I'm not saying two disparate modes can't be made to work together under the right hands. Comedy and drama have been blended coherently by masters of the form. That still doesn't change the fact that they do not naturally work well together. The same applies here.
The reason the critique reads as more than personal preference is because it is grounded in established principles of narrative structure and tonal control, not simply "I didn't like it." When a work attempts to invoke the ethical weight of real atrocities (which requires the audience to stay reflective and engaged with moral consequence) while simultaneously deploying classic supernatural/monster devices (which require the opposite: a willingness to suspend rational scrutiny and accept the impossible), those two demands pull in opposite directions. Handling that collision without one undermining the other takes deliberate craft and usually more room to breathe than a short experience provides.
The game does not demonstrate that craft. The tonal shifts and continuity breaks actively interfere with the very immersion and moral unease it seems to be aiming for. That is a structural problem, not a matter of individual taste.
If the piece worked for you as metaphor or as a gradual shift from one mode into the other, that's fine. It does not, however, erase the fact that the tonal whiplash and the clash between the two kinds of horror were poorly managed given the game's length and execution. A longer work with more space to establish and transition between modes might have mitigated the issues. As it stands, they remain.