Started a new playthrough - only ever played the game in 2024 (twice).

Always like that Remedy have their made up brands.

The beer on the right says "Getingen" which means "the wasp" in Swedish.

I’m on my first run through the game and every time there’s a car on screen, and a couple of background billboards, this Archer quote goes through my head lol

In the early days of this game i played it with a nvidia 970 and had zero problems, then i had a 1070 ti, again zero problems.

Now i have a Nvidia 3070 ti, and i tought i could replay it in all its glory... but no.

Basically the problem is camera panning is not smooth... i dont know the correct term for it... maybe micro hitching (i know its not stutter). Basically feels like i m playing at 40 fps. Outside of that theres no frame drops, no frametime variations, nothing.

And i would love some sugestions.

Things i already tried:
- All Settings to Low = Zero Effect
- FullScreen Mode = Makes it Worse
- Hags off = Zero effect
- Full Screen Optimization off = Makes it worse (as expected)
- Force Vsync Fast or Adptative = Zero Effect (And since I dont play games without Vsync, the vsync off is out of question)
- Maximum Pre-rendered Frames 1 (Low Latency Mode "on") = Big improvement but still not playable (for me at least)
- Maximum Pre-rendered Frames 3 = No effect above 1
- Dxvk = Only a "notch" better than Maximum Pre-rendered Frames 1 (Low Latency Mode on)
- Mouse to 400 dpi = Zero Effect
- Mouse to 125 hz = Zero Effect

Any sugestions would be apreciated as i would love to replay it, but i cant in its current state

the game crashes as soon as jack says paul after the intro cutscene tried a lot of fixes nothing seems to work any ideas?

On Steam Deck I got this bug that all of a sudden the whole screen is really bright, almost white on white. But my brightness settings are normal and it only occurs now in the final mission.

(The black drawing is just to avoid spoilers.)

I already asked Gemini about this and the recommendation to turn off upscaling, Illumination to low in display settings aren't helpful, no effect even after restart.

Any other advice beside that? Thanks

Hey!

I released an ASI plugin that removes the 30 FPS cap from ingame cinematics.

I made it with the help of AI to analyze and decompile parts of the game code and inspect memory dumps. It was quite an experiment with Codex and Astra, and it ended up costing me several dozen dollars 😅

But now we can enjoy super-smooth cutscenes at higher framerates!

I've only tested it with the first few cutscenes so far, so feedback is welcome!

https://github.com/omouren/quantum-break-cinematic-unlock

https://www.nexusmods.com/quantumbreak/mods/13

Enjoy!

this is my first time playing this game and as soon as i got control I noticed and its very distracting.

I couldn't submit a video but if you skip through the images and look at the bikes you'll see it.

Can you find games like quantum break except the games I have played which are control, titanfall 2, echo Point Nova, ultrakill, severed Steel, hotline miami 1 and 2.

It's coming next year for PCs, PlayStation 5 and XBOX Series X/S. You can wishlist it on Steam here: https://store.steampowered.com/app/2360820/Tempus_Vitae/

Would it make sense to get the $1 Xbox premium subscription for two weeks then use GeForce Now to stream the game? Is that a possibility?

Hello everyone,

I made a custom theme of Monarch Solutions on Lumia 830 that appeared interestingly enough on this game (im not joking it appeared as a main phone of main characters on game like and in television series)

Hope you like it 💛

PS: Im from Poland so you're gonna expect a Polish on screen but hope that doesn't bother you to

Today I want to discuss the things Jack can do, how he does them, and how he manages to look like a flash of light to people around him. I want us to discuss how this guy is able to move in literal FROZEN time and still be able to dash and time-rush through it.

Think about it—traditional speedsters like Flash or Quicksilver move fast, but they are still ticking through time. Even at 99.999% the speed of light, their personal clock is ticking. If you put them in a scenario where time itself stops completely, their speed drops to absolute zero. They're just statues.

But Jack completely breaks the rules. During a Stutter, time is frozen at an absolute physical zero, yet his chronon particles let him step entirely outside the timeline. Not only can he move normally when the universe is paused, but he can actually layer his powers to slow down time even more while inside frozen time. That shouldn't even make sense!

Plus, when he does a Time-Dash, it's not just a passive bubble walking—he literally zips across space so fast he triggers sonic boom sound effects and has to physically slide to a halt to absorb the friction and kinetic energy. He can literally Time-Rush IN FROZEN TIME and Time-Dash in it. During the stutters time doesn't even exist for him, neither seconds, minutes, hours or days could pass by him during a time stutter, for him he's just exploring normally but for everyone else nothing ever happened.

How do you guys think the physics of his chronon fields handle that kind of ridiculous temporal stacking? Let's talk about it!

Hey everyone!

I don't usually post on Reddit, mostly because I'm Italian and my English isn't super great, especially when it comes to conversational stuff. My name's Mirko and I'm a massive fan of Remedy and the games they make. I'll always support them no matter what because I just hope they keep making games forever!

With ***Control Resonant*** on the horizon, I've been replaying *Alan Wake Remastered*, *Control*, and *Alan Wake 2* to refresh my memory and have all the lore fresh in my mind before the new game drops. I started taking notes, and since there were so many, I decided to put them together like a lore encyclopedia. I don't really know what else to call it, but I think it actually turned out pretty cool.

I wanted to share my work with you guys, hoping you'll enjoy it! Just to avoid any misunderstandings, I want to be completely upfront about how I put this together.

Everything is written from my own personal point of view, but I also grabbed info from a few sites—huge shoutout to the people behind the [*Alan Wake*](https://alanwake.fandom.com/wiki/Alan_Wake) and [*Control*](https://control.fandom.com/wiki/Control_Wiki) Fandom Wikis, which I used as sources to keep things as accurate as possible.

I also used **ChatGPT** for a few things: **formatting, fixing grammar mistakes, structuring the chapters so everything flows nicely, and translating words/sections from Italian to English.** I originally wrote the whole thing in Italian, so if any fellow Italians are reading this, feel free to check out the original version directly!

**The links will expire in 3 days**, but if anyone misses the window and wants one, feel free to send me a DM and I'll send it over. Maybe I'm overthinking it and nobody even cares, but I really believe in this project because I'm super hyped for Control Resonant!

[LINK ITALIAN](https://we.tl/t-B24yp0oUa4RtCkMB) \- [LINK ENGLISH](https://we.tl/t-0rjwHphLs6Xf3B9H)

Below are the first two chapters—hopefully they catch your interest! Thanks!

THE REMEDY CONNECTED UNIVERSE

A Story of the World Beyond Reality

CHAPTER I — THE BIRTH OF THE BUREAU AND THEODORE ASH

Before the Federal Bureau of Control existed, before the Oldest House became the center of an organization capable of observing and containing that which escaped the laws of reality, the United States already possessed a long and fragmented tradition of paranormal studies. Unexplained phenomena, objects endowed with seemingly impossible properties, and events in which reality itself appeared to behave abnormally had been observed for decades, but there was still no organization capable of gathering that knowledge and transforming it into a coherent discipline. The Bureau was born precisely from this necessity, when the American government realized that certain phenomena could not be ignored and, above all, could not be left in the hands of institutions incapable of understanding them.

Among the men who contributed to the birth of this new structure was Theodore Ash Sr., a fundamental figure in the early history of the Bureau. Unlike the researchers who would come after him, Ash belonged to a generation in which the boundary between scientific study, occultism, and paranormal phenomena was still extremely uncertain. The Bureau’s first classifications reflected this mindset: the events that are now known as Altered World Events were originally referred to as Paradimensional Occurrences, terminology that perfectly described the organization’s origins and its attempt to give a rational language to phenomena that seemed anything but rational.

Ash Sr. led the Bureau during this early period and helped build a structure intended not only to study what could not be explained, but also to prevent its spread. The fundamental principle would remain unchanged throughout the organization’s entire history: the public must not know. Knowledge of the paranormal, according to the Bureau, was not something to be distributed, because simply exposing the population to certain phenomena could be enough to trigger new incidents. Reality therefore had to be protected through secrecy as well.

When Ash Sr. died in 1964, the Bureau found itself facing a situation destined to completely change its future. His designated successor was Broderick Northmoor, a bureaucrat from the government apparatus in Washington. Ash had chosen Northmoor because he considered him a man capable of taking control of the organization, but neither of them could have predicted how profoundly that succession would transform the Bureau. Theodore Ash Jr., the son of the recently deceased Director and already destined to become one of the most important figures in paranormal research, would closely observe that transformation and would become one of the principal witnesses to the beginning of the Bureau’s modern era.

Ash Sr.’s death occurred just one week before a discovery that would forever change the organization’s history. On August 4, 1964, during an investigation conducted in the underground areas of New York, Bureau agents found something that should not have existed: an apparently ordinary building which, once entered, proved to be infinitely larger than its external structure could possibly allow. It was not simply an abandoned building. It was a place in which space, matter, and perception itself seemed to obey different rules.

It was the Oldest House.

And with it, a new era began.

CHAPTER II — THE RISE OF NORTHMOOR, THE OLDEST HOUSE, AND THE BOARD

Northmoor led the first major expedition into the Oldest House. What initially appeared to be a place impossible to understand gradually became something even more unsettling: a structure capable of changing, extending beyond its physical boundaries, and opening connections to other realities. The environments were not simply vast; they were impossible. The Oldest House seemed to possess its own logic and, above all, its own will. From the outside it was an austere Brutalist skyscraper, but inside it could contain entire sectors that could never have fit within its physical dimensions. Even today, it is unknown when the building actually appeared, nor whether its name has a literal meaning. The Bureau considers it a Place of Power, a location where reality itself is thinner.

It was during the early explorations of the Foundation that Northmoor came into contact with something that would transform not only his life, but the very structure of the Bureau. On a pedestal appeared the Service Weapon, an Object of Power connected to a reality called the Astral Plane. Northmoor picked it up and, through it, came into contact with the entities that would present themselves to the Bureau as the Board.

The Board was not a government in the human sense of the term. It was a collection of paranormal entities residing in the Astral Plane, represented through the image of an inverted black pyramid. Their intentions would never be completely understood, and their communication with human beings would always remain ambiguous, consisting of incomplete concepts, distorted words, and a logic seemingly distant from the human one. Nevertheless, their power was real. Through the Service Weapon, the Board established who would be allowed to assume the role of Director of the Bureau. From that moment onward, the organization’s leadership would no longer be determined solely by the American government or internal bureaucracy, but by an entity originating from another reality.

Northmoor was the first to pass that test and become the first Director chosen by the Board. The change was immediate. The man who had previously regarded the title of Director almost as a formality began to perceive himself as something much greater. His exposure to the paranormal forces of the Oldest House also granted him extraordinary abilities, primarily connected to heat and energy. Power, however, did not merely strengthen him: it fed his obsession with control. Northmoor began to regard the Bureau as an extension of himself and the Oldest House as something that belonged to him. His diaries and the testimonies of Theodore Ash Jr. gradually reveal the Director’s psychological transformation, as he became increasingly arrogant, egocentric, and convinced that he was destined for something greater.

It was during this period that Theodore Ash Jr. began to observe the relationship between Northmoor and the Board with growing concern. Ash was fascinated by the building, but he did not share the Director’s blind devotion. During his time in the Foundation, he began developing a theory destined to become fundamental: the Board might not be the guardian of the building, but a parasite that had gradually taken control of it. The discovery of Former, an entity that appeared to have separated itself from the Board, strengthened his suspicions. To Ash, the relationship between the Oldest House and the Board was not necessarily natural; it could have been the result of an invasion or some form of control.

Meanwhile, Northmoor continued pushing further. He ordered researchers to search for other objects similar to the Service Weapon and began speaking of a black pyramid he had seen during his experiences. The building seemed to respond to his presence and, as researchers attempted to stabilize its environments through Control Points, it became increasingly clear that the place was not merely a container for the paranormal. It was itself part of the phenomenon.

Northmoor would eventually become incapable of controlling his own power. His paranormal energy grew to the point of making him dangerous even to those around him. The Bureau could not kill him, but it could not leave him free either. The solution was the Northmoor Sarcophagus Container, a gigantic containment system built in the heart of the Oldest House. Northmoor was confined inside it and his own energy was used to power the structure.

The man who had desired absolute control had become a source of energy. The Oldest House continued to grow around him. And the Bureau entered its new era.

I made another fanart some like wallpaper or Billboard of Our main character Jack Joyce with his older version

I am sending the process of creating an ofc

Hope you like it 💛

PS: What's your favorite version of Jack

In the version of Sean Durrie or Shawn Ashmore?

"time is a wraith

at the point of no return

a memory of the light of day

time is ablaze

and so we burn

until the ashes of our lives

are blown away

wish I had the power to make you stay"

Was mainly wondering this out of curiosity I thought they did show up in one other area of the game but I could be wrong