The Fan

My first instinct with The Fan was curiosity about the format: every scene is built from real photographs of actual Paris locations, with real actors, stitched together into a first-person point-and-click experience. Solo developer Cyril Danon shot thousands of images across years to pull this off, and the result has a genuinely unsettling texture that polygonal horror rarely matches. When the atmosphere lands, it lands hard. Dimly lit catacombs, close-quarters framing, and a villain-protagonist perspective combine into something that feels closer to flipping through a killer's scrapbook than playing a conventional game. The mechanical side is lean by design. Left click and right click are your only inputs, and the interaction philosophy leans toward discovery and choice over puzzle-solving. There are no sliding tile diversions or inventory juggling, which keeps the pacing tight but also means there is very little friction standing between you and the credits. Community data puts the main story at roughly 45 minutes, with all endings clocked at about an hour total. That is not a criticism so much as a hard fact you need to walk in knowing. Players expecting a full evening of content will feel shortchanged; players who treat it as a short-form interactive film will likely come away satisfied. The multiple-endings structure does give a reason to replay, and the branching choices around the killer and his captive carry real weight given how spare the writing is. The villain-protagonist angle is played with some dark humor and a discomforting sincerity, which is either the game's best trick or its most divisive quality depending on your tolerance for morally unpleasant narratives. Steam reviews sit in mixed territory, and the split feels honest: supporters praise the atmosphere and novelty of the photo format, while detractors point to the microscopic runtime and limited interactivity. No achievements, no trading cards, and no post-launch updates worth noting. This is a bare-bones single release from a solo dev's first project, and it shows at the edges. The interface is functional rather than polished, and some photo transitions feel abrupt. But writing it off entirely misses the point. The Fan does one thing exceptionally well: it uses a cheap, lo-fi format to generate genuine dread, and that counts for something in a genre full of jump-scare factories. Best suited for FMV and interactive fiction fans who can accept a 60-minute ceiling, want something atmospheric and weird, and are not squeamish about playing from a predator's point of view. Alex, Scout Team