"Everybody's Gone to the Rapture might not make a lot of sense, at least at first. Its small cast of five characters are relegated to bobbing orbs of ectoplasm that occasionally manifest themselves as ghostly apparitions of things past. Pay phones ring, only to shout cryptic messages to you, and nothing stays the same for very long. Unraveling Rapture's core mystery, however, is only one diversion. The real reason for existing within Rapture is simply to experience this beautifully melancholy piece of surreal interactive prose.
On the surface, Rapture resembles The Chinese Room's debut effort, Dear Esther, with its serene yet quietly gloomy lush landscapes telling an enigmatic tale through clues in the environment. But in design terms, it's more reminiscent of the Punchdrunk theatre company's interactive play Sleep No More. For the uninitiated, Sleep No More asks audience members to wander around a dreamy derelict hotel (with some floors representing a graveyard, asylum, or frosty winter forest) while actors pantomime scenes from Macbeth re-imagined in a BioShock-esque early 20th century Lovecraftian nightmare. No two showings are exactly the same as how you explore - and how the actors integrate the audience on the fly - will yield different scenes played at different times. At one point I think I happened upon an orgy. Or an exorcism. I'm still not really sure."