#topic//alan wake

[astral-overseers]

What does the board know about these symbols?

THE BOARD: < Simple >

THE BOARD: < Kestrel/Vanguard, Dark/Alan Wake, Door/Break, Control/Us >

THE BOARD: < All are Threads/Pieces in a Puzzle/Corkboard >

THE BOARD: < It is fun to watch you Unravel >

[ilkkawhat]

Hello, Sister. I would like to tell you about a dream I had.

[morgan1413]

one of the more absurd revelations in this DLC is the fact that the FBC is using it's own version of generative AI to try and mimic Alan Wake's writing?? to try and gain access to a nightmarish hellscape dimension?! genuinely a freakish organisation

[parasitefun]

I think something that's so interesting about Mr. Scratch is that even though he's formed partially if not mostly from distorted rumors and vibes the press and general public have about Alan, he doesn't seem to recognize Barry's importance in his own creation. Barry, Alan's agent, responsible for handling the outward flow of information about Alan's frankly apeshit behavior. 0-o

There's so many different possibilities, on one hand Mr. Scratch could be so much worse, without Barry being there to litigiously protect Alan every time he threw a punch. Not only would Alan probably continue rampaging but also it would spin out of control in the tabloids. Mr. Scratch is shown as being able to focus on task (i.e. getting distracted by literally every female character in American Nightmare but quickly pivoting back to his job– like attacking the observatory guy in the middle of hanging out with Emma Sloan in the Diner), but imagine a much more frantically violent Mr. Scratch who really isn't able to control it or cover it up with a veneer of eerie congeniality, because without Barry there to babysit Alan and run interference, everyone would be able to see just how fucked Alan's behavior was, and with that stoking the fire of public judgement, it would carry through to be an even more prominent trait of Mr. Scratch's. In a way Mr. Scratch is as competent as he is because his shred of impulse control doesn't come naturally from Alan, who had to develop it later.

On the other hand, Barry being a lifelong friend of Alan and trying and failing to intervene in Alan's self-destructive impulses to the point that they spill out into *everything*-destructive impulses to the tune of $30k+ is what gives Mr. Scratch the foothold to be an actually very physically intimidating enemy. That's so fun too, something that makes him feel so strong compared to the both literally and metaphorically bundled up Alan. It's not like it's Barry's fault, Alan is the stubborn one having a mass scale attitude problem, but even that struggle contributes to why Mr. Scratch has a negative opinion of Barry too, he's just gonna get in the way of his fun!! Of course, he doesn't seem to realize how Barry is a bad influence on Alan too, like convincing him to drink at the Anderson's farm even though Alan is in recovery from his alcoholism– but who would be privy to that dynamic enough for it to be baked into Mr. Scratch?? Mr. Scratch's inability to connect to others means he can't recognize what the friendship between Alan and Barry is like on his own.

[18+ ADDENDUM] Something that popped into my head was 'Barry is glad the leak about Alan wake being trans was too juicy for the press not to spread all over before he could get it locked down, because he loves Alan's p/ussy and feels grateful Mr. Scratch has one too' world peace.

[velvetjune]

Warlin Door having access to different worlds is already so good and compelling as a character, but it’s even more perfect that he’s presented as a TV host every time we see him, both with Night Springs and the talk show. He’s across different channels at all times, able to narrate and interact within the medium, but as far as we know, unable to change and mold the world around him like Alan and other artists in the dark place. It’s the perfect persona for him to have (and he better have a big role in that Night Springs DLC!)

[alphawave-writes]

Good news: the Lake House DLC so far validates my TZE AU

Bad news: the Lake House DLC validates maybe too much of the TZE AU

I’ve been planning this fic for a long while now, so when chapter two comes out, I will just put in a note that says “any resemblance to the Lake House DLC and its themes and content is completely coincidental due to my massive brain”.

Curse me and my stupid sexy big brain

[paquerettexx]

sho haizono — morning warmth (one-shot)

you, who can not cook, attempts to prepare breakfast for sho. what could go wrong?

pairing: sho haizono / reader

tags: fluff, teasing sho to death lmfao

words: 811

[cross posted from ao3]

it was a perfect day albeit a little strange. sho was still sleeping when you woke up, and oddly enough, leo and alan were nowhere in sight. you turned to your right where sho laid sleeping and felt a smile creep up on your lips. he really wasn't one to sleep while it's dark out; he prefers to go to sleep when it's nearly dawn, when the sky is gradually turning blue from the pitch black darkness.

'he looks so peaceful.' you thought, eyes gazing over at his relaxed expression. he looks beautiful drowned by the blankets you cuddled under just last night. he looked so cozy that you couldn't dare wake him up. instead, you opted to lean in and place a chaste yet sincere kiss on his forehead before picking up after yourself to prepare for the morning.

a yawn and a stretch– with an invigorated burst, you started to wake yourself up and collect the ingredients to make breakfast in bed for sho. you weren't the very best at cooking yet with how much sho cooks for you, you thought it'd be best to give back to him somehow.

after weighing down your choices on what to prepare, you decided to settle with omelets. it's just an egg, right? how hard can it be?

alas, you're now on your fourth failed attempt of trying to shape the stubborn egg. who knew there were so many things to take into consideration? the heat of the pan, amount of oil, and even the egg mixture!

"oi, what're you doin' there?" sho's gruff voice snaps you back into reality as he stands by the door frame of the kitchen, scratching his head, and his expression in a deadpan. "you tryna cook for everyone in the dorm or what?"

though to others, he'd sound annoyed, you knew he was just confused. after all, you were looking panicked in the kitchen with four plates of failed omelet.

"i thought of cooking breakfast for you." you confessed since the cat's out of the bag anyway.

sho sighs and takes a step closer to you until you can feel him directly behind you, "what did i tell you? i said you don't ever have to cook with me around."

you'd laugh at sho's apprehension, finding his sleepy yet troubled mutterings adorable- though he'd never forgive you if you called him that!

"aww, i just wanted to cook for you." you replied, forming a little pout on your lips as you glanced back at him.

"fine, fine. if that's what you want." he nonchalantly caves in, maintaining his cool demeanor as he takes his place behind you.

he was close, too close though you'd never point it out knowing he'd be flustered and immediately back away. he was close enough for you to feel his breath by your hair and the warmth of his chest on your back. though sho, seemingly still sleepy, had other plans.

his hand held yours from behind; one guiding your grip on the pan, the other on the spatula as the egg on the pan started to form. his skilled hands holding yours guided you to shape the egg, telling you to manage the temperature of the stove as you basked in his warmth.

"woah, it didn't turn out shabby!" you exclaimed upon seeing him place the omelet on top of the rice you had prepared. "you're really good with your hands, huh?" you teased him all to see his flustered expression.

"you..." he grumbled under his breath, rolling his eyes. instead of continuing, he adeptly changes the topic, "sorry for sleeping in, you must've been looking for breakfast." he mutters a quick apology.

he's always so nice and it never fails to make your heart flutter or make your stomach do flips. you shook your head, clarifying the misunderstanding, "i wanted to cook for you since you're always cooking for me."

for once, sho was taken aback; he froze in his spot and his cheeks became dusted with red.

"you don't have to do that for me." he muttered under his breath, trying to deflect the affection he was feeling.

"but i still want to try since sho-kun is such an inspiration when cooking~" you decided to tease him a little more to coax out more of his flustered habits like averting his eyes or picking up his utensils before setting it down and picking it up again. every single detail was charming and so, so endearing to you.

"thanks, i guess..." he grumbles, looking away as if extremely aware of the reddening tips of his ears which makes you chuckle.

"i miss the times you called me senpai." you decided to throw in another jab to tease him which makes him grumble under his breath even more, forcing another hearty chuckle from you.

"hmph- fine," sho huffs, "arigato, senpai.”

[firstkanaphans]

You were the person that pointed out that THKs screenwriters were the ones from pit babe and now we have a brainwash-y parent whose abused kids are slowly waking up from their abuse to see the real villain in THK and I just wanted to know if you had any thoughts on the topic? like pit babe and the heartkillers and their narratives etc

You know, it's really hard to say because I'm not sure how much of the script was already written by Jojo before he passed it along to Change's writing team to finish up. My assumption is that Jojo gave them a pretty detailed outline and then they wrote the script from that. First said during Live House yesterday that Jojo tends to add a lot to the script on the day of filming so I'm assuming he just kind of tweaks their work to his liking as they go along.

Basically, I'm just not sure how much autonomy these writers had over the THK script whereas they're the only ones credited on Pit Babe. I do think we can thank them for the fantastic dialogue, though, and there are also some similar overarching themes between the two shows such as the evil parent getting their comeuppance and the central conflict being external to the relationship rather than internal, which I love.

One thing I've always been kind of curious about is how much of a screenwriter's previous works bleed into their current projects—especially in a small industry like Thai QL where some of these screenwriters are writing five or six scripts a year. While Peaceful property was airing, those screenwriters talked about how difficult it was to write for Peach and Home because they were the same team that wrote Cherry Magic and they still had Karan and Achi in their heads. I wouldn't be surprised at all if, on some level, THK was Pit Babe fanfic to them. (Style as Alan, Fadel as Jeff, Bison as Charlie, Kant as Babe. Do you see my vision???)

I really do adore this team of writers, though. In addition to Pit Babe, they wrote This Love Doesn't Have Long Beans, Dead Friend Forever, Be My Favorite, and are currently working on Petrichor. They're very talented and I hope they keep working for Change because I think they really thrive with plots that allow them to be a bit more sensual.

[smallmartiniolive]

Thinking abt how Jurassic Park is like obviously abt chaos and the evils of mindless capitalism that destroys what it touches for a profit but also it’s abt the people you know? This is coming from the movie standpoint bc the book didn’t really check off the right boxes for me but the movies are just so inherently abt people and connection! To me

I’m gonna just give my thoughts abt mainly dinot3 bc they are something. So special. To me.

Imagine you’re Alan Grant, in love w dinosaurs and being in the field, ur at the top of your game and it doesn’t even matter as long as you get to study what you love. Then, unexpectedly! You get to share this passion and love w another person and part of you doesn’t understand why it works but that’s ok as long you get to dig up dinosaurs and be with her, Dr. Sattler (understandable

Imagine being Dr. Sattler and always chasing after something and wanting more. You find the love of your life and he doesn’t hold you back at all, he’s perfect! You both thrive in your own lanes! You get on a helicopter to who knows where and you meet this exciting new guy, you don’t love him, not like Grant but he’s exciting and new and you feel like he sees you for something you’re not even sure you see yourself

Imagine you’re Ian Malcolm and you’re made aware of people trying to remake dinosaurs and you know it’s impossible but you also know that life finds a way so you go along. You flirt w some paleontologists, have fun, berate the senselessness of the actions around you. I mean what else is there to do. Then, you get a life altering injury that’s gonna bug you forever and the last person you see is a person you hoped you got to save, who is risking his life to save children (I.e. Grant) and then suddenly you’re waking up to the face that saves you (I.e. Sattler).

And through that all, nobody comes out ok! There’s nightmares and injuries and assumedly they’re quarantined in a Costan Rican hospital till everything’s sorted and people are good to go. Alan and Ellie always find each other, planets in orbit etc, and of course Lex and Tim are connected to Alan after everything. The kids cling to them and they protect them, but also they at least have each other and are stronger for it, but it also makes them aware of how awful it would be to be alone right now- Ian Malcolm. So they all spend time together drifting in and out of hospital rooms (most commonly Ian’s bc he can’t move around much) and after all that they’re connected by shared experiences and the knowledge they can’t share. Pandora’s box and all that but they all end up woven together.

They separate but I’m sure it’s apparent that Malcolm ends up alone, not wanting to rely on anyone, especially not his ex-wives and kids cause that would be unfair and even in pain he’s still trying to protect other people. So they end up together again, how could they not? Malcolm needs help, they all do but that’s a touchy topic and it’s easier to focus on what they can see. Alan and Ellie and Ian finish up at the dig and Alan just wants everything to be the same so he can forget and Ian needs the change, but Ellie? She’s not really sure and it leaves her unsteady.

All at the same time you have Malcolm writing his book bc the truth was always what was most important to him, like Alan to dinosaurs. Alan doesn’t want him to ruin his life, and Ellie wants to support him but doesn’t know how but they coexist.

Ian gets better. He leaves w/ Sara a woman he met shortly after the hospital and whom he seems inexplicably fond of having witty banter with. He leaves so that when he publishes his book it doesn’t come down on them, he leaves because Ian Malcolm has never been one to want to settle down and he’s afraid of becoming complacent, that if he stops moving he’ll lose something critical (he’s shark-like, Ian).

And then the digs over and Alan’s ready to throw himself back into another, but Ellie simply isn’t. She gets a teaching position in another state, and Alan doesn’t ask her to stay but by god he wants to (just like he wanted to w Ian although he never had the chance bc he was gone so much quicker) and it’s the biggest mistake he ever makes.

Ellie leaves. Ian reconnects w his kids, reminded by Alan and Ellie how important family is and that hiding only does them a disservice. Alan digs.

They still stay relatively close, stuck in orbit even though they’re separated, they message and mail and spontaneously stop by when they’re in town (Ian). There’s distance but it’s not uncrossable, they’re still there for each other. They still call and those calls never go unanswered, no matter how late.

Ian goes to Isla Sorna and it’s shoved in his face that he’s changed, whether he wanted to or not. He wants something more stable, of course he still wants independence but he also wants to come home to *something* (he misses what he had w Alan and Ellie but he’s trying to avoid that iceberg). Alan and Ellie find out and it’s the beginning of an end, they fly out immediately and check in w him, and stay a few days. But. But Ian didn’t tell them, didn’t tell them abt something so critical to the three of them.

They grow a lil farther apart.

Alan goes back to work. Ian mutually splits w Sara (word is she and Nick have something weird going on when they aren’t traveling the world for respective careers)

Ellie marries Mark, the guy she met while teaching. He made her laugh and was a lil plain but she liked it (reminded her of Alan). Although Mark is different, he brings up kids on the third date and he’s everything she needs right now, he’s stable and kind and his job travels w him so she never has to worry which would take precedence (her or the job). He loves her for her or what she is right now and there’s something in the back of her mind but she loves him and they build a life together.

Ian meets a woman he can settle down with, an intellectual and a perfect mix of Ellie and Alan (although he doesn’t know it) and he settles down too, finally ready for that build-a-family lifestyle that he’s started to want. They have two kids (canon compliant due to the five kids comment in Dominion) probably around Ellie’s kids age, they probably have play dates. Alan doesn’t come around too much but he mails occasionally or helps set up furniture, but he’s undeniably pulling away.

Alan who couldn’t just ask people to stay, is alone and he’s become increasingly aware because of his new grad student. Billy Brennan is a mirror, he’s everything Alan was (admittedly more flirtatious tho) and Alan can’t do anything but nurture it because he wouldn’t even know how to change (because god knows he wants to). So he pulls away and focuses on work and at least w Billy he’s not alone and maybe maybe he can help him get on a better track (his version of accepting defeat)

Of course he doesn’t stop seeing Ellie or visiting w Ian over mail or the occasional spontaneous visit (couldn’t bring himself to) but he pulls away still. During play dates, Ian sneaks looks at Ellie’s calendar and will conveniently tell Alan when Marks out on business ( bc I refuse to believe Alan didn’t visit Ellie even tho Mark first meets him when Charlie is 2 so I believe he snuck on in cus it makes sense you know). Alan loves Ellie’s kids more than himself and probably bought Charlie his dinosaur toys (Ellie groans abt his taste but she knew it would happen and loves him anyway).

And then Alan, who has never really been alone but has isolated himself to that point, gets a chance to see dinosaurs again (he says it’s for the money but dinosaurs are what’s always made sense to him). He gets lost. He’s got no way out. He calls Ellie bc she’s always been his beacon of light, saving grace, Hail Mary etc etc. (Also him bringing Ian up to Eric bc that man has never been normal about *either* of them).

Ellie meets him at the hospital (maybe w Ian who knows) and Alan is made increasingly aware (between yelling and crying and thank gods) that he’s not alone he’ll never be alone as long as they’re around.

And after that they’re sort of ok. They have regular visits and there’s distance but they settle, they try. They bitch abt Jurassic World together and how all the kids they’ve collected are doing. One of Ian’s eldest going into paleontology bc she met Alan Grant at the age of 15 and it altered how she thought academically and Ian is exhausted. Ian and Ellie’s partners don’t really understand it but they also know not to interfere (even if sometimes frantic calls wake them up in the middle of the night).

Alan stays in his ways (hoping for a change but not seeking one).

Ian and his wife have a tiff bc she accused him of loving her bc he loves Alan and Ellie at least at first (still does in a different and perhaps more powerful way than her?) and he can’t lie bc it’s all the truth with him. He says it’s not fair to her to not know that Alan and Ellie are just his people, you get it. She doesn’t, not really, it only ever made sense to the three of them. They divorce but it’s amicable.

Ellie and Mark have been on the rocks for a little, they’re relationship has always been a bit boring but that was never a real problem. However, she wants to go out and do more field work (writing books was great but she’s ready for a change bc the world turns quick but she’s always moved faster). He wants to have an at home life and one thing spirals to another. She chose him bc he’d never need to choose between anything and she wouldn’t either, they could both have everything and he’s a great guy, but. But now she needs a change and once again she’s left in a situation where someone can’t bend for her, so she breaks it. They divorce and it’s heartbreaking, they love each other, but Ellie has always needed some flexibility (she calls Alan and Ian later on and they drop plans to have dinner together, she doesn’t bring up the break up but she does note how they changed things for *her*, it’s nice maybe they changed)

Maybe they’ve all changed a lil you know? Ian travels, lectures, makes connections, and visits w the people he loves. Ellie writes paper after amazing paper after amazing book between field work. Alan digs. They communicate in academic papers and books that they send each other, their love notes are annotations that feel a lil too raw so they’re kept private. Every new paper and book and interview fuels the three of them forward and keeps them in orbit. Despite everything.

Then, Ian is hired by Biosyn (Ellie encourages it a bit bc she doesn’t trust them, Alan discourages it for the same reason). And then they’re back, they are SO back. They come together to fight against what they’ve always had to fight against, it’s a lil exhausting but they have each other. Through it all it’s always them. Every single time. Alan and Ellie meet and see each other like they don’t see anyone else. It’s a little unfair to Ian because they’re prepared and his entire world gets flipped for a second when he sees them (it’s ok he recovers pretty quick). They fall in step, into old conversations and patterns.

And between taking down Biosyn and avoiding dinosaurs they all kind of fall in love, not again bc it’s always been that way for them but it’s just so so apparent. They can’t give each other up and everytime they look at each other there’s comfort and understanding without words. It was easier to deny a part but now they are here and it’s just so. Perfect

Ellie tells Alan she needs to go, she’s always been too fast for this world, Alan tells her he’ll stay which is the best love declaration she could have asked for.

Ian says he needs to tell the truth, he’s always had to, and they say “we’ll be with the you, we will tell the truth with you.” You know and that’s their love declaration, Thats them asking him to stay, to be with them.

And at the end of it all, Alan says in the end he’d just rather not be lonely again, and Ian and Ellie look at him like he’s absurd bc of course he’s stuck w them now. It’s always been them even if they didn’t realize it

OH MY GOD LOOOOONG POST IM SORRY IM NOT NORMAL AT ALL HAHA. Dinot3 is something I’m not normal about because look at their stories!! Look at how through everything they fit together!! They are in Montana somewhere rn having a beer and laughing abt something silly one of them did and talking abt their collective kiddos.

TLDR; just my thoughts on DINOT3 and just their canon timeline and how it’s always been those three.

[astral-overseers]

I know the Board can only do so much.

But you lot were surprisingly quiet about the Dr Hartman incident. With the Investigations sector being swarmed not just by the Hiss and the Mould but also by the Darkness and…whatever Dr Hartman had been warped into (some sort of shrieking man-hiss-darkness-elk-thing).

What was that about?

I mean I know the Investigation Sector sort of collapsed (could it be retrieved/brought back?) but still.

Especially now that it’s been more or less sorted.

THE BOARD: < Not our Game/Jurisdiction >

THE BOARD: < Jesse/Gun was in someone else's Story/Hand >

THE BOARD: < There are Plots/Rules even we cannot >

THE BOARD: < Control/Override/Help out >

[pintsizeninja]

The Genesis of a Ship

Since I'm not posting a new chapter of my Odin/Zane fic this week, I figured I'd take some time to highlight why I started shipping them in the first place!

It's no secret I fell madly in love with Poets of the Fall, and Marko Saaresto (young Odin) in particular, after playing through We Sing for the first time a few days after Alan Wake 2 released. I hadn't written fanfic in 10+ years, but like a lot of folks in this fandom, AW2 inspired me to pick up the proverbial pen again. I knew I wanted to write a fic from young Odin's POV and have it set in the 1970s during the Old Gods' heyday - I just needed a pairing.

When I learned Sam Lake provided his bff Marko with poems to help him craft the lyrics for "Late Goodbye" and all the OGOA songs, something clicked deep in my brain. That was it: Thomas Zane and Odin Anderson would collaborate on a project together, Zane would provide Odin with poetry to write songs that would bring his artistic vision to life - and sparks would fly (this is the premise of my fic Talented Voice).

Then this photo happened at the Game Awards, and it was all over after that.

There's even a basis for it in canon:

1) Odin incorporates Zane's poetry into Balance Slays the Demon, over 40 years after Zane disappeared. I headcanon that since Odin is immune from the changed story, he held onto a book (or at least some typewritten sheets) of Zane's poetry for all that time - or maybe even stole them out of the shoebox at some point. If we take the song at face value (and not because of, y'know, game reasons), that's a long time to hold onto someone's poetry. Zane clearly meant something to Odin.

2) Just listen to the wistful longing in Marko's Odin's voice when he sings "The Poet and the Muse". There is a lot of emotion tied up into that song, which was released six years after Zane disappeared. It's both a love story and a cautionary tale, with Odin lamenting the loss of his lover/friend (depending on how you want to look at it).

Then you have the deleted dialogue between Odin and Saga (spoilers, and it's not clear why this was cut although theories abound, so take it with a grain of salt) where Odin mentions giving Zane a song. While this isn't canon since it was cut, it adds fuel to the 'Odin and Zane collaborated together' fire.

So while the two characters never share any scenes together in the games for obvious reasons, it's quite clear Zane was special to Odin; special enough to write a whole-ass song about him and hold onto his poetry for decades.

Here's why it works:

1) This one varies depending on your interpretation of who Thomas Zane really is/was (and I'm not touching that topic with a 10 foot pole, it's been discussed to death on Reddit 😂), but the late 60s were a wild and crazy time. You know Odin and Tor threw some crazy parties back in the day, and Zane had plans for an artist's commune that included the Anderson brothers - so some shenanigans definitely would've ensued. But even without the rewriting (or expansion, again depending on your interpretation) of Zane's history in AW2, the poet likely would've found himself at those parties regardless. Nothing like a little sex, drugs, and rock 'n' roll to get those creative juices flowing. 😎

Which leads me to:

2) They're both creatives. They understand the highest highs and the lowest lows of the creative process. That passion thrums in their veins and leads to a deeper understanding between the two of them. Odin and Zane would just get each other on a different level. While the Old Gods didn't exist prior to Zane's disappearance, we know Odin and Tor had music careers prior to the band's formation in 1971. I could totally see Zane falling for the dashing young rockstar, even before he became Odin; just being completely swept away by that stage presence and that voice. That voice.

Two passionate artists collaborating during the time of free love in the 1960s and 1970s, poetry and music intertwining - it's perfect.

If you want to read more:

My Odin/Zane series is now well over 100,000 words long, with at least another 130,000 words planned, and I'm beyond happy other people have embraced this ship. Shoutout in particular to HopelessScribe on AO3 for also writing Odin/Zane.

And, can't forget this beautiful fanart commissioned from Valentina, with more (NSFW!) Odin/Zane fanart on the way 😈

[honestlyvan]

I do kind of wonder if the implicit assumption that Door is mad at Alan for involving Saga should be re-examined a little bit.

The game is very careful to not frame any of Saga's relationships as paternalistic. Like, repeatedly, with emphasis, especially among the relationships with people who are close to her and have reasons to act protective over her. Having Door primarily be motivated by a sense of righteousness over someone messing with his protectorate goes against theme with her, and would single him out as the only male character whose help Saga does need.

Furthermore, we know Freya didn't seem to think that highly of Door, never telling Saga anything about him and being firm in not wanting to discuss the topic. Her considering Door a potential danger to Saga just like her powers and choosing to hide the truth to protect her wouldn't make sense if she, too, could use her seer powers to confirm that Door did have Saga's best interest at heart, and with Door existing outside of time, I don't think there's adequate signalling that this would be something he would have had a change of heart about.

Furthermore, while Door is very likeable and definitely not a villain or even an antagonist... he is very trickster-like, and seems very cavalier with how he chooses to interfere and when. From his interactions with the Old Gods, spending fourty years on kill-on-sight terms with them only to happily fanboy over having them on his show and collaborate with them to mess with Alan, to the way he almost deigned to let Alan create a hint for Saga about how to use her powers rather than letting Saga and Tim just work it out amongst themselves, he's playing the long game in every situation and seems to enjoy making the story take twists and turns because of his involvement.

So Door is in a weird superposition of meddlesome/hands-off largely because I almost got a sense that with Saga, he's keeping his distance on purpose. Keeping himself concealed and out of the conversation, despite much of her story being discovering her origins and discovering her own supernatural influence. Outside of letting Alan create a single manuscript page about him, he doesn't even hint at his own existence while Saga is in the Dark Place, theoretically right there for him to reach out to.

And if Door does ultimately think that surely any daughter of his can handle herself, there is one another innocent that has been involved in this all by Wake I could see him getting worked up over instead.

[macabrevampire]

2024 recap ^_^ not tagged but wanted 2 do

fav song(s) of the year: TOOL - Sober, hands down <3

fav album(s) of the year: tie between TOOL's Undertow & Devics' My Beautiful Sinking Ship

fav music artist(s) - TOOL, Nine Inch Nails, Devics, Adrianne Lenker

fav game(s) - Alan Wake & Alan Wake's American Nightmare <3

fav book/series(s) - Alison Bechdel's Fun Home: A Family Tragicomedy, impacted me soo hard after reading it

fav show(s) - It's Always Sunny In Philadelphia, House MD, Law and Order: SVU, Arrested Development

fav movie(s) - The Passenger 2023, The Thing 1982, Being John Malkovich 1999, The Lawnmower man 1992, Prisoners 2013

fav celebrity/famous/historic person(s) - Ilkka Villi, Charlie Day, Kyle Gallner, Maynard James Keenan, Trent Reznor

fav fictional character(s) - Mr. Scratch, Charlie Kelly, Benson (The Passenger), Adam Faulkner-Stanheight

fav app(s) - tumblr, twitter, pinterest, spotify

fav store(s) - idk man....i don't go to stores really . hot topic maybe

fav hobbie(s) - drawing, listening to music, makeup, blogging :3

fav memory(s) - reconnecting with friends who i lost contact with during my depressive episode, listening through all of tool's albums in order ^_^ rediscovering joy near the end of the year

fav people/friend(s) - my dear friends jus & bee <3 along with other lovely ppl: violet soul-gums, hexedvampire, n genuinely all of my other amazingly kind mutuals n friends bc if i kept naming u guys i'd be here all day - shoutout 2 you <3 mwah mwah

tagging: @soul-gums @hexedvampire @poets-cinema @cetoddle @negativexspaces @yummyburger101 n anyone else who feels like doing this!!!!!!

[arikashimorika]

Parallel World AU (Part 1)

Alan wakes up in an alleyway, finding himself in the body of a stickman. He doesn't remember what happened to cause this.

Proposal Topics or Masterpost.

<- Previous (You are really at the starting point.) / Next ->

Note: Well... some scenes might be a bit strange because I'm not really good at drawing. But I want to draw. I'll try to draw and not put off my work. But my time is so hectic, it's really hard to find free time. I have to blame my boss.

[askagamedev]

On the topic of generative AI, what jobs are game companies looking to replace with it first? I imagine that concept art is going to be one the easiest things to replace and I harass some games are using AI to fill out voice over work ( AI is a major sticking point between game companies and the voice actor union right now), but what other jobs are at risk of being replaced?

Honestly, right now it's actually rather difficult to replace entire jobs with generative AI. It's much more of a situation where AI would be used to augment and fill in small knowledge gaps rather than replace contributions from individual developers.

Recently, a development company called Keywords attempted to build a 2D game internally using only generative AI tools. Keywords is a well-established co-development studio that has helped out with development on many large projects like Alan Wake, CoD: MW3 (2023), Super Mario Bros Wonder, Mortal Kombat 1, Starfield, Madden, Diablo IV, Skull and Bones, Baldur's Gate 3, Elden Ring, and so on. After six months the Keywords team [reported on their findings]:

Whilst the project team started small, it identified over 400 tools, evaluating and utilising those with the best potential. Despite this, we ultimately utilised bench resource from seven different game development studios as part of the project, as the tooling was unable to replace talent. One of the key learnings was that whilst Gen AI may simplify or accelerate certain processes, the best results and quality needed can only be achieved by experts in their field utilising Gen AI as a new, powerful tool in their creative process.

This gels with my own experience with Gen AI - it's an expanded Dunning-Kruger situation. Gen AI can create all kinds of content or results but it requires actual expertise in the field in order to separate the wheat from the chaff. Without having the skills needed to determine if something is good or not, the Gen AI results aren't (yet) good enough to use to build something.

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[oldest-house]

Today, ongoing a new behind-the-scenes stream from the developers of Alan Wake 2.

Topic today is THE DARK PLACE, and how it came together.