![]() Where every one of Outlast 1’s hallways had an atmosphere of claustrophobia or anxiety, the oppressive insane asylum is replaced with the outdoor, scrubby hills of Arizona. ![]() Instead of coming out with an actual horror film, you emerge with many highlights of suffering but without the “boring” bits of footage. However, Outlast 2 has you record a certain event or image for about 10 seconds from a certain angle, which turn into saved “clips”, anything else you do with your camera up is completely disregarded. ![]() The most apparent form of change between Outlast 1 versus Outlast 2’s mechanics is the way your camera records the first game allowed you to cobble together footage from the entire game whenever your camera was raised. There is no one but Red Barrels themselves to blame for this, since both games use the same conventions yet presents the plot of Outlast 2 in a more obvious way. This makes it a bad horror movie, and an even worse horror game. Outlast 2 is, unfortunately, one of these statistics a highly expected sequel that ditches all the technical and artistic flourishes of the first game that defined the series. ![]() Of course, this is the total assurance that a good horror film will fall victim to a worse sequel, such as Halloween or even the good ole’ Blair Witch Project, these having solid horror themes while spawning god-awful Netflix marketing sequels. The irony is not lost upon me that a game which sticks to movie conventions and mechanics falls into the pit of the most common, yet painful cliche. Throughout the critique, I will make many connections to the “found footage” horror genre. I will also refer to and spoil several movies for comparison reasons. I will not be talking about the various platforms that run this game or display any bias towards any other horror-centered games. This is a critique of Red Barrel’s second Outlast game. If you are easily disturbed by themes of violence, sexual violence, and religious themes, this is not meant for you. ![]() Warning, there are FULL spoilers discussed in this critique. ![]()
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