Tema do blog

Embora minha principal intenção seja publicar material relativo à literatura e ao cinema fantásticos, o blog poderá apresentar também materiais de cunho diversos, alguns dos quais acho interessantes de uma forma geral, portanto não estranhem se encontrarem algo fora do tema principal.
Se ao menos uma pequena parte que seja do conteúdo do blog contribuir, de alguma forma, para a divulgação das múltiplas e ricas facetas da literatura fantástica, de horror ou sobrenatural, o blog terá cumprido seu principal propósito.

quarta-feira, 4 de janeiro de 2017

M. R. James - Lost Hearts

Mais um grande conto do ecritor inglês M. R. James, mestre das histórias de fantasmas. Este é um de seus primeiros escritos (juntamente com "O livro de recortes do cônego Alberic"), publicado em 1895. O conto trata de um rapaz, Stephen Elliot, que, após a morte de seus pais, vai morar com um tio abastado, chamado Mr. Abney. O início da história torna-se curioso devido ao grande interesse e insistência de Mr. Abney em saber a idade de seu sobrinho. Quando Mrs. Bunch, a governanta, conta a Stephen sobre o misterioso desaparecimento de dois jovens sem teto da região, ambos estando sob os cuidados de Mr. Abney, a estadia de Stephen naquela estranha mansão passa a tornar-se cada vez mais sinistra, acompanhada de estranhos acontecimentos e pedadelos terríveis.
Sem dúvida mais um dos belos contos de M. R, James, abaixo segue o texto original e integral.

Lost Hearts

It was, as far as I can ascertain, in September of the year 1811 that a post-chaise drew up before the door of Aswarby Hall, in the heart of Lincolnshire. The little boy who was the only passenger in the chaise, and who jumped out as soon as it had stopped, looked about him with the keenest curiosity during the short interval that elapsed between the ringing of the bell and the opening of the hall door. He saw a tall, square, red-brick house, built in the reign of Anne; a stone-pillared porch had been added in the purer classical style of 1790; the windows of the house were many, tall and narrow, with small panes and thick white woodwork. A pediment, pierced with a round window, crowned the front. There were wings to right and left, connected by curious glazed galleries, supported by colonnades, with the central block. These wings plainly contained the stables and offices of the house. Each was surmounted by an ornamental cupola with a gilded vane.

An evening light shone on the building, making the window-panes glow like so many fires. Away from the Hall in front stretched a flat park studded with oaks and fringed with firs, which stood out against the sky. The clock in the church-tower, buried in trees on the edge of the park, only its golden weather-cock catching the light, was striking six, and the sound came gently beating down the wind. It was altogether a pleasant impression, though tinged with the sort of melancholy appropriate to an evening in early autumn, that was conveyed to the mind of the boy who was standing in the porch waiting for the door to open to him.

The post-chaise had brought him from Warwickshire, where, some six months before, he had been left an orphan. Now, owing to the generous offer of his elderly cousin, Mr Abney, he had come to live at Aswarby. The offer was unexpected, because all who knew anything of Mr Abney looked upon him as a somewhat austere recluse, into whose steady-going household the advent of a small boy would import a new and, it seemed, incongruous element. The truth is that very little was known of Mr Abney’s pursuits or temper. The Professor of Greek at Cambridge had been heard to say that no one knew more of the religious beliefs of the later pagans than did the owner of Aswarby. Certainly his library contained all the then available books bearing on the Mysteries, the Orphic poems, the worship of Mithras, and the Neo–Platonists. In the marble-paved hall stood a fine group of Mithras slaying a bull, which had been imported from the Levant at great expense by the owner. He had contributed a description of it to the Gentleman’s Magazine , and he had written a remarkable series of articles in the Critical Museum on the superstitions of the Romans of the Lower Empire. He was looked upon, in fine, as a man wrapped up in his books, and it was a matter of great surprise among his neighbours that he should ever have heard of his orphan cousin, Stephen Elliott, much more that he should have volunteered to make him an inmate of Aswarby Hall.

Whatever may have been expected by his neighbours, it is certain that Mr Abney — the tall, the thin, the austere — seemed inclined to give his young cousin a kindly reception. The moment the front-door was opened he darted out of his study, rubbing his hands with delight.

‘How are you, my boy?— how are you? How old are you?’ said he —‘that is, you are not too much tired, I hope, by your journey to eat your supper?’

‘No, thank you, sir,’ said Master Elliott; ‘I am pretty well.’

‘That’s a good lad,’ said Mr Abney. ‘And how old are you, my boy?’

It seemed a little odd that he should have asked the question twice in the first two minutes of their acquaintance.

‘I’m twelve years old next birthday, sir,’ said Stephen.

‘And when is your birthday, my dear boy? Eleventh of September, eh? That’s well — that’s very well. Nearly a year hence, isn’t it? I like — ha, ha!— I like to get these things down in my book. Sure it’s twelve? Certain?’

‘Yes, quite sure, sir.’

‘Well, well! Take him to Mrs Bunch’s room, Parkes, and let him have his tea — supper — whatever it is.’

‘Yes, sir,’ answered the staid Mr Parkes; and conducted Stephen to the lower regions.

Mrs Bunch was the most comfortable and human person whom Stephen had as yet met at Aswarby. She made him completely at home; they were great friends in a quarter of an hour: and great friends they remained. Mrs Bunch had been born in the neighbourhood some fifty-five years before the date of Stephen’s arrival, and her residence at the Hall was of twenty years’ standing. Consequently, if anyone knew the ins and outs of the house and the district, Mrs Bunch knew them; and she was by no means disinclined to communicate her information.

Certainly there were plenty of things about the Hall and the Hall gardens which Stephen, who was of an adventurous and inquiring turn, was anxious to have explained to him. ‘Who built the temple at the end of the laurel walk? Who was the old man whose picture hung on the staircase, sitting at a table, with a skull under his hand?’ These and many similar points were cleared up by the resources of Mrs Bunch’s powerful intellect. There were others, however, of which the explanations furnished were less satisfactory.

One November evening Stephen was sitting by the fire in the housekeeper’s room reflecting on his surroundings.

‘Is Mr Abney a good man, and will he go to heaven?’ he suddenly asked, with the peculiar confidence which children possess in the ability of their elders to settle these questions, the decision of which is believed to be reserved for other tribunals.

‘Good?— bless the child!’ said Mrs Bunch. ‘Master’s as kind a soul as ever I see! Didn’t I never tell you of the little boy as he took in out of the street, as you may say, this seven years back? and the little girl, two years after I first come here?’

‘No. Do tell me all about them, Mrs Bunch — now, this minute!’

‘Well,’ said Mrs Bunch, ‘the little girl I don’t seem to recollect so much about. I know master brought her back with him from his walk one day, and give orders to Mrs Ellis, as was housekeeper then, as she should be took every care with. And the pore child hadn’t no one belonging to her — she telled me so her own self — and here she lived with us a matter of three weeks it might be; and then, whether she were somethink of a gipsy in her blood or what not, but one morning she out of her bed afore any of us had opened a eye, and neither track nor yet trace of her have I set eyes on since. Master was wonderful put about, and had all the ponds dragged; but it’s my belief she was had away by them gipsies, for there was singing round the house for as much as an hour the night she went, and Parkes, he declare as he heard them a-calling in the woods all that afternoon. Dear, dear! a hodd child she was, so silent in her ways and all, but I was wonderful taken up with her, so domesticated she was — surprising.’

‘And what about the little boy?’ said Stephen.

‘Ah, that pore boy!’ sighed Mrs Bunch. ‘He were a foreigner — Jevanny he called hisself — and he come a-tweaking his ‘urdy-gurdy round and about the drive one winter day, and master ‘ad him in that minute, and ast all about where he came from, and how old he was, and how he made his way, and where was his relatives, and all as kind as heart could wish. But it went the same way with him. They’re a hunruly lot, them foreign nations, I do suppose, and he was off one fine morning just the same as the girl. Why he went and what he done was our question for as much as a year after; for he never took his ‘urdy-gurdy, and there it lays on the shelf.’

The remainder of the evening was spent by Stephen in miscellaneous cross-examination of Mrs Bunch and in efforts to extract a tune from the hurdy-gurdy.

That night he had a curious dream. At the end of the passage at the top of the house, in which his bedroom was situated, there was an old disused bathroom. It was kept locked, but the upper half of the door was glazed, and, since the muslin curtains which used to hang there had long been gone, you could look in and see the lead-lined bath affixed to the wall on the right hand, with its head towards the window.

On the night of which I am speaking, Stephen Elliott found himself, as he thought, looking through the glazed door. The moon was shining through the window, and he was gazing at a figure which lay in the bath.

His description of what he saw reminds me of what I once beheld myself in the famous vaults of St Michan’s Church in Dublin, which possesses the horrid property of preserving corpses from decay for centuries. A figure inexpressibly thin and pathetic, of a dusty leaden colour, enveloped in a shroud-like garment, the thin lips crooked into a faint and dreadful smile, the hands pressed tightly over the region of the heart.

As he looked upon it, a distant, almost inaudible moan seemed to issue from its lips, and the arms began to stir. The terror of the sight forced Stephen backwards and he awoke to the fact that he was indeed standing on the cold boarded floor of the passage in the full light of the moon. With a courage which I do not think can be common among boys of his age, he went to the door of the bathroom to ascertain if the figure of his dreams were really there. It was not, and he went back to bed.

Mrs Bunch was much impressed next morning by his story, and went so far as to replace the muslin curtain over the glazed door of the bathroom. Mr Abney, moreover, to whom he confided his experiences at breakfast, was greatly interested and made notes of the matter in what he called ‘his book’.

The spring equinox was approaching, as Mr Abney frequently reminded his cousin, adding that this had been always considered by the ancients to be a critical time for the young: that Stephen would do well to take care of himself, and to shut his bedroom window at night; and that Censorinus had some valuable remarks on the subject. Two incidents that occurred about this time made an impression upon Stephen’s mind.

The first was after an unusually uneasy and oppressed night that he had passed — though he could not recall any particular dream that he had had.

The following evening Mrs Bunch was occupying herself in mending his nightgown.

‘Gracious me, Master Stephen!’ she broke forth rather irritably, ‘how do you manage to tear your nightdress all to flinders this way? Look here, sir, what trouble you do give to poor servants that have to darn and mend after you!’

There was indeed a most destructive and apparently wanton series of slits or scorings in the garment, which would undoubtedly require a skilful needle to make good. They were confined to the left side of the chest — long, parallel slits about six inches in length, some of them not quite piercing the texture of the linen. Stephen could only express his entire ignorance of their origin: he was sure they were not there the night before.

‘But,’ he said, ‘Mrs Bunch, they are just the same as the scratches on the outside of my bedroom door: and I’m sure I never had anything to do with making them .’

Mrs Bunch gazed at him open-mouthed, then snatched up a candle, departed hastily from the room, and was heard making her way upstairs. In a few minutes she came down.

‘Well,’ she said, ‘Master Stephen, it’s a funny thing to me how them marks and scratches can ‘a’ come there — too high up for any cat or dog to ‘ave made ’em, much less a rat: for all the world like a Chinaman’s finger-nails, as my uncle in the tea-trade used to tell us of when we was girls together. I wouldn’t say nothing to master, not if I was you, Master Stephen, my dear; and just turn the key of the door when you go to your bed.’

‘I always do, Mrs Bunch, as soon as I’ve said my prayers.’

‘Ah, that’s a good child: always say your prayers, and then no one can’t hurt you.’

Herewith Mrs Bunch addressed herself to mending the injured nightgown, with intervals of meditation, until bed-time. This was on a Friday night in March, 1812.

On the following evening the usual duet of Stephen and Mrs Bunch was augmented by the sudden arrival of Mr Parkes, the butler, who as a rule kept himself rather to himself in his own pantry. He did not see that Stephen was there: he was, moreover, flustered and less slow of speech than was his wont.

‘Master may get up his own wine, if he likes, of an evening,’ was his first remark. ‘Either I do it in the daytime or not at all, Mrs Bunch. I don’t know what it may be: very like it’s the rats, or the wind got into the cellars; but I’m not so young as I was, and I can’t go through with it as I have done.’

‘Well, Mr Parkes, you know it is a surprising place for the rats, is the Hall.’

‘I’m not denying that, Mrs Bunch; and, to be sure, many a time I’ve heard the tale from the men in the shipyards about the rat that could speak. I never laid no confidence in that before; but tonight, if I’d demeaned myself to lay my ear to the door of the further bin, I could pretty much have heard what they was saying.’

‘Oh, there, Mr Parkes, I’ve no patience with your fancies! Rats talking in the wine-cellar indeed!’

‘Well, Mrs Bunch, I’ve no wish to argue with you: all I say is, if you choose to go to the far bin, and lay your ear to the door, you may prove my words this minute.’

‘What nonsense you do talk, Mr Parkes — not fit for children to listen to! Why, you’ll be frightening Master Stephen there out of his wits.’

‘What! Master Stephen?’ said Parkes, awaking to the consciousness of the boy’s presence. ‘Master Stephen knows well enough when I’m a-playing a joke with you, Mrs Bunch.’

In fact, Master Stephen knew much too well to suppose that Mr Parkes had in the first instance intended a joke. He was interested, not altogether pleasantly, in the situation; but all his questions were unsuccessful in inducing the butler to give any more detailed account of his experiences in the wine-cellar.
* * * * *

We have now arrived at March 24, 1812. It was a day of curious experiences for Stephen: a windy, noisy day, which filled the house and the gardens with a restless impression. As Stephen stood by the fence of the grounds, and looked out into the park, he felt as if an endless procession of unseen people were sweeping past him on the wind, borne on resistlessly and aimlessly, vainly striving to stop themselves, to catch at something that might arrest their flight and bring them once again into contact with the living world of which they had formed a part. After luncheon that day Mr Abney said:

‘Stephen, my boy, do you think you could manage to come to me tonight as late as eleven o’clock in my study? I shall be busy until that time, and I wish to show you something connected with your future life which it is most important that you should know. You are not to mention this matter to Mrs Bunch nor to anyone else in the house; and you had better go to your room at the usual time.’

Here was a new excitement added to life: Stephen eagerly grasped at the opportunity of sitting up till eleven o’clock. He looked in at the library door on his way upstairs that evening, and saw a brazier, which he had often noticed in the corner of the room, moved out before the fire; an old silver-gilt cup stood on the table, filled with red wine, and some written sheets of paper lay near it. Mr Abney was sprinkling some incense on the brazier from a round silver box as Stephen passed, but did not seem to notice his step.

The wind had fallen, and there was a still night and a full moon. At about ten o’clock Stephen was standing at the open window of his bedroom, looking out over the country. Still as the night was, the mysterious population of the distant moon-lit woods was not yet lulled to rest. From time to time strange cries as of lost and despairing wanderers sounded from across the mere. They might be the notes of owls or water-birds, yet they did not quite resemble either sound. Were not they coming nearer? Now they sounded from the nearer side of the water, and in a few moments they seemed to be floating about among the shrubberies. Then they ceased; but just as Stephen was thinking of shutting the window and resuming his reading of Robinson Crusoe , he caught sight of two figures standing on the gravelled terrace that ran along the garden side of the Hall — the figures of a boy and girl, as it seemed; they stood side by side, looking up at the windows. Something in the form of the girl recalled irresistibly his dream of the figure in the bath. The boy inspired him with more acute fear.

Whilst the girl stood still, half smiling, with her hands clasped over her heart, the boy, a thin shape, with black hair and ragged clothing, raised his arms in the air with an appearance of menace and of unappeasable hunger and longing. The moon shone upon his almost transparent hands, and Stephen saw that the nails were fearfully long and that the light shone through them. As he stood with his arms thus raised, he disclosed a terrifying spectacle. On the left side of his chest there opened a black and gaping rent; and there fell upon Stephen’s brain, rather than upon his ear, the impression of one of those hungry and desolate cries that he had heard resounding over the woods of Aswarby all that evening. In another moment this dreadful pair had moved swiftly and noiselessly over the dry gravel, and he saw them no more.

Inexpressibly frightened as he was, he determined to take his candle and go down to Mr Abney’s study, for the hour appointed for their meeting was near at hand. The study or library opened out of the front-hall on one side, and Stephen, urged on by his terrors, did not take long in getting there. To effect an entrance was not so easy. It was not locked, he felt sure, for the key was on the outside of the door as usual. His repeated knocks produced no answer. Mr Abney was engaged: he was speaking. What! why did he try to cry out? and why was the cry choked in his throat? Had he, too, seen the mysterious children? But now everything was quiet, and the door yielded to Stephen’s terrified and frantic pushing.
* * * * *

On the table in Mr Abney’s study certain papers were found which explained the situation to Stephen Elliott when he was of an age to understand them. The most important sentences were as follows:

‘It was a belief very strongly and generally held by the ancients — of whose wisdom in these matters I have had such experience as induces me to place confidence in their assertions — that by enacting certain processes, which to us moderns have something of a barbaric complexion, a very remarkable enlightenment of the spiritual faculties in man may be attained: that, for example, by absorbing the personalities of a certain number of his fellow-creatures, an individual may gain a complete ascendancy over those orders of spiritual beings which control the elemental forces of our universe.

‘It is recorded of Simon Magus that he was able to fly in the air, to become invisible, or to assume any form he pleased, by the agency of the soul of a boy whom, to use the libellous phrase employed by the author of the Clementine Recognitions , he had “murdered”. I find it set down, moreover, with considerable detail in the writings of Hermes Trismegistus, that similar happy results may be produced by the absorption of the hearts of not less than three human beings below the age of twenty-one years. To the testing of the truth of this receipt I have devoted the greater part of the last twenty years, selecting as the corpora vilia of my experiment such persons as could conveniently be removed without occasioning a sensible gap in society. The first step I effected by the removal of one Phoebe Stanley, a girl of gipsy extraction, on March 24, 1792. The second, by the removal of a wandering Italian lad, named Giovanni Paoli, on the night of March 23, 1805. The final “victim”— to employ a word repugnant in the highest degree to my feelings — must be my cousin, Stephen Elliott. His day must be this March 24, 1812.

‘The best means of effecting the required absorption is to remove the heart from the living subject, to reduce it to ashes, and to mingle them with about a pint of some red wine, preferably port. The remains of the first two subjects, at least, it will be well to conceal: a disused bathroom or wine-cellar will be found convenient for such a purpose. Some annoyance may be experienced from the psychic portion of the subjects, which popular language dignifies with the name of ghosts. But the man of philosophic temperament — to whom alone the experiment is appropriate — will be little prone to attach importance to the feeble efforts of these beings to wreak their vengeance on him. I contemplate with the liveliest satisfaction the enlarged and emancipated existence which the experiment, if successful, will confer on me; not only placing me beyond the reach of human justice (so-called), but eliminating to a great extent the prospect of death itself.’
* * * * *

Mr Abney was found in his chair, his head thrown back, his face stamped with an expression of rage, fright, and mortal pain. In his left side was a terrible lacerated wound, exposing the heart. There was no blood on his hands, and a long knife that lay on the table was perfectly clean. A savage wild-cat might have inflicted the injuries. The window of the study was open, and it was the opinion of the coroner that Mr Abney had met his death by the agency of some wild creature. But Stephen Elliott’s study of the papers I have quoted led him to a very different conclusion.

segunda-feira, 2 de janeiro de 2017

Alan Wake - Uma breve análise

Tela inicial do game

Alan Wake é um game em 3° pessoa de ação que conta uma interessante história de suspense e terror.
Lançado em Maio de 2010 pela desenvolvedora Remedy como exclusivo para o console Xbox 360 e posteriormente para o PC em 2012 o jogo é um prato cheio para aqueles que gostam de uma boa história de horror psicológico, com boas doses de suspense e uma ambientação sinistra e perfeitamente "dark".
Não é meu costume abordar jogos aqui no blog, no entanto para Alan Wake (e outros títulos interessantes que o mereçam) abrirei uma exceção, pois também sou fã do mundo dos games e sempre que possível acompanho boas histórias através dos controles de meu PS3 e Xbox 360.
Farei um breve análise da versão para Xbox 360, que é a que possuo, abordando todos os seus aspectos, mas com foco principal na história, que para mim é o mais importante neste tipo de game.Dificilmente jogo um jogo apenas por diversão, ou para matar o tempo, o que me desperta o interesse é o que o jogo conta, principalmente se for um bom jogo de survival horror, como Alan Wake, Dead Space, Silent Hill e alguns da nossa amada e famosa série Resident Evil.Então como costumo dizer:
"Lets go and be my guests, gentlemen"!


A história baseia-se obviamente no protagonista Alan Wake, um escritor de histórias de terror de sucesso, que no momento parece estar tendo um daqueles famosos "bloqueios criativos". Ele e sua esposa viajam em férias para uma pequena cidade norte-americana intitulada "Bright falls". A mulher de Alan Wake aluga um chalé bastante retirado na cidade, onde ao chegarem, ela confessa a Alan que a viagem tem também o intuito de tentar proporcionar uma condição favorável para que seu marido volte a escrever. 
No início do jogo Alan sofre um acidente de carro e percebemos então a linha mestra do game na qual Alan Wake parece estar vivendo um pesadelo, onde personagens de suas histórias tornam-se reais e o protagonista tem que enfrentá-los, são os chamados "possuídos", ou "Taken" no original em inglês.
O enredo da história deslancha quando a esposa de Alan desaparece engolida pela negras águas do lago que circunda o chalé em que estão alojados, o que acontece durante uma queda de energia no chalé na qual descobrimos que a mulher tem fobia de locais escuros. 
A partir desse ponto a história segue, durante seis episódios, com alan Wake tentando desesperadamente encontrar sua esposa, para isso ele é forçado a adentrar me florestas sombrias, parques , cidades fantasmas, minas e muitos outros locais quase sempre rurais. Ao início de cada episódio você tem um resumo do anterior, através de um pequeno filme, no entanto eu o vejo como desnecessário, pois é muito curto e simplório.
Abaixo o trailer oficial de lançamento do game:

Alguns detalhes da história do game são interessantíssimos para enriquecê-la, cito aqui os principais:
  • Páginas de manuscritos: São encontradas durante o game em pontos aleatórios, estas páginas esclarecem situações que já aconteceram no game ou então dão dicas a respeito de algo que ainda está por vir. Joguei o game traduzido para o português e pude perceber que os manuscritos são sempre bem escritos, isso é alho que para mim dá bastante credibilidade a Alan Wake.
  • Série de TV "The Night Springs": Ao longo do jogo você encontra algumas TV's que, ao ligá-las são apresentado pequenos episódios com histórias enigmáticas e com um humor carregadamente negro. são pequenas histórias que em sua maioria são interessantes. 
  • Rádios: Pelas localidades estão distribuídos rádios que apresentam um programa local, o qual noticia os acontecimentos da cidade, desde os corriqueiros como "A festa do cervo" até os mais estranhos como uma perseguição policial a Alan Wake ou o depoimento de um morador local a respeito de estranhos "seres" vistos à noite nas florestas locais.
Alan Wake assiste a um dos episódios da sombria série "Night Springs".


A ambientação de Alan Wake é um dos seus pontos positivos, o jogo transcorre quase que em sua totalidade em cenários escuros e sombrios, o que casa perfeitamente com a história, não deixando em momento algum aquele sentimento de artificialidade que alguns jogos apresentam. Nas florestas escuras e possível sentir o vento balançando os galhos das árvores. Acredito que o ponto a ser melhorado seria a diversidade de cenários que acaba sendo limitada, mas nada que comprometa o clima que o jogo quer passar. Os gráficos também são bons, não são primorosos, mas são muito bons, por ser um título exclusivo da caixa poderia ser melhor trabalhado graficamente, fica abaixo evidentemente de outros exclusivos como o fantástico "Gears of Wars". As florestas são muito bem desenhadas e sua movimentação é fantástica, o detalhe aqui fica para a definição dos personagens que poderia ser melhor trabalhada. As cutscenes também são bem trabalhadas e inteligentes, mas o jogo poderia trazer mais delas, inclusive apresentando detalhes secundários ou mal explicados da história do game.

Nunca me canso de admirar os cenários do jogo, notem a predominânica proposital do azul.

Trilha sonora

A música e os efeitos sonoros que te acompanham pelo jogo também são muito bons e não ficam devendo nada ao conjunto. Quando da proximidade de inimigos o som do vento se acentua, a aproximação de inimigos também geralmente vem através de um alerta pela voz dos mesmos. Aqui a surpresa fica pela ótima sacada que o jogo traz em apresentar, ao fim de cada episódio, uma bela música para você curtir e relaxar após os momentos de tensão proporcionados pela jogatina.
Abaixo a baita soundtrack apresentada ao final do Episódio um:

Soundtrack do capítulo 1

No vídeo abaixo uma das melhores partes do game, onde você tem que defender o palco acompanhado pela fantástica trilha sonora e uma iluminação espetacular de fogos de artifícios, e ainda de brinde com o parceiro na mesa de som!!!

Defenda o palco sob som e iluminação monstruosos


A jogabilidade de Alan Wake é do tipo que se pode chamar "travada". Na verdade, é claramente proposital a dificuldade em controlar o personagem, bem como o seu armamento. De forma similar a games como "The evil within", por exemplo, onde o título aposta tudo na tensão e suspense, Alan Wake claramente não intenciona facilitar os controles. Isto na realidade não significa muito, pois quando jogado uma meia-hora no joystick de qualquer console, você se adapta muito bem ao estilo do jogo, nada mais te incomoda e o jogo se desenvolve muito bem.
O interessante do jogo é a dualidade entre o bem e o mal, luz e escuridão, isto fica evidente no uso da lanterna, talvez a "arma" mais importante do jogo. Na verdade como  os inimigos são possuídos pela escuridão antes de eliminá-los convém apontar a lanterna até que a escuridão seja "destruída", assim fica mais fácil derrotá-los com as armas comuns como pistola ou espingarda. O uso da lanterna funciona tanto em objetos, quanto humanos possuídos, no entanto a diversão fica por conta da dificuldade em eliminá-los!
Falando em armas Alan Wake é bem tradicional, contanto com poucas armas de fogo, basicamente pistola, shotgun, espingarda de caça, dinamites, granadas de luz e uma pistola de luz extremamente potente.

As principais armas - Pistola e Lanterna

A diversão no jogo, em minha opinião fica por conta da excelente história, muita bem desenvolvida e narrada e que garante uma imersão fantástica, muito bem dividida em capítulos, muitos dos quais bstante difíceis e desafiadores. Mas o que conta mesmo é a história com reviravoltas e revelações muito bem trabalhadas.

Resumo final

Alan Wake resume-se em um grande jogo de terror/suspense em terceira pessoa, comparável a títulos consagrados como "Dead Space" e "Silent Hill", por exemplo, sempre focado na tensão e história, mas carregando uma boa dose de ação, o que é essencial para a diversão. Vale muito a pena jogá-lo, não tenha dúvidas, um prazer imenso todas aquelas florestas escuras desoladas, onda a escuridão aprece surgir de todos os lados e muitas das vezes não há caminho para fugir dela, e, principalmente, daquilo que habita em seus locai mais recônditos.

História: 10
Ambientação: 10
Gráficos: 8
Trilha sonora: 9
Diversão: 9
Jogabilidade: 7
Resumo: 8.8