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When not hiding in cupboards or rattling door handles, you'll also experience flashbacks to Blake's childhood, wandering around a deserted school in search of his old friend Jessica, while contending with things like blood-filled toilets and smoking, skinless phantoms. Temple Gate's apocalypse cult has its own homegrown prophet, Sullivan Knoth, author of a profanity-riddled testament you can piece together as you explore. So begins a 6-10 hour nocturnal struggle to reclaim your spouse, a trek that boils down to sneaking past mucky, scripture-quoting bumpkins or running obstacle courses with said bumpkins in hot pursuit. On regaining consciousness, he discovers that Lynn has been kidnapped by the folk of Temple's Gate, a wayward and highly unhygienic Christian sect who are convinced she's about to give birth to the apocalypse. Blake and his wife Lynn are investigating a murder in rural Arizona when their helicopter crash-lands, as helicopters do. The aforesaid dopey white knight is Blake Langermann, a photojournalist whose devotion to the craft is such that he'd rather film people than fend them off while they're killing him. The new Outlast has its moments as a horror game, thanks to some neat perception dynamics, but it's exceptionally short on subtlety or charm. The quintessential feminine symbol, it's by turns an apt and awkward thematic device for a story that is saturated with casual misogyny, in which women exist largely to be bagged, brutalised and served up as bait to yet another of gaming's dopey white knights.
#Outlast 2 full#
You'll spend much of Outlast 2 navigating by the glare of a full moon, whose light gradually shifts, in what could be a nod to Bloodborne, from chilly blue through malevolent orange to a ghastly, climatic red.