Injured, panicked, and with nothing at his side but his night-vision enabled camera, Blake sets off into the night to find his wife in potentially hostile territory. Waking up in a sea of flames, Blake discovers that his wife is nowhere to be found near the wreckage of the downed helicopter. Searching for answers to the mysterious circumstances of her death, the crew’s helicopter experiences unexpected technical issues and crashes directly into the heart of the area they were investigating. We play as cameraman Blake Langermann who, along with his investigative journalist wife Lynn, rents a helicopter to fly over a region where a young pregnant woman was murdered. I’ll be damned if that’s not more or less exactly what Outlast 2’s problem is.
#WHERE DOES OUTLAST 2 TAKE PLACE SERIES#
Interestingly enough, when I was readying up to review Resident Evil 7 a few months ago, one of the primary concerns from fans was that the series was losing its identity by taking too much inspiration from other popular horror games. Outlast 2 suffers from what I can only imagine is a change in direction midway through development – a shift that almost totally abandoned what the first half of the game was trying to do. It’s stunningly gorgeous to look at, and the environments may be some of the most heavily detailed and painstakingly crafted this side of Resident Evil Remake – but it is also a very confused (and consequently confusing) game that has too many strange decisions to ignore. It is a good game and I enjoyed my time playing it. Outlast 2 is good, let me get that out of the way. What did I think of its sequel? Well, it’s one of the most perplexing mixed bags I’ve encountered in a while. I loved the original game and was eager to sink waist-deep into the blood of this universe again. Red Barrels’ sequel to the infamously gruesome Outlast – a chase-oriented horror game that focused on a “found footage” aesthetic using a night-vision enabled camera – is finally hitting store shelves. After years of waiting, the day is finally upon us.
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