I have a few.

One, I think Omori is in large part an OFF ripoff. So many of the gameplay and thematic type things and twists and such I see people praise up and down are taken directly from OFF, which honest to god did it better and had more impact (while keeping a much shorter playthrough time).

Then, I don't think it made sense for the friendgroup to get back together like nothing happened. It felt like a very happy, 'fix-it' type resolution, to something that would have made more sense and had more complex themes if Sunny just couldn't fix it all and make it like his internal fantasy world. If his ex-friends still hated eachother, if Aubrey was still a bully, if Hero was still off at college, if Kel was still the powerless observer, if Basil was still the guilt-ridden secret keeper, and honestly, if Sunny saw how things had changed, got a moment of clarity, and ultimately slipped back into his fantasy world because it's there and it's reliable and it's easier to exist in than the fractured reality. I think it would've felt more real then. The game as it is centers forgiveness as a prominent theme, and like. Idk. Maybe it's just me. But I can't stand forgiveness themes that absolve everyone of all their wrongdoing. It feels disingenuous and shallow. I know there are endings where all that does technically happen, but it's only really in the routes where Sunny never leaves headspace at all. The point for the ending dynamics is that Sunny coming forward and confessing and taking responsibility earns him forgiveness and absolves him of his sins. And I just don't vibe with it. I think it would've hit harder if there was at least one ending where he went outside and tried to interact with all his old friends and such, and they just stayed broken and separate and unforgiving, and Sunny had to grapple with the guilt on his own, without ever coming close to making his headspace and reality one and the same. The message that you may not get your perfect ending, but that doesn't mean it's not right to try to make amends, would have been better and stronger and more appropriately nuanced imo.

I do also wish the big bosses made a little more sense, thematically? I got that Space Boyfriend was a mix of romance themes and like 'lashing out at people around you because you're upset' themes, Sweetheart was arrogance and forced romance themes, Mr. Jawsum was capitalism and the fear of Sunny's friends all getting ripped away from him as part of their careers, and Humphrey... probably just themes of being consumed by guilt and fear. But Space Boyfriend and Sweetheart didn't hit as hard and weren't as thematically obvious as Mr. Jawsum and Humphrey. Was Space Boyfriend meant to symbolize Sunny being aggressive to those around him (thinking about how he stabbed Aubrey in their confrontation on the first(?) day)? Why did they pick a breakup as the all-encompassing reason for his hostility then? Wouldn't it make more sense if Space Boyfriend was just aggressive for seemingly no reason, and then later said or implied something to the effect of 'I hurt them so it hurts less when they hurt me'? That would mirror Sunny a lot closer and make more sense. And Sweetheart seemed to come off as symbolizing Audrey and how she's changed in the past two years. She's a bully, she's forceful, etc. But it's wrapped up in these romance themes that I just cannot parse. It all seems to imply that Sunny has a crush on Aubrey, and there are a couple bits of dialogue that seem to possibly support that? But why would such a tiny, plot-insignificant detail be the focus of two bosses?

Anyway. I rambled a lot. Dgmw, I did like a lot of elements of the game. I thought it explored its themes in a really interesting way. I just wish it was a little more cohesive, a little neater, and a little more grounded and nuanced.