Remedy is renowned for its groundbreaking and unorthodox approach. It seamlessly incorporates live-action footage into its video games, subverting player expectations and rewarding those familiar with the developer’s illustrious history and impressive gameography. Alan Wake 2, in particular, unabashedly indulges in extravagant and high-budget madness, both captivating and occasionally perplexing its audience. While the peaks of Alan Wake’s new adventure are towering, the frequent lows consign the entire experience to The Dark Place. Furthermore, I experienced numerous bugs that necessitated frequent restarts and even a complete reinstallation. Nevertheless, amidst my frustration, I cannot help but admire Remedy’s commitment to creating a truly unique and eccentric experience.
The events of Alan Wake 2 unfold in real-time, precisely the number of years that have passed since we last played the original game. For 13 long years, Alan has been trapped in limbo, desperately attempting to write his way back into reality. From a broader perspective, both Alan Wake games revolve around a man’s relentless struggle to escape the clutches of an evil force. Upon closer examination, however, the story delves into the very essence of art, exploring the dubious nature of creation, the reliability of memory and reality, as well as themes of parenthood, friendship, and, undoubtedly, murder. Alan Wake 2’s tale, while occasionally clumsy, adroitly navigates these complex topics through its melancholic voiceover, breathtaking visuals, stellar performances, and peculiar set pieces that are destined to become the game’s enduring talking points. This is where Alan Wake 2 truly shines. Its storytelling approach distinguishes it from anything else out there, and despite my yearning for more interactivity during conversations and internal monologues, I remained consistently engrossed.
The only exception to this captivating experience is Saga, the new playable protagonist, and her investigative techniques. Although I, overall, preferred playing as Saga instead of Alan, her extraordinary detective abilities often culminated in underwhelming revelations. Saga seems to acquire seemingly impossible case facts merely by ruminating alone in a room. While I am willing to suspend disbelief and accept her special powers, watching her miraculously deduce information without logical justification is profoundly dissatisfying from the player’s perspective. Additionally, her attempts to construct evidence on a wall through interactive means feel all too predictable, as you are generally aware of the image you are piecing together. Nonetheless, Saga’s personal story and the enigma surrounding her family prove to be the more compelling narrative, and I eagerly followed her threads whenever the choice was presented.
While Alan lacks Saga’s investigative prowess, the portions of the game that revolve around his journey in the abstract Dark Place present their own challenges. Alan is meant to be adrift and bewildered in this unsettling realm, and narratively, this concept succeeds. However, when a location (coupled with a cumbersome map) is already difficult to navigate and further complicated by doors that shift exits depending on the lighting, the result is a state of opacity that does not consistently translate into enjoyable gameplay.
Nevertheless, combat serves as a beacon of exhilarating action, even amidst moments of confusion and frustration. Illuminating enemies with a flashlight and filling them with bullets now evokes a sense of unwavering determination that surpasses the 2010 game. Pulling off a flawless flashlight-shotgun combo remains immensely satisfying. In fact, it is so satisfying that I yearned for more opportunities to engage in such gameplay. Unfortunately, there are only a few instances in which combat is unavoidable. Scarce ammo and reliable dodging mechanics discourage active participation. Combat ends up feeling like an indulgent dessert that you know you should resist. You want to partake, but you know you probably shouldn’t. Thankfully, the penultimate showdown inundates you with plentiful ammunition and swarms of enemies, paying homage to the original game and delivering a gratifying experience.
Alan Wake 2 seems to embrace an irritating video game trope with unparalleled dedication—an incessant feeling that everything is perpetually just out of reach, consistently unsatisfying. You are perpetually required to pass through electronic doors, only to encounter a power outage just as you approach, necessitating the collection of items A, B, and C to restore the electricity flow. Variations of this scenario occur with exasperating frequency. Thematically, it aligns with the notion that the story itself, continuously being written as you progress, introduces obstacles intended to impede your progress. However, on a practical level, this approach feels antagonistic towards the player, resulting in an irksome experience.
Ever since the original game concluded with a cliffhanger and the lackluster American Nightmare in 2012 failed to advance the storyline, I had been eagerly anticipating Alan’s long-awaited return. Narratively, the events of the game provide a satisfying resolution, and I wholeheartedly welcome Saga into this world. However, when it comes to actually playing the game, navigating the world, and selectively engaging in combat, I stumbled. I anxiously awaited the next cutscene, yet the gameplay often fell short of expectations, and I encountered more bugs than Taken enemies. For devoted Remedy fans and those curious to discover what lies ahead in Alan Wake’s journey, the sequel undeniably succeeds. However, one must overcome unnecessary obstacles to reach its conclusion.
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