I liked Tormented Souls well enough that I was curious to see if the sequel would fix the first game's flaws. It helped that the developers put out a free demo of the game on the PSN, which I downloaded and played. It was surprisingly long, covering most of the first full level of the game.

The demo also did show signs of improvement over the first game. Enough so that I was motivated to buy the full game when it released (though it still took a few months to actually get around to playing it). If the sequel could maintain the positive aspects of the first game, while fixing or improving on the first game's flaws, then we could have a true gem of a traditional survival horror game on our hands.

Modernization at the cost of frustration

Almost immediately, I started noticing quality of life and gameplay improvements over the first game. Caroline is more mobile. She can move while aiming a weapon. Perhaps best of all, there's a quick inventory. It's mapped to the right stick, which is a bit clunky and imprecise, but it's fine. It's still better than having to go into the inventory every time I need to switch between the nail gun and a melee weapon, and vice versa.

Caroline can move with her weapon drawn.

Cool! They fixed the biggest problems with the original game: the archaic-feeling controls! Right?

Well, not so fast. While these are strict improvements over the original, they do come with a catch. To offset Caroline's new mobility, enemies are much faster, more aggressive, and tankier. The ability to move with the weapon drawn helps, especially in long hallways and the rare open spaces. I can backpedal and shoot instead of having to go through a cumbersome process of aim, shoot, turn around to run away, and turn back around to aim and shoot again. I can even strafe! This works well in the relatively wide halls of the opening convent level, but it stops being useful basically as soon as you leave the convent, at which point the game ambushes the player with multiple enemies or gives them the ability to hit you from further away.

The problem is that there's rarely -- if ever -- enough room to maneuver with this newfound mobility. The arenas are cramped and cluttered, the enemies completely block narrow paths, they have huge hit boxes, and their hit tracking makes it almost impossible to run around them. The camera angles constantly hide enemies off-screen, making it impossible for me to judge distance or know if I have a clear shot until the enemy is right up in my face, and close enough for them to get a couple cheap shots in. Regardless of whether I was using "tank" controls or analog movement, if I did try moving around during combat, I was constantly running into tables and chairs in the middle of rooms, or I was getting stuck on geometry along the periphery of combat arenas (often at the edge of the screen). The small rooms mean that camera changes are frequent. Every time the camera changed, I would lose a step because the character would turn the wrong direction or run into another obstacle.

There rarely seems to be enough room to use Caroline's newfound mobility.

On top of all this, the game seems to be stingier with supplies (at least early on). The first boss ate through all of my remaining ammo after getting through the first level. I had to finish her off with melee in her final phase. This forced me to have to burn through all my healing items as well, since she has a close-range area-of-effect ground smash attack that I wasn't able to avoid at that close range.

A few hours into playing the Whispers In The Woods expansion for Pacific Drive, I started having deja vu to when I played Echoes Of The Eye expansion for Outer Wilds. In both cases, I was playing a hotly-anticipated, horror-themed expansion for games that I thouroughly loved. And in both cases, I wasn't enjoying the horror-themed systems as much as I thought I would. In the case of Outer Wilds, this was largely due to being exhausted by being a new dad. In the case of Whispers In The Woods, I was similarly emotionally exhausted by family drama that was happening in the holiday season of 2025. I just didn't have as much patience as I needed to play either of these games.

In both expansions, the fundamental gameplay and experience is actually changed considerably from the base game. For Pacific Drive, the methodical exploratory nature of the base game gives way to a much more high-pressure and goal-oriented approach. The base game was all about scavenging the levels for every resource that wasn't nailed down. It was about managing risk and seeking rewards. Or at least, that was how I played it. In the expansion, however, I started feeling like the intent is for the player to get in, get what you need, and get out as quickly as possible!

The big difference between these 2 expansions seems to be their reception by their respective communities. While I was a discordant voice in a harmony of near-overwhelming praise for Outer Wilds: Echoes of the Eye, I am just another noise in the cacophony of mixed and conflicting opinions about Pacific Drive: Whispers In The Woods.

Upon booting up the game with the DLC installed, the garage will be transformed by a mysterious cult.

Spooky stand-alone drive

Perhaps the most controversial aspect of Whispers In The Woods is that it has an economy and progression system that is completely detached from the core game's economy and progression. On the one hand, this provides a roughly consistent level of challenge, whether you're starting the expansion content a few hours into a new save file, or if you're using it as an excuse to re-visit the game after already having put hours into the post-credits free play. On the other hand, it means that, if you were at the end of the main campaign (or beyond), it really feels like the game is forcing a hard reset. And if you are still early in your campaign, a detour to play the expansion will feel like just that: a detour. Aside from the incidental collection of normal resources, you won't be doing much (if anything) that will progress the main campaign, upgrade the garage, or make meaningful permanent upgrades to the car.

Conversely, if you make a pit stop at a cabin or trailer to scavenge for resources, and only find normal, base game materials, it can be insanely frustrating. I recommend having a resource radar handy, so that you know whether a particular scavenging stop is worth the time and effort -- especially if you already have a pneumatic locker or 2 full of an entire campaign's worth of normal crafting resources back in the garage.

You have to re-grind for parts to craft new "attuned" car parts.

Essentially, the expansion creates "attuned" variations or equivalents of many of the game's resources and car parts, which you must now collect from scratch. In fact, during my first visit to the Whispering Woods, all of my car's late-game parts and equipment (that I already had installed) were rapidly damaged and rendered defective. All those insulated and anti-corrosion doors and panels that I had equipped all were rendered "fragile" by the time I returned to the garage for the first time, forcing me to scrap them. When I go back to the main game, I'll have to re-craft all of those. And if I had still been at the early stages of the final act of the base campaign, in which the materials for insulated and anti-corrosion parts are limited, I would probably be pretty pissed by the setback.

And if you want to switch between playing the expansion content or progressing the base game campaign, you'll have to take your whole car apart and re-equip the appropriate parts every time you put a Whispering Chart in or out of the Z.E.T.I. route analyzer.

The expansion areas seemed to almost instantly break
all my advanced base-game car parts!

I also had frequent problems with my Off-road wheels going flat or bald, and I felt like I was constantly replacing them -- long before I had found blueprints to create the attuned wheel equivalents. And once I had the attuned engine, headlight, and wheel parts available, I discovered that many of them need to be "fueled" by placing certain resources in their inventories. They aren't repaired by Repair Putty or other vanilla tools. The unique fuel and repair requirements of attuned equipment added extra, tedious, refueling requirements to runs that were already under plenty of time pressure.

I'll give Remedy this bit of credit: in a world overrun with soul-less, design-by-committee, live-services and vehicles for micro-transaction economies, Alan Wake 2 is a game that actually has a strong creative vision and personality. It follows in the footsteps of Hideo Kojima and Death Stranding by being completely confident in itself and being un-abashedly weird. And just like with Death Stranding, that means that sometimes Alan Wake 2 is genius; other times it's confoundingly stupid and hackneyed!

It's hard even to classify Alan Wake 2 into a single genre. That goes for both narrative genre and also ludic genre. In both cases, it's kind of all over the place. At the most reductionist level, it follows the basic formula of a modern horror game: exploring creepy environments to find keys for doors, fighting monsters as an over-the-shoulder 3rd-person shooter, solving puzzles, and managing a limited inventory. So it's a "horror game", right? In fact, sometimes, it's seriously scary and disturbing. But other times, I'm questioning its "horror" status while I'm laughing out loud to a deliberate joke, or bored out of my mind because nothing scary or particularly exciting has happened in hours. Yet other times still, it's farcically campy or schlocky, and un-intentionally laughable. It's story is ridiculously out there in its concepts and execution, but somehow every beat of the plot is set up and signposted as clearly and obviously as the neon signs that point the player to the next objective in the Dark Place.

Plot twists are signposted more clearly and obviously than the neon signs that often guide the player through levels.

It's also frequently up its own ass. It is, after all, a fictional story about the power of fiction to alter reality (and our perception of reality). It even features the lead designer as a self-insert character within the story. Though surprisingly, he made himself a secondary character instead of one of the 2 playable protagonists. So it's not really about him, but he still found a way to make the entire plot revolve around that secondary character.

In the mind's eye

I feel that Alan Wake 2 is consistently at its best when its sitting firmly in its horror-mystery mode. As such, the opening couple hours of the game really pulled me in and hooked me. The game's main quest and side content are split up into various "cases" for the FBI agent protagonists to solve. There's a mechanic in which the player can retreat into Agent Saga Anderson's "Mind Space", which is an imaginary office room in which she sorts through all the clues she's gathered and strings them together on an imaginary wall in order to fit the puzzle pieces of the mystery together. Each time the player discovers a critical piece of information in the game world, it will show up in the Mind Space's filing cabinet as a new file in a case folder. Putting the clues together in the right way will unlock new lines of inquiry, and can even reveal the next objective.

Agent Anderson can review the known evidence in her imaginary Mind Space office.

Apparently, the actual game doesn't even pause, and continues to play in the background while the player is in the Mind Space. Even though the Mind Space is a full-screen environment, the character can still be attacked by enemies in the "real world". At first, I thought this would be obnoxious, but after the first time I was attacked while trying to re-arrange items on the case board in the Mind Space, I learned my lesson. After that, I actually came to realize that that needing to find a safe, peaceful space in order to let the character think about clues they've discovered (and how to proceed), really helps to emphasize the danger and stakes of the situation.

Arranging the clues in the Mind Space is not very difficult or complicated. It's not like having to solve a person's fate in Return of the Obra Dinn, or anything like that. Most of the time, the process is just going through the motions. Even when there are multiple options for where a piece of evidence can go, the solution can be easily brute-forced without the player having to know anything about what's going on.

The Case Board is an immersive quest log and objective tracker.

Even so, the Mind Space is a creative idea for presenting objectives, quest logs, story summaries, and characterization. The Mind Space at least tries to force the player to have to engage with the events of the story in a meaningful and immersive way. The player has to at least pretend to know how the various events of the story, the characters, and the McGuffins you find all fit together in the broader story in order to progress the main story or side quests.

And in fact, the entire game is about the interplay between the audience and the fiction. For most of the story, it's about the ability of fiction to re-shape people's perception of reality, but as the game goes on, it becomes more and more about the audience's ability to shape or re-shape the actual fiction. It emphasizes that any creative work is made up of both the voices of its creator(s) and also the interpretation and reception of the audience. This has always been true, with all forms of fiction and story-telling, but it's even more true with video games.

At the top of my list of favorite game franchises, sits 2 seemingly unlikely companions: one is the first 4 Silent Hill games developed by Konami's internal "Team Silent" studio; the other is the series of "Souls-Borne" games created by From Software. If these 2 franchises are not my number 1 and number 2, respectively, then they are both definitely in my top 3, with Sid Meier's Civilization being the only other real contender.

On the surface, Silent Hill and the Souls-Borne games don't seem to have a lot in common, nor would one necessarily think that they would appeal to overlapping audiences. In some senses, it would seem that they couldn't be further apart. Silent Hill is a series of slow-paced psychological horror games with linear narratives, that emphasize puzzles and encourage the player to run away from threats and avoid the games' poorly-developed combat mechanics. The Souls-Borne games are frenetic action-RPGs that barely have any plot at all, and which are built entirely around combat mechanics, and which are infamous for their difficult gameplay. But despite the radically divergent styles of gameplay that these 2 franchise offer, they both contain similar themes and are open to similar artistic interpretations, which appeal to me, personally because of a particular aspect of my core beliefs and identity.

You see, I'm an atheist. More specifically, I consider myself to be a "strong atheist", "anti-theist", and "secular humanist", among other labels. Not only do I not accept any of the various god-claims due to insufficient evidence; I also positively believe and assert, with confidence, that there are no gods at all. Now, I'm sure that I've just invited a slew of commenters who will try to convert me or share their beliefs for why their personal god is real, but I'm not here to argue about the theology. Besides, I've pretty much heard it all. Not just on the internet, but also from extended family. God of the gaps, personal incredulity, watch-maker, Pascal's Wager, Kalam and other various Cosmological Arguments. I've heard it all -- or at least most of it. And I reject it all.

I am as confident in my belief that there is no god, as I am in my belief that there is no Santa Clause (and for many of the same reasons). So unless you think you can convince me that Santa Clause is real, you're probably wasting your time trying to convince me about your god.

But my atheism goes a bit further. I'm also an anti-theist, and I believe that religion and religious institutions are also dangerous and do more harm to society than good.

And based on my own personal reading of both Silent Hill and the Souls-Bornes, it seems that both game franchises kind of agree with me.

Last year, YouTuber Super Eyepatch Wolf posted a video titled "The Problem with Silent Hill 3: the Downfall of Team Silent". In that video, Super Eyepatch Wolf asserts that the design of Silent Hill 3 changed early in development, as a result of pressure from Konami. He claims that early designs for the game were going to be a more personal, introspective tale, in the vein of Silent Hill 2.

Konami may not have been happy with this early design because -- believe it or not -- there were apparently many vocal fans of the first Silent Hill game who were upset that Silent Hill 2 had not continued the story set forth by the first game. So Konami mandated that Team Silent make Silent Hill 3 be more of a continuation of the first Silent Hill, and so SH3 was re-written as a direct sequel to the first game, and returned to the narrative of a cult trying to birth a demon god.

It's hard to believe, but when it was first released, Silent Hill 2 was not universally regarded as the "gold standard" of video game horror. You can look at middling contemporary reviews from publications like Gamespot and GameInformer. In those days, the series was perceived as being "about occultism", and Silent Hill 2 was a stark deviation. Now, with a generation of gamers having grown up playing and loving Silent Hill 2, there's an effort now to re-frame the entire series as having always been about a haunted town torturing the guilty, even though three out of four of the original games are explicitly about a cult trying to re-birth its demon god, and repressed personal guilt is only featured in one of those four games.

Silent Hill 2 was the only of the original 4 games to be about the protagonist being punished for repressed guilt.

But that may not have always been the plan...

If Super Eyepatch Wolf is correct, then Team Silent may have wanted to pivot the narrative focus of the series away from occultism and towards more personal stories like SH2 -- though, importantly, not necessarily about repressed guilt or amnesia!

I have a complicated relationship with the question of "what is Silent Hill about?" Readers of my personal blog will know that I've rigorously defended the idea of Silent Hill (as a series) being about occultism, and that new entries in the series should respect that history, rather than trying to re-frame the entire series (and the nature of the town itself) to be about a haunted town that summons people to face their hidden guilt.

That being said, it isn't that I have a particular attachment to occult stories, even though a lot of the games that I like (such as Demon's Souls and Blooborne) also have strong occult threads. I also am definitely not opposed to more thoughtful, introspective stories. Silent Hill 2 is my favorite game in the series because of that thoughtful, introspective story! Rather, I've found all the third-party-developed games after Silent Hill 4 to be highly derivative of Silent Hill 2 and not particularly good.

Silent Hill 3 pivoted hard back towards the occult inspirations of the first game.
But is that really what Team Silent wanted?

Super Eyepatch Wolf does have some quotes and evidence to support the idea that Silent Hill 3 was originally intended to be a very different game -- all of which was taken from a single interview. But there's not much (if any) information about what the actual story of that game may have been. Nobody on Team Silent has (as far as I know) talked about it, nor do we have a leaked design document like what we have for Silent Hill: Cold Heart (the Wii-exclusive that eventually transformed into Shattered Memories).

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