There are places in our world where fiction and dreams can come true.

Year In Review 2023

As we enter a new year, we look back at 2023. Last year brought us Alan Wake 2, new collaborations, Old Gods of Asgard's debut album, and a whole lot more.

Alan Wake 2's The Final Draft Now Available

The Final Draft continues the story, providing a new ending which Remedy teases will "spark speculation and theories among our dedicated fans".

The Game Awards 2023 Wrap-Up

In our wrap up of The Game Awards 2023, we reflect on the night's wins, the reveals, and the epic performance by Old Gods of Asgard.

Revisit Bright Falls on ArtStation

ArtStation has published their latest Art Blast with a collection of new artwork from the Alan Wake 2 art team, from concept art to lighting screenshots.

Remedy Redesigns Visual Identity with New Logo

As Remedy expands in Sweden and relaxes into a multi-project setup, the studio returned to its most iconic imagery as part of a brand refresh.

An Open Letter from Sam Lake / Alan Wake Remastered

Alan Wake Remastered is coming! Read Sam Lake's open letter announcing the new game, his passion for Wake's debut adventure, and release details.

Our Conversation with Matthew Porretta, the Voice of Alan Wake

To celebrate the game's 10th anniversary, we sat down with Matthew Porretta, the incredible voice actor behind Alan Wake, to talk about his experiences and memories.


18th March 2024
Exclusive Interview With Tiia Öhman, Photographer on Alan Wake 2

To kickstart the week, we are excited to announce our interview with the brilliant, Tiia Öhman! Possibly known best by many of us as Poets of the Fall's talented resident photographer, she was also worked on Alan Wake 2, providing gorgeous photos for the game's promotional, behind the scenes snippets, in-game posters, and on Old Gods of Asgard merchandise. Her incredible work has been shared so widely, that there's an absolute chance that you would have seen her photographs already. 

We recently had the pleasure of virtually sitting down with Tiia to talk to her about her start in photography, what it was like being on the Alan Wake 2 set, returning to the series (she was also the photographer on the War music video!), and her hopes for 2024. Check out our conversation below!

Can you tell us a little about yourself and how you first got involved in photography?

For as long as I can remember, I have loved drawing and painting, and all things visual. When I was 16 or 17, I took a few film photography lessons at my art school, but didn't have the patience for the dark room business back then. Once I started going on all the Poets of the Fall concerts back in 2004-2005 that I could possibly manage, I also got super excited about digital photography. Things escalated from there a bit: I got to know the band, took more and more photos for them and ended up taking most of their promotional images. Because of that and some other photo gigs, I managed to score, I upgraded my camera gear whenever I could afford it. So it happened very naturally, and unlike most of the career-type things I've tried in life, photography just stuck and became a big part of my personality. 

Tiia sitting at home surrounded by plants as sunlight streams in. (Original: tiiaohman.com)


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As you worked on the War music video back in 2010, how did it feel returning to the Alan Wake series?

Amazing! The War film shoot was one of my favorite music video productions of all times. I mean, the band was there, Ilkka Villi was there and we also had this massive greyhound attending the shoot. When I first heard they were working on some Alan Wake stuff again, I got super excited. 


How did you begin your journey with Remedy on Alan Wake 2?

During the past few years, I've worked with Remedy a few times as an event photographer and gotten to know some of the fun folks at the office. I also have a lot of experience in still photography for TV & movies, so I guess it was just a great match. But even if they hadn't hired me, I think I would've somehow made my way into the shooting of the live-action bits. Inside the band's suitcase or something, haha.

Ilkka Villi as Alan Wake, edging closer to a highway patrol car in War. (Credit: Tiia Öhman)

What goes into preparing for a photoshoot, both mentally but also practically?

Good question, and it depends a lot on what kind of shoot it is. If it's a studio portrait shoot, I need to relax and activate the social side of myself so I can help my subject to also feel relaxed. Surprisingly many are very nervous about stepping in front of the camera.

If it's a film shoot - like the AW thing or a TV production - I have to concentrate on staying out of the film crew's way and to stay alert at all times as I myself have no control over lighting or the actors or crew members etc. So I just have to be ready and try to capture the best moments from whatever dark corner I'm hiding at that moment. In each situation, the gear is a little different, but the preparation is mostly the same: get your batteries charged, your memory cards empty and GO.

Poets of the Fall's Marko Saaresto as Odin Anderson. (Credit: Tiia Öhman)

When entering a photoshoot, what things do you pack?

All the camera gear, obviously. My recent favorites have been the 70-200mm 2.8 and the 28-70 2.0 lenses from Canon. For portrait shoots I need to pack the backdrop, lights, stands, since most of my portrait work lately has been taking place on set where the shows and movies are being shot - it's definitely easier to go the actors than to have five or ten of them come separately to someplace else. I think of it as my own little photo studio on wheels. 

For film productions I usually bring my own water bottle and coffee thermos (the Finnish productions are delightfully eco aware these days!), comfy/quiet shoes, dark clothing (to avoid getting caught by the film camera in the reflections), spare charger for my phone and if it’s an exterior shoot, a lot of clothing options. And ibuprofen since I'm a migraine gal, damnit. 

For weddings, one absolutely needs quiet shoes for the church!

Poets of the Fall and Remedy film crew during Alan Wake 2's live action recordings. (Credit: Tiia Öhman)

Does your approach change when you're photographing live performances compared to arranged photoshoots?

Yes, a bit. The actual photoshoots need a lot of brain work; location, background, creative ideas and all that on top of the actual gear and all the hundred little bits and bobs I need to remember. To live performances I mostly bring my camera, a couple of lenses and myself and get to be creative in the moment. 


What was the atmosphere like on the Alan Wake 2 set?

So much fun! A bunch of creative people and nerds (a word I use 100% with love) getting together is the best setting for a good work day. Of course, it was a very professional and well-organized production so there’s always a lot of pressure for everyone involved to do their best work, but still… the days I was there, the mood was very happy and filled with amazing little moments of “woah” and laughter.  

Olli on the Alan Wake 2 set, with Markus "Captain" Kaarlonen (Odin Anderson) in the background. (Credit: Tiia Öhman).

Do you have a favourite photograph from your work on the game?

It’s very hard to pick one! I feel like I managed to snap a lot of rockin’ ones of our pals Old Gods of Asgard and the always impossible photogenic Ilkka Villi, but getting to capture David Harewood as Mr. Door was definitely a highlight. The charisma!


What's your favourite memory from working on Alan Wake 2?

Ouch, I can’t choose. Can I just pick the dumb Tik Tok video we did with Ilkka? It gained close to half a million views on a platform I don’t really even use, or follow, or like, and that’s just nuts :D 


Is there an aspect of your work on the Alan Wake 2 photoshoots that you're secretly really proud of? Something that is small and silly, but you were so excited to just get right.

I don’t really consider myself an amazing, mind-blowingly talented world-class photographer, but I do take a little pride in my ability to shoot decent quality images in the time and circumstances I’m given. At film shoots, the time is *very* limited (like I get 1-2 minutes for each portrait shoot done on set, max) and the light and the surroundings are usually mostly beyond my control. And I just have to deal with it the best I can.

Plus, ok, I managed to get a fun shot of David in between takes, with his feet up on the table and the soles of his shoes covered in confetti. It was adorbs. 

Sam Lake (Alex Casey) sits with David Harewood (Warlin Door) during a filming break. David's shoes are on the table, gold confetti stuck to the soles. (Photo taken and sent by Tiia Öhman.)

Are there any tips that you would give to someone hoping to start photography?

Get to know your gear and what it’s capable of. Learn to see and read light. Keep taking those photos and discovering things that make them different, but also look at other photographers’ work to learn what you like and which skills to develop in your own work to shoot something similar. Don’t copy or steal, but feel free to let yourself be influenced by your favorites. Social media is full of incredible tricks and ideas for creative photos with almost zero budget, follow accounts like that and you may find a lot of inspiring things to try.


How has your 2024 been so far,  and what are your hopes/plans for the year?

BUSY! Which makes me happy. I’ve worked on film productions, graphic design work, websites and more. In a few weeks, I’m moving into my very first own studio space, and aside from creative photo studio work, I’m looking forward to painting on big canvases — something I really can’t do in my tiny apartment without messing up the walls and the floors and covering my little doggo in paint, haha. 

A promotional image for Old Gods of Asgard, used across marketing, merchandise, and for in-game art. (Credit: Tiia Öhman.)

A huge thank you to Tiia for taking the time to answer our questions! We can't wait to see what wonderful creations you share next. possibly with the help of a tiny doggo. 

You can follow her adventures on Facebook, Instagram, and Twitter. Check out her portfolio at TiiaOhman.com

18th March 2024
Final GDC 2024 Programme with Remedy Lectures

GDC 2024 will open its doors today, with the five-day event being held across the ocean in San Francisco, USA. The week promises a packed schedule with lectures, with eleven of them by Remedy developers. The industry event allows professionals to share their knowledge, learn more about their craft, and expand their knowledge of other disciplines. While some lectures are behind closed doors, some are recorded and posted online publically later. We hope and will let you know if any from Remedy's listings are posted online. 

About GDC. Originally started in April 1988, GDC is a networking event for video game professionals looking to connect and advance their careers and expertise. The event is packed with summits, workshops, roundtables, advocacy sessions, career development, and more.  The talks are available to check out via the GDC Vault, with some also making their way to YouTube for everyone to enjoy. (Fingers crossed that as many Alan Wake 2 lectures make it to a public platform.)

GDC Awards. Concluding the event is the Game Developer Awards, with Alan Wake 2 listed as a finalist in "Best Narrative", "Best Technology", and "Best Visual Art", with an honourable mention for "Game of the Year". You can read more about the finalists HERE


Monday 18th March

Adobe Developer Summit: The Environment Art Technology and Workflows of Alan Wake 2 (Presented by Adobe)

Speakers: Miro Vesterinen  (Lead Environment Artist, Remedy Entertainment) & Benjamin Lindquist  (Principal Technical Environment Artist, Remedy Entertainment)

Location: Room 2020, West Hall
Date: Monday, March 18
Time: 1:20 pm - 2:20 pm

Pass Type: All Access Pass, Core Pass, Summits Pass, Expo Pass, Audio Pass, Indie Games

Description: The presentation will give a brief high-level overview of the narrative-driven AAA game development company, Remedy Entertainment, and an in-depth look into the environment art workflows developed for Alan Wake 2. The talk will demonstrate prior conventions related to asset creation and texturing at the company and how these were improved during development. A deeper dive into physically based rendering (PBR) practices and pitfalls, Substance texturing processes and the in-engine (Northlight) developed landscape and material workflows will be provided as well as a glimpse into future tech development plans.

Takeaway: Attendees can learn more about Remedy Entertainment as a company and the company specific processes and workflows involved in environment art creation as well as get a view into the environment tech built for Alan Wake 2.

Intended Audience: Artists, Game developers, Art Directors, 3D art students


Tuesday 19th March

Level Design Summit: The Player vs Dream Logic: Developing the Mission Structures for 'Alan Wake 2'

Speaker: Anne-Marie Grönroos  (Lead Level Designer, Remedy Entertainment)

Location: Room 2001, West Hall
Date: Tuesday, March 19
Time: 10:50 am - 11:50 am

Pass Type: All Access Pass, Summits Pass

Description: Alan Wake 2 is a survival horror game with a weird, complex story featuring two worlds and protagonists. This session covers how the mission structures evolved during development and what can go wrong when you combine puzzles, narrative, combat, and dream logic. Using the Proof of Concept missions as a case study, the talk shows how we structured the missions into various kinds of loops, the many failed attempts at designing dream logic, and how bringing the two protagonists closer helped us escape the nightmare New York.

Takeaway: The attendees will learn how the earliest Alan Wake 2 missions evolved from concept to playable levels, see the impact narrative and mission structures had on each other, and gain insight into the struggle of making dream logic playable.

Intended Audience: The session is aimed at mission and level designers. It's accessible to anyone with a basic understanding of level design, but should be especially interesting to those dealing with semi-linear game spaces, puzzles, and gameplay intertwined with narrative.


Wednesday 20th March

Large Scale GPU-Based Skinning for Vegetation in 'Alan Wake 2'

Speaker: Kiyavash Kandar  (Graphics Programmer, Remedy Entertainment)

Location: Room 2016, West Hall
Date: Wednesday, March 20
Time: 10:30 am - 11:00 am

Pass Type: All Access Pass, Core Pass

Description: Alan Wake 2's forests and vegetation of the Pacific Northwest carry the atmosphere of the horror survival genre almost like a character on their own. This talk showcases Remedy's new GPU-based skinning pipeline, built to handle detailed and dense environments that are mostly comprised of dynamically animated vegetation geometry. To match the team's ambitions in geometric fidelity and complexity of motion, they also developed a new GPU-based animation system that could animate skeleton rigs at runtime via compute shaders. The talk provides a look under the hood at the techniques used to hit performance targets, create feature rich systems for artists, and enable full representation in the Northlight engine's raytracing implementation.

Takeaway: Attendees will get an insight into the design decisions and implementation details surrounding a high-fidelity GPU-based animation system built to scale. The presented material will give references for understanding, assessing, and designing similar systems for their own needs.

Intended Audience: This is for VFX and technical artists, rendering programmers, those with a background in games and game technology, proceduralism and shader enthusiasts. Prior knowledge and experience in related subjects is recommended.


In Your Head: Audio-Driven Everything in 'Alan Wake 2' and its Mind Place

Speaker: Joshua Bell (Senior Technical Audio Designer, Remedy Entertainment)

Location: Room 3006, West Hall
Date: Wednesday, March 20
Time: 11:30 am - 12:00 pm

Pass Type: All Access Pass, Core Pass, Audio Pass

Description: Alan Wake 2's profiling feature allows the player to delve into the minds and motivations of the game's characters, and access their thoughts and glimpses of past/future events. It exists inside the Mind Place, a 3D-space, immersive in-game user-interface, and hub to filter narrative elements and explore the story. Navigating the wealth of content, the narrative importance, and the abstract essence of the Mind Place and Profiling module posed challenges for the team. However, it presented a great chance to enhance Alan Wake 2's narrative and collaborate closely with visual disciplines to craft a cohesive audio-visual experience. We will go through the audio design for the "Profiling" feature, exploring how we concepted, overcame technical limitations, gave ourselves a framework to execute the large amount of content needed, and utilised an "audio-driven audio" and audio-driven visuals approach to craft a balanced and coherent experience.

Takeaway: Attendees will learn how an audio-driven approach resulted in a unique audio experience in Alan Wake 2. Attendees will find out how audio-driven approaches could be used in their work for driving visuals, or other SFX elements, and be inspired by the potential to craft a unique cross-disciplinary experience.

Intended Audience: This talk is for anyone involved in game audio at any level. It may be of particular benefit to those working on projects that have a large volume of narrative content to cover, or those who are interested in deeper cross-collaboration between audio and visual departments.


Building Game Worlds with OpenUSD

Speaker: Vesa Paakkanen (Lead Tools Programmer, Remedy Entertainment Plc)

Location: Room 2005, West Hall
Date: Wednesday, March 20
Time: 2:00 pm - 3:00 pm

Pass Type: All Access Pass, Core Pass

Description: The complexity and size of the game worlds are ever-increasing, and tools need to meet that demand. At Remedy, we have been working on new tools and tech stack to allow us to build worlds faster and with more detail than ever before. At the core of our solution is Universal Scene Description (OpenUSD) by Pixar which provides a powerful composition engine as well as a format compatible with the DCCs. In this presentation, we share how we integrated OpenUSD into our tools and engine, what kind of technical and user experience challenges we have faced, and show examples how we have tackled those while having two major game projects using it throughout the development.

Takeaway: Attendees are expected to learn how Remedy has integrated OpenUSD into their world building tools, what challenges it has posed and how those have been tackled.

Intended Audience: Programmers, technical artists and UX designers interested in integrating OpenUSD into engine and/or content pipelines. To be able to fully enjoy this presentation basic knowledge of OpenUSD and intermediate technical expertise is expected.


Real-Time World Editing Technology in Northlight

Speaker: Sebastian Eriksson  (Lead Core Engine Programmer, Remedy Entertainment)

Location: Room 2005, West Hall
Date: Wednesday, March 20
Time: 3:30 pm - 4:30 pm

Pass Type: All Access Pass, Core Pass

Description: Requirements for game worlds are ever-increasing, being more realistic, more interactive, and larger than ever before. This means that there is a ton of content to be authored, but also large amounts of data to pass through pipelines and workflows to the engine runtime. Remedy has been working on a new data pipeline and technology stack for the Northlight engine that allows us to optimize entity data for authoring at edit time, and performance at runtime, while keeping near-instant iteration times for world editing workflows. The fundamental parts of this technology are OpenUSD for authoring, and Northlight's transformative live-edit pipeline that enables entity modifications to be applied to a running game process on the fly. In this presentation, Sebastian shares how we keep the editor and runtime data representations separated, how the data is transformed, and how the real-time editing between the editor and runtime works in practice.

Takeaway: Attendees are expected to learn how Remedy has integrated OpenUSD into their data pipelines for world building, and how the Northlight engine implements a live-editable data pipeline for transforming USD scenes into an efficient runtime format in real-time.

Intended Audience: Programmers working on or interested about game engine design and data pipelines. To be able to fully enjoy this presentation intermediate technical expertise is expected.


Thursday 21st March

ECS in Practice: The Case Board of 'Alan Wake 2'

Speaker: Alexander Balakshin  (Senior Gameplay Programmer, Remedy Entertainment)

Location: Room 2016, West Hall
Date: Thursday, March 21
Time: 10:00 am - 11:00 am
Pass Type: All Access Pass, Core Pass 

Description: For Alan Wake 2, Remedy Entertainment is using a new data-oriented ECS gameplay framework instead of the previous object-oriented one. As a result, we have performance gains such as cache coherency and multithreading out of the box. Also, being implemented using some of the latest C++ features, the new framework changes the way gameplay programmers write their code by providing them some extra convenience and productivity. We will present how this framework is used for implementing one of the game's features – the Case Board. We will cover how we describe the Case Board objects with components, how we register their systems, and how we interact with other modules (camera, cursor, etc.). Finally, we'll show how the interaction between C++ code and Lua scripts is organized.

Takeaway: A practical example of the ECS framework application in a real project and a demonstration of how a gameplay engineer's mindset is changed while working with a data-oriented approach. Also, this could be an inspiration for engine developers who are working on their own gameplay frameworks.

Intended Audience: Gameplay programmers and engine programmers working on their own gameplay frameworks. To be able to fully enjoy this presentation, intermediate technical expertise is expected.


Alan Wake 2: A Deep Dive into Path Tracing Technology (Presented by NVIDIA)

Speakers: Juha Sjöholm  (Senior Developer Technology Engineer, NVIDIA) & Kiya Kandar  (Graphics Programmer, Remedy Entertainment Plc, Remedy Entertainment Plc)

Location: Room 3020, West Hall
Date: Thursday, March 21
Time: 10:00 am - 11:00 am

Pass Type: All Access Pass, Core Pass, Summits Pass, Expo Pass, Audio Pass, Indie Games Summit Pass

Description: Alan Wake 2 was released last October with path tracing and DLSS Ray Reconstruction, receiving a lot of attention for the visual experience it offers. This session explains all aspects of the path tracer including acceleration structure management with large amounts of dynamic content, representation and accessing of material data, light sampling techniques and image upscaling and denoising methods. All key technologies are covered including using of the opacity micromaps (OMM) with alpha tested assets such as vegetation and hair, use of the shader execution reordering (SER) in the path tracing shader, how the DLSS Ray Reconstruction is used to produce the final image, and how smooth frame rates are achieved through the DLSS Frame Generation.

Takeaway: Using path tracing and NVIDIA technologies such as DLSS Ray Reconstruction in your game can be convenient and you can achieve stellar results and get good value for your investment.

Intended Audience: Graphics Engineers


The Art of Characters in 'Alan Wake 2': Character Outfit Creation Process

Speaker: John Crossland  (Principal Character Artist, Remedy Entertainment Oy)

Location: Room 2005, West Hall
Date: Thursday, March 21
Time: 11:30 am - 12:30 pm

Pass Type: All Access Pass, Core Pass

Description: In this character art session, we explore and dissect how at Remedy we approach the character creation process for outfit modelling. The session is dedicated to looking at the outfit aspects of Saga and Alan, how we approached the designs to create a grounded sense of realism. Then how we captured the outfits to ensure the highest level of realism from scanning, sculpting, modelling, and texturing. Finally, how we review final outfits in engine and calibrate materials for our final asset reviews. This session gives an insight into what goes into making Alan Wake and Saga Anderson's outfits in Alan Wake II.

Takeaway: Attendees will learn about how Remedy creates digitally realistic digital double outfits for character models.

Intended Audience: Digital artists or Character Artists working within movies or games.


Friday 22nd March

Making Linear Story Playable: The Narrative Design of 'Alan Wake 2'

Speaker: Simon Wasselin  (Lead Narrative Designer, Remedy Entertainment Oy) & Molly Maloney  (Principal Narrative Designer, Remedy Entertainment)

Location: Room 2002, West Hall
Date: Friday, March 22
Time: 10:00 am - 11:00 am

Pass Type: All Access Pass, Core Pass

Description: Remedy has never shied away from complex stories and characters, and Alan Wake 2 features some of our most ambitious protagonists to date. When it came to putting players in the minds of both a talented FBI detective piecing together a supernatural mystery, and a tortured author attempting to write his way out of a web of darkness, Lead Narrative Designer Simon Wasselin (Quantic Dream) Principal Narrative Designer Molly Maloney (Telltale Games) had to tackle some big questions: How do we give players a satisfying interactive experience within the confines of a linear story that can't budge? How do we allow for player expression when the protagonists are locked into specific roles? How can we leverage interactivity to incept complex, multilayered exposition into the minds of our audience?

This talk focuses on the design of the narrative mechanics used to convey exposition in Alan Wake 2. Join us as we discuss the challenges of agency vs expression, linear vs branching storytelling, and how by involving Narrative Design in gameplay we can create more powerful story experiences in AAA games.

Takeaway: Linear storytelling in the AAA space can be more than plot points bookending gameplay. By leveraging the tools of branching narrative, even an extremely linear experience can invite the player to be a part of its story. By creating interactive mechanics less centered around traditional gameplay loops and more focused on a building a sense of ownership and investment, we create a "stickiness" in our games that keep players playing until the end. Learn how to think about gameplay mechanics through a narrative lens, see the iterations of various narrative design mechanics in Alan Wake 2 - where they succeeded and failed, and gain insights into the creative process of story-driven AAA games from two branching narrative veterans.

Intended Audience: This talk is targeted at developers interested in Narrative Design, storytelling, and anyone looking for ways to incorporate Narrative Design more effectively into their development pipeline.


The Dark Place of 'Alan Wake 2': Crafting an Evolving Nightmare Dimension

Speaker: Nazareno Urbano  (Principal Environment Artist, Remedy Entertainment)

Location: Room 2001, West Hall
Date: Friday, March 22
Time: 1:30 pm - 2:30 pm

Pass Type: All Access Pass, Core Pass

Description: The presentation is a dive into the world-building aspect of The Dark Place of Alan Wake II, we explain how we approach the environment world-building and what tools we use to create an evolving nightmare dimension where the world is shifting, and multiple layers of reality are interconnected in a dream logic structure where the reality is subjective.

Takeaway: Attendees can be inspired by having a glimpse into the world-building of a Remedy AAA narrative game. They can learn about our challenges during production and what it takes to balance narrative-heavy environment creation, gameplay, and art direction.

Intended Audience: This talk is for anyone involved with art, world-building, and environment art at any level.

17th March 2024
Alan Wake 2 Nominated for Nebula Award

The Science Fiction and Fantasy Writers Association  (SFWA) have announced the finalists for the 59th Annual Nebula Awards, with Alan Wake 2 nominated for Game Writing. The listing credits Sam Lake (Creative Director), Clay Murphy (Principle Writer), Tyler Burton Smith (Story Consultant), and Sinikka Annala (Writer).

Other nominations in the category include The Bread Must Rise (Stewart C Baker and James Beamon from Choice of Games), Ninefox Gambit: Machineries of Empire Roleplaying Game (Yoon Ha Lee, Marie Brennan at Android), Dredge (by Joel Mason at Black Salt Games, Team 17), Chants of Sennaar (by Julien Moya and Thomas Panuel at Rundisc, Focus Entertainment), and Baldur’s Gate 3 (with Adam Smith, Adrienne Law, Baudelaire Welch, Chrystal Ding, Ella McConnell, Ine Van Hamme, Jan Van Dosselaer, John Corcoran, Kevin VanOrd, Lawrence Schick, Martin Docherty, Rachel Quirke, Ruairí Moore, Sarah Baylus, Stephen Rooney and Swen Vincke, at Larian Studios)

Sharing the news on Twitter, Sam Lake (Creative Director at Remedy) wrote, "Growing up reading sci-fi and fantasy books, with the best ones having "Nebula Award" on the cover makes this one special. Alan Wake 2 is nominated for the Nebula Award for Game Writing. Congrats to my writing team @yourpalclay, @TyBurtonSmith and @sinikkavain"

Clay Murphy (Principal Writer on Alan Wake 2) echoed Sam's words, tweeting, "We’ve been nominated for the Nebula! So proud to be part of this team with @SamLakeRMD, @TyBurtonSmith, @sinikkavain and to be on this list with so many other great writers!"

Congratulations to the narrative team on their nomination!

You can check out the full list and categories HERE!

The Nebula Awards are a celebration of fantasy and science fiction stories, with the label holding a lot of weight for authors. This year, the ceremony will take place on Saturday, June 8th 2024, in Pasadena, California, alongside the 2024 Nebula Conference Online. If you're not attending, you can also follow the ceremony on their online livestream. We'll post a link closer to the date!

17th March 2024
Remedy Entertainment Joins TikTok with Alex Casey-Themed Debut

At the end of the week, Remedy Entertainment announced that it is expanding its social media channels to TikTok

The developers kicked off their new channel on the platform with a video of Sam Lake (Creative Director at Remedy) mimicking the Alex Casey-synchronised coffee sip. The screen then moves to the right, with a group of developers below the staircase making the same movement.

The video has since been watched 43,000 times. To promote the new channel, the debut video has been shared on Facebook and Twitter. 

At the time of writing, the developers have collected 2125 followers and 5876 likes on their TikTok channel since its creation on Friday morning. If you haven't already, make sure to check them out at @remedy.games.

@remedy.games Having a coffee with @samlakewrites. #gamedev #coffeetiktok #coffeetime #videogames #siptok #foryou #fyp ♬ ROZ - Bryan Wilson

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