The Suicide of the Rachel Foster is a masterpiece in atmospheric storytelling. The slow-paced unveiling of the truth is crafted meticulously, and whilst the ultimate ending is a little disappointing, that doesn’t make the journey any less thrilling. The game knows exactly how to manipulate emotions and does so throughout. Equal parts intriguing, frightening, disturbing, and thrilling, The Suicide of Rachel Foster sets a new high-bar for the already strong first person exploration genre.

Anyone who likes walking simulators or solid mysteries will likely be satisfied with The Suicide of Rachel Foster. It's got a well-written story and is set in a convincing location. It's also very easy to blow through in a single evening in lieu of watching a similar movie.

Graphics aren’t up to modern standards, and you’ll visit the same locations over and over again – but it’s not all that bad. What really stays with you are finely written characters of this game and well-paced anxiety buildup. [Issue#243, p.56]

Small issues aside, The Suicide of Rachel Foster is a truly riveting thrill ride. The story plays out perfectly in the first-person narrative video game medium. You owe it to yourself to discover the secrets of the Timberline Hotel - just make sure you've got a few hours spare, because you're not going to want to put it down once you've started.

Neat set design aside, The Suicide of Rachel Foster‘s middling, unremarkable progression (not to mention some odd characterization in parts) don’t quite gift the experience with the tension and unease it’s so obviously seeking.

With inspiration taken from What Remains of Edith Finch or The Vanishing of Ethan Carter, The Suicide of Rachel Foster is clearly sub-par relative to those games, to the point where it's difficult to recommend it for any reason, even if the story isn't that bad.

A mediocre melodrama, awkwardly written into a shoddy walking simulator, its few bright ideas are poorly fleshed out and ultimately destroyed with a rubbish ending.