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Alien: Isolation


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As an aside, what would you say to a Blade Runner game by the same devs? I'd say "Yum Yum!" So long as they improved the human characters. Being hunted down by Roy Batty would be pretty intense! "I can see you!"

Have you ever played the old PC point and clicker Westwood released? It's pretty great. That sort of idea, but without the pixel hunting and in full 3D.

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I'm totally with Smitty in terms of the anxiety of playing through this. I love/hate the constant terror and anxiety throughout, it's just so unremitting.

It's also tweaking nostalgia for being a teenager and watching the films, seeing those environments lovingly recreated and wandering around in them is glorious, with the sound and lighting totally enhancing the verisimilitude of the game. Then tha Alien shows up, stomping and snarling around.

Probably my GOTY.

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Any tips for one of the mid-game levels on this? I’m on mission 10 or 11, I think,

which is the one where I’m trying to activate some circuit breakers in a distribution centre sort of thing, while fending off the alien with a flamethrower. I’m on the last bit (I assume), where I’ve got to activate a computer in the middle of a big room, then trip a couple of levers - but I’m finding it incredibly hard because the alien doesn’t seem to be very afraid of my flamethrower any more.

I give it a quick flame-rinse, but it only runs off for about twenty seconds at a time, which means I need to scare it off continually, and I’m running out of fuel. Have I messed up here by over-using the flamethrower?

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That was a bit vague. I think it’s called

ore processing, and it’s the bit where you first get the ion torch. There are a couple of circuit breakers to activate, and one of them is inside a shower / changing room sort of thing. The bit I'm stuck on is a big room with a save point and a ladder upwards on one side, and a computer and one of those android storage cases in the middle - the alien just keeps coming at me, hitting it with the flamethrower only scares it off for a few seconds.

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Ahhh right, I know exactly where you are now.

Basically, using the flamethrower on the alien will piss him off. Instead of flaming then trying to get stuff done, flame him to give yourself breathing room then hide. Wait for him return and calm down and then use one of the gaps in his normal searching behaviour to do what you need to do.

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I'm not trying to sound like a dick - but are you serious?

It requires a machine capable of internally rendering the game at 4k, then spitting it out onto a lesser resolution screen to give a really lovely kind of AA.

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I bought in the Steam sale and have just rinsed it over the last two days.

Really enjoyed it, to the point where there's not much I can say about it other than going through a list of things it did well. Fantastically realised art style, and the best performance I've had from a next-gen game. Every scripted moment got a reaction, especially

cursing at having to deal with more than one of them

, but more importantly the non-scripted stuff got just as much of one - panicking at every chittering screech, sitting back in my chair every time I hit a save point and waking up half the house the one time it found me under a table.

And just the general structure and design is fantastic throughout - at the start you have these big levels around which it can roam with exploration and multiple routes off the critical path, making it easy for you to move around where it isn't and as the game goes and you get a better handle on it, it constricts, forcing you to deal with being in the same room as it a lot of the time. By the end of the game you're not even relying on the motion tracker, just the general sound design of its movements.

Good use of restraint and variety within a limited toolset too - giving you a breather from the Alien, taking away your weapons, having you deal with a new foe that frustrates, and then giving you the tools to take them down and let that frustration out.

Honestly my least favourite thing about it is it's actually an Alien game at all. It's a weird expanded universe sequel to a series that had it's last iteration 17 years ago, which is probably the highest profile example of the industries fixation on catering to 35 year olds. It could easily be a faithful adaptation of a number of films, or it's own thing. One for the GOTY list at least.

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Too late, Rudi. Though I guess it's karmic justice for my having sat on the game so long without playing it properly.

Still, I wouldn't have known it was a spoiler if it hadn't been pointed out - I just thought it was a generalisation about scripted moments, but now I'm thinking... you know.

:(

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Too late, Rudi. Though I guess it's karmic justice for my having sat on the game so long without playing it properly.

Still, I wouldn't have known it was a spoiler if it hadn't been pointed out - I just thought it was a generalisation about scripted moments, but now I'm thinking... you know.

:(

JUST PLAY IT MAN. Put Destiny away, it's not fucking September any more.

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I bet it's very good; after all, just being on a set that resembles Alien, with a soundtrack that sounds like Alien, with an Alien, would do plenty for me. Most of it unpleasant, but compelling. But it's not a case of my putting Destiny away - I'd be prepared to do that. It's more a case of Destiny letting me go.

Anyway, by the time I've got round to it I'll probably have forgotten the spoiler, so it's not all bad.

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The only bits that I felt were fat or unnecessary were the:

Bit where you go on the blokes ship, which is just a weird non-sequitur involving walking about, one enemy and a gratuitous escape sequence (also Marco was right in that blowing everything up is the correct answer and I don't even know what they were doing with the plot with this). Even weirder was the introduction, where you're told to go to the Sci/Med section because something is going crazy with the systems and that "this could be our big chance", and then you get there and that's instantly dropped for messaging the Isadora.

And the bit where you get captured and escape near the end and escape over the train tracks, purely because it's already sufficiently at a time-desperate climax and it was just a bit gratuitous, if thankfully brief.

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The only bits that I felt were fat or unnecessary were the:

Bit where you go on the blokes ship, which is just a weird non-sequitur involving walking about, one enemy and a gratuitous escape sequence (also Marco was right in that blowing everything up is the correct answer and I don't even know what they were doing with the plot with this)

And the bit where you get captured and escape near the end and escape over the train tracks, purely because it's already sufficiently at a time-desperate climax and it was just a bit gratuitous, if thankfully brief.

They did that stuff at the end because they must have known, as Errant Signal says in his review, that their core mechanics just weren't compelling enough or able to deliver variety well enough to be able to allow them to build to an exciting finish, a finish that didn't consist of seeing the same thing you'd seen already 100 times.

They even briefly threw out the core premise of the game because they knew they couldn't do more with their slight mechanics. Pretty telling.

Which is, y'know, one of my issues with the game. It's stretching out its mechanics awfully thin over the play time.

It also has to be said that there is really no development for Amanda and that there is close to ZERO payoff for the reason she has come to the station. The little clip and her non-reaction to it is almost laughable. They didn't know what to do with the characters and aspects of the story. I really liked the voice performance of Amanda though.

Again, Errant Signal's review nails those problems. But I like him still feel it's a really good game and experience.

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I think that Errant Signal video is one of the less perceptive ones they've done. The gameplay stuff is subjective, I suppose - I didn't feel that the core mechanics were overstretched at all and thought the game was paced perfectly up until the last two chapters pretty much - but where the ES video really falls over is that they correctly identify the thematic stuff going on with Seegson and decline of the station and the working-class-future thing that the game has going on (and borrows from the film), but then ascribes this to an accident rather than the creators' intent, which goes beyond being uncharitable into willful denial of the most basic intentions of the writers and designers of the game. "I doubt that any of this is intentional" is the direct quote from it, after a very accurate assessment of the themes of the game. :lol:

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