These issues led Alan Wake to generate lower sales than expected, the subsequent doubt and conjecture of the game’s sequel is proof of that. In response Remedy convinced Microsoft to allow them to port the game to the original game’s platform of PC. So, in February 2011, the game was finally released on PC nearly six years after being announced. At the time it was widely reported the games PC sales were so large that within two days the money generated covered both the development and marketing costs the game has incurred. It was a startling turnaround but raised debate as to why it was never released on PC in the first place.

When released the game received generally solid reviews for both Xbox 360 and PC versions, with praise being heaped upon the tone, atmosphere and narrative as well as the progression and development of key characters. However, the majority of negativity focused in on the linear nature of the game as well as the underdeveloped combat system. From personal experience in discussing the game, the combat system is the major stumbling block in trying to convince others of Alan Wake‘s greatness. Some, like myself, become so immersed in the world of Bright Falls that this flaw is something that can be overlooked. Others simply are not aware of any negativities about the system and actually enjoy it. However, for mainstream gamers it was a problem that provided no solution.

The combat system adopted by Remedy was an intriguing concept with “darkness” playing the antagonists rather than any physical foes to deal with. Shooting entities out of a nightmarish dream turned out to be a refreshing change from the countless games that have the player encountering endless hordes of humans or zombies. Light proves to be your greatest ally and the combination of flashlight (how did Energizer ever agree to have its batteries run flat so quickly?) with a choice of weapon, normally a pistol or shotgun, gives the player a differing experience than the norm.

The episodic structure provides what should be the perfect platform to develop this system by introducing new features or additional moves that can be adopted by the player, a structure that is normally used with complex battle systems. However, there isn’t a strong wave of progression. Changes are superficial and dressed up as major occurrences in the game. Flashlights become bigger and stronger essentially increasing defence, rarer weapons are introduced increasing firepower but sadly nothing really evolves. It is a flaw that I will readily hold my hands up too and agree with. It is the game’s weakest asset. Repetition eventually become frustratingly tedious. Many gamers felt that Alan Wake was testament to this feeling.

However, it is the game’s strengths that make it stand out above the majority of previous generation titles. It is a game of such grand narrative ambition; a game that treated its audience with intelligence and respect. Its screenplay, available to read through as “bonus materials” on Steam, was a gargantuan tale rooted in the personal tragedy that afflicted our protagonist. It sways between fact and fiction and brilliantly captures the creepy, surreal atmosphere that Twin Peaks so successfully managed to achieve in the early 90s. I became lost in its intricate and complex plot that was told over six episodes, each one designed to recreate the tension and cliffhanger effects normally reserved for TV. This format was believable, such was the strength of what writers Sam Lake and Mikko Rauralahti had conjured up.