In most games, this is where a chase sequence would end. My favourite example began by dumping me straight out of a school section into the face of an enemy and involved crawling beneath the foundations of a house to escape. Generally, though, the environments are complex enough to induce panic while giving you just enough of a hint of where to go next. There are a few where the developers are a little too nasty to the player, particularly during the midsection of the game, which largely takes place in a forest. They are good chase sequences too, mostly. Obviously, Red Barrels wants to outdo the previous game in terms of scares, and part of its approach is to up both the momentum and intensity of the horror. In fact, so often are you legging it away from some terrible foe that, although Outlast 2 is technically a larger game than the first, it has a slightly shorter running time (pun not intended). Outlast 2 prioritises being chased rather than being hunted. So it’s unfortunate that these sequences are far less frequent than in the first game. Red Barrels excels in creating hiding places that force you into a compromise, and it’s during these deadly games of hide-and-seek where Outlast 2 is at its strongest. Another much later sequence involves navigating a half-submerged mine, ducking underwater to evade the eyes of a patrolling heretic. At the same time, you’re effectively blind, feeling your way toward the exit, while constantly having to change direction when a torch beam sweeps across the corn in front of you. The corn conceals you effectively, meaning enemies can come within feet of you without being alerted to your presence. Arguably the best is one you might have already played, wherein Langermann is hunted through a cornfield by torch-wielding Christian zealots. Red Barrels couples this fracturing reality theme with some cleverly designed set-pieces. This lends Outlast 2 an increasingly surreal edge, casting doubt on whether Blake’s experiences are real or a religious manifestation of long-suppressed guilt. As you progress deeper into the game, the two locations alternate more frequently. For example, climbing through a wooden hatch inside an Arizonan shack may lead into the school’s ventilation system, while leaping out of a school window may leave you dangling over a cliff above an Arizonan river. What makes these sections particularly interesting is how they’re seamlessly interwoven with the level design of the main game. Threaded through Langermann’s journey is a secondary story about his time at Catholic school and his childhood memories of a girl called Jessica. Within this juggernaut of terror are some smarter ideas too. The game is not subtle, then, but I must confess that it is effective.

Outlast 2 enemies