This is one that I might need to let stew in my head for a little while. It's an experience to be sure, and it's left me with a lot to think about.
This is going to get long, so it all you want is a TL;DR: It's a very good crime drama story, filtered through Suda 51's very specific style of presentation. If you like visual novel games and can tolerate some inconsistent pacing I highly recommend it.

I have been a fan of Suda 51 for a long time. I am also an American, which means that statement pretty much translates to "I really like No More Heroes, Lollipop Chainsaw, and played a couple hours of Killer 7 as a teenager before I got confused and quit." I've always had a great appreciation for how he put a lot of himself into all of his games. Auteur creators are becoming less and less common in the games industry as games become more and more a culmination of massive teams, big money, and focus testing; so seeing a man who still has such a personal attachment with creating the games he wants to make the way he wants to make them, is something that should be admired. Not all of his games are perfect, but they are all interesting, and more importantly they are all his.

The Silver Case, for the uninitiated, was originally released in 1999 on the Playstation 1 only in Japan, and has the distinction of being the first game by Grasshopper Manufacture, the game studio founded by Suda following his departure from Human Entertainment in 1998.
This version is the remaster released in 2016, which was translated into English and released worldwide, and it forms the beginning of Suda's "Kill the Past," series of games, which includes this one; Flower, Sun, and Rain from 2001 (let's get that on Steam/consoles too, please); and The 25th Ward from 2005, which was localized and remade in 2018.

The Silver Case is a very different sort of game then what American Suda 51 fans are likely to be accustomed to. I'm not even really sure how to describe it accurately. The closest thing would be to call it a visual novel, which is mostly accurate, but there are a lot of little things about the way the story is presented that make the title feel reductive (that's not a slam on visual novels, I like them quite a bit, but TSC feels like something all its own).

Essentially the story is split in two scenarios, each of which is divided into "episodes" which you're intended to play alternately (A-1, B-1, A-2, B-2, etc.). In the "main," scenario, "Transmitter" (which is written by Suda 51 himself) you play as a player-named blank-slate character who works with a group of detectives in the "Heinous Crimes Unit," of the Police Force for the 24 Wards (the fictional Japanese city where the game takes place, essentially a stand-in for an alternate Tokyo), every chapter being a different case. In the other scenario, "Placebo" (written by Masahi Ooka) you play as Tokio Morishima, a down-on-his-luck freelance reporter who is covering each case on his own for a shadowy client, and ends up getting involved with each case of the main scenario, crossing over with it in different ways.

Personally, I thought framing the story like this is brilliant. Each of the Transmitter and Placebo chapters function as complimentary "A" and "B" sides of the same story. Suda's writing style in the Transmitter chapters convey a sort of confusion, and madness. As each story unfolds you experience each turn it takes with these detectives trying to make sense of what's happening the same way you are as a player. These chapters are faster paced, it can be confusing, and there's a lot of things that are left up to interpretation or kept intentionally vague in those chapters. The intrigue level is high, which flows nicely into Ooka's Placebo chapters, fittingly are all about a reporter figuring out exactly what just happened in the prior Transmitter chapter. Suda, for all his strengths as a creator isn't always the most direct at expressing exactly what he's trying to convey in his stories; so having someone like Ooka, who had already been working with Suda for a long time at this point in his career, there to present a more grounded perspective into what's going on in that guys mind, makes following the games' events much more straight-forward.

This is how I recommend playing this game: start the session around early evening, starting to get dark, but still light outside. Play the Transmitter chapter you're up to, try to finish it in one sitting if possible. After it's over take a break (eat something, make a drink, get some air), take some time to think about what just happened in the story. Then come back and start the corresponding Placebo chapter, it should be dark out now, dim your lights as much as possible.
It's easy to put yourself in the mindset of an investigator; both of Tokio, the character: an outsider trying to parse what's happening on the inside of this case looking in; and you, the player, trying to understand the finer details of the last chapter that were unclear in the moment.
The atmosphere you create by playing the game this way, the transition from the HCU Detectives in the world of the "day," and the lone wolf reporter in the world of the "night," presents the duality of the two scenarios in a very palpable way.

You could argue this is less the game, and just me larping but... I feel like this games presentation invites that kind of bahavior in it's audience.
The soundtrack does a lot to support this, each track feels very tailored to the atmosphere that scene or environment is trying to create (Tokio's apartment theme is a personal favorite of mine). The original music is composed by Masafumi Takada; who, fun fact: also was responsible for the Danganronpa games' soundtracks, including SDR2, which features an extended reference to Twilight Syndrome, another Suda 51 game! It comes as no surprise that the DR people are fans, as I found myself getting similar vibes from the DR games too, something about the atmosphere they create, it's hard to put into words, but I feel it (I also happen to be wearing a Danganronpa t-shirt as I write this, so I am quite literally wearing my influence on my sleeve).
The remake does include an option to switch to remixed soundtrack as well by Akira Yamaoka (who I am a big fan of for his work on the Silent Hill games), which I haven't listened to in the context of the game. I might swap it in for a replay down the line and when I do I'll update this review with my opinion then.

All of this is to say, in far too many words: The Silver Case is a game that made me think, it made me feel, it left me feeling richer for having played it. And I don't know what else I could really have asked for.
It is not perfect: it can sometimes be difficult to keep track of characters if you're not familiar with Japanese naming conventions since they're not always referenced with their portraits (I recommend keeping a lit of character names handy for reference when necessary), and towards the end there is a *long* and tedious gameplay sequence that takes things way too far, but these are nit-picks.
If you like this type of game, I couldn't recommend TSC enough.
If you're an American fan of Suda, who wants to learn more about his pre-Killer 7 work (like I was when I picked this game up), I think this is a good place to start (atleast until we've got the Twilight/Moonlight Syndrome Games translated properly).