I agree with this, in a lot of ways it works better for me as a Portal 2 sequel than a Half-Life sequel.
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russell just kind of feels like they copy pasted wheatley and then just turned the dumbness down a little. that’s maybe my only criticism so far.
He gets in some nice Rhys Darby-isms at least; I’m fond of his sing-songy pleading, “that upset you? Oh, I’m sorry”
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so uhhh how much do those headsets go for again 
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you can get an old WMR headset for <=$200 if you look
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Play with it live:
https://devanbuggay.com/bspview
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Half-Life Alyx’s soundtrack is out on Spotify.
It’s published by Ipecac! Shoulda known Mike Patton was a Half-Life fan.
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Patton voiced the zombies in l4d and the rabid glados cores in portal 1 iirc
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Unrelated to HL, but wasn’t he the magic tentacles in that Starbreeze game too?
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yes he was The Darkness
You can feel him, see him, hear him today in many games
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He was also the Bionic Commando in the 360 era 3D one, IIRC.
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well those certainly all are methods of crazy
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was Half-Life 2 the first game to evoke the sense of “you are literally walking through a piece of abstract concept art” (for better or worse) with its final chapter in the citadel? I’m wondering if that alone may have been the catalyst for so many artsy immersive exploration games later made in the source engine
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Thief, perhaps
edit. to be honest i’ve always thought endgame acceleration toward psychedelic fantasia a scifi tradition with a long history of precedent in games, from ultima to kings field, xen to the citadel, etc.
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System Shock 1 as well, with the Cyberspace. Silent Hill 1? I love it when games careen toward an end of logical space. One of the end areas of MGS2 where you fight the RAYs is decorated like cyberspace.
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Honestly every linear narrative game that doesn’t end like 2001 is a disappointment
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