Discovering the past can be just as fascinating as it is uncomfortable—and The Suicide of Rachel Foster exists precisely in that limbo. First of all, it’s important to make one thing clear: this is a game that deals with extremely sensitive topics such as suicide and pedophilia. If these subjects make you uncomfortable, this is absolutely not the right game for you.
An invitation to mystery… and discomfort
What initially drew me in was the game’s aesthetic. The setting evokes works like The Shining, with its vast, empty, frozen hotel—where silence speaks just as loudly as the dialogue itself. There are also clear parallels with games such as Firewatch or Gone Home, particularly in the way exploration unfolds and how the narrative is gradually constructed through environmental interaction.
Over its three to four hours of playtime, the strongest aspect of the experience is undoubtedly its atmosphere. Everything works well on that front: sound design, lighting, art direction, and voice acting all come together to create an engaging and tense mood. The horror here is psychological—there are no monsters jumping out of the dark or cheap jump scares. Instead, there’s a constant feeling that something (or someone) is there with you, even when you know there shouldn’t be.
A story that starts strong, but fails to maintain momentum
The narrative begins with impact. There is mystery, tension, and layers to uncover. Unfortunately, midway through, that strength begins to fade. The story drags, loses its impact, and the gameplay does little to maintain interest. Some sequences are so mundane that they feel like pure filler. A clear example of this is the moment when you are required to heat up a can of beans in the microwave—the game forces you to literally stand there for several minutes doing nothing else. I found myself thinking, “Is this really what they want me to be doing right now?”
Despite attempting to culminate in a major moment, the final plot twist ends up being predictable. It’s not poorly executed, but it doesn’t surprise. And in a game of this kind, where the narrative is meant to be the core, that predictability significantly undermines the emotional impact it could—or should—have delivered.
A controversial approach to sensitive themes
It’s impossible to talk about The Suicide of Rachel Foster without addressing how it handles its central themes. Suicide, although present from the very beginning of the narrative, ends up being treated in a rather superficial way. There is an attempt at empathy, but it lacks depth and care—especially considering how heavy and relevant this topic is in today’s society.
Even more troubling is the way the game presents and develops the theme of pedophilia. Rather than condemning it outright, the narrative treats it with a misplaced and deeply problematic sense of romanticism. There is a clear failure to acknowledge the seriousness of the subject. Instead of serving as a warning or a space for reflection, the story at times seems to soften something that should be unequivocally condemned.
A missed opportunity
In the end, The Suicide of Rachel Foster is defined by what it could have been. It had all the elements needed to deliver a deep and moving story, supported by a strong atmosphere and simple mechanics that would allow the narrative to take center stage. But the balance between form and content is never achieved. The atmosphere shines, but the story falters. The narrative decisions not only fail to move the player, but also raise ethical concerns that are difficult to ignore.
For fans of this genre—focused on exploration, slow discovery, and narrative—it may be worth trying with tempered expectations. But it is hard to recommend without significant caveats.
Final Score: 4/10