The Fan Reviews

There are better apps to watch boring pictures.

The Fan, developed by Ezhaac Studio and published by Plug In Digital, is a dark, atmospheric, and deeply unsettling psychological thriller that approaches interactive storytelling in an unconventional way. Rather than relying on animated environments or traditional 3D graphics, the game immerses players in a disturbing narrative through the use of real photographs and live-action elements. This photo-fiction approach gives the game a unique visual tone that feels unnervingly grounded, making every scene, object, and character interaction feel all the more real. From the first moment, you are placed in the mind and perspective of a disturbed individual—known only as “The Fan”—who has abducted a woman and trapped her in his basement. It is a short, intense experience that lingers far longer than its modest runtime might suggest. Gameplay in The Fan is relatively minimalistic, borrowing heavily from point-and-click mechanics while emphasizing narrative immersion over traditional puzzle-solving. You explore a confined space, mostly limited to a handful of rooms, and interact with objects that gradually reveal the twisted psyche of the protagonist. Each interaction with the environment builds tension, and your choices affect how the story unfolds. There are multiple endings, which encourages replayability, but the game isn't driven by complexity—it's driven by mood and subtext. Clicking on emails, flipping light switches, or examining personal items tells you more about the character than long monologues or exposition ever could. The still-image format might sound limiting at first, but in execution, it becomes one of the game’s greatest strengths. The stark realism of photographed environments creates an uncanny stillness that feels more disturbing than any animation could. One of the most compelling elements of The Fan is its atmosphere. The setting—a cold, cluttered, dimly lit basement—feels oppressive. The realism of the photographs adds a voyeuristic discomfort, and the grainy lighting enhances the sense that you’re watching something you shouldn’t be. The character of the captive, portrayed by actress Claire Hoffmann, is presented not as a caricature or fantasy, but as a real person in a truly horrifying situation. The game carefully avoids sensationalizing her predicament, opting instead for subtle tension and psychological dread. Audio design is equally minimalist and effective, with ambient sounds and eerie silences working together to amplify the unease. There is no music to comfort you, no narration to guide you—just the suffocating quiet of obsession and isolation. Despite its creative strengths, The Fan is not without flaws. Its brevity is both a blessing and a curse. Most players can experience all its endings in under an hour, which may leave some feeling that it is more of an experimental concept than a fully realized game. Additionally, the interface design can sometimes work against the experience. Interactive objects are often marked too obviously, reducing the sense of discovery and making the progression feel more like going through a checklist than exploring a space. Some players have also noted that the control scheme and UI placement can be unintuitive, especially when trying to interact with specific items. While the game does offer multiple outcomes, they don’t differ drastically enough to fundamentally alter the core narrative, which limits the impact of player agency. Reception of The Fan has been mixed but generally favorable among players who appreciate atmospheric and narrative-driven experiences. Many positive reviews cite the game’s originality, strong sense of place, and its emotionally unsettling tone as major strengths. Others, particularly fans of traditional point-and-click games or more gameplay-heavy thrillers, found the lack of interactivity and brief runtime disappointing. On Steam, the game holds a majority of positive reviews, but it remains a niche title, best suited for players interested in experimental or art-house storytelling. The themes—obsession, delusion, control—are handled with enough restraint and subtlety to be thought-provoking, even if the game never fully explores them in great detail. What’s especially impressive about The Fan is that it was largely created by a single developer, Cyril of Ezhaac Studio, who handled nearly all aspects of the game—from the photography and staging to the narrative structure and technical development using Unity. The sheer effort behind this project is evident in the level of detail found in the environments and the deliberate pacing of the narrative. Even if the game doesn't satisfy all expectations of what a thriller game should be, it succeeds as a passion project with a unique artistic vision. Ultimately, The Fan is a moody, disturbing, and creative piece of interactive fiction that challenges the boundaries between photography, film, and video games. It’s not designed for everyone—those looking for traditional gameplay loops or extended campaigns will likely be disappointed—but for players who value atmosphere, storytelling, and psychological tension, it offers something rare and compelling. Its greatest strength lies in how it uses silence, space, and realism to convey dread, making it a haunting experience despite its simplicity. It may not be perfect, but it is undeniably memorable. Rating: 6/10