Massively Overpowered has posted a very kind review The Park, and included praise for the writing and my performance as Lorraine:
See, the player hears Lorraine’s monologue all the way through. And it’s there that the game becomes disturbing and also brilliant because Lorraine’s overwhelming narrative is of a woman stuck in a deeply uncomfortable place while thinking thoughts that any given parent will have felt, even if said parent would never act on them.
In truth, much of the game’s horror is derived simply from this. In Lorraine’s internal monologue, we hear every little bit of scathing anger that you expect from a single mother in a horrid situation. It’s about the fear and pressure of being alone, isolated, hurting, and scared, and simultaneously knowing it’s not the child’s fault whilst hating that child for it. Then you press the button to call out for Lorraine’s son, and her speaking voice is fraught with terror, trembling, almost begging for her son to return to her arms. That disconnection between words and thoughts is a powerful one, and as Lorraine’s own instabilities become clearer, you start to ask yourself where the disconnection starts and where it ends, whether or not there are truths which Lorraine herself would prefer not to admit.
And then you go deeper.
Fryda Wolff, who plays Lorraine, is almost entirely running a one-woman show, and it’s captivating, horrifying, and riveting all the way through.
I’m extremely proud of my participation in The Park and of Funcom’s team. The Park was made in seven months, starting with a team of 3 people. I’ve so enjoyed watching the reactions of streamers and let’s players, as varied and polarized as the players themselves.
The Park is special, and certainly one of those games that serves as proof for this statement: Games are art, indisputably.