This page contains all the unused or cut content from the Alan Wake franchise, which include concepts,. areas, enemies, items and early Episode layouts.
As shown in concept art and developer notes, there were planned to be several Taken animals such as Bears, Wolves and Birds. Models and preliminary animations were made, and the developers made several successful AI and pathfinding tests while using a pack of Wolves in-game. However, those enemies were eventually scrapped since there was not be time to bring them to a polished state. They held onto the Birds since they were a unique enemy type, but also a homage to Alfred Hitchcock.[1]
Traces of those enemies remain in the final game, such as wolf howls and bear references in the Elderwood National Park (warning signs and bear traps) and a painting in Cauldron Lake Lodge which features a Taken Wolf. Furthermore, the models for those enemies remained in the game files, as well as a skeleton and animation files for the wolves
Taken Wolves were eventually implemented in Alan Wake 2, acting as an enemy type in Saga Anderson's story.
Bright Falls and Surrounding Area[]
Several different iterations of the Bright Falls map exist from through development featuring differing locations and geography. Many locations that didn't end up cut were either moved or/and renamed(see maps in the gallery below)
Elderwood National Park moves from west to northwest on the earliest maps to southwest in the final game
The Majestic Motel, formerly just "Hotel" then "Motel", used to be located directly across the bridge from Bright Falls
What would become Watery started as "Small old fishing village" and spent some time unlabeled along the way before becoming America's Little Finland
LOD Map Leftovers[]
LOD models for two early versions of the map can be found in the files.
Gameplay Example[]
An early version of the entire world map which was clearly from the days in which the game was meant to be an open world title. The layouts for the linear levels and the new York sections are not present, and the map is much more interconnected. Several roads which were cut off by the edits made by the linear levels are shown in their original layouts.
Demo[]
A small portion of the south western region of the map, where Elderwood National Park is located. This map was actually the one used for the E3 demo that featured the level from Episode 2 eith an entierly different later half. Including a small island where the lighthouse at the end of the demo was located. The island was not present in any other version of the world map.
Open World Map Locations leftovers[]
Since the entire map which was originally developed for the game's open world was used in the final game, some locations which were never visited in the final game still have empty spaces which would've been filled by buildings and assets. Those areas were once scrapped places or early locations of areas from the final game..
Furthermore, some of those areas retain mentions of the original locations in their filenames:[2]
An area to the north of Bright Falls is called nw_militaryharbour. This area once hosted the sawmill and a small harbor (more on this location below).
An area to the northeast of Bright Falls is called nw_militarybase. This area once hosted an army base, according to prerelease materials (more on this location below).
The area directly to east from Bright Falls is called ne_graveyard. It used to have a graveyard at one point.
An area in the northwestern side is called nw_radiostation. The radio station in the final game is located in the southwestern quadrant, close to Stucky's Gas Station.
A large, flat area which remains unseen in the final game is called se_junkyard.
The area directly to the west of Cauldron Lake is called sw_wakescabin, after the original location of the Bird Leg Cabin back when it wasn't located in Cauldron Lake. Diver's Isle and the cabin itself are located in se_cauldronsouth in the finished game.
The area to the south of se_wakescabin is called se_anderssonfarm. While the location of the final Anderson farm is never specified in the game, the farm is located in the northwestern quadrant of the map, far outside Bright Falls.
The area directly to the east of se_anderssonfarm is called se_coalmine. The coalmine visited in Episode 3 is some 2 tiles east of this area.
The southwesternmost corner of the map is named se_lighthouse and se_lighthousesea, named after the original lighthouse seen in prerelease trailers. This was a remnent from when the lighthouse was a location in the Bright Falls map that could be visited. The lighthouse seen in the intro of the game exists on its own landmass outside Bright Falls, and isn't loaded into the game outside of the nightmare sequence.
The Thomas Sawmill[]
The Sawmill was one of the areas around Bright Falls which was experimented upon during the development of the game. The area was originally going to be used for a boss fight against a Taken version of Agent Robert Nightingale, which constituted a "monster boss fight". At some point, the concept of Taken Nightingale was abandoned and the area was scrapped. Some of its assets were later used for other areas in the final game.[1]
The Sawmill was eventually revived for Alan Wake's first DLC The Signal, where the area was used as the setting for the final portion of the level, and coincidentally even featured a boss fight against Insane Alan as a large conglomerate of Poltergeist televisions. The concept of Taken Nightingale as a boss was reworked for Alan Wake 2, and features in the first two episodes of Saga Anderson's story.
The Bright Falls Museum[]
The museum was planned as a building for the open world map, where players could learn more about the history of Bright Falls. The developers saw no use to it since they both moved away from the open world structure and found ways in incorporate lore and history in areas such as the Coal Mine Museum and the Elderwood National Park.
Multiple texture and model files can be found within the game files. While there are specific "museum" folders, textures and models can also be found in "coalmine", "smallmuseum", and "signs".
The museum building itself still remains in the town fully modeled and textured, however, there are no point in the final game where the player could stand close enough to look at it and it is only viewable using free camera.
Army Base/Military Base and Military Harbor/Harbor[]
Originally located just to the northeast of Bright Falls was an army base doing "seismologic research", an earlier map didn't mention the army and just called the area "Seismic observation". At some point during development, after Elderwood National Park moved to the south, the Army Base was relocated to the northwest, renamed Military Base, and Military Harbor was added. Further along, Harbor would lose the military prefix before being completely excised from the map and the Military Base would become Accelerator Laboratory and eventually the Moorcock Institute.
Folders labeled "armygarage", "militarybase", "nw_militarybase", "nw_militaryharbour", and "military_helicopter" exist in the final game files and contain textures, models, and terrain data used in the final game.
The Moorcock Institute[]
The Moorcock Institute was envisioned as a particle accelerator laboratory engaged in "reality-altering physics experiments" that would be visited by Alan in the game, and was already designed on the map. Eventually, it was removed since its inclusion and possible role in the plot caused the game to lean more into the science fiction genre.
The Institute was, however, used for the Night Springs episode 'A Quantum Suicide'.
Despite being modeled and laid out in the world before being cut, there don't appear to be any specifically named leftover files or folders in the final game.
Race Track[]
Remedy was considered several side activities that players could interact with in the open world, on of which being a race track where players could race against other vehicles. When the game became a linear experience, the race track was scrapped as well.
Several textures and models for the track were found[2], and there is one picture that features a glimpse of the actual track in-game.[1] Most of the assets appear to have been reused in the final game though, especially in Episode 5 for the Deerfest parade decorations.
Resting Home/Retirement Home[]
Possibly a hospital, located to the east of Bright Falls for a time was a "Resting home", annotated on the "Welcome to Bright Falls Tourist Map" with a cross in a circle called "Health center". On later maps this location would be labeled "Retirement home". The Valhalla Nursing Home ends up figuring prominently in Alan Wake II.
A folder labeled "retirementhome" exists in the final game files but only contains a texture and normal map for "retirementhomefoundation01" and "retirementhomefoundation02".
Breaker's Apple Farm[]
Located south of the dam and labeled as "Farmer" on the earliest map, "Farm" on later maps, "Breaker's Apple Farm" only appears on the 2006 map provided to CGW. Whether it was Frank or Sarah who lived there is unknown, but it’s probable it was Frank as the same map has an area near the Thomas Sawmill circled and annotated "Sarah lives here" and, according to the Night Springs comic, Frank purchased and lived on an apple farm after retiring to Bright Falls. There is also a sign for “Breakers Apple Farm” above Stuckys garage
Folders labeled "applefarm" exist in the final game files containing subfolders "boathouse", "fallout bunker", and "garage". There are also textures for an apple tree in "foliage".
Drylands[]
Several early maps show a placed named "Drylands" in the south-easter corner of the map. As as the name suggests, it is a vast desert area unlike most of the other landmass on the map. Many roads and mountain passes can be seen across it, but none used or even seen in the final game. It was also going to house a junkyard that was scrapped along with the area, and its assets were reused for Larsen's Auto Salvage.
The area's aesthetic and materials were planned to be retooled and utilized for the Alan Wake 2 2010 prototype, which was set to feature a more desertly setting in Arizona. While thet form of Alan Wake 2 was cancelled, Those materials were reused once again for Alan Wake's American Nightmare, which itself reused a lot of the ideas and assets planned for the cancelled itiration of the sequel.
Dunes[]
Aside from some files and early maps, nothing is known about this location aside from it possibly being a desolated sand area. This arreal could've likely evolved into the Drylands in later itirations of the map.
Skiing resort[]
Labeled on the earliest map as "Downhill skiing", it is currently unknown how far into development the Skiing resort got as there are no remnants in the game files.
Themepark[]
On what appears to be the first world layout map, to the northwest of "Small old fishing village" and just south of the "campgrounds", is a Themepark that makes no other appearance outside of that map. Alan Wake II would circle back to this 18 - 19 years later with Coffee World.
Dream Theater[]
The Dream Theater was going to be an area that players could run into during several instances, featuring as a way to dive into some of Alan Wake's memories prior to the events of the game, as well as moments from the missing week inside Bird Leg Cabin. It was supposed to introduce the dream-like and psychological elements of Alan's consciousness into the game.[1]
The Theater was eventually replaced by the New York flashbacks and the Writer in the Cabin episodes - the latter fitting more with the aesthetic and tone the developers intended for the game to have.
Ball Maze[]
The Ball Maze was one of the little ideas planned for the game - featuring the area around Bright Falls as its play surface. It was going to be its own minigame with working physics.[1]
While the minigame went unused, the prop itself still remains in the game. It can be spotted in Thomas Emerson's room in the Cauldron Lake Lodge.
Early Episodes[]
There have been several early episodes and senerios that were scrapped during development. Some of them were very early and experimental, but some of them were a lot more fleshed out and far in developlemt before being scrapped.
The Lighthouse[]
Remedy was aiming to utilize the flashlight more in the game, as it appeared in many trailers and early demos. While Alan visited Raincove only in a nightmare, he was planned to go there with Barry at one point doring the story to investigate a replica of the Bird Leg Cabin that had mysteriously been there. Things started to escelate as the two had to travel the shores and reach the lighthouse and fix it - using its light to fend off the taken. [1]
This episode ended up being cut, with Remedy expression that they "would've liked to utilize the flashlight more in the future" - something they eventually did for the second DLC episode "The Writer". There, the lighthouse's light beams were utilized againts the taken as originally planned.
According to Mikko Rautalahti, one of the game's writers, the level would've taken place between "Elderwood National Park" and "On the Run". The numbering of the levels in the game files also confirms so, as the lighthouse level is also reffered to as "level 7" in several sources and files, while Elderwood Natuinal Park and On the Run are numbered 5 and 9 respectively.
Many leftovers of the scrapped episode still remain in the game. The entire layout of the lever can still be found on the map out of bounds, in the northwest corner of the map, and it matches the descriptions and screenshots of the scrapped level found in Alan Wake: Illuminated. Furthermore, several models and props for this episode can be found in the game files, such as a dead whele, an early Raincove map sign and a rather large underground bunker that Wake seemingly had to travel through during the level.
The Frying Pan[]
This seems to be one of the most expansive episode that got scrapped during development, as it has quite a long and detailed description on Alan Wake: Illuminated. It also has the biggest amount of screenshots attachec, which means that it got quite far during development before being scrapped. Remedy descriped this episode as one of their attempts at designing conematic action set pieces for the game.
The episode would've seen Alan Wake waking up in the middle of a forest fire and desperetly trying to get to a nearby cable car station in order to reach higher ground. The layout would've been expansive, with the writer moving through burnt cabins and dodging falling rocks and dubris. He would've made it to the cable car, only for it to get stuck on its track. Alan would've watched helplessly as the sun would've settled down, and taken starting to appear around him - ending the episode on a cliffhanger.
Like the scrapped lighthouse episode, the entire layout of the episode is also present out of bounds in the northern section of the map, and perfectly matches the material shown in Alan Wake: Illuminated. Furthermore, an unused texture for the cable car and an ambience track of a forest fire still remain in the game files.
The forest fire ambience track:
Nightingale and Wake[]
A scrapped episode was testing the concept of multiple playable characters, as it would've been split between Nightingale and Alan. In Nightingale's portion, he and his partner Finnegan were investigating Bright Falls and driving to the Sawmill, where Finn would've turned into a Taken, forcing Nightingale to fight and ultimetly kill him. Afterwards, the scene would've switched back to Wake at Bright Falls looking for Mayor Biltmore before portals began spawning taken into the area. Alan had to close the portal and track down the sherrif that had also turned into a Taken. The scene switched to Nightingale again, who caught up to Wake and start assisting the town's people in fighting against the taken that had spawned into the area. Eventually the episode was going to end with Wake at the harbor, as he was fighting taken, tornados and the taken sherrif.[1]
While this episode was scrapped along with the concept of multiple playable characters, the events related to Nightingale and Finn still made it into his backstory, even though they were only mentioned in outside material. Meanwhile the idea of multiple playable characters with intertwined plotlines would eventually revived in the sequel, Alan Wake 2, with the duality of Alan and Saga.
Runaway Train[]
One "memorable moment" Remedy was experimenting with during developemt of Alan Wake was an episode where Alan was running away from taken on a train. However, the writer had to make his way through the train to reach the cockpit and stop it until it reaches a broken bridge and details. The train would've started from the coal mines and and made its way throgh the bright falls railway bridge and all across the map until it would've reached a dead end near the dam. The path that the train originally took can still be seen across the map.
Episode Songs[]
As late as January 11th, 2010, at least two episodes featured a different ending song; Episode 2 ended with Lovely Head by Goldfrapp and Episode 3 ended with Sea of Love by Tom Waits. This was discovered via beta cutscenes[3] contained in a leaked early build of the game[4]
In a Remedy forum post[5] from January 11th, 2011, Markus Mäki revealed some other songs that were considered along the way. Other candidates for Episode 2 were Dear Darkness by PJ Harvey and Lilac Wine by Jeff Buckley and for Episode 3 were Don't Go Into That Barn by Tom Waits, Sit and Wonder by The Verve(which was used in the first Alan Wake II prototype), and Wake Up by Arcade Fire.
Ambience Presets[]
Several unused ambience presets exist in the files, including ones for the scrapped lighthouse level. There is also a slider for rain intensity among the values which was never used in any of the levels, as it was never set to above 0 in any of the presets used in the final levels.,
Alan Wake 2[]
Characters[]
Mr. Door[]
An unused temporary version of a poster for Warlin Door's fake show In Between With Mr. Door features Lance Reddick as Door instead of David Harewood. Reddick previously played Martin Hatch in Quantum Break, and both Hatch and Door are characters who have the power to step between dimensions, playing overarching roles within their respective stories. Reddick passed away before the release of Alan Wake 2; Remedy paid homage to him in the game's credits.
Nursing Home Residents[]
Name plates and concept art exist for an array of nursing home patients who do not appear or have mentions anywhere in the final game, with some exceptions. These include Abigail, Clara, Elwood, Gertrude, Lilibeth, Manuel. H., Mortimer, Oswin & Dolores, and Windfred. The exceptions are Abigail and Elwood, as explained below:
Abigail Barrows[]
Abigail was the original version of Gail Barrows, an old man who appears in the Wellness Center as the first Taken Diver Saga will encounter.
Saga has a number of unused exploration lines for the Wellness Center, including her reactions inside the room where banging can be heard before disabling the security system. All of these lines mention Abigail rather than Gail, but are otherwise identical to Gail's role. There is an unused set of unique combat lines marked as being for BINDER_ABIGAIL; "binder" is the internal name used for Taken Divers. Gail instead only has generic Taken Diver lines.
There are unused subtitles for a "cinematic" scene where Saga sees Abigail and realizes something is wrong with her. Based on the IDs, this would occur before Cynthia lures Tor into the Overlap; a similar shorter encounter appears in the final game where Saga sees Cynthia in the nursing home before realizing she is Taken. It is likely that Abigail's role was reduced to give Cynthia a bigger presence.
ID
Line
CINE_BF_140_ABIGAIL_1300
Abigail: Hhhrhrhrhrhhh...
CINE_BF_140_SAGA_1301
Saga: Hello? Are you...?
CINE_BF_140_SAGA_1303
Saga: Fuck.
CINE_BF_140_ABIGAIL_1304
Abigail: Was Abigail smiling? She didn’t think so.
CINE_BF_140_ABIGAIL_1305
Abigail: The face was bloated, horrible. Yellow teeth and grey eyes bulging from their sockets.
CINE_BF_140_SAGA_1306
Saga: Ma’am. I want you to turn around. Slowly. With your hands up.
CINE_BF_140_SAGA_1307
Saga: Fuck!
Notably, Abigail has subtitles indicating that she was Taken after drowning in her bathroom, unlike what happens to Gail (a lung disease). In the final game, Cynthia is Taken when she drowns in her bathroom.
ID
Line
RE_05_26_ABIGAIL_1308
Abigail: Abigail screamed. The dead hands found her throat.
RE_05_26_ABIGAIL_1309
Abigail: The hands were freezing. Abigail choked.
RE_05_26_ABIGAIL_1310
Abigail: Down into the water. Into a dark ocean, surrounded by smiling corpses.
RE_05_26_ABIGAIL_1311
Abigail: Abigail smiled back.
RE_05_26_ABIGAIL_1312
Abigail: She had grown old. How had that happened?
RE_05_26_ABIGAIL_1313
Abigail: Abigail wondered if she was having a stroke. She’d always been afraid of losing her mind.
RE_05_26_SAGA_1314
Saga: Jesus Christ. That poor woman.
RE_05_26_WAKE_1315
Alan: Abigail Barrows stood over her bathroom sink. She stared down at the water. She saw a warped face looking back at her. The face smiled. She smiled back.
RE_05_26_SAGA_1316
Saga: The story marked that woman. Killed her. How does it choose?
Emmett Elwood[]
Elwood is the only "cut" nursing home resident who has a mention in the final game, by way of the Manuscript page Emmett Taken, which gives his full name as Emmett Elwood (though it does not explain that he is an actual resident at Valhalla). The name Emmet is also mentioned in some of Taken Abigail's unique combat lines.
Steven Lin has an unused ID, Steven_DP, in the game text transcript, suggesting that he would have played some role in the Initiation chapters. The "DP" postfix is, in all other cases, used to indicate a character who either appears in the Dark Place (ex. Ahti) or has voice lines in Echoes (ex. Tammy and Ed Booker).
Collectibles[]
Alex Casey Lunchboxes[]
In the final game, there are eight Alex Casey Lunchboxes found around the Cauldron Lake area. The internal ID numbers for these lunchboxes skip from POLAROID_POI_ROSE_STASH_CL_06 to POLAROID_POI_ROSE_STASH_CL_08, suggesting that there may have been some which were removed.
Manuscript pages[]
There is an unused Manuscript page named "Title Page of Return," which (as its name suggests) would have been the title page of Return, similar to The Title Page of the Manuscript from the first Alan Wake. While the page itself can be seen in several cutscenes, it is never made collectible (possibly because, in the cutscenes, it is the only page left behind when Alan is transported out of the Dark Place, and so would not have been discoverable by Saga Anderson).
Enemies[]
Birdmen[]
Based on concept art, the Birdmen from the scrapped Alan Wake 2 iteration (which later became Alan Wake's American Nightmare) were meant to return in Alan Wake 2, but were completely scrapped from the final game.
Taken Floater[]
A considerate amount of concept art featured a taken typed named "Floater", which seemed to be featured in the Valhalla Nursing Home and float as if they were submerged in water. Those Taken were eventually scrapped as an enemy type, but Cynthia Weaver remained as the only "floating" taken in the game.
Taken Fatman[]
Another noticeable taken type that appeared only in concept art was called "Fatman", and seemed like a conjunction of several taken merged into one. While the enemy was nowhere to be seen in the game, Thornton possessed a similar ability when he was multiplying himself into three duplicates.
Items[]
Charms[]
A series of images of unused charms can be found in the game files.
Locations[]
The Endless Stairwell[]
A series of concept art images by Oliver Ödmark depict Alan on an endless stairwell coming across his own body as he traverses it.
Replay Arcade[]
An unused location in Alan's Dark Place section is an arcade store called "Replay Arcade". The store would've contained an arcade gamed called "The Janitor", which would've featured Ahti fighting rats and filth while collecting coins. The store and arcade game are still in the game, and verious neon signs in the streats point towards the store. However, the store itself is locked and cannot be unlocked without using mods. Once inside, the arcade game can be interacted with. Although the game is fully playable, some of the UI elements cannot be shown properly and it's impossible to exit the game once it started.
The arcade game was eventually reused for the retro section in the third episode of the Night Springs expansion, Time Breaker, although the player character, animations, enemies and textures were changed.
Story[]
Proof of Concept[]
Dialogue remains from a Proof of Concept(MENU_ENTRIES_POC=Proof of Concept) version of the game in the string_table.bin and audio files of the final game. They are labeled POC2 for the most part, which is assumed to mean the second proof of concept. Whether this is referring to following the original Alan Wake II internal demo from 2010 or a separate first proof of concept for this final version of Alan Wake II is unknown. There are also files with the title prefix NA_PROTO that seem to fit with the POC2 files based on the numbering and how the dialogue fits. It is unknown why they have a different prefix.
The story conveyed through the dialogue
Characters featured include Alan, Zane, Scratch, Casey, Tammy, an Old Lady, and enemies. Alan is voice by Matthew Poretta, Zane by Ilkka Villi, Scratch unknown, Casey (most likely)by AI
Expand the table below to listen to or read all available dialogue.
Dark Place Loop[]
ID
Line
POC2_01_WAKE_740
Alan: This was the Dark Place. I hadn’t remembered it before, but now I did. Remembered enough.
POC2_01_WAKE_741
Alan: I had written a manuscript. A novel. It contained the key to my survival. What I had learned about the enemy I faced, how to fight him. I had to track down the manuscript. Everything depended on it.
POC2_01_WAKE_742
Alan: Someone, maybe it had been me before I forgot, had left me clues to follow. I could sense them all around. I had to find them. Shine a light on them to reveal the truth.
POC2_04_WAKE_743
Alan: I got Alice out of here. Or did I? Was that another lie? This place hides the truth. How could she be here, under attack from Scratch? I had to find out. I had to make sure she was safe. I had to get to the subway station.
POC2_06_WAKE_745
Alan: My thoughts were bleeding out. The darkest thoughts from the deepest trenches. Shaping this place around me. New York. My home, twisted. A nightmare of New York.
POC2_07_WAKE_746
Alan: It felt like being lost in a dream. Lost in a watery reflection. A free association spiral. Crazy and shifting. From a musical to a horror story and everything in between. A feeling of deja vu that didn’t go away. An endless, recursive loop. An echo of an echo. I was lost in the depths of a dark ocean, at the mercy of the currents.
POC2_08_WAKE_747
Alan: This place used anything I could imagine. And I could imagine some pretty fucked up things, professionally speaking. I wished it’d stop there, but it didn’t. Under this oily film, under the surface, hidden, there were other things, worse things, unimaginable things. I was not in control here.
POC2_09_WAKE_748
Alan: This was not my first attempt to get out. But this place made me forget. And then forget forgetting. What I had pieced together I’d left as clues for myself. Shortcuts to take me forward faster. Cheats. Symbols with meaning.
POC2_02_WAKE_749
Alan: There were clues here. Written by me to myself to find a way forward. I could trust this. I had to trust this.
POC2_02_WAKE_750
Alan: The payphone was ringing. Somehow, I knew the call was for me.
Zane: You what? You remember? Oh! This is- Listen! Listen to me, Alan. This is a breakthrough. But dangerous as well. You must not break the flow. <cf>(This is part of) the structure created by your manuscript, for a vital purpose. (The Dark Place) operates in loops. (You must bear with it. If you break the established order of things,) awful things will happen. We will lose (our progress.)
Alan: Fuck off. Alice escaped. She’s out, safe. And I’m coming for you, fucker.
POC2_02_WAKE_762
Alan: Underwood Subway Station. That’s where Scratch said he was. I needed to get there. He is after the manuscript as well.
POC2_02_WAKE_763
Alan: I remembered saving Alice, getting her out of the Dark Place. But how could I be sure? I had to check.
POC2_12_WAKE_764
Alan: Last time Scratch’s sick game, his clues, led me to a line of a poem. That poem has power. A hidden truth. I had to find more lines.
POC2_02_WAKE_765
Alan: There were lights here that could cut through the darkness of this place and create a way forward. The lamp I had could take a light and move it where it was needed.
POC2_02_WAKE_766
Alan: Once, I had used The Clicker, a mystical light-switch, to destroy the Dark Presence. The Clicker was lost now, but it had once been a part of the lamp.
NA_PROTO_DP_15_100_WRITER_ROOM_WAKE_767
Alan: I wrote this story, even if I didn’t remember writing it. I could do it again. I could reconstruct it. Retrace my steps from the clues that I’d find. Would I have written this? What happens next? I’d be able to sense my way through it.
POC2_03_WAKE_768
Alan: Is Wake the hero of this story? Is he the victim? Comes down to the genre. There’s a murderer at large. Scratch. He wears the face of our protagonist.
POC2_03_WAKE_769
Alan: Wake follows clues and messages. He is not in control. He is being taken on a ride. Led to where? To slaughter? To a revelation? Deeper down the spiral. Into the heart of darkness. Where the truth awaits. The terrifying, blindingly bright truth that will sear his brain.
POC2_03_WAKE_770
Alan: Wake must follow the clues. Is he stuck in a loop? A tragedy? Suffering from dementia. Forced to face the same horrors again and again. But what’s the alternative? To fade away, forget, and still be forever trapped in the nightmare. Now that’d be a tragedy.
POC2_03_WAKE_771
Alan: Suddenly, Wake isn’t forgetting. For the first time in ages. Why now? Because something has changed. What? The manuscript. It must be. The manuscript that is true and can change things has finally been written. Finally been finished. It’s out there. It exists.
POC2_03_WAKE_772
Alan: With the manuscript, the game is now on. Having written it, Wake is a character in it. So why doesn’t he remember? By design. It has to be. Everything is written for a reason. Remembering would ruin the story. He must trust the story. He must follow the cues, the plot. He must play the part of Alan Wake in this story.
POC2_03_WAKE_773
Alan: The writer is a sculptor, chiseling away the lies to reveal the hidden, true shape of reality. The writer is a detective, piecing together the clues to find the awful crime. The writer is a shrink and a priest, shining a light at the darkest corners of the mind, the soul, to reveal the disorder, the demon inside.
POC2_03_WAKE_774
Alan: The writer writes a story that resonates and is true, so true it’s more true than reality. So true it changes reality, even if it is just a construct of fiction and lies.
POC2_04_WAKE_775
Alan: This was where Underwood Station should’ve been. But it was not. I needed to make it reveal itself.
NA_PROTO_DP_20_100_WAKE_SHOOTS_CASEY_WAKE_776
Alan: My enemy, this whole place, is devious. A shadow that slithers in. When you think you know where you’re going, it has a way of flipping reality upside down to make you lose your way.
NA_PROTO_DP_20_100_WAKE_SHOOTS_CASEY_CASEY_777
Casey: You’re the killer. The Cult leader. It’s there, in your eyes.
NA_PROTO_DP_20_100_WAKE_SHOOTS_CASEY_WAKE_778
Alan: No. Scratch’s getting away. My wife’s there.
NA_PROTO_DP_20_100_WAKE_SHOOTS_CASEY_CASEY_779
Casey: You're going nowhere.
NA_PROTO_DP_20_100_WAKE_SHOOTS_CASEY_WAKE_780
Alan: Haaa.
NA_PROTO_DP_20_100_WAKE_SHOOTS_CASEY_CASEY_781
Casey: I’m tired. I just want this to be over. It’s my fault. I’ve had this dark place in my head for so long. All that miserable shit.
NA_PROTO_DP_20_100_WAKE_SHOOTS_CASEY_CASEY_782
Casey: Sometimes I forget the pain is there. Like it’s normal. That’s fucked up, right?
NA_PROTO_DP_20_100_WAKE_SHOOTS_CASEY_WAKE_783
Casey: We’re the same.
NA_PROTO_DP_20_100_WAKE_SHOOTS_CASEY_WAKE_784
Alan: This place keeps pushing me under, getting into my head, poisoning me with darkness. I have to find a way to escape before it’s too late. Too late again.
POC2_04_WAKE_785
Alan: I felt a current in my arm. A magnetic pull between my lamp and the streetlamp.
POC2_04_WAKE_786
Alan: The light shifted from the streetlamp to my lamp. Jumped. Like something in a dream.
POC2_04_WAKE_787
Alan: I felt the electric current in the lamp again. I could use it here, with the store window.
POC2_05_WAKE_788
Alan: I never left. Impossibly, it was the same station. Caught in a loop. This was not the way. Something needed to change first.
POC2_05_WAKE_789
Alan: No Alice here. Just an echo. With her eyes scratched out. Scratch.
POC2_05_WAKE_790
Alan: No way back anymore. I had to find a way forward.
Alan: Cauldron Lake Spring Water. It felt important. Like something from a half-forgotten dream. Or from a previous life. It was a way forward.
POC2_05_WAKE_795
Alan: Damn
POC2_05_WAKE_796
Alan: There was something here with me, hunting me. A Dark Presence. Something alien. A monster. It had stolen from me. And what it had taken, it was twisting. It wanted more. Everything. It already wore my face. Scratch. Mr. Scratch.
POC2_06_WAKE_797
Alan: I was back where I started. Was this another loop? No, things felt different. The map of the city changing in dream-like ways. Not a loop; a spiral. I was making progress.
POC2_07_WAKE_798
Alan: Hello?
POC2_07_WAKE_799
Alan: Be that way.
POC2_07_WAKE_800
Alan: Was I left hanging without a clue? No.
POC2_07_WAKE_801
Alan: Mirror Peak Nightclub. An echo of something. That’s where I was going.
POC2_08_WAKE_802
Alan: Another loop.
POC2_08_WAKE_803
Alan: Once, a long time ago, with my celebrity lifestyle spiraling out of control I’d spend my nights in places like this. This had been my scene. Now it was Scratch’s.
POC2_08_WAKE_804
Alan: The more progress I made here, the more I attracted the Dark Presence to me. It was hunting me. It was getting closer. The clues Scratch left, when I found them, were like trackers to draw it to me. He wanted to stop me. I had to keep going.
POC2_08_WAKE_805
Alan: The VIP section was Scratch’s domain.
POC2_08_WAKE_806
Alan: This was a clue. The bathroom. Ladies’ room by the looks of it.
POC2_14_WAKE_808
Alan: Stop!
POC2_05_FADE-OUT_829
Fade-out: Wake had fallen asleep.
POC2_05_FADE-OUT_830
Fade-out: He ran on autopilot.
POC2_05_FADE-OUT_831
Fade-out: He was numb.
POC2_Barks_FO_whisper_FADE-OUT_839
Fade-out: Wake had fallen asleep.
POC2_Barks_FO_whisper_FADE-OUT_840
Fade-out: He ran on autopilot.
POC2_Barks_FO_whisper_FADE-OUT_841
Fade-out: Wake had fallen asleep.
POC2_Barks_FO_whisper_FADE-OUT_842
Fade-out: He was numb.
Fade-out: A spiral into oblivion.
POC2_Barks_FO_whisper_FADE-OUT_844
Fade-out: Nothing felt like anything anymore.
POC2_Barks_FO_whisper_FADE-OUT_845
Fade-out: “Where am I?”
POC2_Barks_FO_whisper_FADE-OUT_846
Fade-out: "Who am I?"
POC2_Barks_FO_whisper_FADE-OUT_847
Fade-out: Like a sickness.
POC2_Barks_FO_whisper_FADE-OUT_848
Fade-out: Meaningless in the face of his creation.
POC2_Barks_FO_whisper_FADE-OUT_849
Fade-out: Dig inside the heads of every reader.
POC2_Barks_FO_whisper_FADE-OUT_850
Fade-out: To force them to love him.
POC2_Barks_FO_whisper_FADE-OUT_851
Fade-out: To control their minds.
POC2_Barks_FO_whisper_FADE-OUT_852
Fade-out: Sinking into a dream.
POC2_Barks_FO_whisper_FADE-OUT_853
Fade-out: Reaching into the darkness inside.
POC2_Barks_FO_whisper_FADE-OUT_854
Fade-out: The bad parts in him.
POC2_05_WAKE_855
Alan: Wake had fallen asleep. A spiral into oblivion. Until, lucky or cursed: A spark of light. An act of creation. An act of violence. Waking him up. To the horror.
POC2_08_WAKE_856
Alan: Wake had the compulsion to write. Like a sickness. Dig inside the heads of every reader. To control their minds. Reaching into the darkness inside.
POC2_09_WAKE_857
Alan: I was back in a familiar place again. One layer deeper. Closer to where I was going.
POC2_10_WAKE_858
Alan: It was always the phone.
POC2_10_WAKE_859
Alan: It wasn't the payphone this time. The ringing telephone was somewhere in the building next to me.
POC2_11_WAKE_860
Alan: The ringing came from an upstairs apartment.
POC2_13_OLD_LADY_861
Old Lady: You’re such a nice young man, Mr. Wake.
POC2_13_OLD_LADY_862
Old Lady: Oh oh, Alan. Yes, Alan.
POC2_13_OLD_LADY_863
Old Lady: To think that I have a famous writer as a neighbor.
POC2_13_OLD_LADY_864
Old Lady: And such wonderfully written stories. So exciting.
POC2_13_OLD_LADY_865
Old Lady: The mysteries and all the chases, and, and the gun fights! Gets your blood pumping, it does.
POC2_13_OLD_LADY_866
Old Lady: More tea, Mr. Wake, Alan?
POC2_13_OLD_LADY_867
Old Lady: To think I have a celebrity in my home. So nice of you to come say hello.
POC2_13_OLD_LADY_868
Old Lady: You shouldn’t have. Thank you so much for the book. I will treasure it always.
POC2_13_OLD_LADY_869
Old Lady: Come back soon. Anytime. It does get lonely here sometimes, on my own.
POC2_13_WAKE_870
Alan: It wasn’t me. It was Scratch, pretending to be me. It was disgusting.
POC2_14_WAKE_871
Alan: It felt like my brain was dislocated. Another loop. This was the same apartment, but the right way around.
Alan: The sounds were now coming from down the corridor.
POC2_16_WAKE_892
Alan: Damn.
POC2_16_WAKE_893
Alan: Aaah... oh my god.
POC2_16_WAKE_894
Alan: Scratch had left me a new line of the poem. I didn’t understand it. I didn’t like it. But it was hugely important. It was a key to travel through the Dark Place.
POC2_16_WAKE_895
Alan: I’d write down the poem. It would take me to where I needed to be.
POC2_Barks_FO_raisedvoice_FADE-OUT_931
Fade-out: The bad parts in him.
POC2_Barks_FO_raisedvoice_FADE-OUT_932
Fade-out: Reaching into the darkness inside.
POC2_Barks_FO_raisedvoice_FADE-OUT_933
Fade-out: Sinking into a dream.
POC2_Barks_FO_raisedvoice_FADE-OUT_934
Fade-out: To control their minds.
POC2_Barks_FO_raisedvoice_FADE-OUT_935
Fade-out: To force them to love him.
POC2_Barks_FO_raisedvoice_FADE-OUT_936
Fade-out: Dig inside the heads of every reader.
POC2_Barks_FO_raisedvoice_FADE-OUT_937
Fade-out: Meaningless in the face of his creation.
POC2_Barks_FO_raisedvoice_FADE-OUT_938
Fade-out: Like a sickness.
POC2_Barks_FO_raisedvoice_FADE-OUT_939
Fade-out: “Who am I?”
POC2_Barks_FO_raisedvoice_FADE-OUT_940
Fade-out: “Where am I?”
POC2_Barks_FO_raisedvoice_FADE-OUT_941
Fade-out: Nothing felt like anything anymore.
POC2_Barks_FO_raisedvoice_FADE-OUT_942
Fade-out: A spiral into oblivion.
POC2_Barks_FO_raisedvoice_FADE-OUT_943
Fade-out: He was numb.
POC2_Barks_FO_raisedvoice_FADE-OUT_944
Fade-out: Wake had fallen asleep.
POC2_Barks_FO_raisedvoice_FADE-OUT_945
Fade-out: He ran on autopilot.
POC2_Barks_FO_raisedvoice_FADE-OUT_946
Fade-out: Wake had fallen asleep.
POC2_Barks_FO_shout_FADE-OUT_947 - 962
Repeats of lines from POC2_Barks_FO_raisedvoice_FADE-OUT_931 - 946
POC2_emotes_WAKE_963 - 994
Effort noises and reaction words
POC2_01_WAKE_995
Alan: I was trapped here. Had been for what felt like years. Outside time and space. Outside reality, what we count as real.
POC2_03_WAKE_998
Alan: I could piece it together in my writer’s room.
POC2_03_WAKE_999
Alan: I could always figure things out in the writer’s room.
POC2_03_WAKE_1000
Alan: I could make it make sense in the writer’s room.
POC2_03_WAKE_1001
Alan: When nothing made sense, I could always find the plot in my writer’s room.
POC2_03_WAKE_1002
Alan: I could plot my way forward in the writer’s room.
POC2_04_WAKE_1003
Alan: The lamp I carried felt dead in my hand. I needed to find a way to light it up.
NA_PROTO_DP_20_100_WAKE_SHOOTS_CASEY_CASEY_1004 - despite being in the string table, no audio could be found for this line, though tts_na_mm_proto_dp_20_100_wake_shoots_casey_in05_casey_dp_5332 is similar and not in the string table.
Casey: It’s flipped. I’m not in a dark place. I am the dark place, the source of all this, the vessel.
POC2_04_WAKE_1005
Alan: I had a light in my lamp. I’d find a place to use it.
POC2_04_WAKE_1006
Alan: I needed to find a lamp to place the light I had.
POC2_04_WAKE_1007
Alan: I had to use the light of my lamp to create a way forward.
POC2_04_WAKE_1008
Alan: I could use my lamp to open a path forward.
POC2_04_WAKE_1009
Alan: I’d shift the light from my lamp to change reality.
POC2_05_WAKE_1010
Alan: I needed to find a way out of here. A way forward. I needed a light to change this place.
POC2_05_WAKE_1011
Alan: I didn’t have a light.
POC2_05_WAKE_1012
Alan: I had left a light in the lamp store window above. I could get it from there.
POC2_05_WAKE_1013
Alan: I needed a light.
POC2_05_WAKE_1014
Alan: I needed to find a light.
POC2_05_WAKE_1015
Alan: I had to find a light for my lamp.
POC2_05_WAKE_1016
Alan: I needed a light to create a way forward.
POC2_05_WAKE_1017
Alan: I needed to get a light to pass through.
POC2_05_WAKE_1018
Alan: The spring water can was a clue. A revelation swimming just out of reach. I could figure it out in the writer’s room.
POC2_05_WAKE_1019
Alan: I had used the plot board to break down countless stories. I could figure out this clue, see how it fit in.
POC2_07_WAKE_1020
Alan: The payphone was ringing again.
POC2_07_WAKE_1021
Alan: A matchbook from a nightclub.
POC2_07_WAKE_1022
Alan: I had left a light at the subway station. I could get it from there.
POC2_08_WAKE_1023
Alan: I felt a surge of claustrophobic panic. These stairs would never end. And the walls were definitely edging closer the deeper I went. I saw a vision of myself, getting stuck between them, having traveled down an impossible distance.
POC2_08_WAKE_1024
Alan: The painting marked my destination. It might have looked like my portrait. But it wasn’t. It was Scratch.
POC2_08_WAKE_1025
Alan: “Meet me in the bathroom. Your number one fan.”
POC2_08_WAKE_1026
Alan: Hidden messages from Scratch’s number one fan.
POC2_08_WAKE_1027
Alan: The bag of drugs fit the scene perfectly. I’d had my share of crazy nights in the past. This whole place felt like I was tripping.
POC2_08_WAKE_1028
Alan: The bill went with the drugs.
POC2_08_WAKE_1029
Alan: To understand it, to change the plot and the world around me, I had to put the symbols in their place in the writer’s room.
POC2_08b_WAKE_1030
Alan: Money is a powerful symbol. But the bill was just a utensil for the drug.
POC2_08b_WAKE_1031
Alan: I recognized the symbol on the bag. Scratch’s cult. To melt their minds with his.
POC2_08b_WAKE_1032
Alan: I was certain that all the symbols had a meaning and a purpose here. But which would be the way forward?
POC2_08b_WAKE_1033
Alan: Things were not clicking into place.
POC2_08b_WAKE_1034
Alan: The plot eluded me.
POC2_08b_WAKE_1035
Alan: It didn’t feel right.
POC2_08b_WAKE_1036
Alan: It felt like a dead end.
POC2_08b_WAKE_1037
Alan: I was missing something.
POC2_08b_WAKE_1038
Alan: That’s it. This was how it was meant to go.
POC2_08b_WAKE_1039
Alan: This felt right for the story.
POC2_08b_WAKE_1040
Alan: I had figured it out.
POC2_08b_WAKE_1041
Alan: Things clicked into place.
POC2_08b_WAKE_1042
Alan: I had found the solution.
POC2_08c_WAKE_1043
Alan: Time to go. Through the mirror.
POC2_11_WAKE_1044
Alan: The street had changed. The “Lady of the Light” sign on both sides, mirrored.
POC2_11_WAKE_1045
Alan: The apartment on the third floor had the lights on.
POC2_11_WAKE_1046
Alan: Hey! You there!
POC2_11_WAKE_1047
Alan: That was him. Scratch. I was close.
POC2_13_WAKE_1048
Alan: There were more lamps here than in the store down the street.
POC2_13_WAKE_1049
Alan: Everything was mirrored here, from the sign outside to my book.
POC2_15_WAKE_1050
Alan: The ringing was louder now. One floor up.
POC2_17_SCRATCH_1051
Scratch: Lost on the shore between the forest and the ocean. The owl and the deer reflected in motion.
POC2_17_WAKE_1052
Alan: I had to add the new line to the poem, in the writer’s room.
POC2_17_WAKE_1053
Alan: Lost on the shore between the forest and the ocean. The owl and the deer reflected in motion.
POC2_19_WAKE_1054 - no corresponding audio found in game files
Alan: The writer wants the story to be true. It’s easy to start believing in it. Especially here. The map versus the territory. The poem was a map. It was taking me somewhere. Somewhere dark.
POC2_CP_01_WAKE_1055
Alan: The writer of the first word, not the writer of the last. With the terror of the light and the shadow cast. The third eye now open to project the night. This is the moment to write. This is the ritual to lead you on. Your friends will meet him when you’re gone.
POC2_CP_01_WAKE_1056
Alan: Lost on the shore between the forest and the ocean. The owl and the deer reflected in motion. In his room he will hurt her, in hers he is caught. His story ends, her story does not. This is the ritual to lead you on. Your friends will meet him when you’re gone.
POC2_CP_01_WAKE_1057
Alan: A pale balloon in the sky, float and sink deeper. Night springs when bright falls for this sleeper. The surface disturbed, the reflection now a traitor. In the cavity of the skull turned to a crater. This is the ritual to lead you on. Your friends will meet him when you’re gone.
POC2_CP_02_SCRATCH_1059
Scratch: The writer of the first word, not the writer of the last. With the terror of the light and the shadow cast. The third eye now open to project the night. This is the moment to write. This is the ritual to lead you on. Your friends will meet him when you’re gone.
POC2_CP_02_SCRATCH_1060
Scratch: Lost on the shore between the forest and the ocean. The owl and the deer reflected in motion. In his room he will hurt her, in hers he is caught. His story ends, her story does not. This is the ritual to lead you on. Your friends will meet him when you’re gone.
POC2_CP_02_SCRATCH_1061
Scratch: A pale balloon in the sky, float and sink deeper. Night springs when bright falls for this sleeper. The surface disturbed, the reflection now a traitor. In the cavity of the skull turned to a crater. This is the ritual to lead you on. Your friends will meet him when you’re gone.
Echo[]
These lines exactly match MM_IN02_020_CASEY_DP_3981 - MM_IN02_020_CASEY_DP_3983 used in the final game.
ID
Line
PROTO_ECHO_IN02_CASEY_SUBWAY_CASEY_DP_9058
Casey: An FBI Agent had come here before me, on the trail of a murder cult. He’d gone missing, presumed dead.
PROTO_ECHO_IN02_CASEY_SUBWAY_CASEY_DP_9059
Casey: The cult was leaving me clues to follow, connecting the dots from one murder to the next, inviting me to draw an obscene picture on the city map.
PROTO_ECHO_IN02_CASEY_SUBWAY_CASEY_DP_9060
Casey: Caldera Street Station. The name made me think of the exit wound of a bullet.
Tammy[]
ID
Line
POC2_01_WAKE_740
Alan: This was the Dark Place. I hadn’t remembered it before, but now I did. Remembered enough.
Initiation 7: Masks[]
An old, placeholder version of text for the confrontation between Warlin Door and Alan Wake can be found in the game's text transcript. Mr. Door is more explicit about his motivations (further suggesting he is linked to Saga Anderson) and his poor opinion of Alan in this version, while Alan is also less confrontational than in the final version. Door also openly questions Alan's identity, even suggesting that "Alan Wake" is merely an alias that he adopted for the story.
Both Door and Alan appear to have been voiced via AI voice generation.
ID
Line
NA_MM_IN07_XX_XXX_PLACEHOLDER_OLD_DOOR_5747
Mr. Door: There you are. Take a seat.
NA_MM_IN07_XX_XXX_PLACEHOLDER_OLD_DOOR_5748
Mr. Door: Apologies for the lackluster welcome. But maybe it’s you should be apologizing. This is your fault, after all.
NA_MM_IN07_XX_XXX_PLACEHOLDER_OLD_DOOR_5749
Mr. Door: I’ve been indulging you this far because you’ve written someone very important to me into your story. I want to help this tale reach its conclusion so that she can be free from you and your all-consuming ego. Once that’s done, it would be better if we did not meet again. I am emphatically not a fan, Mr. Wake.
NA_MM_IN07_XX_XXX_PLACEHOLDER_OLD_WAKE_5750
Alan: Scratch wrote this story, not me. I’m trying to fix this mess. I had it in my hands last time, but Scratch killed me. But how do you know about the story? Have you read it? Do you know how it ends?
NA_MM_IN07_XX_XXX_PLACEHOLDER_OLD_DOOR_5751
Mr. Door: You said you had it in your hands. You should know how it ends.
NA_MM_IN07_XX_XXX_PLACEHOLDER_OLD_WAKE_5752
Alan: I can’t remember the details. Things slips away here. It’s like my head has a leak. I know I edited parts of it, wrote in parts that could help me, but... I can’t remember.
NA_MM_IN07_XX_XXX_PLACEHOLDER_OLD_DOOR_5753
Mr. Door: To find out what happens next, the protagonist just needs to keep going. And you are the protagonist, aren’t you?
NA_MM_IN07_XX_XXX_PLACEHOLDER_OLD_DOOR_5754
Mr. Door: How painful it must be to know you’re trapped in a nightmare, but still be unable to wake. Alan Wake. A fitting name, isn’t it? Was that always your name, or did you change it for the story? A not-so-subtle reminder that you need to “wake” up. What’s your real name, I wonder?
NA_MM_IN07_XX_XXX_PLACEHOLDER_OLD_WAKE_5755]
Alan: This is my real name! If you know what happens next, just tell me. I need help.
NA_MM_IN07_XX_XXX_PLACEHOLDER_OLD_DOOR_5756
Mr. Door: I have been helping, Mr. Wake. As much as I care to. As I said, I’m not really a fan. On that note, I think it’s time we said goodbye. Best of luck with this next part.
NA_MM_IN07_XX_XXX_PLACEHOLDER_OLD_WAKE_5757
Alan: What part?
Miscellaneous[]
There is an unused Profiling ID (TOAST_PROFILING_ESTEVEZ) for Kiran Estevez. It is marked as deprecated in string_table.bin.
Night Springs[]
There are files that confirm the existence of two scrapped episodes, likely focusing on Alex Casey and Kiran Estevez. Aside from an early episode list containing 5 episodes instead of 3, there were also unused opening narrations for the two episodes by Warlin Door.
Episode 02: Altered World Event[]
By the opening narration, this episode would've paralleled the FBC job of investigating and containing Altered World Events, with a high possibility of Kiran Estevez or a version of her being the playable character.
Unbeknownst to many, the veil between realities is frail and full of holes, with eldritch horrors hungrily pressing against it, ever searching for a way through. When an event like this happens, our world is catastrophically altered. Unbeknownst to many, the veil between realities is frail and full of holes, with eldritch horrors hungrily pressing against it, ever searching for a way through. When an event like this happens, our world is catastrophically altered. Tonight’s awe-inspiring episode: Altered World Event.
― Unused intro narration by Mr. Door
- DLC_NIGHT_SPRINGS_EP_INTRO_02_DOOR
Episode 04: Murder Case[]
As the name and opening narration suggest, this episode would've paralleled Casey's Investigation of the murders commited by the Cult of the Word in New York. It was likely scrapped due to James McCaffrey's passing.
Corpse. Killer. Detective. Roles familiar to us from countless thriller stories. An obsessed investigator piecing together clues to catch the murderer and bring justice to the victim. We rarely question why we’re so drawn to mysteries, why we crave to uncover the truth. Even when doing so puts our lives and our sanity at risk. But in the rain-slick darkness of Night Springs City, identities fade, shift and merge, and questions only lead to more questions, so that in the end, we know less than we thought we knew in the beginning. Some questions, some mysteries, would be better left unanswered in... Night Springs. Tonight’s hardboiled episode: Murder Case.
― Unused intro narration by Mr. Door
- DLC_NIGHT_SPRINGS_EP_INTRO_04_DOOR
A short monologue from the episode that James McCaffrey recorded prior to his passing was featured upon the DLC's completion as a tribute, alongside a jazz track that was likely also made for the episode.
Gallery[]
Alan Wake[]
Unused Models[]
An unused model of a taken wolf
An unused model of a taken bear
An early model for Max the dog
Scrapped Locations[]
Bears and Wolves
The Sawmill
An early screenshot of the scrapped sawmill
The Sawmill being used for a scrapped episodes featuring Nightingale
Particle Accelerator and Moorcock Institute
The Bright Falls Museum building, out of reach and sight in the final game
The Bright Falls Bank building, which also remains out of bounds
Scrapped Episodes[]
The Lighthouse
The Frying Pan
Early Bright Falls Maps[]
What appears to be one of the earliest world layouts, most likely 2005 or 2006, featuring many locations not in the final game. Bright Falls and Cauldron Lake don't appear to have been named yet, referred to as "Town center" and "Crater lake"
Tourist map that lines up pretty well with the previous map, found in Alan Wake: The Library and Alan Wake Illuminated[1]
First publicly revealed Bright Falls map from the November 2006 issue of Computer Gaming World[6]
from Saku Lehtinen's portion of the GDC presentation The Tao of Level Design: A Study of 3 AAA Games[7], most likely from 2007
Map from Alan Wake: The Library pdf, a clearer slightly cropped version of the previous map featuring minor changes otherwise
Alan Wake II[]
Enemies[]
Concept art of a Birdman
Concept art of a Taken Floater
Concept art of a Taken Fatman
Sequences[]
Endless stairwell concept by Oliver Ödmark
Endless stairwell concept by Oliver Ödmark
Endless stairwell concept by Oliver Ödmark
Proof of Concept Dark Place[]
Dark Place POC concept by Markus Luotero
Charms[]
Mirror
Crystal
Stealth
Acorn
Amber
Alarm clock
Crow foot
Characters[]
Temp Mr. Door poster featuring Lance Reddick wb_temp_mr_door_ad_d
Answer me, Emmet! 
![Tourist map that lines up pretty well with the previous map, found in Alan Wake: The Library and Alan Wake Illuminated[1]](/wiki/File:Bright_Falls_Tourist_Map.png "Bright Falls Tourist Map.png (1.78 MB)")
![First publicly revealed Bright Falls map from the November 2006 issue of Computer Gaming World[6]](/wiki/File:Original_Bright_Falls_Map_2006.png "Original Bright Falls Map 2006.png (2.74 MB)")
![from Saku Lehtinen's portion of the GDC presentation The Tao of Level Design: A Study of 3 AAA Games[7], most likely from 2007](/wiki/File:Old_Bright_Falls_Map_from_Saku_GDC_Presentation.png "Old Bright Falls Map from Saku GDC Presentation.png (815 KB)")
