Perhaps we should move this discussion towards this thread:viewtopic.php?f=3&t=507
Also what I did not mention here is that Kidman locks up Sebastian, saying "you are tainted now", only to join up with him a moment later in the bus-scene?
And what does the blue-light drop falling upon Sebastian from the sky mean? No explanation, or even a clue to this is given whatsoever.
And the part where you hear Kidman and Leslie speaking beneath the Cathedral... Why didn't she just kill him there and then? Since it is her mission to kill Leslie?
And Ruvik's history... One part of it says he was brought to the mental hospital after the fire. There he started working together with Jimenez and began training in neuroscience. He later returned to kill his parents. Another part of his history says that, after the fire incident, he was so horrendously scarred that his father wanted to forget about him, and locked him up in the mansion-basement. Ruvik escapes at some point and kills his father, saying "you thought you could just forget about me, lock me away?" He also kills his mother in the sweep, even though he knew his mother missed him and considered that her husband might be lying about Ruvik's disappearance.
What is good about Evil Within is the gameplay, the atmosphere, the level of graphic detail. The overhanging vibe of ominous, impending doom and being submerged in vast, outstretched desolation. I mean the feeling that comes over you when you stand in an old, antique study. Before you stretches out a destroyed city; thrown into chaos, now ruled by hordes of the possessed undead. The golden gloam of a settling sun falls into the room and shimmers on the hands of a looming, stately grandfather clock. The feeling that this copper glint gives off is the impression of a fleeting, inevitable time that molds concrete to dust and grinds mountains into deserts - the immovable oblivion of time that is felt at a quiet Sunday afternoon and that you know will one day foreshadow the end of the world.
That, and the grittiness of masked evil-clown killers, who murder for the heck of it. They hunt you. They stalk the neonlights of derelect narrow corridors, hunting for prey to torture in forgotten old parts of town where junkies and hookers now roam. And the brutality of the bosses and the weapons and the way you control your character: running, sneaking, sneak-kills, shooting and throwing grenades and then everything together. Taking this atmosphere and gameplay they have established, they can easily build a formidable sequel. Kind of like how RE1 set the tone for RE2, or SH2 and 3 compared to SH1. Unless they mess up. Which they probably will, following the previous "on rails shooter" comment.
Is there a way that we can write a letter to the creators of the game, or even to Shinji Mikami himself?