Set in 1993, it's the story of 26-year-old Nicole Wilson, a woman who fled her family's hotel as a teen after the discovery of her father's infidelity. ![]() “The key words are very much nostalgia and mystery rather than fear or terror,” he tells me, as I play through the opening sequences. The Suicide of Rachel Foster is not, according to its lead programmer Lorenzo Bellincampi, a horror game. So far, there is nothing particularly amiss about that model, no suggestion of malice. There's a similar model in 101% and Reddoll's The Suicide of Rachel Foster, showing the Timberline Hotel's situation high in Montana's mountains, a “You Are Here” flag fluttering jauntily from its roof. But it also sums up a film in which the horror isn't really driven by grotesqueries like blood-filled elevators, but the quiet hostility of the spaces around them - the vast, silent ballrooms, corridors and stairwells that eat away at your imagination as Kubrick's queasy camerawork feeds you through them. It's an obvious visual metaphor for Jack's mounting ogreish tendencies - you can feel him itching to stretch out a thumb and squish them. He glares down at it (Nicholson's eyebrows really deserve an Oscar apiece) and the film cuts to a slow zoom from above, showing us his family wandering through the model, as innocent and unsuspecting as Pac-Man's ghosts. ![]() ![]() Midway through totemic 80s skin-crawler The Shining there's a scene where Jack Nicholson's disheveled caretaker, scouring the Overlook Hotel for the antidote to writer's block, stumbles on a scale model of the hedge maze his wife and son are exploring outside.
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