Anyone with a passing knowledge of silent cinema and, especially, Nosferatu might begin to connect the relationship of German Expressionism to Frey's latest game, Letters to a Friend: Farewell, the initial episode in an anthology of stories bound by the aesthetics of silent projection, the eerie grain of the audio track, the smudgy film stock, and the movement of the reel. As with his prior work, the slow, methodical pace envelops the player within the grasp of an unknowable terror and anxiety which never rears its head with the jump scare nor the obvious horrors expected of a situation. The notary assistant's drive and his time within the home he must receive a testament upon leech tropes well known, yet the unraveling situation features a form of grief and abuse reserved to a domestic space which scares in its repeated investigation by the player. Frey's games are not for the impatient nor those incapable of putting the slightest effort into interpretation and understanding where abstraction and the unspoken leave room enough for players to form such thoughts for his games. Letters to a Friend: Farewell is no different, and its encompassing exploration of a home and its resident function a transgressive refutation of the horrors the game's aesthetics draw from, in particular Nosferatu and, in some fashion, Murnau's later non-horror film, Sunrise: A Song of Two Humans.