lake. This is my stop though. I know I shouldn’t have come… It just gets a little lonely without everyone. It’s not my place to say anymore, but… I hope you’re still there… Sunny… I really miss you” Mari then says “goodbye, little brother.” Then Sunny enters a new area of Headspace which leads to a hotel called the Last Resort where he has to collect Kel, Aubrey and Hero who were all trapped in contracts to a boss named Mr Jawsum who they have to battle against. This is more like the previous areas of Headspace with lots of puns and colourful new characters. Then the friends travel down the Underwater Highway eventually following a recurring side character Sweetheart to an area of Headspace called The Abyss, during which they start to forget what Basil looks like. In The Abyss there are a lot of hints towards Sunny’s past and trauma. Eventually the friends end up meeting a whale called Humphrey who invites them to enter into his stomach. He is both a new area to explore and, after this exploration, a boss who threatens to actually eat them. Then, once Humphrey is defeated the friends go to find the last of the 12 keys which spells out “Welcome to Black Space” and then shows them Basils house. On the way to Basil’s house the trees and plants look dead. Entering the house there is a pit and entering the pit leads to a dark place which eventually leads to a black door which Omori opens. This introduces the player to Black Space, essentially the inverse of White Space which is surrounded by black doors.

If White Space is where Sunny locks himself away to forget all of his trauma, Black Space seems to be where he hides all of his repressed memories, fears and mental health problems. There is a key in the centre of the room. The key will open whichever of the doors the player chooses to enter first. Each room behind a black door is disturbing and broken looking, with bloody footprints leading to a key and then a red hand appearing and taking Omori back to Black Space. One Black Space room is a small room with a Butler who has the face of a cat while the cat Mewo (who the player knows by now was Mari’s cat) is strapped down to a table with knives next to her. Once Omori has entered the room, the door he used to enter disappears. When Omori interacts with the Butler he says “Mewo has been very, very bad” and then gives Omori a key. As there is no door to use the key on it seems the only choice is to approach Mewo. When Omori interacts with Mewo the text box asks: “do you want to cut open Mewo?” with the options yes and no. As there seemed to be no other option I reluctantly clicked yes, not wanting to see Mewo cut open even though I had become a bit used to the violence of the game after seeing Basil die in several of the other Black Space rooms. However, when the I clicked yes it lead to more text. “Mewo stares at you. She tilts her head out of curiosity.” And then the game asks again: “Do you want to cut open Mewo?” I clicked yes again. More text. “Mewo stares at you. Her eyes widen. She wants to go now.” And then, “do you want to cut open Mewo?” I clicked yes again, feeling more and more uncomfortable. “Mewo stares at you. She struggles to break free.” Again the choice, “do you want to cut open Mewo?” And once again I clicked yes. “Mewo stares at you. Her eyes are filled with desperation.” I was asked again, “Do you want to cut open Mewo?” I clicked yes. “Mewo stares at you. She tries to scream, but there is no sound.” And again, “do you want to cut open Mewo?” I clicked yes again hoping it would eventually give me a different option but knowing it probably wouldn’t. “Mewo stares at you. She does not know what is happening.” Again the question, “do you want to cut open Mewo?” And finally she was dead, her red blood bright in the dark room and the text box “you cut open Mewo.” I thought finally, the red hand would appear and take Omori back to Black Space, but it didn’t. I waited a couple more seconds and then walked Omori around the small room. Nothing happened. I went to the Butler to see if he would help me leave after having committed such a terrible act but all he said was, “waiting for something to happen?” and I realised with growing dread that there had been no reason for cutting open Mewo. It had done nothing to help Omori leave the room. I opened the pocket menu and saw that the Stab option was back. I selected it and Omori stabbed himself and returned to Black Space. That was the moment for me where the game felt like an actual psychological horror. It had set out rules for Black Space. Open the door to a room, find the key for the next room and then the red hand would take Omori back to Black Space. I didn’t like the rules and the rooms unsettled me with how they took elements of the game I had grown accustomed to or invested in and then twisted them (like Watermelons hiding items, or Basil needing to be rescued) but I knew I had to follow them to progress. Except in that case, the rules weren’t the same and trying to follow them killed Mewo making me feel like a horrible person. When I watched a video titled “OMORI and Dissociative Amnesia”, part of a series of videos titled “Psych of Play” on YouTube by ‘Daryl Talks Games’ I saw the other side of that scenario. Daryl mentions how he “checked everything I could think to check to find a way not to kill this cat. Until I stumbled upon my menu and realised the Stab option was there and in that moment I was relieved. Finally something other than playing what feels like an actual nightmare I thought. And after I stabbed Omori and respawned in Black Space it sort of hit me like a truck that this game had just made killing myself seem like the best option. It seriously made me think that suicide was the easiest thing to do… given my circumstances. It took that unnatural feeling I had experienced so early in the game, and made me welcome it. Which I think paints a shockingly real picture of how suicide may seem to someone who is dealing with these astonishingly dark and sinister levels of anxiety” (Daryl Talks Games, 2021, 27:19). He had a moment where he felt that the game really revealed what it was like to be in Sunny’s shoes and made him emphasise with what Sunny’s suicidal thoughts probably felt like. And Sunny does seem to be suicidal as a result of his trauma and guilt. The bad ending leads to him killing himself by jumping off a building. This implies that part of the purpose of the game may be to show people who do not have mental health conditions what it is like to experience them. I think this would make sense since, as the disclaimer included in the game warns, ‘OMORI’ should not be played by people who are too close to the themes depicted and will find the game triggering. Much of the online community around Omori however talk about how it resonated with them or was important to them because of its mental health themes. The game has seemed to help a lot of people feel less alone with its exploration of mental health, although much of the community also emphasise that you have to be in a good state of mind when playing the game and recommend not playing it on bad days. I myself made sure I only played it on days I felt comfortable playing it and would alternate between playing the game for hours and then taking days off to decompress.

After finally escaping Black Space by killing Basil one more time (a lot of the Black Space rooms involve killing Basil by accident, but this last time seems to be on purpose) Sunny wakes up hearing music. Following the music takes the player to the piano room where Mari is sat playing the theme tune of the game. Mari talks about playing the piano and how she felt maybe she pushed Sunny to hard. She says: “We never did get to play at that last recital. Did you want to play it with me now?” Before Sunny can respond Hero bursts into the room. He tells Sunny to go back to sleep.

In the last part of the game the truth is revealed. Before their recital Sunny had thrown his violin down the stairs where it broke and had an argument with Mari, presumably over the pressure he felt to play the violin perfectly. He pushed her and she fell down the stairs and died. Basil found him and the two of them disguise her death as a suicide.

After this is revealed the player has the option to visit Basil who is convinced Sunny is possessed by Something and will start a fight between Sunny and Basil. Both Sunny and Basil will faint at the end of the fight. Sunny then finds his broken violin and is taken through memories that were shown in Basil’s photo album. After each new memory the violin will start to fix itself until it is complete. Then Sunny will appear at the recital where he is encouraged by his friends. He will put up his sheet music, start to play and then break down sobbing. Then Omori appears and the final battle is between Omori and Sunny. During this battle Omori speaks to Sunny telling him all the reasons he is a bad person and should be guilty. The phrases he used struck home and I become incredibly invested in the battle and trying to win as what he said sounded a lot like what the voices in my episodes of psychosis had told me. However Omori will ‘not succumb’ and eventually Sunny will be defeated and a game over page appears. It gave me the opportunity to continue so I took it. This time Sunny has the option to play. Choosing it will make Sunny take out his violin and he and Mari play their duet they practiced for their recital. This cutscene made me incredible emotional as it showed how much Sunny and Mari loved each other. The whole fight really showcases how Sunny felt, as Omori the representation of all his guilt and repressed memories, that his friends would be better off without him, but playing the violin gave him hope again and defeats Omori. They then hug in White Space and a white door appears. Going through it causes Sunny to wake up in the hospital with a bandage over one eye, injured in his fight against Basil. Leaving the hospital room will show shadow Basil and following him takes Sunny to Basil’s hospital room where Kel, Aubrey and Hero sit around Basil. Entering the room starts the Good Ending cutscene where Sunny decides to tell them about killing Mari, but the game cuts off before the player can see his friends reactions.

I know I have gone into a lot of depth explaining the plot and it might not have all been entirely necessary, the mental health aspects are central to the plot and discussing them felt like it would make no sense unless I described the plot first.

The game has a disclaimer both at the beginning of the game as well as on the game’s Steam page warning players that the game “contains depictions of depression, anxiety and suicide” which I think is very important and needed in the case of this game. The game is a (psychological) horror game, and horror games are quite well known in mental health gaming communities as misrepresenting mental health, mostly as portraying people with mental health conditions as violent and out of control, and mental health institutions as creepy and places to be feared and avoided. However, although the game uses Sunny’s mental health as a basis for the horror aspects it is not done in a way that belittles his struggles but rather just emphasises how difficult it is for him to cope with them. Although the cause of Sunny and Basil’s trauma is revealed to be a situation that players will most likely be unable to relate to, the way their depression and Sunny’s anxiety are portrayed still resonate with a lot of players as is evidenced in many Steam reviews. Omori and Basil are both quite sympathetic characters. They both seem to have depression but it is expressed in different ways – Omori completely withdrew into an imaginary world to avoid his trauma whereas Basil tried to put on a cheery façade but was actually deeply affected.

OMOCAT, the creator of Omori seems to be quite private and has not revealed much about the process or inspiration behind Omori and has not done any interviews, unlike the creators of the other games I have discussed, so it is difficult to tell whether she did any research on mental health when making the game or whether she experiences mental health conditions herself that may have assisted in making an accurate representation of mental health. However she did state in a blog post from the time of the Kickstarter that: “OMORI started out as a very personal project. He was a character that I created to help me cope with my problems during a confusing part of my life” (OMOCAT, 2014).

One of its main themes, one which features strongly in all three games, is the importance of friendship. I think this is an important message to have, for friends to support each other. Early on in the game if you buy good advice from the wise rock in the Vast Forest it tells Omori: “pain doesn’t last forever.” This is a major theme of the game and I think it is an important one. Although the Good Ending is ambiguous as the player will not know how Sunny’s friends will react, it gives hope that Sunny is no longer trapped by his trauma and he can finally try to move forward from it, and by telling them it seems he is also freeing Basil from his guilt as well. Overall I think it was a game that told a story that, although the ending reveal made Sunny’s actual situation less relatable and the game leaned to stereotypes at times, his experience of mental health still felt very real and resonated with a lot of players.

References:

OMOCAT (2014) OMORI Kickstarter Update. Available at:

https://www.omocat-blog.com/post/85490697570/from-illustration-to-video-game-omori-kickstarter (accessed at: 23 February 2021)

https://youtu.be/rUDGlEWa4sE (accessed at: 11 April 2021)

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mentalhealthandgames · 3 years

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Some screenshots of celeste to show what the game looks like

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mentalhealthandgames · 3 years

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Analysis on Celeste:

Celeste is an Indie 2D platformer developed and published by ‘Extremely OK Games’. Its plot is simpler than the ones of the other two games as it consists of much more gameplay (consisting of platforming) than the other games I am discussing: it’s about a girl whose default name is Madeline who wants to climb a mountain called Celeste Mountain.

Madeline has anxiety, and has to learn breathing techniques to prevent panic attacks. I think this is good because breathing techniques are very useful against panic attacks, and the way they are incorporated in the game means the player can practice them alongside Madeline which might encourage them to use breathing techniques in real life in situations where they may be needed. Although the gameplay mechanic of using the breathing technique to progress is shown to not always be successful, I think this is also important because sometime breathing techniques or other coping mechanisms won’t work. For me, for example I have had many times where breathing techniques have helped me get through my panic attacks more easily and many other times when I’ve been far too overwhelmed to focus on them properly and therefore struggle with the panic attack for longer. The way the game makes the player help Madeline through her panic attacks I think also provokes empathy in the player as it really puts them in her shoes.

The player never finds out the cause of Madeline’s mental health conditions, which I also think is a good thing, because most media shows mental health conditions as caused by severe trauma, and that can be the case, as trauma is seen as a common cause for most mental health problems. However depression and/or anxiety can also be caused by other factors, such as stress, lack of sleep, drug or alcohol abuse or a combination of similar factors or by trauma that isn’t as severe as ones shown in media. There is some discussion in mental health communities of how the idea mostly spread by the media that most people with mental health conditions have developed them as a result of severe trauma can be harmful to people whose mental health conditions developed as a result of other factors. This is because it can make people feel that their mental health problems are not as valid or serious as those of people’s that did develop from severe trauma, which is not the case, as all mental health problems are valid and should be treated seriously. Therefore the fact that the cause of Madeline’s mental health problems is not explained makes it more relatable for more people with mental health conditions and also might bring awareness to people who don’t have mental health problems that they can just be a part of life that developed without any severe trauma as the direct cause.

A main part of the plot is a character who I have seen referred to as either Madeline’s subconscious or the physical representation of her mental health conditions, known as ‘A Part of [Madeline]’ in the game and referred to as Badeline by fans and in game extras. I will refer to her as Badeline simply because it is easier. Badeline consistently attempts to prevent Madeline from completing her climb of Mount Celeste, mocking, chasing and fighting her. In Chapter 6 of the game, Madeline after a talk with her friend Theo (who had taught her the breathing technique), confronts Badeline, saying: “you’re everything I need to leave behind”. Badeline gets aggressive and when Madeline tries to use her breathing exercise Badeline stops it from working and Madeline falls down all the way back to the base of the mountain. There she once again meets a recurring character simply known as Granny, who recommends that Madeline talks to Badeline instead of fighting her, saying “figure out why she’s so scared”. When Madeline finds Badeline again she tries to talk to her, and tries to convince her to join forces. Badeline gets angry and they then start to fight. Badeline then says: “Fine. You win. I guess you don’t need me after all. If you want me to go away, I’ll try.” Madeline replies: “that’s not what I want. I need your help now more than ever. Please. Let’s work together… it’s okay to be scared.” They then hug and recombine into a levelled up version of Celeste who finally is able to finish climbing the mountain (or rather fly through it). “Madeline never “defeats” her anxiety and depression. Though you spend the majority of the trek fighting against and trying to escape [Badeline]—or, rather, her self-loathing and low self-esteem—you ultimately crest the mountain by realizing that mental illness isn’t something you can browbeat into submission. Madeline learns that hating her anxiety and depression only exacerbate their effects. By accepting every facet of her personality, and learning to be kinder to herself, Madeline finally climbs Celeste Mountain. “Creating this game and guiding Madeline through her journey made it obvious to me that acceptance was the only way forward,” Thorson wrote me. We all owe ourselves that kind of realization” (Clarke, 2018). I think this message of acceptance is a very important one. People with mental health conditions spend a lot of their time struggling against their conditions and trying to regain control of their life, but accepting their mental health conditions as part of life can actually make it easier to carry on with their life. This is a message that really resonated with me personally as when I was hearing voices as a result of my psychosis I felt like I was constantly fighting against myself to try and move forward. This ending, of Madeline accepting all of herself, subverts expectations and stereotypes, as most people see mental health something to be pushed down, hidden or beaten.

Maddy Thorson (the creator of Celeste) has said that the game is based on their own experiences with mental health as well as those of their team. “Our top priorities were to tell a story that meant something to us and explore these topics from a individual perspective, to draw players into this world with these characters we grew to love,” Thorson said. “Our intention going in wasn’t to represent mental illness in general, or to make a ‘how to deal with depression’ guide, and we didn’t think to consult professionals on the topic” (Grayson, 2018). This makes the representation feel extremely genuine. The game has been praised by many fans and critics for how relatable its mental health representation is. It is incredibly successful for an Indie game and given that the story is entirely about mental health, this implies that mental health representation that feels genuine and relatable is important for a lot of people. Maddy Thorson, when asked “how many copies has Celeste sold to date?” in an interview from 2019, said: “I don't have an exact up-to-date number, but I know we're coming up on a million copies soon. Which is unbelievable to us” (Marks, 2019). Given that the interview is from 2 years ago, the amount of copies sold is likely past one million by now.

The game is a platformer and was designed to be extremely difficult, but also to give hope and encourage the player not to give up, which I think is echoed in the message as Madeline is shown to be brave for accepting herself and her mental health problems, which is essentially the opposite of giving up. The game also has an ‘assist mode’ which includes motivational phrases such as “you can do this” to encourage the player to keep on going and the difficulty of the game can itself also be seen as trying to represent how difficult struggles with mental health can be. I think the game was made for people with mental health conditions in mind as a large part of the target audience as Maddy Thorson said it was therapeutic to make and clearly shares their own, and their team’s experiences with mental health and so is relatable for a lot of people with mental health conditions. In fact almost every review I read on Celeste also included the reviewer sharing their own mental health experiences and how the game resonated with them.

Overall it is probably the most popular of the games I am discussing and I think that is for a good reason. I found it an incredibly striking and genuine story of struggling with mental health with important messages such as ‘don’t give up’ and ‘self-acceptance is important’. These messages are said often and can be patronising but playing the game and experiencing Madeline’s struggle to accept herself and to manage to achieve her goal while struggling with her mental health makes those phrases feel real and possible to achieve.

References:

Marks, T (2019) Celeste Sequel (Probably) Won’t Happen, Developer Says. Available at:

https://www.ign.com/articles/2019/09/07/celeste-developer-doesnt-want-to-make-a-sequel-new-game-in-the-works (accessed at: 24 February 2021)

Clarke, N (2018) My Biggest Revelations of 2018 Came From an Indie Video Game. Available at:

https://www.vice.com/en/article/pa5937/my-biggest-revelations-of-2018-came-from-an-indie-video-gameAccessed at: 24 February 2021)

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mentalhealthandgames · 3 years

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Continued analysis of ‘Night in the Woods’:

‘Night in the Woods’ is a story based game, and in fact doesn’t involve much game play, it’s a side scroller with some platforming elements to it but it mostly involves of moving around and interacting with other characters to move the story forward, with a few minigames interspersed throughout. This means that the story, and particularly the characters are the main focus of the game. This limited gameplay features in most of the negative reviews the game receives, however the focus on the story over gameplay features in many of its positive reviews. The game has won five awards since its release and two of those awards are for narrative (the winner for ‘Narrative’ in the 2018 BAFTA game awards and winner for ‘Excellence in Narrative’ in the 2018 Independent Games Festival). This implies that the story was told well and/or resonated with a lot of people. Even if the creators haven’t confirmed the specific mental health conditions Mae suffers from, part of the story centres on mental health as the event that starts the story is Mae dropping out of college and the reason for her dropping out of college is clearly shown to be her struggle with her mental health. This means that even though mental health isn’t the main focus of the game, the plot focusing on the mysteries of the town, it is integral to it and the story of the game would not make sense without it.

As mentioned the portrayals of the mental health conditions Mae and Gregg have seem to line up with the descriptions and symptoms of those conditions that are listed on trusted websites such as Mind and the NHS website. Of course just because they are similar does not necessarily mean that the way those conditions have been portrayed is entirely accurate, but it does suggest that they are not entirely inaccurate. As the creators have/had experience with mental health conditions (Scott Benson with type two bipolar disorder and Alec Holowka with depression and running a podcast where he interviewed guest about their mental health) and implied that they kept their experiences in mind when creating the game this shows that they did try hard to make it an accurate representation of mental health. Personally I do feel that I can relate a lot to Mae, especially because of how she described her experience of college, as I have had similar experiences as a result of my own mental health conditions where I have been afraid to leave my room and have had trouble sleeping. I also can relate very much to how she acts before going to a party in one of the earlier parts of the game, where she criticises herself in the mirror and worries over how to be social after just having dropped out of college, as my thoughts often follow similar paths when my anxiety flares up.

Mae’s experience where she attacked Andy Cullen portrays her as violent as a result of her dissociative disorder, which can play into stereotypes of people with mental health conditions as being violent and dangerous. However, she is shown to regret it which also makes her quite relatable. Gregg fits some stereotypes for bipolar disorder but he is also shown as caring and compassionate and is a very popular character among players, which does make him positive representation, even if the creators have not confirmed whether or not he has bipolar disorder.

Some people find Mae a frustrating character as she is quite immature and makes a lot of mistakes. Alec Holowka explained that they wrote her this way on purpose in the interview with Kotaku: “There’s certain situations where Mae kind of fucks up, and I’ve seen some reactions from players who identify with that and some that are really frustrated, like ‘I wouldn’t do that!’” Holowka said. “But I think that’s part of the experience sometimes of mental health, that you don’t necessarily feel like you can make the best decisions all the time. That there’s some aspect of you that’s going to make a bad decision, and you’re kind of struggling with that” (Spencer, 2017). I agree with Holowka that it made Mae more relatable for me as well as more sympathetic because I know what it is like to make impulsive decisions that you later regret or feel guilty for. Eric Vero, writing for Checkpoint (the charity that made the checklist I posted about earlier) also seemed to find solace in Mae making mistakes and getting past them with the help of her friends: “What solidified Night in the Woods as one of my favourite games is that it makes clear that it’s okay to mess up. You don’t need to be perfect” (Vero, 2020). On the other hand, I also understand how it can be frustrating for other players, especially since in many games you usually have much more control over the main character’s big decisions and in this game you have more control over the small choices, mostly to do with dialogue. Overall I feel sympathetic and empathetic towards Mae, mainly because I can really relate to her experiences with mental health, but I also understand why some players don’t.

Overall, I think the creators went into the game with good intentions to represent mental health based on their own experiences but not make it the entire focus of the story and this resonated with a lot of players. This can be seen again in the interview with ‘Kotaku’: “Benson told Kotaku that the team intentionally left the characters’ mental health ambiguous as a way to let the story progress naturally. Early in development, they knew they wanted to talk about depression, since everyone on the team had experienced it in some way. Ultimately the team wanted to make a game about people who experience mental health issues, not the issues themselves.” (Spencer, 2017). I think the idea of the game being more about the characters than mental health is important as it makes the game more realistic and more accessible to people with different (or no) mental health conditions. It also means that, as mental health isn’t the entire focus of the game, it implies that mental health doesn’t have to be the focus of the life of someone who has a mental health condition. It may be a part of their identity, and it may shape some of their adventures but it doesn’t define them and their life. That was something I needed time to learn.

References:

Spencer, C. (2017) Night in the Woods Treats Depression Like a Part of Life. Available at:

https://kotaku.com/night-in-the-woods-treats-depression-like-a-part-of-lif-1797400607 (accessed at: 22 February 2021)

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mentalhealthandgames · 3 years

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However Mae isn’t the only character implied to have a mental health condition. Many players believe Gregg has bipolar disorder. He is often seen to be quite hyper, energetic and impulsive which can be symptoms of manic or hypomanic episodes, which are symptoms of bipolar disorder. He also revealed in a one-on-one conversation with Mae (that I have posted some screenshots of above) that he worries about whether or not he is a good person, and he seems especially worried about not being good enough, or considerate enough, for his boyfriend Angus. He said: “when I’m awake at night I listen to Angus snore and I stare at the ceiling and I think about how I’m a complete piece of shit.” This implies a sense of worthlessness, which could line up with depressive episodes of bipolar disorder. As shown in the screenshots Gregg also said, “I have really up up days and really down down days. And I don’t know which it is until it’s over sometimes.” This also sounds a lot like bipolar disorder, as manic episodes are often referred to as ‘feeling high’ and depressive episodes as ‘feeling low’. Scott Benson himself has type two bipolar disorder, so it is possible that Gregg was created with some of his personal experiences in mind.

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mentalhealthandgames · 3 years

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‘Night in the Woods’ analysis:

‘Night in the Woods’ is an indie story based adventure game that I have often seen referred to as a coming of age story. It was developed by Infinite Fall and published by Finji in February 2017. It is set in a world of zoomorphic animals and follows the story of a 20 year old cat named Mae as she returns to her small home town of Possum Springs after dropping out of college. As she refamiliarizes herself with the town, her friends and family and the ways they have changed, she and her friends realise strange things are happening in their town and try to uncover what they are.

There are a few mysteries in the game for the player to try to resolve. Some are to do with the main plot, such as the disappearance of one of Mae’s old friends before she returned from college or the appearance of a dismembered arm in town. However some are to do with Mae in particular and her past. Although the game starts with Mae returning to her hometown as a college dropout the player does not know the reason for her dropping out, as she is reluctant to tell friends and family. The other mystery is one that is referred to throughout the game by other townspeople, an incident that took place before Mae went to college that has caused many people to avoid her. Nearing the last sections of the game Mae has an emotional conversation with one of her friends (either Gregg, her best friend, or Bea, her old childhood friend, depending on who the player interacted with more) in which Mae reveals that the two mysteries are linked.

In my play through of the game she had that conversation with Gregg, and started by asking him “do you know why I beat down Andy Cullen 6 years ago?” Gregg replied with “Back then you said you went all crazy. But like that’s not really a reason I guess.” I really like this as it shows people that crazy isn’t actually a good explanation for anything, that people and their motivations are often more complex than ‘crazy’. Colloquially, ‘crazy’, along with ‘mad’ and ‘insane’ is a label that is often used interchangeably with mentally ill and implies that the person who is labelled such is unstable. This causes a lot of stigma, which can lead to people with mental health conditions being afraid to get help. The fact that Gregg said that it’s “not really a reason” implies that people do not just ‘go crazy’ and that mental health is far more complex than that, which is further backed up by the rest of their conversation. The conversation continues with Mae talking about playing a game every day and how “suddenly, like, something broke. It was just like… pixels.” When Gregg asked, “your computer broke?” Mae said “no like… reality broke. The characters onscreen… like I’d felt like I knew them… but they weren’t people anymore. They were just shapes. And their lines were just things someone had written. They never existed, they never had feelings. They never would exist either. And it felt so sad. Like I’d just lost these real people. And this whole thing we had, it was just… me. Alone. And like that realization like dumped out of the screen and into real life. Went outside and the tree out front, I looked at it every day it was like a friend outside the window. Now it was just a thing… just a thing that was there. Growing and eating and just being there. Like all the stuff I felt about the tree. Was just in my head. And there was some guy walking by. And he was just shapes. Just like this moving bulk of… stuff. And I cried. Because nothing was there for me anymore. It was all just stuff. Stuff in the universe. Just… dead.” This gives the player insight to Mae’s struggle with mental health. Although the game, and the creators have not used a label to describe Mae’s mental condition it seems likely that she was experiencing some form of depersonalization-derealization disorder (also known as DDD) which is a dissociative disorder that healthline (Raypole, 2019) describes “can leave you feeling distanced or disconnected from yourself and the world around you”. This is the description of derealisation from the NHS website (National Health Service, 2020): “derealisation is where you feel the world around is unreal. People and things around you may seem "lifeless" or "foggy".” This is the description from the website of the charity Mind (Mind, 2019): “You might: feel as though the world around you is unreal, see objects changing in shape, size or colour, see the world as 'lifeless' or 'foggy' [or] feel as if other people are robots (even though you know they are not).” They both seem to line up with how Mae describes feeling which makes it likely that she is struggling from DDD.

Mae then explained how this detachment from reality caused her to attack Andy Cullen with a bat at a softball game as she had also seen him as just shapes and it had scared her and she had acted impulsively. She clearly feels guilty over it, as is shown by her worrying about how much she made him bleed and how when Gregg said: “he was probably an asshole” she replied with: “no, dude. I didn’t know him. Neither did you.” Mae then talked about how she then was given the journal that she draws in throughout the game by her therapist, who was just the town doctor, doctor Hank who she admitted is “not good at what he does. Which I guess is understandable because he does like everything.” Scott Benson (the animator and illustrator of the game) confirmed in an interview with Kotaku (Spencer, 2017) the reason they made Mae unable to access a qualified therapist was because that reflects the reality of living in a small town where they don’t have proper access to mental health care. “Even when you have access to mental health care, sometimes you end up with a bad doctor or you just don’t have access to the kind of care you need,” Benson explained. “And so, putting Mae in that kind of situation reflected the actual reality of the incident in a lot of places where there’s just not someone there that you can go to.” However, when Gregg asked Mae: “did that journal shit… did it actually work?” Mae said “kinda? Sorta? It helps me… like… grab onto things. And keep them in one place.” I think this is important because it may encourage some players with mental health conditions to try using a journal which can be helpful for some people (it was for me when I was suffering through episodes of psychosis). Keeping a journal is even suggested in the self-care section of the ‘dissociation and dissociative disorders’ webpage from the Mind website, which states: “Keeping a journal can help you understand and remember different parts of your experience” (Mind, 2019). Mae then revealed her experience of going to college when, ever since the incident with Andy Cullen, “when I’m alone in a new place it’s all shapes, like back at the softball game.” She mentioned how she struggled to make friends and stayed in her room most of the time, how she “either didn’t eat or I ate entire pizzas at once” and “downed sough syrup just to sleep all the time.” The symptoms of having trouble with sleep and with appetite are common in some other mental health conditions, particularly trouble sleeping which is also a symptom commonly related to depression, PTSD and anxiety. This means that players who don’t have a dissociative disorder but experience another mental health condition (or several others) may still be able to relate to Mae’s experiences which might make them feel less alone. The fact that Mae does seem to suffer from a dissociative disorder, however, is important as dissociative disorders are not as well-known as other mental health conditions, and it is needed to have more representation of less understood and heard of conditions to help spread awareness. Mind, under the ‘dealing with stigma’ part of the ‘self-care’ section, also states that: “unfortunately, a lot of people don't understand much about dissociation and dissociative disorders, and may hold misconceptions about you” (Mind, 2019). This shows that it is important to have representation, good representation that clears up misconceptions and reveals what it is like for people with dissociative disorders. This can also be seen in the previously mentioned article by Kotaku in which Chloe Spencer interviewed Alec Holowka and Scott Benson: “Benson said that he and Hockenberry were recently in Portland, where they met someone who experiences depersonalization and said that they had never seen those issues depicted in media” (Spencer, 2017).

References:

Spencer, C. (2017) Night in the Woods Treats Depression Like a Part of Life. Available at:

https://kotaku.com/night-in-the-woods-treats-depression-like-a-part-of-lif-1797400607 (accessed at: 22 February 2021)

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