#diana marmont

[a-finnish-janitor]

The Dark Presence, looking at the computer generated nonsense Diana Marmont is trying to pass off as Wake's writing

[meontix]

>take a deep breath and..?

[velvetjune]

The Lake House | Alan Wake 2

Their first years at the Lake House were good. Challenging, but not insurmountable. Not for them. Gradually, thoughts fell into their heads like drops of dark water.

“Why does she get all the credit?”

“Why does he get any credit?”

With that, a crack formed in the Lake House.

— Alan Wake

[judyalvqrez]

Not to take away from the anti-ai commentary because it was honestly one of my favorite things about the dlc, but I think that the fact that when they tried to replicate Alan's writing with an actual human being and that also failed, it speaks volumes of how grossly wrong the FBC and the Marmonts are in their understanding of what Art is. You can admire someone else's art, be inspired by it, take aspects of it and incorporate into your own art with your own artistic touch, but when you start looking at art and think I want to do that exact same thing, in the exact same way, without putting anything of your own self into it, that's when you seize to be an artist. You're just a glorified copy machine at that point.

That is exactly what they wanted Ed to be, a copy machine. But Ed, being a true artist at heart, did not become a copy machine. Through his idle dialogue, you can clearly hear how much he actually admires Alan's writing (even if he doesn't know what it is), how he starts forming his own interpretations of it and meanings behind it, meanings that make sense to him specifically, and THEN he starts incorporating it into his own writing. Alan's writing inspired him, breaking him out of his own writer's block, but it was never his intention to imitate or copy Alan.

Of course, Diana hated that. This is not what she wanted, this is not what she was promised. And it really shows you not just how cruel she is as a person, but also how fucking stupid she is despite being a scientist, that her one big idea to redirect Ed into the "right" artistic direction was to introduce abuse and violence into the equation.

[emmaswanned]

diana innovated.

[veryfancydoilies]

Me when Dr Diana Marmont said that Hartman’s was “sloppy” and showed no regard for the scientific method: DRAG HIM

[cokedupblonde]

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[aerynlallaboso]

#love this op!#lake house dlc#alan wake 2 spoilers#the AW chalk board in Quantum Break also says that: ‘she can survive without him; he cannot survive without her’#also thought about this with ​the page Ed wrote of the Marmonts being at a lakeside cabin with marriage problems before Scary things happen#Alice and Alan are reflected in so many strained or destructing relationships lol#the Bookers; Casey and Estevez being divorced; Saga with David when reality was changing; Night Springs DLC Lisa/Actor#and all of them had to do with their jobs conflicting with their marriage in some way 😅#sorry for the essay in the tags op

nooo i love tag essays also thank you for pointing out the lakeside cabin page i totally skimmed over that one! i really enjoy how many ways alan/alice's fucked up relationship gets refracted and paralleled... divorce ❤️

i still haven't had time to replay but one additional tidbit i noticed checking name meanings (bc RCU characters love to have meaningful names) is that diana commonly means divine or heavenly, which aligns neatly with alice ('noble')

aw2 lake house spoilers /

i really love how the marmonts are like. evil divorced alan/alice

i've only played through once so far but the first place it really struck me was this email late in the dlc, specifically the 'you always needed me more than i needed you' because it lines up exactly with what remedy have said about alan & alice's relationship (in the aw1 commentary), that he needs her more than she needs him

their background is similar in that they graduate and head off to their new jobs as co-heads of research (alan and alice hitting new york 'dedicated to/by their creative ambitions') but things fall apart for them because diana feels that jules is mismanaging things and getting too much credit (any credit) for their work -> mirroring alan's career kicking off and alice's being sidelined. jules's project also seems to be the one that ends up working (albeit with terrible consequences). the implication that alan might be responsible for their relationship falling apart via the manuscript is really interesting because. well. he was (primarily) responsible for his and alice's relationship falling apart prior to aw1... wonder if he's projecting a little

i have to replay to dig into it more but some other smaller things i noticed:

jules getting diana to participate in the elevator video up top parallels to me alan getting alice work doing covers for his books - it seems on the surface like a husband/wife collaboration, but it's more about the husband's personal public presence than a joint production (see also jules's? posters being everywhere... i assume they're his initiative bc his face is on one of them, but diana's is not)

jules doesn't really look like alan in person but me & a friend both mistook the bust in his office for alan initially LMAO

the nut allergy email plotline reminded me inadvertently of alan's skepticism towards stuff like homeopathy (noted by barry in the first game) turned up to 11 - jules is passive-aggressive about it rather than aggressive but he's still, in the same vein as alan, someone who is very dismissive towards stuff he doesn't believe in

[chanelguccibags]

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[almightyrozenidiot]

Remedy fans: Ugh Emil Hartman is the worst! No one could possibly be as bad or worse as him!

Remedy's writers creating Jules and Diana Marmont:

[alittlehatboi]

So, now that The Lake House DLC for AW2 has come out and threw some lore our way, I want to put my thoughts out there for the definition of Art per The Dark Place's/Presence's logic and what kind of Art affects reality (and how it affects reality) near Cauldron Lake.

Spoilers for AW2 and it's DLC and Control ahead.

So, firstly, the artform of the Art itself may not be as important as I (I do not want to imply that my opinion was the consensus) had assumed. As the Lake House implies through one of Diana Marmont's recordings, the emotions (in the case of Rudolph Lane and Alan Wake, distress/misery) of the artist has correlation with the amount of power an art piece has. An example within the DLC is Rudolph Lane.

The capital-P Painting that's the catalyst for the events of The Lake House is created after the painter (Rudolph Lane) had experienced years of abuse in the captivity of the Marmonts. He made a 'self-portrait' with his blood, literally pouring himself and the hatred for the Marmonts, the misery and pain that he had experienced up to that point into it. Rudolph dies immediately after creating this Painting from blood loss. This emotional act of creation resulted in reality changing.

This stands in contrast to the previous attempts by the Marmonts to reverse-engineer Art by having an AI replicate Wake's writing. This AI-Wake was not recognized by Cauldron Lake as Art.

We can reason that the lack of emotion in the AI's Art was the leading cause of failure in this endeavour.

So, we could draw a conclusion that it is not the artform that makes the Art, but the Artist, the raw emotion put into the work (Rudolph Lane, Alan Wake). The overwhelmingly negative emotions of the Artists (Rudolph's distress in captivity, Alan's 13 years in The Dark Place/Alice falling into the lake) should not be excluded as a factor here too, as it seems the Dark Presence latches onto dark and grim subjects and subject matters more often than not. (Night Springs DLC all being Alan's attempts to write, all having a much more light-hearted tone, all failing to come true.)

Though there is the outlier of The Old Gods Of Asgard, who seem to put positive emotion into their Art and still make it come true. But that being a part of Alan's/Scratch's story might be a variable. But then again, Control (at least, not entirely) isnt written by Wake, and an OGOA song has power there.

So Art, as per The Dark Place, is any (not sure about 'any') creation that the Artist has put considerable amounts of emotion into.

Now that we know what Art is, let's discuss it's effects.

Even before Rudolph Lane made The Painting, his art seemed to have prophetic ability. The FBC couldn't confirm the accuracy of this future-sight because they just couldn't know the events depicted won't happen, but we know at least 40% of these paintings came true. This poses the question: Is Art created near Cauldron Lake changing reality or merely predicting it? While we know it to be the former in the case of Alan Wake, literally changing the history and relationships of multiple characters during Return, but with Rudolph, it is a lot more ambiguous, as we don't have Saga, who can see through the story to confirm a reality shift. Same with the OGOA. Are they predicting that the AWE in Ordinary will happen, or are they making it happen? And while Alan does change reality in AW2, there are some cases in which he seems to predict or recap something that he shouldn't be able to (inner thoughts, FBC History), not outright change it. Diana Marmont raises this exact question when a page of Return concerns her history in the FBC and relationship with Jules Marmont. What came first? Alan's story or their own choices? While it is not confirmed that Alan didn't change reality to instigate conflict between the Marmonts, Diana herself seems to believe that her deteriorating relationship is her own/Jules' fault/responsibility.

So, the question is: would have the events at The Lake House happened if Alan hadn't written the story, or would they have still happened, just without Estevez (or in the case of the main story, Saga) to put an end to it?

[velvetjune]

replayed The Lake House dlc, so more of my thoughts under spoilers! (This is long)

I cannot believe how many things I missed during the first run of this game:

1. The whiteboard of the AI Alan Wake manuscript pages produced with evaluations. One repeating the word “scream” for half of a page gets praise for its wording and tone. “Pistol looked at flashlight in shock.” It must’ve been so much fun for the writers to make up all of these.

2. Jules Marmont has extra footage directly after the Dr. Darling video on the second floor if you go back. I don’t know what exactly triggers this video, but it was when I was doubling back to get the black rock weapon.

3. The research archives appear normally from above, then shift multiple times, before returning to normal (… as normal as the shelves infinitely repeating is). This happened in the first playthrough, but I was stressed over my survival and never noticed.

4. The research archives actually go through areas with different mediums/classifications. There’s tagged artifacts/photos, tapes, film, books, and it ends with paintings. It’s nothing mind bending, but the detail was nice to see.

5. Diana’s tape on the tortured artist and human experimentation. This, with Jules’ video, only added to their monstrosity.

I wouldn’t be surprised if the Black Rock Launcher is used in a similar way in FBC Firebreak. It wouldn’t be the same, but this felt so much like a set up for the kind of strange and innovative tools that FBC employees experiment with, especially when trapped in a lockdown at the Oldest House with access to Black Rock Quarry. Maybe Emily can finally make her black rock knives!

It’s hard to not think of Alan and Alice when it comes to any other creative characters in relationships in this game and the hardships with balancing that sorta life. There’s the Bookers with Tammy, a successful true crime writer and attempted poet (!!!), and Ed, a playwright trying to get recognition and feel inspired. It feels right that he would end up taking Wake’s work to write the Marmonts (also with shades of Alan and Alice) into their own supernatural lakeside cabin, fit with a marriage that’s falling apart.

The actors for both Marmonts are incredible. They both perfectly portray their outrage, jealously, and stubbornness that’s consuming their relationship and work. This mad scientist drama could easily end up too cheesy, but they sell it. Love that these negative emotions and their attempt to enforce it on artists for their suffering lead to the crack in the lake house through them. There’s so many things to pick at in this dlc, whether for the relationships, work environments, ai, artists, etc.

Only for this bullet point, but Final Draft Spoilers: Diana thinking of Jules’ smile as her last moment before being taken, while Jules’ last moment (‘Breakthrough in the Lake House’ page) is feeling pride over his work…………

I want more office drama for horrible mad scientists for Control 2. Honestly I want anything Control 2

After briefly checking online, I’m proud of myself for quickly solving the calendar problems. I actually really liked this kind of simple task to find little clues and, by doing so, getting to know the people through their passwords. I’m terrible anything with puzzles, so very grateful to have this over something elaborate or. math.

The Dylan scene is also skippable, which is unthinkable (one of the best parts of the dlc!). There’s all this disgust and horror from Estevez towards the Marmonts’ control of the Lake House, only for it to reveal that Dylan was also trapped there and experimented on by Dr. Darling and the researchers there (all approved by Trench!). Estevez isn’t aware of this, but it was a cold reminder of how truly awful it was for Dylan and how fucked up Trench and Darling are for kidnapping a child…. And then abandoning him in a small prison cell.

The horror elements in this DLC were nice, although not extreme. Tbh I don’t consider any of Remedy’s games to be scary, even if they’re still horror, but this had good moments! The distortion of the environment and constant looping made me doubt myself. Jules’ death as a taken was violent (albeit obscured), to the level of Nightingale’s cult attack, if not worse. Loved the emotion from the Marmonts seeping into their taken personalities. Aw1 had more of this and it made the Taken far more upsetting and real.

Sometimes Alan is creepy and I enjoy seeing him through other characters’ eyes. Alan/the Dark Place manifesting manuscript pages that would perfectly dig under the Marmonts’ skins and infect them was unnerving and a little funny. shows they never had a chance. While it’s not physically like that, the words describing the Lake House slowly being sunken into Cauldron Lake and the water dripping in—Chef’s kiss

AWAN had a conversation between the scientist where she discussed fate and agency (…Alan’s indignation at her being remotely critical over her 😭 he’s such an asshole). It reminded me of Diana’s notes on whether Alan wrote and controlled her life. There’s some agency that Alan takes away just by guiding these events and trying to influence people through a story. How much is him actually controlling or changing things is another question, but having that kind of power is scary, especially from another’s POV (Saga, now Estevez and the Marmonts)

Estevez seeing Alan typing the later event of her meeting Saga and THIS being what led the FBC straight to her was a great scene of wrapping everything up. I liked the weird dark goo in the Dark Place. Fun stuff!

Poe <3 Loved this promo of her new song. 6 deep breaths coinciding with Estevez’ reassurance to herself, although the lyrics also could apply to others. Dylan trapped in his cage, yet able to connect to these worlds; Alan (+Alice) in the dark place, then post-game, ‘finding roads everywhere’. I’m playing the first Alan Wake, so the breathing made me immediately think of the deep breaths taken by Tom the Diver throughout that (+ the addition of another voice breathing near the end)

Clay Murphy wrote the screenplay to this and to Number One Fan (Night Springs), which means he might be the funniest person ever

[kiyrian]

After finishing Lake House DLC I cannot help wondering - how much of the relationship problems Marmonts are facing is really them and how much it is Alan writing? I mean, the reason for their arguments and a rift forming between them is very understandable and also a tale old as time. A tale told by Alan and later on commented by Diana. After all - does it even matter? The arguments did happen, they did horrible things to people, they opened a rift to another world.

Maybe even without the lake and Alan they were simply "like that" - scientists who valued progress (or more likely the prestige of discovering something first) over human life.

But maybe not. Maybe it would have never gotten this bad. Maybe the lake would corrupt them but with Alan it had a purpose, it had a clear aim.

And Alan did it to find the best ending, sure. But he's the one creating the rules for himself, the one sticking to a genre that needs heroes, monsters, and sacrifices. What will happen once he realizes that it wasn't necessary? That all this suffering was due to him running in circles and being stuck in his way?

What I'm getting at is that I hope to see that once everything is done Alan gets confronted with the consequences of his writing and we see how he handles it. Not as a short TV sequence of him losing his mind, not as a miscommunication sequence between him and Saga, and not just the end result of him refusing to write.

Let him face it, deal with it and decide to do better now that he is even more powerful. Or not, let him deny it and spiral - after all maybe he did doom a marriage (and several lives). Just show it to us

[subjectsix]

the fbc (in genereal :) ) and repair !

one of my rats closed this post while I was working on it and I lost the progress, I was very sad ;u;

Power Cores are heavier than Kiran remembers them being, but nothing she can't handle. She rolls her shoulders back, lifting it up and pulling it close, letting the glow cut through the darkness. It lights up the posted instructions behind it, noting to remember to life with your back. She huffs out, something just shy of a laugh.

At least I know how to follow procedure.

She's never been afraid of the dark, but knowing what Cauldron Lake is capable of makes it harder to steel her nerves. Bureau work, especially Investigations work in the field, lives by "expect the unexpected". Darkness come to life. Staff members missing.

Living paintings. Bullshit geometry. If she never has to think of the word euclidean again in her life, it will be just shy of bliss.

Sparks shower out of the wires above. She hopes its enough to keep the Darkness outside at bay, thick and viscous, muffling the sound of the rows and rows of typewriters.

She hopes flicking the lights back on will fix those wires. Repairs are not part of her job description. Maybe if she had some electrical tape. Maybe find a step ladder, a pair of work gloves. That'd be her luck. Add it to the list of things she's cleaning up for Research out here.

Violation after violation of the Ash Act. Unbelievable.

Her team might have to make some arrests. HQ being dark adds an extra level of difficulty to it all. Sure, she has people she still reports and answers to, but not all the paperwork ends up where it needs to, and the split leadership between all these sites... it's a wonder someone hasn't tried to declare themselves director yet.

Maybe they have. Look at the Marmonts.

With a huff, she slides the Power Core into place over the receiving socket, and it clicks right in. The sparking wires surge-- a blinding confirmation that power is back (ish). Once she's pulled the lever for the lights again, the room changes, blocking her old path and repairing the strips of wires overhead.

A fair trade-off. The less time she has to spend in here fixing things, the better.

Her flashlight cuts through the darkness outside, illuminating the rows and rows of... what did Diana call them... ATDs? They echo on forever, endless.

The Darkness weighs around her shoulders.

The paint pulses, making her twitch, drawing her attention, grip tight on her flashlight and sidearm.

Light brings the room back into shape as she pulls the lever.

Kiran blinks, takes a deep breath, and steels herself. She's got to move forward. Deeper into the belly of the beast.

one word prompts

[taniushka12]

I don't........... understand the timeline here.............. presumably return 3: local girl happens the day after the first two chapters and at the end of return 4: no chance is when estevez is introduced

the dlc being before all that makes sense but if diana kidnapped ed booker that would put it At Least after the events of return 1, and by the way diana talks about him he's been there for Some Time (short, but i'd say more than a day) AND it'd mean the marmonts got taken like right before estevez got into the building (which I guess would make sense with how ed is so chill and just now asking for some food...)

i guess that answers my question but good god, all of this happening in like A Day is insane, and after this estevez has the entire Scratch thing this woman really cant catch a break, literally the lake house's and kiran estevez's very bad not good day(s) 😭😭😭