Narrative Therapy and Alan Wake: The importance of externalizing the problem

Are you familiar with narrative therapy? Chances are you probably haven’t heard of it since it is a newer theory of psychotherapy. Developed by White and Epston in 1990 is a constructivist based theory (see Narrative means to therapeutic ends).  Instead of the counselor/therapist seen as the expert, the client is seen as the expert of his/her own life. The goal of the therapy is to have the client “rewrite” his/her narrative. This is done in four steps: The problem is identified and externalized, themes and stories that contradict the problem are identified, action is taken to “undermine” the problem, and the new narrative is performed in front of significant people. The main techniques of the therapy use are bibliotherapy (writing and reading to heal psychic scars), certificates, and discussion. Language is how people communicate and is how people tell each other their stories. Language/words have power: the create stories that people inhabit. As such, White and Epston referred to it as a theory of “literary merit.” Narrative therapists do not see power as something that “boxes” people in; it constantly builds people up (both negatively and positively). Thus, everything people learn can be used to either help them grow or hinder their progress. So how does this fit into the game Alan Wake?

Let’s review the overall basic plot of the game: Alan and his wife go to a small town for a quick vacation and she goes missing.  Alan is suspected of foul play and all sorts of insanity occur. As such, there are two distinct possibilities. First, either everything that Alan claims (the Taken, Babara Jagger, The metal band based on Norse mythology) is real. Alan’s luck (or bad luck) influenced the events that force him to untangle the events of life. Or, another plausible explanation is that this all a story Alan has concocted to make sense of his life and solve his current problems in order to show Alice how he has changed. Both ideas are highly intriguing.

It’s the latter that seems a bit cooler.

By following along narrative therapy’s idea of externalizing the main problem, Alan externalizes many. Since Alan’s career is that of a writer, he uses his mastery of language to craft a story in which he is able to save his wife from darkness (literally and figuratively since she is terrified of the dark). While there little evidence supporting most of his issues since we see little of his past, there is enough to infer. First off are the Taken, black shadows that almost mean nothing since they keep returning and are practically endless force of frustration. It is possible that he is externalizing everyday issues and bringing them to light. Some Taken are more important than others, such as Stucky who was completely absorbed into his work. Alcoholism is implied, but there is little to prove the concept. Alan may drink a lot (we see an episode of him waking up from a hangover and he knows Alice is going to be ticked at him, and another episode with him and Barry getting drunk at the Anderson farm), he never pines for a glass. He is constantly concerned with what is happening in the here-and-now. It is more likely that it is alcohol abuse, which he uses the substance in inappropriate times and it gets him into trouble. Then there is Dr. Hartman, a man who manipulates people to for what he wants (in terms of literature, he is a foil for Barry). Since he lacks a heart, he potentially represents Alan’s coldness for his wife and those closest to him. Cynthia Weaver weaves (pun quite intended) a tale of love and loss that somehow sounds vaguely like his own. The main thing here is that Alan isn’t going to let his story end on a sad note. He is intent on making things work. Finally, there is Barbara. She is the harsh fan base and the critics who tear apart works for not being creative enough. This is seen all the time in the review world –and as a reviewer, I’m probably no different to an extent. Critics expect things to change and grow and take things further than before, for a writer to mature over time. Then there are the fans who don’t really care. Jagger’s edits takes his writings to the extremes of the fan and critic without taking in Alan’s vision. She represents the so-called “machine” that drove Alan for his massive book tour: making everyone happy but himself.

The most important part is that he recruits an audience for his narrative. This audience is Barry and Sarah. Barry is important because he is Alan’s best friend. Yes, he is coming to terms with how he found Barry annoying. The reason Sarah is recruited is a bit of a mystery. It could be because she is a woman, a female voice needed to balance Alan’s masculine thinking to present to Alice. It could also be because she was available and trying to prove to the powers-that-be how he has changed. It could also be argued that Sarah is Alan’s foil since Sarah comes off as a realist, completely grounded in reality and refuses to let flights of fancy grab a hold of her. Her partnership provides verisimilitude to Alan’s new narrative.

If Alan didn’t externalize his problems, then his attempts to “save” Alice are all for naught. It would be like the “Maria Ending” in Silent Hill 2: Nothing has been learned and the same exact mistakes are going to repeat themselves. Alice would send him away and he would be forced to face losing her from his story. As such, he has to face his fears and troubles, externalize them, and then remove them from his story so he can “rewrite” his life. This is how he finds significance.

*Poster’s note: I am not certified in narrative therapy and uncertain if this how a narrative therapist might view the overall plot. This is meant to be seen as a literary analysis and provide some depth for the game’s plot.