From here you can enter Alan's writer's room, a sort of 3D menu that manifests as a log cabin complete with a typewriter and a chalkboard ready to be filled with ideas. When these points of inspiration for his latest novel are discovered, you’re notified that a new plot is available to use. It's an intelligent design decision that not only wows visually but crucially fits Wake as a character - a tortured writer looking to type his way out of the hell of his creating. Where a wall once stood, an open tunnel now beckons. It’s a source of inspiration a creative spark that writes a new path. For example, after venturing down into the dead end of a subway station, Alan sees visions of Detective Casey investigating a case. As briefly mentioned previously, Alan is able to change the layout of the city as he goes - it's a place of his own dark creation, after all. If the glimpses of gameplay we've seen from the Saga side look more inspired by the original Alan Wake and recent Resident Evil remakes, this Dark Place mission seems to owe much more to the warping weirdness of Control.
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It's reminiscent of masterpieces of level design like Dishonored 2's Crack in the Slab or Titanfall 2's Effect and Cause, albeit more focused in scale rather than level-wide shifting realities. These newly brightened areas are immediately warped into something new a shadowy garbage heap suddenly becomes an illuminated subway entrance, for example. You’ll do this by absorbing energy from nearby light sources into your handy Angel Lamp and unloading it into unpowered bulbs and streetlights. Ferrying light through shadowed streets reveals new opportunities and grants fresh paths of progress through the city and its story. Outside of combat, environmental puzzles take centre stage. It appears much more interested in testing your problem-solving abilities - some of which will involve weaponry - but all in service of unraveling its story and unlocking the horrors it's hiding. Despite not lacking in action, it's hard to call Alan Wake 2 an ‘action game’ from what I've seen so far. The developers have talked of their desire to move away from the wave-based flooding that the 2010 original indulged in, and it looks to only be for the betterment of the sequel. It seems that even the most simple-appearing of fights could be a challenge. It's made all the more exciting by the infrequency of these encounters and just how many shots enemies look like they can take.
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It's edge-of-your-seat stuff and yet another example of the sequel's descent into full horror. This seems to add an extra level of tension to every step a moment of hesitation before the precious flashlight battery life is potentially wasted on nothing more than a dark shape. There's an uncertainty as to which of the many shadows haunting the streets will actually be hostile, though. Alan uses a flashlight to burn away the dark armoured cloud shielding his enemies, before filling their slightly more human form with bullet after bullet. The combat navigated with it appears fundamentally similar to that fought by Alan Wake 2's other protagonist, Saga. The passing of the torch from one very different hero to another comes in the form of a common object between the two, however, as the cold metal of a revolver feels more like a warm friend. The meta levels of Remedy’s unique approach reach winking new highs here as James McCaffrey’s scratchy voice performance transports me back to bullet time ballets once danced. He echoes Remedy's past by shaping Wake's future.
Casey wears the face of Remedy’s own creative director, Sam Lake, who dusts off a familiar paisley-patterned tie and weathered leather jacket to max effect. A standout moment in the demo comes as the titular detective of Alan's Alex Casey novels confronting his creator in a smog-filled alley. Easter eggs appear at every turn in classic Remedy fashion: Night Springs billboards, graffiti acting as ghosts of his haunted past, and the ominous Caldera Street Station - a clever bilingual nod to his Cauldron Lake prison.īut those Easter eggs are not always in the background. An imagination that bleeds into the alleyways of The Dark Place without invitation. Red and green neon lights slice through the darkness and bounce off of puddles, reflecting Wake's troubled and vivid imagination.
The 1970s Taxi Driver-influenced colour palette bursts out the screen. A world apart from the small town, Twin Peaks-inspired Bright Falls setting of the other half of Alan Wake 2’s story, these mean streets owe more to Martin Scorsese than David Lynch.
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