Alan Wake Wiki

As Alan Wake 2 has now launched, be wary of major spoilers of the game. It is recommended you play the game before browsing the wiki.


Alan Wake Wiki
Alan Wake Wiki

This page contains all the unused or cut content from the Alan Wake franchise, which include areas, enemies, items and early Episodes.

Alan Wake[]

Unused Content[]

Taken Bears and Wolves[]

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.

Taken Wolves were eventually implemented in Alan Wake 2, acting as an enemy type in Saga Anderson's story.

The 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.

Race Track[]

Back when Alan Wake was planned to be an open world game, there was going to be side content that players could interact with at any time. One such thing was the option to race against other vehicles on a rack track. When the game became a linear experience, the race track was scrapped as well.

Several textures 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 used in the final game though, especially in Episode 5 for the Deerfest parade area.

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.

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.

The Moorcock Institute[]

At one point, the Moorcock Institute was supposed to be a location that could 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'.

Early Episodes[]

Alan and Barry in the Lighthouse[]

To be added later...

The Forest Fire[]

To be added later...

Nightingale and Finn[]

To be added later...

Alan Wake 2[]


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.

Quote1 Answer me, Emmet! Quote2

Steven Lin[]

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. the Bookers).


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).



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.



A series of images of unused charms can be found in the game files.


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.


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, 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.

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

As there were some things found in the string_table that are from the upcoming DLC, it is possible some of this may be reused so read at your own risk until that is released.

Dark Place Loop[]
ID Line
Alan: This was the Dark Place. I hadn’t remembered it before, but now I did. Remembered enough.
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.
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.
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.
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.
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.
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.
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.
Alan: There were clues here. Written by me to myself to find a way forward. I could trust this. I had to trust this.
Alan: The payphone was ringing. Somehow, I knew the call was for me.
Alan: Hello? Hello? Are you open?
Alan: Yes?
Zane: Alan Wake, this is Tom Zane. You don’t remember, but I’m a friend. Listen, this is very important. Do you have the manuscript? It’s (vitally)-


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: Hello? Zane? I’m losing you.
Scratch: Hello Alan Wake. This is...
Scratch: ...Alan Wake. We hunt the same thing. I am close now. I can feel it. The manuscript.
Scratch: Alice. I’m with her now. She is waiting for the train at Underwood Station.
Alan: Fuck off. Alice escaped. She’s out, safe. And I’m coming for you, fucker.
Alan: Underwood Subway Station. That’s where Scratch said he was. I needed to get there. He is after the manuscript as well.
Alan: I remembered saving Alice, getting her out of the Dark Place. But how could I be sure? I had to check.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
Alan: This was where Underwood Station should’ve been. But it was not. I needed to make it reveal itself.
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.
Casey: You’re the killer. The Cult leader. It’s there, in your eyes.
Alan: No. Scratch’s getting away. My wife’s there.
Casey: You're going nowhere.
Alan: Haaa.
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.
Casey: Sometimes I forget the pain is there. Like it’s normal. That’s fucked up, right?
Casey: We’re the same.
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.
Alan: I felt a current in my arm. A magnetic pull between my lamp and the streetlamp.
Alan: The light shifted from the streetlamp to my lamp. Jumped. Like something in a dream.
Alan: I felt the electric current in the lamp again. I could use it here, with the store window.
Alan: I never left. Impossibly, it was the same station. Caught in a loop. This was not the way. Something needed to change first.
Alan: No Alice here. Just an echo. With her eyes scratched out. Scratch.
Alan: No way back anymore. I had to find a way forward.
Alan: Scratch had left something waiting for me.
Alan: This is where I’ll find the next clue.
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.
Alan: Damn
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.
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.
Alan: Hello?
Alan: Be that way.
Alan: Was I left hanging without a clue? No.
Alan: Mirror Peak Nightclub. An echo of something. That’s where I was going.
Alan: Another loop.
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.
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.
Alan: The VIP section was Scratch’s domain.
Alan: This was a clue. The bathroom. Ladies’ room by the looks of it.
Alan: Stop!
Fade-out: Wake had fallen asleep.
Fade-out: He ran on autopilot.
Fade-out: He was numb.
Fade-out: Wake had fallen asleep.
Fade-out: He ran on autopilot.
Fade-out: Wake had fallen asleep.
Fade-out: He was numb.
Fade-out: A spiral into oblivion.
Fade-out: Nothing felt like anything anymore.
Fade-out: “Where am I?”
Fade-out: "Who am I?"
Fade-out: Like a sickness.
Fade-out: Meaningless in the face of his creation.
Fade-out: Dig inside the heads of every reader.
Fade-out: To force them to love him.
Fade-out: To control their minds.
Fade-out: Sinking into a dream.
Fade-out: Reaching into the darkness inside.
Fade-out: The bad parts in him.
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.
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.
Alan: I was back in a familiar place again. One layer deeper. Closer to where I was going.
Alan: It was always the phone.
Alan: It wasn't the payphone this time. The ringing telephone was somewhere in the building next to me.
Alan: The ringing came from an upstairs apartment.
Old Lady: You’re such a nice young man, Mr. Wake.
Old Lady: Oh oh, Alan. Yes, Alan.
Old Lady: To think that I have a famous writer as a neighbor.
Old Lady: And such wonderfully written stories. So exciting.
Old Lady: The mysteries and all the chases, and, and the gun fights! Gets your blood pumping, it does.
Old Lady: More tea, Mr. Wake, Alan?
Old Lady: To think I have a celebrity in my home. So nice of you to come say hello.
Old Lady: You shouldn’t have. Thank you so much for the book. I will treasure it always.
Old Lady: Come back soon. Anytime. It does get lonely here sometimes, on my own.
Alan: It wasn’t me. It was Scratch, pretending to be me. It was disgusting.
Alan: It felt like my brain was dislocated. Another loop. This was the same apartment, but the right way around.
Old Lady: Hello? Who's there?
Old Lady: Is there someone there? Go away!
Old Lady: Please! I have no money.
Old Lady: I'm calling the police!
Old Lady: Why are you doing this?
Old Lady: Help! Somebody help!
Old Lady: Help! Somebody help!
Old Lady: Aaaahhhh!
Alan: You son of a bitch!
Scratch: This is for your education.
Scratch: Watch and listen. Watch and listen.
Scratch: You are looking the wrong way.
Old Lady: Aaahhhh!
Scratch: Aaaahh!
Alan: Fucking fuck. Shit.
Old Lady: Aaha aaha!
Old Lady: Aaahhhh!
Scratch: Ah ah ah ah!
Scratch: Hhhhhhhhhrrr!
Alan: The sounds were now coming from down the corridor.
Alan: Damn.
Alan: Aaah... oh my god.
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.
Alan: I’d write down the poem. It would take me to where I needed to be.
Fade-out: The bad parts in him.
Fade-out: Reaching into the darkness inside.
Fade-out: Sinking into a dream.
Fade-out: To control their minds.
Fade-out: To force them to love him.
Fade-out: Dig inside the heads of every reader.
Fade-out: Meaningless in the face of his creation.
Fade-out: Like a sickness.
Fade-out: “Who am I?”
Fade-out: “Where am I?”
Fade-out: Nothing felt like anything anymore.
Fade-out: A spiral into oblivion.
Fade-out: He was numb.
Fade-out: Wake had fallen asleep.
Fade-out: He ran on autopilot.
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
Alan: I was trapped here. Had been for what felt like years. Outside time and space. Outside reality, what we count as real.
Alan: I could piece it together in my writer’s room.
Alan: I could always figure things out in the writer’s room.
Alan: I could make it make sense in the writer’s room.
Alan: When nothing made sense, I could always find the plot in my writer’s room.
Alan: I could plot my way forward in the writer’s room.
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.
Alan: I had a light in my lamp. I’d find a place to use it.
Alan: I needed to find a lamp to place the light I had.
Alan: I had to use the light of my lamp to create a way forward.
Alan: I could use my lamp to open a path forward.
Alan: I’d shift the light from my lamp to change reality.
Alan: I needed to find a way out of here. A way forward. I needed a light to change this place.
Alan: I didn’t have a light.
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 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.
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.
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.
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.
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.
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.
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.

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.
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 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 he changed his own name for his story.

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.


  • 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 existance of two scrapped episodes, likely focusing on Alex Casey and Kieren Estevez. Aside from an early episode list containing 5 episodes instead of 3, there were also unused opening narations for the two episodes by Warlin Door.

Murder Case[]

As the name and opening narration suggest, this episode would've paralleled Casey's nvestigation the murders commited by the Cult of the Word in New York. It was likely scrapped due to James McCaffrey's passing.

A short monologue from the episode that James McCaffrey recorded prior to his passing was featured upon the DLC's completion as a tribute.

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 Kieren Esteves or a version of her being the playable character.


Alan Wake[]

Alan Wake II[]