The Lake House is a welcome return to Alan Wake 2 — and a bridge to the future

After a year, Finnish studio Remedy Entertainment has opened the gates to a mysterious location in the 2023 third-person horror hit Alan Wake 2, known as The Lake House. In this short DLC, released just in time for Halloween, players step into the shoes of Kiran Estevez, the long-suffering agent of the mysterious Federal Bureau of Control we meet in the main game, who allies with Alan Wake 2's protagonists, Alan Wake and Saga Anderson. Set before the events of Alan Wake 2, The Lake House sees Kiran recounting a horrifying event at the titular location to Saga, yet the plot is almost firmly removed from the main game itself.

This is both a boon and a curse, depending on what you were looking for. But as a bridge to the continuation of Remedy's grand connected universe narrative - which also includes the supernatural thriller Control - it's ideal. Instead of waving goodbye to Alan and Saga, Remedy is extending a hand to take us on its next weird journey.

Kiran is investigating a research station, where FBC researchers, doctors Jules and Diana Marmont and their teams, are looking into the effects of Cauldron Lake. In Remedy's lore, there is a connection between the power of creating "art" and the power of otherworldly forces to misuse such gifts.

The Marmonts are experimenting on a painter, Rudolf Lane, who some might remember from the main game. Lane's creativity has a tendency to illustrate - and possibly create - the future, much as Alan's writing did. (God forbid those two ever make a comic book together.) I won't spoil what the Marmonts did, save to say they were monsters long before any otherworldly forces came into the frame. Regardless, the Lake House is suddenly cut off and unresponsive to FBC HQ, resulting in Kiran investigating with a small team. 

Remedy has been playing with a connected universe since Control, and the Lake House is a firm bridge backward and forward to that story. Of course, being an Alan Wake DLC, players can expect the solid third-person survival horror of the main game. 

The Lake House, as a setting, is as unnerving as most of the spaces in Alan Wake 2. However, there's more of a focus on the brutalist and office-space aesthetics from Control, without the outside or natural environments that dominated about half of the main game. In the eerily quiet office spaces, there are visual wonders like looping hallways and rooms of infinite typewriters, which have been programmed to "write" like Alan Wake. 

That last quirk appears to be a clear jab by Remedy's writers at AI slop, with a page of Alan's real writing saying, "The art was not art. Just content for the experiment." Indeed, the whole thesis of The Lake House is the misuse of art for the acquisition of some end product, rather than relishing in the beauty art can create. This is all the more obvious when you figure out who the villain is and who has created the new terrifying humanoid paint beasts that slither out of the walls. Remedy is not subtle in its disdain for the corporatization of creativity, the reconfiguration of art into a harvest field of bland capitalistic fervor. There's no love lost and much hate gained in the Lake House's story, outlining the interaction between artistic freedom and corporate control: a golden hand wrapped around imagination's throat.