Live the Nightmare yet again in Alan Wake’s American Nightmare with our walkthrough. All Manuscript Locations available…
The Story and how it’s related to Alan Wake -
Alan Wake’s American Nightmare is a Story-Driven Survival Horror game similar to Alan Wake. This game is just a “Follow-up” to the previous game and does not serve as a sequel of any kind – it has little connection with the story line of Alan Wake but also brings us another story to expand the universe of Alan Wake. Most Notable recurring characters are Alice Wake and Barry Wheeler (Wake’s agent). This is not a DLC but a full game related to the Franchise. There also have been rumors of a direct sequel to the first Alan Wake game.
The game has received very positive reviews and currently has an average score of 8/10.
Manuscript...
MANUSCRIPT LIST
REST STOP I
OBSERVATORY I
DRIVE-IN I
REST STOP II
OBSERVATORY II
DRIVE-IN II
REST STOP III
OBSERVATORY III
DRIVE-IN III
All Manuscript Page Locations
REST STOP
OBSERVATORY
DRIVE-IN
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MANUSCRIPT LIST
Click on the name of the manuscript below to go to the part of the
walkthrough where the location is mentioned.
1) Alan Wake, The Writer
2) Hunting Mr. Scratch
3) Too many Legs
4) New Reality: The Satellite
5) Pages and Instincts
6) The Splitter
7) The Devil is in the Details
Rewriting Reality
9) The Twisted Mirror
10) Success
11) Fighting the Taken
12) The Genesis of Mr.Scratch
13) Pressure
14) The Spiders
15) NEW REALITY: FRAGMENT 1
16) The Grenadier
17) Bright Falls
18) A Car in Flight
19) What Really Matters
20) Alice
21) The Spectre
22) The Appearence of Mr.Scratch
23) Emma Sloan
24) Night Springs, The Cult TV Show
25) Night Springs, Arizona
26) My Best Friend
27) WAKE’S FRIENDS
28) Dr. Meadows
29) Lost in the Dark Place
30) The Nature of Stories
31) The Taken
32) COSMOLOGICAL TRUTHS
33) The Darkness
34) New Reality: Fragment 2
35) The Dangers of Creating
36) Equilibrium
37) THE DOPPELGANGER
38) Serena Valdivia
39) SURVIVAL IN THE DARK PLACE
40) The Plan
41) MR. SCRATCH'S TRAP
42) Old Gods of Asgard
43) Barry and the Old Gods
44) The Giant
45) Emma and Mr. Scratch
46) Old Gods in the Studio
47) Dr.Meadows and Mr.Scratch
48) Everything is as real as Everything else
49) NEW REALITY: FRAGMENT 3
50) SERENA AND MR. SCRATCH
51) Focusing the Beam
52) Alice's Film
53) The Clothes
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REST STOP I
Manuscripts :
1) Alan Wake, The Writer
2) Hunting Mr.Scratch
3) Too many Legs
4) New Reality: The Satellite
5) Pages and Instincts
6) The Splitter
7) The Devil is in the Details
8 Rewriting Reality
9) The Twisted Mirror
Move ahead to find a torchlight on the ground near the water and turn left. Go
ahead and you see the Darkness starting to work again. Boost your flashlight
on it to destroy it and move ahead. You'll come to a gun on the rocks to the
left of the cactus in the middle.
Your next step will cause two Taken to
come in from ahead. This time around, the Taken seem to be stronger and so you
will not dissipate the darkness around them by just pointing the light, you
need to boost it to hurt them and after they are devoid of darkness (When you
boost the light a white circle is shown which gets smaller indicating the
diminishing darkness on the enemy). Shoot them and they die. Move out of the
canyon and you coem to the first manuscript page ALAN WAKE, THE WRITER
Move left and you see the Motel in the distance. Immediately after...about a
dozen taken try to attack you, you do not have the fire power to take on all
of them right now so just run to the right and turn around and you will pass
and oil pump where you find the second page on it's foot to the left
HUNTING MR. SCRATCH Run to the diner ahead and the Taken will not come
near you any more. Go to the left of the diner and pick up the next page which
is on the rock a bit ahead past the diner TOO MANY LEGS You can find
some flares behind the diner.
Make your way to the motel and you will see a Safe Haven (the street light).
You will find Havens throughout the game which restore all of Alan's life and
also save the game. Go right from the haven and you see a large black suitcase
which is a Gun Case. Anyway, if you collected all the above three manusccripts
then you will be able to open the case and switch out youe pistol for an SMG.
Move ahead and you will see Emma in the garage to the left, go in and speak
to her. She gives you a page NEW REALITY: THE SATELLITE You can take the
nail gun which is near the car to the right as you enter but I prefer the
SMG. On the wall to the right of the garage next door is a ammo box. When you
take ammo from this box (you will come across several during the game)..the
ammo for your guns (not flare gun just the bullet guns) will become full. The
ammo box also restores itself so you can return at any time and take more
ammo if you need to.
You should listen to the radio too the right here. Go back to the Safe Haven
and turn right and move to the Gas Station.
You can pick up the
PAGES AND INSTINCTSpage which is on a broke fence to the right of the
gas pump. You will also find a TV behind here to the right near a trailer.
To the left of the gas pump you can see two large gas trucks. Go to them
and continue into the sand ahead and you should find the THE SPLITTERpage
on the rock. Return to the gas station and move ahead and pick up the Flare
Gun from the jeep and go straight on the road till you reach some rail tracks.
There's a page THE DEVIL IS IN THE DETAILS
Move to the storehouse to the
left here and go around and you see a new form of taken (which was mentioned
in a manuscript from earlier), you will find that these split up when you
shine light on them and also get weaker. Suppose you need four shots to kill
one of these, if you split them, you will need two shots for each Taken and
if you further split them you can kill them with a single shot. To the right
here is another page REWRITING REALITY
Go into the door the Taken broke thru and you find the CD which is one of
the three items to rewrite reality. Move to the star on your minimap to the
rigth of here and you come to a large ad board which collapses as you
move close to it. Take out the Taken and pick up the VALVE from the ground
which is your second object. Go to the last star on your map and look on
the right of the truck to find a BATTERY. Go back to Emma who recharges your
battery.
Take all three items to the Oil Tower which you saw earlier get dark matter
around it. You will face more enemies but kill them and place the Valve on
the pipe infront of the oil tower and turn the valve to let the oil flow.
Move right and to the switchboard. Place the battery and turn on the lights.
Now move to the CD player (all locations are shown on your minimap) and turn
it on to make a satellite fall down. Go back to Emma after that and try not
to walk into the fire. You will find a lot of Taken attacking the garage. Kill
them and speak to Emma who gives you the keys to the diner. Head back to the
diner and pick up the keys near the wall to the right. Head back to the diner
and you can see three stars on the map. The star which points to the room
opposite to the garage is where you find some keys and a dead guy but go to
the room ahead to pick up the THE TWISTED MIRROR Go back to the dead guy's
room and take the keys to end this part.
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OBSERVATORY I
Manuscripts:
10) Success
11) Fightning the Taken
12) The Genesis of Mr.Scratch
13) Pressure
14) The Spiders
15) New Reality: Fragment I
Unlock the gate and go in, move in frnt of the fire truck and take the page
which is below the left window SUCCESS Move into the shack to the left of
the gate where you find a raio. You can also pick up a shotgun and some ammo.
From the shack, go up the road to the left (towards the North Observatory as
the sign points) a group of three enemies attack you as you near a parking
lot. Move into the lot and take the page which is to the right
FIGHTING THE TAKEN
Go back to the shack and onto the road on the other side and you come
to the signpost of the Deliveries area, three more taken attack you. Fight
them off and move to the left of the area where you find
THE GENESIS OF MR.SCRATCH The Gun Case to the right will not open now since
we don't have athe required amount of manuscripts so do not worry because you
will come back here later. Go up the staircase to the left of the road and
kill the taken that is climbing up to you. Go on top of the stairs.
From the top of the stairs, go left and you find PRESSUREand from the top
of the stairs go right behind the large container where you find
THE SPIDERS
You can pick up a rifle from the truck in fornt of the observatory.
Go on the steps to the right and interact with the terminal to the left of
the door. Some taken come from behind you. Kill them off and Dr.Meadows
let's you inside. As you go in, you will see a TV to the left of the
stairs - watch the next part of the Scratch Show and go up. Head up the metal
stairs and onto the elevator then when you are on top go into the office to
the right meet Meadows. She needs you to bring in a Special Camera which is in
her truck.
Move out and go to the location pointed by the star. Take the cam from the
trunk of her car and return, but wait! spiders are all over the place so
make sure you kill them beofre you continue - you only need to boost light
on them and cannot shoot them. So shine them away and head back. Dr.Meadows
opens the grill to the small lift in the center. Go up and place th camera but
something goes wrong again. This time, you need to go back outside and open
three valves which are pointed by the three stars on the map. One is just to
the right as you exit the observatory. The second is to the left of the mini
observatory behind which the doctor's car was parked and the third is in the
first parking lot we went to. Go back after opening the valves and take the
printout from the printer to the right end of the room, this gives you the
NEW REALITY: FRAGMENT 1
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DRIVE-IN I
Manuscripts:
16) The Grenadier
17) Bright Falls
18) A Car in Flight
19) What Really Matters
20) Alice
Go backwards to the Drive In sign to the left of the road and you can see
THE GRENADIERto the left below it.
Now head to the location marked with
the star and go behind this guardhouse from the left. On the far side of the
house you find the BRIGHT FALLSpage. Go into the guardhouse and talk to
Serena. Move in the room to the left and take the keys which are on the wall
to the right end. Take ammo and get back out. Move ahead and you see taken
attack you. Destroy them and go right from where you saw them. You come a Safe
Haven. From the haven, move ahead and you will see some stair ahead to the
left. To the left of these stairs is a rock on which you can find
A CAR IN FLIGHT
As you move into the huge parking area (this is an open theater) Mr.Scratch
makes his first appearence in the game before you and he brought a lot of
friends with him too. Kill all of them and move to the left end of the parking
area (away from the large screen) and you should see a dark yellow car with
it's headlight flickering. Check in the trunk of this car for
WHAT REALLY MATTERS
Go into the Safe Haven nearby (to the right) and go into the small
shack beside it where you find the TV. After watching the TV head towards the
star on your map - you will be attacked by more goons on your way there. When
you are near the gates, unlock them and enter - you will see a Haven
immediately to the right as you enter. Move into it and then go to the other
side of the warehouse into it's front. You will see a Safe Haven to the right
of the warehouse here which has ALICEunder it.
Move into the warehouse to the left end and throw the left and right levers -
leave the middle one like it is and the power comes back on - but worse.... if
you look back you see surges of power blocking your path - they come and go
and if you move into them you will lose health so avoid them and wait till
they go and run thru because they are going to come back. Kill the taken and
move out. Run to the safe haven and run to the right of the warehouse. Go thru
the first power surge and then go from the right of the second surge to avoid
it. There's an open gate just to the right of where the surge is hitting the
grill. Go thru and again through the gate to the left. You come out and now
you should run back to the guardhouse while killing any taken who come along.
When you reach the guardhouse, go in and turn the lights on. Now we need to
go to the projector room. Go to the parking area of he movie and you will
need to destroy three Darkness Fountains. Just shine light on each of the part
of every fountain and they go away. But the fountains are guarded by an
endless army of taken who keep coming so make sure you stay away from them
and use up your batteries if you need to. After taking all three fountains
down. Head into the projector room (stairs to the left) and you need to set
the location accoring to what's written in your manuscript. First, move to
the calender on the wall to the left and switch the month to August and then
go to the large clock to the right and switch it the 2:36 AM.
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REST STOP II
Manuscripts:
21) The Spectre
22) The Appearence of Mr.Scratch
23) Emma Sloan
24) Night Springs, The Cult TV Show
25) Night Springs, Arizona
26) My Best Friend
27) Wake' Friends
Scratch just hit the friggin reset button. Move ahead again and instead of
the flashlight, you will find THE SPECTRE Move left and go out of the
canyon like the last time and you will come to the oil tower again. Move to
the right of the oil tower and you find
THE APPEARANCE OF MR.SCRATCH
If you come across the Crow Taken then you can only kill them if you shoot
while boosting your flashlight on them.
Run to
the Diner again and look on a table to the left outside the door to find
EMMA SLOAN Go back to the motel and talk to Emma again. Head to the gas
station and to the TV. To the right of the TV is a bus with
NIGHT SPRINGS, THE CULT TV SHOW From the TV move in the direction of
south west (your minimap has a compass). You will come to a wooden fence.
The next page is on the other side of the fence NIGHT SPRINGS, ARIZONA
Head to the star icon on your map and you will come to a cave. Move inside
all the way and you can take the battery from the ground. On your way back,
you will come across a ton of spiders which will kill you if you do not move
slowly making sure each and every one is dead. Go out and back to Emma.
Take the charged battery and head back to the Oil Tower but on your way, you
will come to a small green shack where you can pick up the
MY BEST FRIEND
page. Go to the Oil Tower and do the same things you did the last time and
run back to Emma and save her again. Take the keys, ths time you will find a
page WAKE’S FRIENDSin the room to the right and the keys to the observatory
are in the same room as last time with the dead guy.
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OBSEVATORY II
Manuscripts:
28) Dr.Meadows
29) Lost in the Dark Place
30) The Nature of Stories
31) The Taken
32) Cosmolosgical Truths
33) The Darkness
34) New Reality: Fragment 2
Go in and in the area ahead where the lights blow out and you see the three
large tanks (behind the sign board to the north observatory) you will find
DR. MEADOWSbehind the middle tank. Go up the left side again to the parking
area the way the sign is pointing to. Move behind the parking area where
several taken attack you - you may be surprised by their sudden numbers. Kill
them and move back, you will find the LOST IN THE DARK PLACEpage behind
the building on a rock. Go to the observatory from this side and in the van
opposite to the entrance where you took the rifle from the last time is the
THE NATURE OF STORIESpage. Move to the right of the observatory from to
where you find a gun case which needs 40 manuscripts. There's a page to the
right of it THE TAKEN Go to the place where you saw the weapons case for
15 manuscripts the last time (this is also where the star is pointing near)
and you find COSMOLOGICAL TRUTHS on a barrel here.
Move behind this building to where the star is pointing and in front of the
sedan here is a broken part of the fence and you find THE DARKNESSpast it.
Take the camera from the trunk of this car and go to the observatory to
Dr. Meadows again. Place the camera and go back out. Go to the place where
you took the first manuscript from - the star is pointing there anyway. and
kill all the taken around here. Go in and switch on the power. Go back to
the observatory and take the NEW REALITY: FRAGMENT 2from the printer.
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DRIVE-IN II
Manuscripts:
35) The Dangers of Creating
36) Equilibrium
37) The Doppleganger
38) Serena Valdivia
39) Survival in a Dark Place
40) The Plan
41) Mr. Scratch's Trap
Go to the guardhouse and take the page outside THE DANGERS OF CREATING Go
in and take the keys and head back outside. Go down and kill the taken and
go into the safe haven to the right. From here, look straight (north on your
minimap) and you will see a Souvenir store.
Go there and take the Crossbow
which is on the tree. To the left of the store on the railing on the platform
you find the EQUILIBRIUMpage.
Go to the threater parking and take the page which is below to the left of
the screen (when you are facing the large screen)
THE DOPPELGANGER
To
kill the bird taken you need to shine your light and shoot at the same time.
You may need to shoot the same taken a few times to kill them for good
otherwise they turn into birds. Go watch the next TV show and step into
the Haven. Go to the same warehouse with the three switches. Look to the right
as you enter the warehouse and you find the SERENA VALDIVIA
Go use the middle switch and kill the spiders before going out. Move thru
the right of the warehouse again and be careful not to step into the first
discharge. Now, go to the right of the second discharge and you find the
SURVIVAL IN THE DARK PLACE page on a table (to the right). Go back outside
and run to the projector room. You will need to destroy the three fountains
again and when you are near the fountain to the right of the projector room.
Go southwest (look on your minimap) from the fountain and you find
THE PLAN
on some rocks and if you move further ahead to the end and then to the right
(further south west) you will find MR. SCRATCH'S TRAP in a brokedown shack.
Enter the projector room and reset everything like - calender - August, time -
2:36 Am, poster - A gift of Throns and the lamp in the next room - turn it
twice till if lights the fire extinguisher.
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REST STOP III
Manuscripts :
42) Old Gods of Asgard
43) Barry and the Old Gods
44) The Giant
45) Emma and Mr. Scratch
46) Old Gods in the Studio
Damn....Not again... This has to be the last time we're gonna do this though.
Move into the canyon and you met yet another new enemy, the Giant Taken. This
guy is really tough and it is very important that you not ge anywhere near
him. Start boosting your light on him and use your best weapon. Keep moving
around and again - do not get near him. In this area itself look to the left
and on the canyon wall you see OLD GODS OF ASGARD Go out of the canyon
and you come to the Oil Tower. This time everything is set up - maybe Emma
set up everything for us. Do what you need to do here - switch on the lights,
turn the valve and blast the music. After the thing is destroyed, go out of
this place by going to the right ahead but at the end where you usually turn,
go straight past the gate and look on the fence to the gate and you see
BARRY AND THE OLD GODS
Go to Emma and you come across more enemies on your way. Kill them and go to
the radio. Behind the radio are some stairs which go on top of them and you
come to an empty pool. You can pick up the THE GIANTfrom there.
Now
go to where the TV is and you find another page here behind the trailer
EMMA AND MR. SCRATCH The next page is below the MOTEL sign infront
of the motel. Go under the glowing sign and look on it's pillar to get the
OLD GODS IN THE STUDIO
Talk to Emma and then go behind the garage. Kill all of the Taken and flip
the power switch here. Go back to Emma who gives you the keys. Open the door
of the dead guy - it's the same door....take the keys and we can see that
Emma is not dead this time.
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OBSERVATORY III
Manuscripts:
47) Dr.Meadows and Mr.Scratch
48) Everything is as real as Everything else
49) New Reality: Fragment 3
First let's grab all the manuscripts. The first is near the same parking
place which you can go from the left of the watchman's shack where the radio
is (listen to the radio). The page is just outside the garage on the wall
to the right as you enter. EVERYTHING IS AS REAL AS EVERYTHING ELSE
The next page is found near the "Main Observatory" sign which comes to your
left and is just ahead of the Deliveries area.
DR. MEADOWS AND MR. SCRATCH
Go to the Coolant tanks (opposite to the watchman shack where the ammo box
is and you took a page behind the middle tank the last time) and kill all
the taken here. Go in and switch on the power and go to the observatory.
Before you go inside, make sure you are full on ammo and collect any
flashbangs or flares if you want to. Go in and you have to fight more 15
Taken. Use a flare which ou blast them away - keep using up batteries if you
have enough. Then go up to the doctor and take the last piece of signal
NEW REALITY: FRAGMENT 3
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DRIVE-IN III
Manuscripts :
50) Serena and Mr.Scratch
51) Focusing the Beam
52) Alice's Film
53) The Clothes
Move ahead and a Giant Taken comes with it's buddies. Go to the power switches
and flip the right switch. Keep going and kill the many more taken which
Mr.Scratch spawns. You will run into the lot of them as you come out of the
area with all the power equipment. You can also run past all of them and you
come to the stairs going up to the parking area but go straight past the
stairs to SERENA AND MR. SCRATCH which is on a rock. Go to the parking and
look beside the TV to get the FOCUSING THE BEAMpage.
Now, ignore everything here and go to the guardhouse. You will see a yellow
flashing car opposite to the guard house. Go behind the car onto the dirt
area and move along the left edge and you find ALICE'S FILMhere. Move out
of this area through the gate near the guardhouse and go right as soon as you
come out to find THE CLOTHESwhich is the last manuscript in the game.
Head back to the parking and destroy all the fountains and go in. Set
everything like this -
Calendar - August
Time - 2:36 AM
Turn the lamp twice to make it light the fire extinguisher
Switch the poster to show A Gift of Thorns
Take the Film Reel from the room and put it in the porjector
After all the toiling and going back again and again.... we get to watch the
fun happen...
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All Manuscript Page Locations
Firstly, Manuscript Pages are supposed to be the pages from the book that
Wake writes You can find them while going thru a mission but you will not be
able to find all of them in one playthrough Infact, you will need to play
the game a total of three times to find every page in the game The locations
of all the pages are given in the walkthrough itself If however you do not
want to go around the game thrice, you can also read the conents of all the
manuscripts as they are all listed below
NOTE: Locations mentioned in main walkthrough but I linked the names of
the manuscripts below to where you find them in the main walkthrough so
just click on a name below to jump to that location so you can find it
Total Manuscript Pages - 53 (21+16+16)
To find any manuscript, just copy the name from the manuscript list on the bottom and (ctrl+f) it. ------------------------------------------------------------------------------ ACT I - REST STOP (21 pages) ---------- PAGE 1 ---------- ALAN WAKE, THE WRITER * * * * My name is Alan Wake, and I'm a writer * * * * I did not become one overnight. Like most writers, I struggled with * * it... a short story here, an article there. Then i got lucky and spent * * a year as a staff writer on the Night Springs TV show. * * * * It wasn't the great American novel of my fantasies, but it taught me * * dicipline and craft, and the difference between wanting to be a * * writer and actually writing. * * * ---------- PAGE 2 ---------- * * * HUNTING MR. SCRATCH * * * * Mr.Scratch is a twisted copy of me, powerful and dangerous, but I * * know I can fight him. I don't think anybody else can. They don't * * understand what he represents, or that all the horrible things he does * * here are almost insignificant compared to what he will unleash on * * Earth, given the chance. * * * * But I have survived the Dark Place, and it has taught me things... how * * to cope, how to stay sane when the world goes crazy. He's two steps * * ahead of me, but I can find him. And I believe, I can stop him * * * ---------- PAGE 3 ---------- * * * REWRITING REALITY * * * * The reality we take for granted is softer, more adaptable than we * * think. Under correct conditions, you can reshape it, turn it into * * almost anything you want, when it happens, almost nobody notices. It's * * not that we forget; its's that after the change, there's nothing to * * remember. * * * * Only those who have been directly touched by the powers that can shift * * reality are aware of the changes. Many are driven mad by it. Others * * can cope. I am one of those people, and I know to wield that power * * to rewrite reality. * * * ---------- PAGE 4 ---------- * * * THE DEVIL IS IN THE DETAILS * * * * To change reality, you nudge it into the right direction. Your version * * of it is there, waiting; it wants to come true. All you need to do is * * to help it achieve its potential. The devil is in the details. * * * * You change the details of the scene to match those on the page. If you * * get the details right, if you achieve that critical mass, the shift * * will come, and the rest of your new reality overrides the existing * * paradigm. * * * * The lie, no matter how outrageous, is now the truth. * * * ---------- PAGE 5 ---------- * * * THE SPLITTER * * * * Some of the Taken aren't protected by the darkness like their * * comrades. Instead, their aversion to light is so extreme that they * * literally split into two when they encounter strong light. It leaves * * the two halves weaker, but of course there's strength in numbers. * * * * It's a disturbing development: Dark Presence I faced two years ago * * was powerful, but it didn t have much in the way of imagination. * * Clearly, the same cannot be said of Mr.Scratch. * * * ---------- PAGE 6 ---------- * * * TOO MANY LEGS * * * * The strands of webbing glistened in the beam of my flashlight, fine, * * almost ethereal. They were fresh, and right in my path. * * * * I held my breath and waited, ears straining. Nothing, I moved on, * * concentrating on the task at hand. Just get what I was looking for, * * then leave, that s all, I kept telling myself. * * * * For a moment, I actually thought it might be as simple that. Then I * * heard too many legs skittering across the ground. * * * ---------- PAGE 7 ---------- * * * THE TWISTED MIRROR * * * * My own face peered back at me from the TV screen. For a moment, I * * struggled with the sensation of deja vu... how many times had I seen * * myself like this now? * * * * And then there was that easy grin that never seemed quite as quick or * * natural on my own lips, the dark, malicious twinkle in the eyes, and I * * knew who I was looking at. * * * * As he pulled back and reavealed the room behind him, my throat went * * dry. There was nothing I could do but watch. * * * ---------- PAGE 8 ---------- * * * NEW REALITY: THE SATELLITE * * * * At the oil derrick, the wheel had been jammed in the place and turned * * until the oil gurgled and flowed, thick and flammable The warning * * lights were blinking in a fast rhythm, bright and steady, powered by * * the battery. The Kasabian CD was playing in the boom box, all * * distorted guitars and intense beat. * * * * High above, some piece of orbital junk or another collided with the * * satellite, knocking it radically off course. Trailing debris, it * * screamed down from the skies at an impossibly steep angle, all that * * high tech engineering reduced to nothing more than a bullet that would * * destroy whatever it hit. * * * ---------- PAGE 9 ---------- * * * THE APPEARANCE OF MR.SCRATCH * * * * I'm trapped in the darkness. He has started appearing to me - Mr.Scratch* * * * * * He can travel back into the world effortlessly, and he loves to rub my * * face in it. At first, he was just an echo in the darkness, a flicker * * beyond the edge of my vision. Now he's started showing himself, * * getting bolder all the time. Telling me what a great time he's having * * in the world while I'm stuck here. And what he plans to do, especially * * to Alice. * * * * All the moves I have left are dangerous and desperate. I have no * * choice. I have to hunt him. * * * ---------- PAGE 10 ---------- * * * PAGES AND INSTINCTS * * * * I know that when I arrive, the clarity of vision I have now may * * disappear. I have made my plans. I have prepared for this. But I know * * the transition from the Dark Place will be hard on me... and not just * * physically. It may affect my mind, my memory. * * * * These pages should help me remember and focus. That's worked for me * * before. Even if that fails, I think I will be able to trust my * * instinct. * * * * I'm navigating my own story. I'm hoping I'll know where to go and what * * to do, even if the details elude me. * * * ---------- PAGE 11 ---------- * * * MY BEST FRIEND * * * * I don't make friends easily... I know plenty of people, but I don't * * let most of them close. I've known Barry Wheeler ever since we were * * little boys. We had the time of our lives. I'd get us in trouble, and * * he'd talk us out of it. * * * * Things haven't changed that much now that we're grown ups. He's the * * most loyal and dependable person I've ever met... in all the things * * that count, anyway. * * * * You could call him a weasel, and you wouldn't be entirely wrong; you * * could call him a clown, and I would reluctantly agree. But he has * * never let me down. * * * ---------- PAGE 12 ---------- * * * WAKE'S FRIENDS * * * * Alice and Barry... my wife and my best friend... are easily the two * * most important people in my life, and they've never really gotten * * along with each other. I suppose both of them resent the other's * * intrusions into what they consider their domain. * * * * After I was gone, they maintained an uneasy truce... my books stayed * * in print, still selling, the licensing machine churned away. She was * * my wife and controlled the intellectual property: he was my agent and * * took care of the business. * * * * I wish they'd found more common ground than that. * * * ---------- PAGE 13 ---------- * * * NIGHT SPRINGS, THE CULT TV SHOW * * * * Night Springs doesn t exist It s a fictional town from the TV show I * * used to work on It was Anyplace, USA, a place we used as a backdrop * * for whatever strange story we had that week * * * * One of the stories I wrote for the show involved a man, "the champion * * of light," fighting his evil double, "the herald of darkness" It ws * * something I d written back in the real world something I had a * * lingk to, a framework I could build on * * * * I adapted it into a new story This story * * * * * ---------- PAGE 14 ---------- * * * NIGHT SPRINGS, ARIZONA * * * * Now Night Springs is in Arizona, although not for long It s in * * Arizona because whatever the town that has become Night Springs is * * really called is located near one of the thin, worn places in the * * world where dreams and reality flow together and life is always a * * little strange Aperfect analogy for Night Springs * * * * I can t return to the real world I ve tried But I m operating on * * dream logic, forcing the door open a crack so I can slip through I * * can enter the strange little town of Night Springs * * * * All I did was put it in Arizona for one night * * * ---------- PAGE 15 ---------- * * * THE SPECTRE * * * * In Bright Falls, I was constantly under attack by birds that were more * * shadow than flesh and feathers, but this is an evolution: some of the * * Taken are actually capable of turning into a flock of birds to escape * * my attacks and turning back into human form to make surprise * * attacks * * * ---------- PAGE 16 ---------- * * * EMMA SLOAN * * * * With all the herbs, cystals and the rest of her New Age * * paraphernalia, Emma Sloan had been called a hippie and a freak, and * * worse; it was that small town mentality She was a female mechanic, * * and even in 2011, there were always going to be backwards shitkickers * * who thought that was a hoot * * * * She didn t mind She could deal She could take any engine apart, even * * the new ones with all the computers in them * * * * Turned out that these boys were awful polite while waiting for here to * * put them back together * ---------- PAGE 17 ---------- * * * OLD GODS OF ASGARD * * * * Tor and Odin Anderson Old Gods of Asgard I still don t quite know * * what to make of them I know they used to be rock stars who modeled * * their stage personas after Norse gods I know they re old I know that * * in their day, they fought the darkness as I do I know they re * * demented and insane, ravaged by age and self abuse * * * * But there s something in them, something powerful that took hold when * * they were touched by the powers beyond, a thing that goes far beyond * * just stage names Something godlike * * * * * ---------- PAGE 18 ---------- * * * BARRY AND THE OLD GODS * * * * The Anderson brothers should probably have been in a facility * * somewhere, despite their tendency to escape form such places It could * * be argued that they had no business being on tour, considering their * * condition Their lives mostly revolved around a laundry list of * * ailments and their endless quest for liquor * * * * But barry wheeler managed them now And whatever else they might say * * about Barry, he knew how to make things happen And honestly, it s * * not like the Andersons were the most difficult clients he ever had * * * * * ---------- PAGE 19 ---------- * * * OLD GODS IN THE STUDIO * * * * Getting the Andersons into the recording studio was a struggle and a * * half, but once they actually picked up the instruments, something * * happend * * * * They were two old men, and they weren t: they were doddering bags of * * bone, and they were barely contained power And there was music * * * * Barry rubbed his hands together; he knew how to pick a winner Now all * * they needed was some direction on how to make things a little more * * modern Barry had never produced a thing in his life, but he knew what * * he liked He knew "Balance Slays the Demon" was going to be a hit * * * ---------- PAGE 20 ---------- * * * THE GIANT * * * * I have seen the darkness twist flesh into new shapes before, but * * encountering these giants is an extreamely disturbing experience * * * * It s as if the genre has been switched on me; they re something out of * * pulp fiction twice as tall as normal men and stronger than * * forklifts, their lumbering gait and slow witted demeanor brings to * * mind some kind of a mean spirited caricature of a febble minded * * hillbilly * * * ---------- PAGE 21 ---------- * * * EMMA AND MR. SCRATCH * * * * Emma wasn t sure exactly when the man arrived at the hotel, but from * * what she could tell, the party started almost immediately It was * * infectious, spreading from one room to another He was mercurial, * * almost as if he was flickering through the scene, telling a joke here, * * throwing an insult there, oozing sex and violence and excitement * * * * She had never seen someone like this before He looked at here and * * smiled, and she felt her heart flutter a little * * * * She knew he was the kind of a man mothers warned their daughters * * abought, but she told herself it didn t matter * * * ACT II: OBSERVATORY (16 Pages) ---------- PAGE 22 ---------- * * * SUCCESS * * * * As a storyteller, my first real love was crime, and it was in that * * gene that I finished my first novel starring the perpetually miserable * * Alex Casey, whome antire life was a wound that never healed * * * * The book sold as fast as they hit the shelfs I wrote five more Alex * * Casey books, and they all were bestsellers I became rich I became * * famous Success brought pressure,and I didn t handel it very well * * * ---------- PAGE 23 ---------- * * * PRESSURE * * * * The pressure of the success got to me My wife, Alice, was the sole * * thing in my life that anchored me Suddenly, it wasn t enough I * * couldn t write anymore * * * * I distracted myself with wild parties and whatever trouble I could * * scare up I wallowed in the drama of my life, sure that Alice would * * stick with me, even though she didn t sign up to be the lifeline of a * * tortured artist It was dumb luck she s not the type to give up * * * ---------- PAGE 24 ---------- * * * THE GENESIS OF MR. SCRATCH * * * * I ve seen the enemy, and it s me I ve faced dark horrors before, * * things that live in the unimaginble pressures of the world beyond our * * own Sometimes they masquerade as humans * * * * That s what ultimately lurks inside Mr Scratch He s every mean * * spirited tabloid story about me, an evil caricature, a creature formed * * in that vague territory of misconception, half truths and the dark * * imagination of people who "heard a story about me" An urban legend * * made flesh A serial killer * * * * My dark half, brought to life by the power of Cauldron Lake * * * ---------- PAGE 25 ---------- * * * FIGHTING THE TAKEN * * * * I ve carried a flashlight and gun for so long that I feel naked * * without either It s all too often that I need them * * * * The darkness protects the Taken Shadows crawl over their forms like * * living things, protecting them from harm Blows that would injure or * * kill an human outright mean nothing to them as long as the darkness * * persists But light makes them vulnerable Light burns the shadows * * away The darkness that drives them is still in them, but now they ra * * vulnerable * * * * Flashlight and gun Sometimes, it feels they re all I have left * * * ---------- PAGE 26 ---------- * * * THE SPIDERS * * * * The spiders aren t really the work of the enemy They re a side * * effect, a part of the Dark Place s less significant fauna that has * * managed to slip through the opening I made when I arrived; less an * * animal than an idea that has assumed the form of an animal * * * * It makes them no less dangerous, but at least they ra a little easier * * to deal with: the darkness doesn t protect them like the Taken, and * * thus they can be destroyed by either light or bullets right away * * * ---------- PAGE 27 ---------- * * * NEW REALITY: FRAGMENT 1 * * * * The atmosphere in the projection booth at the drive in was charged, * * almost unreal Despite that, the air felt cool and refreshing this * * late at night It had been a hot day The summer was nearing its end, * * but it wasn t over yet * * * ---------- PAGE 28 ---------- * * * THE DARKNESS * * * * The darkness rose from the depths of Cauldren Lake and took Alice It * * needed words It needed me to write its way into our world She was * * leverage, a hostage * * * * I complied, but with a twist I put in a loophole that gave me a * * chance to fight back I was hunted by shadowy enemies, but I faced the * * darkness I fought it with light I drove it back I saved Alice But * * it came with a cost: I was trapped in the Dark Place below Cauldron * * Lake * * * ---------- PAGE 29 ---------- * * * LOST IN THE DARK PLACE * * * * After my disappearance, they thought I was dead I might as well have * * been I know it s been two years; I know Alice has moved on I have * * tried to find a way back to her, back to my life, but escaping the * * Dark Place is almost impossible * * * * Time does strange things here But dreams and radio signals can pierce * * the veil between the worlds * * * * I catch glimpses and echoes of the world Sometimes I send messages * * out I can only pray that they hear them * * * ---------- PAGE 30 ---------- * * * THE NATURE OF STORIES * * * * Stories come naturally to us We can t help it There are many * * different worlds, many competing realities within our heads, fueled by * * books, television, even barely remebered childhood tales There s an * * endless supply of fictional concepts more familiar to us than anything * * or anyone real We have a far greater connection to the fictional * * characters we know and love than the random people we pass on the * * street Our destinies and inspirations are shaped by lies, myths and * * fables * * * ---------- PAGE 31 ---------- * * * COSMOLOGICAL TRUTHS * * * * There are places where our world is worn thin and another reality * * brushes against ours One such site is Cauldron Lake near Bright * * Falls, Washington, but there are others * * * * That other reality is dark, vast and malleable, always in flux In its * * depths dwell vast forces and alien energies They are dangerous, but * * in one of these places, if you know how, you can channel the power of * * that place and use it to shape reality * * * ---------- PAGE 32 ---------- * * * THE TAKEN * * * * The Taken may well be the tool the darkness favours over any other At * * some point, they used to be human, but whatever humanity they once had * * is long gone Now they re just shells covered and filled by darkness * * * * The Taken Mr Scratch throws at me are more grotesque and varied than * * the ones I first encountered in Bright Falls, but I know how to deal * * with them I d be lying if I said they don t frighten me, but I have * * survived worse I can t let them stop me * * * ---------- PAGE 33 ---------- * * * DR. MEADOWS * * * * When Dr Rachel Meadows got the call from Michael telling her to hurry * * to the observatory, she didn t waste any time It had been a nice * * party, and she d had a good time, but her social life would always * * play second fiddle to the mysteries of space * * * * Michael never showed up, of course; he d pulled over at the wrong rest * * stop She never even thought about him at the time; the phenomenon in * * the sky above her was too fascinating * * * ---------- PAGE 34 ---------- * * * NEW REALITY: FRAGMENT 2 * * * * * * The film noir poster reminded me of Alex Casey, the detective s cool * * exterior never cracking even with the gun pointed in his face In the * * back room, all of the lights had been turned off, except for the lone * * spotlight, which illuminated the bright red fire extinguisher on the * * wall * * * ---------- PAGE 35 ---------- * * * EVERYTHING IS AS REAL AS EVERYTHING ELSE * * * * This act of creation is exhilarating and frightening Subtext and * * symbols loom, eager to take effect Causality and consequence become * * domino chains that stretch into infinity The more fundamental the * * change, the more unpredictable the variables become; reality is too * * complex to control completely Ordinary questions become meaningless * * * * "Who created who?" * * * * "What is really real?" * * * * Everything is as real as everything else You learn to let go of the * * things you can t control and go with the flow, or go insane * * * ---------- PAGE 36 ---------- * * * DR. MEADOWS AND MR. SCRATCH * * * * The man before Dr Meadows was handsome and slick He moved with lazy * * confidence and didn t bother to pretend that he wasn t staring at her * * She didn t mind, at first * * * * Then the man flicked open the knife and shoved here out of the control * * room so she wouldn t hear the signal whatever it was Outside, she * * pulled here lab coat closed and thought about running She didn t She * * didn t think she d get very far, not from him * * * * She never was entirely sure why he spared her * * * ---------- PAGE 37 ---------- * * * NEW REALITY: FRAGMENT 3 * * * * I d found her film from the pile of containers is the back I d * * threaded it into the projector I swallowed hard, staring at the * * screen hearing her voice, the sunrise I remembered so well only * * moments away * * * * And then Mr Scratch was there, nailed by the projector s beam, caught * * in his own trap He shouted at me, first in confusion, then rage And * * then the sun came up, and things started to burn * * * ACT III: DRIVE-IN (16 Pages) ---------- PAGE 38 ---------- * * * NIGHT FALLS * * * * My writer s block got worse I didn t sleep much, anymore My life * * with Alice seemed like a constant fight I was a wreck * * * * Alice took steps: she booked a vacation in Bright Falls, a small town * * in Washington It was supposed to be a chance to break out of the * * cycle I was in * * * * She didn t know about the darkness in Cauldron Lake * * * ---------- PAGE 39 ---------- * * * ALICE * * * * Alice My wife The best thing that ever happened to me She smiles, * * and the darkness lifts For her, I have tried things I otherwise never * * would I ve never really minded if it s made me feel like a fool * * * * She s a photographer, and the world she sees through her lenses is * * unique and beautiful She has the vision She sees things others don t * * and knows how to make them visible to everybody * * * * She did it with me, too; she teased out things I was only vaguely * * aware of She always saw me in the best possible light * * * ---------- PAGE 40 ---------- * * * WHAT REALLY MATTERS * * * * It s been two years since I came here Being that long without Alice * * breaks my heart, and I know it broke hers I know she thinks I m * * dead How could I blame here for that? * * * * It would be a crime to pretend that she owes me anything She took all * * the stupid, self indulgent bullshit I brought into her life and still * * stood by me, still loved me It s no betrayal But I m a better person * * now than I used to be I want to be that person with her * * * ---------- PAGE 41 ---------- * * * THE GRENADIER * * * * The taken were always single minded They had a certain animal * * cunning, but the weren t very intelligent That s one of the reason * * why they prefer melee weapons; actual firearms are too complex for * * them to use * * * * Thats why seeing the one who threw grenades at me surprised me but * * of course they aren t actually grenades There s no pin to pull, no * * fuse to set off an explosive Just concentrated darkness * * * ---------- PAGE 42 ---------- * * * A CAR IN FLIGHT * * * * The car seemed to sail through the crisp moutain air in slow mothion, * * spinning around one axis almost lazily The moment was hypnotic * * * * Then it struck the pipeline in a shower of sparks, the impact turning * * the windshield into a burst of safety glass As it hit the ground, I * * snapped out of my reverie the car was rolling downhill, slowing * * down as every bump killed momentum, but still coming The fence * * wouldn t be enough to stop it * * * ---------- PAGE 43 ---------- * * * SURVIVAL IN THE DARK PLACE * * * * The Dark Place is utterly hostile to human life It eats at your * * mind, wants you to succumb to madness Your own thoughts can turn * * against you Every shadow conceals a threat that attacks at the * * slightest sign of weakness You re under endless assault; every "day" * * is a struggle for survival * * * * But I have learned to take care of myself I focus on Alice, our life * * together, my need to be with her That takes me a long way in the Dark * * Place as long as I have my gun and the flashlight * * * ---------- PAGE 44 ---------- * * * EQUILIBRIUM * * * * I have changed, I know who I am now I know that I can write my own * * fate; Bright Falls taught me that I know that indulging in my * * weaknesses, giving in to fear and complacency will only drag me down; * * the Dark Place taught me that * * * * I am no zen master I have not attained enlightenment But I have * * learned to let go of the things that I don t need I know without that * * balance within, I become my own worst enemy Now I strive for * * equilibrium, and with that, I m strong enough to get were I want * * * ---------- PAGE 45 ---------- * * * THE DOPPELGANGER * * * * It s obvious that for all his power, Mr Sratch is an agent of * * another, greater being The Dark Place he came from is full of * * terrible alien intelligences, dark presences, and none of them should * * be let loose in our world He serves one of them He ll open the way * * for them if I don t stop him * * * * But he ll do more: he ll take over my life He already has my face; he * * already uses my name He ll become Alan Wake in every way imaginable * * and corrupt everything Unless I can stop him * * * ---------- PAGE 46 ---------- * * * MR. SCRATCH'S TRAP * * * * The trap Mr Scratch has set for me is as simple as it is impossible: * * whenever I reach him, he sends me back to the beginning of the maze * * It s a loop in time; I go through it only to end up where I started * * There s a brutal genius to it If I die, it s over for me; if I * * survive, I end up where I started Sooner or later, the odds will * * catch up with me, and in the meantime, he gets to toy with me * * * * But that s why I have a chance He s caught in this pattern just as * * much as I am I know where he ll be, and I m prepared * * * * * ---------- PAGE 47 ---------- * * * THE PLAN * * * * I have created the weapon that can put an end to this, a blueprint to * * a new reality All I have to do is survive long enough to use it * * * * My arrival from the Dark Place will be painful and difficult These * * pages may be lost, but one way or another, I ll send the parts I * * really need to myself If I make it outside, I have a chance * * * * Mr Scratch is more powerful than I am, but he can t change the rules * * in the middle of the game He s not a creator I am * * * * * ---------- PAGE 48 ---------- * * * THE DANGERS OF CREATION * * * * To change the world, you must craft a blueprint for the new reality * * Any work of art will do, as long as it s a genuine act of creation; * * that s what the energies of the Dark Place respond to The results * * may be subtle and perplexing, or far ranging and momentous * * * * My area of expertise the written word gives much more precise * * results than music or interpretive dance would, for instance * * * * But words can be extremely dangerous What you define may become * * reality, but so can that which you imply Even if you don t realize * * you re doing so * * * ---------- PAGE 49 ---------- * * * SERENA VALDIVIA * * * * * * For Serena Valdivia, burning the midnight oil was more of an exception * * than a rule A procrastinator and a perfectionist, she often worked * * when she wouldn t be disturbed * * * * Tonight was especially important: the film festival would open * * tomorrow, and there was still so much to sort out It wasn t that the * * work hadn t been done; she just didn t feel like she had completely * * mastered everything yet * * * ---------- PAGE 50 ---------- * * * FOCUSING THE BEAM * * * * * * There s more to fighting the Taken than just burning away the darkness * * that protects them When I m fighting for my life, I find myself * * slipping into a state of intense concentration that makes the beam of * * my flashlight seem more powerful and focused I used to think it was * * just my imagination, something brought on by the adrenaline and fear * * of death, but now I m not so sure I have been touched by powers that * * I can t begin to truly comprehend, and they ve left a mark I m * * starting to think this might be a part of it * * * ---------- PAGE 51 ---------- * * * SERENA AND MR. SCRATCH * * * * When the dark man s eyes suddenly locked into Serena s, she flushed * * hot They ignited a black fire in her * * * * He was talking: he wanted the power turned off He said something * * about the projector booth She hooked a finger under his belt buckle * * He grabbed a hold of her throat and twisted until it hurt Somewhere * * deep inside, a part of her screamed in paralyzed horror, but the moan * * that escaped from her throat had no panic in it * * * * "Pay attention," he said "Business first " His eyes glittered * * shamelessly Hers did too * * * ---------- PAGE 52 ---------- * * * THE CLOTHES * * * * The clothes I wear now I shaped from dreams and memories It s an old * * outfit, originally from the 90s; the last time I wore it was when I * * was still writing, and Alice and I took a vacation in the desert, * * before our troubles began * * * * The night before, we d been at a party, and I d dressed to the nines * * On that lazy day, I put on these old clothes, worn and comfortable * * Alice made a joke about grunge I felt a little embarassed, but stuck * * with them * * * * We were very happy I m sheathed in good memories, to remind myself of * * what is at stake * * * ---------- PAGE 53 ---------- * * * ALICE'S FILM * * * * I held the film canister in my hands I saw her name written across it * * in big letters, followed by the title * * * * It was a time capsule, moments snatched from times gone by, from a * * past that I hoped could also be our future It was my salvation our * * salvation, our chance to be together A tin can with a bit of magic in * * it that she didn t even know about, something I could put to good use * * * * There were only moments left before I had to face him * * * ------------------------------------------------------------------------------
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