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It’s final hours were spent, just as the many hours before it, doing one damn thing after another. While we’re in the mood to tighten and tinker, perhaps the greatest sin Isolation committed was its inability to end. The tools of action – the shotguns, the craftable explosives, the flamethrowers – can be used, as Amanda Ripley handily demonstrated, to tighten the bolts of terror. Or maybe it could straighten out the frayed ends of Fincher’s underrated film. If Isolation was the first game to do Alien proud, perhaps Blackout could right the wrongs of Colonial Marines and do Cameron’s sequel right. There’s no reason the mood and menace can’t survive such harsh atmospheric conditions just ask James Cameron. You can multiply the monsters, swap your protagonist for a platoon, and give everyone guns. Fox is well within in its rights to pinch it back, and if Blackout wants to delve into shooter terrain, it doesn’t have to mean the end of the world. The Chronicles of Riddick: Escape from Butcher Bay cribbed its setting from Alien 3 – with a prison that seemed to double as an oil rig, beaten by the winds, on a planet with a sky like dried blood. If we take the name ‘Blackout’ (20th Century Fox does have a trademark for it) and imagine the places you’d least like to see the power fail, then what makes the shortlist? Easy, just ask David Fincher: a prison. What’s more disturbing: seeing a man-made structure succumb to the parasite burrowed deep in its chambers, or quietly willing it to happen? After all the propaganda posters adorning the station walls, their smiles hermetically sealed, it was a relief to see the place torn open by a force from hell. Poking around its setting, Sevastopol, felt as though you’d been swallowed by a whale – its corridors the colour of bone, the guts of its engine hangars rumbling with digestive boom. The main reason to play Alien: Isolation was to see a space station impregnated – to witness the clash of corporate sterility and uncontainable fertility. So what should Alien: Blackout be doing? First things first, if it’s to succeed, it needs a good setting. We loved Isolation because it came unclouded by combat. Good though Alien: Isolation was, nobody can deny it looked all the better for following the gung-ho and gungy Aliens: Colonial Marines, a game infested with bugs of the wrong kind that most wanted nuked from orbit.
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President Aaron Loeb has said that Cold Iron is creating an ‘action-packed persistent world, steeped in the mysteries of this beloved Alien universe.’ Yikes, action-packed? Meanwhile, a listing on Cold Iron’s careers page describes a ‘shooter set in the Alien universe.’ A shooter? Surely not. Nevertheless, we must trust the folks at FoxNext with delivering the goods. Solid MMO credentials to be sure, but the last thing an Alien game needs is superheroes, and – though you might pray for it when you hear that telltale hiss – the power to beam up would somewhat ruin the suspense. The cause has been taken up by Cold Iron Studios, which was founded, in 2015, by three developers from Cryptic Studios – who made City of Heroes and Star Trek Online. The next game in the franchise, which may be named Alien: Blackout, isn’t being made by Creative Assembly. How do they follow that? Well, they don’t. Here was a game that understood, finally, the essence of the franchise: the quiet, the glacial stretches of uneventful mood-building, like the piling of paint on a canvas, and the dread of death should you shuffle into that which hunts you. Since the release of Alien, in 1979, no one had managed to make a game that did justice to its vision, and then Alien: Isolation drifted through the sucking void to wake us from our hypersleep.
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In 2014, Creative Assembly answered a 35-year-old distress beacon.