One Day Only Blade Runner Inspired Event Comes to Downtown Los Angeles November 2019

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If you’re a fan of science fiction films, particularly the Blade Runner universe, you’ll understand how big a deal the year 2019 is. The question on everyone’s mind is, what’s happening in November? Shoulder of Orion: The Blade Runner Podcast wants to answer that question. 


Exchange LA 618 S Spring Street, Los Angeles

Exchange LA 618 S Spring Street, Los Angeles

Located in the heart of downtown Los Angeles at the historic Pacific Stock Exchange building, just steps from the Bradbury Building (an iconic shooting location from Ridley Scott’s 1982 sci-fi masterpiece) comes an event sure to win the hearts of Blade Runner fans the world over. 

Featuring a two-hour panel with headlining guests, an hour Q&A and a private screening. 

Charles de Lauzirika, producer of Blade Runner: The Final Cut and director of the storied Dangerous Days Blade Runner documentary. 

Paul M. Sammon, film historian and author of Future Noir: The Making of Blade Runner. 

Joanna Cassidy, Golden Globe award-winning actor and Zhora in Blade Runner, also seen in Six Feet Under, Who Framed Roger Rabbit and The Package. 

Tickets start at $40 for general admission and go up to $68 for premium tickets.


618 South Spring Street

Los Angeles, California

November 13th, 12pm-7pm

Prices $40-$68

For more details check out the official website for the event

For tickets 

Eventbrite Site 


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Blade Runner 2049 was the long-awaited and highly anticipated sequel to Ridley Scott’s seminal film Blade Runner, released in 1982. When Blade Runner 2049 left theaters, the fate of the franchise seemed uncertain.

When the 2017 film left theaters, it did so quietly. On a budget of 125 million, and a lot of hope, the film failed to perform well enough to green light a sequel, continuing the legacy of its very highbrow successor, which had also underperformed. What 2049 did do, is energize and reinvigorate a hardcore fan base, particularly the only Blade Runner podcast: Shoulder of Orion.

“I loved 2049” says Jaime Prater, founder and co-hosts of the Podcast. “2049 is a masterpiece, a miracle of a film that has continued to move me intellectually, psychologically and emotionally unlike any film in the past five years. As a writer it was inspiring me to put my own stamp within the universe but in a very different way.”

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Prater’s ideas were flowing and he decided to write an hour-long audio drama set within the world of the original Blade Runner film and its prestigious sequel, 2049

I wrote 2020: Gethsemane in four days, and then I spent the next year with one of my co-hosts Daniele Ferlito honing the story and the world we were creating.”

 I called it Gethsemane as a reference to the the garden where Christ is handed his fate. The current socio-economic and political climate is rockier than it has ever been and I wanted to write a story that felt deeply personal, specific to Blade Runner while also speaking to everyone from every walk of life.”


2020: Gethsemane follows the lives of three Nexus 8 Replicants in hiding as they are confronted with a choice: do they risk their lives for something bigger than themselves, or do they remain safe?

“Such a treat to get new material that is so carefully crafted and ‘in world’ yet very much its own story”

-David B.

Gethsemane is set in San Francisco in the year 2020, just after the events of Ridley Scott’s film Blade Runner. It features an original score written for the drama by Patrick Greene.

“I listened to this fully last night. Let me just say, I found it astounding. This was a terrific job that captured the heart and soul of Blade Runner. I felt like I was within the Blade Runner universe as well. And the production, acting, writing, music, was so good. Like the first film, it wasn't an overly complicated story, but I won't forget its central character. And the hour transported me.”

- Paul W.

Gethsemane was released on June 24th via the official podcast website and is available for streaming on Apple Podcasts, Google Play, Spotify and iTunes.

Tunes: // Google Play:

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I had the honor of attending the Tongal via 20th Century Fox produced in-universe Alien short films at the Fox lot. The atmosphere was a buzz of excitement and expectation. As we waited for the screening to begin, I held court with friends from Alien vs. Predator Galaxy among others, talking about all things Alien. Having seen the trailers for the short films, I knew that what I would see would be sumptuous and well produced. What I did not expect was to witness films so expertly written and crafted, and wholly original.



My favorites of the six films are ALIEN: HARVEST, ALIEN: ORE, and ALIEN: SPECIMEN.

ALIEN: HARVEST, director Benjamin Howdeshell managed to magically conjure the aesthetics of Ridley Scott’s iconic lighting techniques while introducing three characters in the midst of a life or death crisis. The atmosphere of Harvest is fever pitch, from first moment to last. Howdeshell understood what makes an Alien film scary and he delivered in spades.

ALIEN: ORE is a short that’s a complete ensemble, each character believable and relevant. Considering the short amount time given to produce these films, what the directors were able to accomplish boggles the mind, with a setting that really worked incredibly well for the story. Twin sister directors, Kailey and Sam Spear not only created original characters, the visual effects work they were able to produce for the short were mind-blowing in context of the very small budget they were given.

Expect a full review of each film soon. With the Alien high school play making waves in Hollywood, and the release of these 40th Anniversary shorts, there’s no stopping the stories that can be told in the ALIEN universe. As we tip our hats in this 40th year since the release of Ridley Scott’s seminal and genre-changing masterpiece, the future looks brighter and brighter, or delightfully darker and darker.

The short films will make their debut on IGN one entry at a time starting Friday, March 29th.

JM Prater


Perfect Organism: The ALIEN Saga Podcast


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It's been fifteen years since Amanda Ripley's mother disappeared aboard the deep space towing ship Nostromo. And for fifteen years, Amanda has suspected there was more to her mother's story than meets the eye. In this new digital series reimagining a familiar and fan-favorite story, 20th Century Fox has expanded on Alien: Isolation by taking the cut scenes from the 2014 game and adding in new story beats to bring the tale of Amanda Ripley to life in a whole new way. Binge all seven episodes when they drop exclusively on and IGN YouTube on Thursday, February 28 at 9 a.m. PT.


Daniels. Alien: Covenant

Daniels. Alien: Covenant

There are quite a few rumors swirling around the ALIEN franchise the past few weeks and months. Admittedly it’s difficult to decipher what is true and what isn’t. The state of uncertainty that’s been confounding the Alien franchise fan community finds its beginnings in early 2015 when Neill Blomkamp announced his ALIENS revival project. For several months it was an on again off again scenario that continues to rear its head. From then it’s been one rumor or unsubstantiated claim after the next, leaving fans reeling.

What Is True? 

What we know is that the people in charge of the Alien franchise at Fox have gone on record clarifying the road ahead, putting to rest any notion of an upcoming film or a live action series in the short term. Those quotes can be found here. Is it possible there are very secret negotiations re: a new live action series on Hulu? Sure. Likely? Not really. 

Kane explores the egg.

Kane explores the egg.

Having personally met with an executive at Fox, on the lot in Los Angeles, I can confirm that there are no plans for a live action series or a film. More importantly, 20th Century Fox is in the last stages of a merger. They’re not in the position to allocate millions of dollars for a new Alien series or a film at this point, especially in light of the series of financial failures that have been produced. The acquisition of Fox by Disney is one of the biggest in history. 

What can be assured is that, for the time being those in charge of the Alien franchise want it to grow and succeed and hope the best for its future.  In terms of rumors, the latest from HN Entertainment that Fox is developing a live action series to air on Hulu, which Fox has a large stake in is categorically untrue no matter how plausible it might seem. 

We’ve witnessed these unverified rumors picked up by major and minor entertainment news outlets raising the hopes of waiting fans over and over again, just to be let down by the uncertainty of it all.  Don’t believe it. Being a fan of the Alien series has been a continued lesson in patience and endurance. With the divisiveness of the prequels and the uncertainty of the future, we (the fans) exist in a state of suspended animation.

A Thriving Colony


One place where the Alien legacy thrives is within its bold and passionate fandom. As Alien Day 2019 approaches (April 26th, named after the planet LV426) fans will converge on social media to commemorate and celebrate the 40 years since the 1979 original, and to get a sneak peak at what’s on offer from toy outlets and more.  Alien Day is also traditionally a time where notable Alien fan sites, podcasts, and blogs offer up their own content. 

From the Alien versus Predator Galaxy, Perfect Organism: The Alien Saga Podcast, to Yutani Corporation, Xenomorphing,  Ash: A Fan Fiction, and Oletheros (and more) each Alien Day is akin to a social media convention, with exclusive merchandise, podcast episodes, original content and more.  2019 marks the 40th anniversary of Ridley Scott’s Alien. 20th Century Fox, in partnership with Tongal will unveil several Alien-inspired short fan films as a part of their larger celebration of such a seminal year along with Perfect Organism Podcast’s soon-to-be-announced web series that will premiere exclusively on their YouTube channel. 

While the future may be uncertain, the fan community that surrounds and supports the Alien legacy shows no signs of stopping. 

JM Prater


Interview with Tommi Hartikainen, Composer/Sound Designer of Alien: Blackout

Twentieth Century Fox/D3 GO!

Twentieth Century Fox/D3 GO!

If you’ve played Alien: Blackout, you’ve undoubtedly noticed how hauntingly effective the soundscape is. Between the eerily beautiful music and the carefully crafted sound effects, Blackout has made an impact as a true sonic experience. We reached out to Rival Games’ Tommi Hartikainen, the lead composer and sound designer, to learn more about why this thing is such a joy to listen to.

How did you come to be lead composer/sound designer on a mobile game title? What about your background—in music, in design/mixing, etc.—made you well suited to this sort of project?

One can find a differing demographic of players altogether on mobile platform, and as the control mechanisms and the device itself are so different from traditional consoles or PC, it also creates new interesting possibilities for game design. We were excited to make the Alien franchise accessible to new players and put a new spin on it.

My background is quite colourful. I've worked as a [deep breath] game designer, writer, sound designer, musician, band leader, recording-, mixing- and mastering engineer, music producer, arranger, composer, dialogue editor, re-recording mixer, foley artist, field recordist … and my latest title of audio director just stuck to me in a good way. Having a firm grasp of most of these jobs is a must, and the experience I have acquired from music production, live music, installations, theatre, film and gaming is a substantial bonus.

Were you a fan of Alien before this? What’s your history with the franchise?

I was just a kid when I first saw Alien and was immediately enthralled and inspired by it. It is still most definitely one of my all-time favourite films. I have watched all the movies multiple times and still find new details and qualities I have not noticed before. The first time I was personally pitted against a xenomorph was either the really fine Alien 3 on Sega Mega Drive (as the Genesis was known outside North America), or the acquired taste that was Alien on Commodore 64. I do think I was late to that particular party.

What was the creative process like during Alien: Blackout? Were priorities, aesthetics, etc. laid out clearly from the beginning? Or was it more iterative?

Yes, we had quite clear goals, references and inspirations from the get-go. All departments did get to define their own vision with those goals in mind. We were aiming to capture—above all else—the atmosphere of the first movie, while incorporating that into what we do. We wanted to stay true to the franchise, but also make the game our own.

What are some of the challenges specific to designing for a mobile context? Did you find them creatively liberating?

Technical challenges are extremely motivating. Working with or around limitations, and to make best use of unique possibilities mobile devices offer can be very inspiring. The mobile platform presents specific challenges most notably with available hard drive space and to a lesser degree with processing power. Taking into account the humble default device speakers some choose to play on influences mixing greatly, as it must be taken into account.

The musical score is deeply evocative: string-driven and melodic, but somehow disembodied. It’s relatively static, harmonically—there are lots of pedal points, etc.—but it never feels like it’s actually at rest. It’s a wonderful sonic texture. What lead you in that compositional direction?

Heartwarming to find people enjoying the soundtrack! The hook with the music used in-game was that I wanted it to react, on more of a subconscious level, to the game events unfolding. It had to establish the underlying mood while still staying musically relevant, yet not forcing itself to the forefront. The layering- functionality presented its own challenges, especially to the development of themes and sound envelopes, so to speak. I wanted to reflect the feel and specific qualities of the films while...quite literally bringing something of my own to the mix. The songs used in the static set-pieces are a bit more straightforward in nature and they were in a position to afford growing more eventful, while still maintaining the atmosphere as top priority.

What are your favorite tools of the trade, musically speaking? In terms of notation software, digital audio workstations, mastering software, MIDI devices, etc?

I’d hate to bore you to tears, but I probably will, as I’m using the industry standard (latest) Pro Tools as my DAW and only recently hopped from Finale to Sibelius as notation software. Nothing out of the ordinary. I do maintain a colourful collection of gear from esoteric, weird vintage stuff to common studio mainstays. Microphones, preamps, rack gear, alternative monitoring, synths, midi controllers, drums/percussion, a variety of stringed instruments and their assorted stomp boxes, amps and cabs. I did recently switch to EUCON-based Avid Artist series in DAW controllers as a fun opportunity turned up. I have always found tactile, intuitive and ergonomic tools downright essential. Especially in the high-speed world of game audio. Mostly yawn-tier stuff, though, as I feel there’s a place somewhere for every single piece of audio gear ever made.

What’s your favorite score from the Alien series?

I’m very much into a lot of them for completely different reasons, but should I have to pick one, I’d go with the original Alien by Jerry Goldsmith. Groundbreaking, evocative soundtrack.

What came first: the score or the sound mix? Did they influence each other at all?

That’s a really good question! I started creating the soundscape for the game by recording, designing and mixing the basic ambiences of the space station, the humms and dronings, and the metal sounds that are very prominent throughout the game. They had to cut deep. The music started to take a sonic shape around that and yes, there is a deep level of reciprocation and a division of certain molds between the sound effects, voice overs and the soundtrack.

An added challenge was incorporating the original sounds we received for use from the franchise’s archives. Mostly xenomorph- voices to stay as true as possible to the world of Alien, but also some foley for it and some specific environmental sounds to take some load off from the tight schedule. I had to painstakingly compile, extensively layer, re-edit and re-mix these to form the cohesive aural picture I had tried to envision. So no, there was absolutely no flipping of assets, here.

One of the first things you notice when playing Alien: Blackout is how directional the sound is. It seems like many games—even blockbuster releases—treat sound more as set-dressing than essential for gameplay. When sound DEFINES the gameplay experience—as it does in Alien: Blackout—does that influence your creative decisions?

Short answer: totally. Long, rambling answer: The gameplay is number one. Everything has to facilitate, deepen or support intuitive gameplay. Soundwise, voice overs are always number one. Nothing carries as much emotion and creates such immersion as the human voice. Voice mixing, I feel, is one of my strong suits, so that played in our favour here, luckily.

We did have lines of dialogue between direction, game-, graphic- and audio design open non-stop throughout development, even though me having to spend so much time behind closed doors in the studio sure creates little bumps along that road, at times. I think we managed practically everything I set out to say with sound, here, and a reasonable compromise with the rest. Our audio programmer, Ville Ojala, did swimmingly incorporate my unfathomable jargon and wild ideas into concrete events in the game. He also took part in sound design when doing so, as it should be. Audio programming is a vastly underappreciated discipline.

Are most of the sounds created digitally? Or did you record foley?

From the sound effects I created, there are only a handful of sounds of digital origin. I did do a whole heaping bunch of metal sounds in particular, but also ventilation sounds, fans, radiators, electronic devices, switches, whistles and such.

What was your favorite sound to create, and how did you go about making it?

Having to choose just a single sound, I’d go with one of the very specific metal tones I did. One that was bendy, punchy, crackly, short and percussive. While the most comedic one to make, it was used in a most unamusing situation in-game. Campfire-mode, engage! My family got a new microwave oven, and while I was heaving the metal monstrosity from the car to our place, I happened to apply pressure on the surface plate and it made this glorious bouncy sound with a very pleasing resonance that followed. Instead of the kitchen, I carried it to the studio, close-miked it in a small, dry room with a 421 and...I think it was an 47- replica I turned out liking the most for some reason, recorded a few appropriate elbow-presses on the thing, edited the best few takes, threw on a whole slew of processing, et voila! I had yet again managed to both act and look incredibly silly at work.

LISTENER QUESTION (from Mike Andrews): What inspired you to create an original soundtrack to Blackout (without relying on preexisting cues and motifs from the films)? Were you given complete creative freedom?

I thought we’d be able to get the best of both worlds with an original soundtrack that’s inspired by—but not in debt to—the films. The xenomorph voices I re-mixed from the originals do plenty on their own to establish a direct auditory association with the franchise feel at a precise key point, in my view at least. I consider a cohesive, uniform approach most often the best way to approach audio, and having to borrow all music from the films clearly seemed more like a hindrance than a selling-point in favour of the game.

For all the new fans you’ve gained via your work on Blackout: where can we find more of your work?

We here at Rival Games are always working to create more quality entertainment, so my advice would be to stay tuned!


RISE is a concept short film starring the late and brilliant Anton Yelchin, Rufus Sewell, produced and directed by David Karlak. Lifting basic elements of the story from Ridley Scott’s Blade Runner, RISE chronicles the plight of sentient robots and their will to live and exist in society among their human makers. This concept film is/was part of a larger campaign to get the film made. I hadn’t heard about it until today.

There’s a sequence in the film that’s almost a direct homage or recreation from a scene in the Animatrix. While the fate of Rise is up in the air, upon first look, this short film is not to be missed.

-Jaime for Shoulder of Orion: The Blade Runner Podcast


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Alien: Blackout - The Perfect Organism Review

by Patrick Greene

Twentieth Century Fox/D3 GO!

Twentieth Century Fox/D3 GO!

For our full audio review, click here!

When Alien: Blackout was announced just days into 2019, it was met with a hurricane of bad publicity. And anyone even tangentially familiar with the gaming industry over the past few years could understand why: we’ve been told time and again that the future of gaming is mobile, and anyone who’s tried to play anything remotely “serious” on a mobile phone can tell you it’s almost always an awful experience.

I, too, cringed during the BlizzCon announcement about Diablo Immortal. I, too, boycotted Star Wars Battlefront II because the loot crate system was so clearly a cash grab.

I, too, desperately wished for a sequel to Alien: Isolation, which is not only the best Alien game ever made but one of the great survival horror experiences of our era.

And I, too, felt my stomach sink when the new Amanda Ripley game Fox had been teasing turned out to be a mobile experience looking for all the world like a Five Nights at Freddy’s clone.

But you know what? I’ve been playing Alien: Blackout in beta for nearly two weeks, and I want to go ahead and give you the bottom line right up front: it is available today for purchase on the Apple App Store, Google Play, and the Amazon Appstore, and we wholeheartedly recommend you buy it.

It’s mobile for a reason

Getting the obvious out of the way—it’s cheaper to develop a mobile game, and Fox is already deep into production on the Cold Iron Studios shooter coming later this year to PC and consoles—there are actual storytelling reasons for this being a mobile experience.

In Blackout, as in Isolation, you play the role of Amanda Ripley. Having survived the nightmare aboard the Sevastopol, Amanda has been hiding in the vent systems of the abandoned Mendel space station (a Weyland-Yutani vessel). She’s hiding, of course, because she’s not entirely alone: there’s a xenomorph on board. She’s been able to survive this far by patching into security systems with a rudimentary, handheld terminal.

And here’s the first stroke of genius in Blackout: because we play entirely from a first-person perspective, and interact with our environment almost entirely through this terminal—which exists in real game space, and can be put down and picked up—our mobile devices start feeling like the terminal itself. That simple design choice engages our imagination: turn the lights off, put some good headphones on, and you’ll forget you’re playing a “mobile” game at all.

More on gameplay in a moment.

So does it “feel” like a mobile game? The answer, in my honest opinion, is not at all. There are zero microtransactions, and the developer has publicly stated that there will never be any. You aren’t incentivized to earn coins. There are no ads. You aren’t unlocking cool new hats for Amanda to wear.

It’s a completely immersive, in-universe experience from beginning to end. Even the menu designs, which are reminiscent of Alien: Isolation, feel thought-out. Minimalist, with a touch of cassette futurism.

You pay $4.99 USD once, and you get access to a full experience that I’ve personally played for more than ten hours and haven’t gotten bored of yet.

A little help from my … friends?

The game begins when a Weyland-Yutani ship carrying four crew members is forced to dock at the Mendel for supplies. Realizing this crew is her best bet for getting off the station, Amanda reaches out to them via the handheld unit. Without key components, the crew is stranded—so you quickly reach an agreement to help get the ship flight-ready in exchange for safe passage.

Luckily for the crew, Amanda is an engineer. She’s managed to restore power to sections of the ship using solar panels, but the panels only provide power for eight minutes before the system cuts out and you’re in a blackout.

Try to avoid that.

Most of the game is played via a map of whichever deck you’re trying to guide the crew through at any given time. From this map—which exists on your phone just like the overlay exists on Amanda’s portable unit—you can open and close certain doors; monitor patches of the deck via motion sensors; and scroll through a handful of security feeds. You can also check in with members of the crew, telling them to hurry up, hide, etc. You can set objectives for different crew members (which is often vital, given the ever-expanding objective lists and the consistent eight-minute cutoff). They’ll have to divide to conquer, but the second they divide things get much more complicated.

Twentieth Century Fox/D3 GO!

Twentieth Century Fox/D3 GO!

The xenomorph, which resembles our dear friend from Isolation (closely modeled on Big Chap), is genuinely terrifying. I still get a little chill when I pick him up on one of the security cameras—especially if that camera shows his tail thwipping up into a ceiling vent, where I’ll be forced to track him using nothing but my ears (all the while guiding the crew through their tasks).

And this brings me to the next little brilliant mechanic in the game: this entire time, Amanda is vulnerable. In order to use the handheld units, she has to patch in to emergency power reserves controlling door access. And to do that, she has to open the doors of whichever tunnel corridor (or room) she’s in. So in order to access the map—and to keep an eye on the crew and the Alien—Amanda has to leave herself totally vulnerable to a sneak attack.

When this happens—and it does, a lot—you typically have a matter of a second or two to figure out which direction the Alien is coming from and which door you need to close. This might not seem like much, but as the game goes on you find yourself SURROUNDED with open doors.

And as soon as you close the door, your terminal goes black. It’s been powered down. So then you’re in a situation where you have no idea where the Alien is, what your crew is up to, etc. All you can hear are distant noises of scuttling and screaming.

One of my favorite aspects of Isolation is the fact that you have to really earn your progress saves. Not only are save points far from one another, but the machines take time to operate. And you’re completely vulnerable during that process. It’s great, then, to see the developers of Blackout using that same idea in a mobile game. The terminal takes FOREVER (in reality only about two seconds) to power on again. But you are completely and utterly blind during that process. And when it’s back on, you have to race to play catch up or you will lose any idea of where the xenomorph is.

The key to advancing is keeping as many members of your crew alive as possible, and this is where I see real potential for replayability. Between my iPhone and my iPad, I have five different concurrent save files at different stages and with different crew members alive. It’s great fun to try switching up tactics—once you get a feel for how the Alien’s AI operates (it’s not as sophisticated as Isolation, but it’s quite good), you can start taking real chances. Opening and closing doors in different areas to draw attention towards regions where you’ve got a motion tracker running; telling one crew member to run into xeno-infested territory so another crew member can finish a time-sensitive task; creating Alien 3-esque channels to direct the Alien around to certain places where he’ll have fewer escape options; etc. I look forward to swapping strategies with you all. I think we’re going to have fun with this, doing speed runs etc. as we get better.

Twentieth Century Fox/D3 GO!

Twentieth Century Fox/D3 GO!

The final stages are honestly brutally difficult. I haven’t been able to keep more than one crew member alive going into the final level, and that’s made things extremely complicated. But also VERY fun. The stakes are increasingly high (you’ll know what I’m talking about when you get there), and the possibility of making fatal mistakes goes up quickly.

In other words: it’s a real game. You’re going to have to work at it.

The Devil in the details

One of the reasons Blackout doesn’t feel like a mobile game is the consistent attention to the production design. The sound design and the musical score are both top-notch (I would buy that soundtrack in a heartbeat). The orchestral score, composed for this project, is hauntingly evocative. If you play this without headphones on, you are going to be getting only a fraction of the full experience.

Because you’re trapped in a hole most of the time—and because the security cameras and motion sensors only give you direct monitoring capabilities for a fraction of any given map—you HAVE to use your ears to make it through. Seriously, crank up the volume. You’ll hear faint scraping sounds when the Alien’s in the ductwork; you’ll hear crew members breathe heavily when the Alien is close; you’ll hear the Mendel shuddering in the vastness of space. And you’ll hear the voice acting, which is absolutely triple-A quality. The characters are distinct, and their personalities shine through as the game progresses—making it especially fun to try beating it with different combinations of them.

And the graphics are just astounding for a mobile title. I’ve played via screen mirroring at length—casting from my iPhone to an Apple TV and a Chrome Stick—and I can’t get over how good it looks. It’s not Alien: Isolation: the Alien will occasionally change direction unnaturally, crew members’ mouths don’t move perceptibly when they interact, etc. But none of that really matters, because virtually everything you see is via a closed-circuit TV system. And when you see from Amanda’s first-person perspective, it’s extraordinarily high-quality. Textures, shading, etc. It looks like a console title.

Twentieth Century Fox/D3 GO!

Twentieth Century Fox/D3 GO!

Is it Five Nights at Ripley’s?

No. I get the comparison—and there are some direct mechanical similarities, in that security cameras play a major part and you’re vulnerable as the creature moves around—but they feel nothing alike. I enjoy FNaF to a degree. I’ll play it for ten, fifteen minutes. But Alien: Blackout is much more strategically deep, and SO much more immersive.

The verdict

After one day of playing Alien: Blackout, I was prepared to give it four out of five stars. I was blown away by how much fun I was having, but I was nagged by this constant thought of “Oh, but it’s not Isolation 2. At the end of the day, we’re getting this instead.”

But having played it at length, now, I am giving it five out of five. It stands on its own, and to enjoy it for what it is is to separate it from what it isn’t.

It isn’t a sequel to Alien: Isolation. I still hold out hope that we’ll see a sequel (or a side-story from Creative Assembly) someday, and maybe we will. But that’s not what this is.

This is Alien: Blackout, and it’s fucking awesome.

Go play it and see for yourself.

Rating: 5/5

ALIEN 4K Steel Book Releasing in April


Specs below, courtesy of

“2019 is the 40th Anniversary of Ridley Scott’s classic Alien, and on April 1st Fox are bringing us this 4K steelbook release. which will be available as a Zavvi exclusive.

Pre-orders will be on Monday February 4th, so ignore the ‘sold out’ notice before then.

Pre-order: Zavvi

Alien is the first movie of one of the most popular sagas in science fiction history, and introduces Sigourney Weaver as Ripley, the iron-willed woman destined to battle the galaxy’s ultimate creature. The terror begin when the crew of the spaceship Nostromo investigates a transmission from a desolate planet and makes a horrifying discovery – a life form that breeds within a human host. Now the crew must fight now only for its survival, but for the survival of all mankind.

The UHD has the following: 

Directors cut 2003:2003 Audio Commentary by Ridley Scott and the Cast and CrewTheatrical Version 19791999 Audio Commentary by Ridley Scott [1979 Theatrical Version Only]Final Theatrical Isolated Score 5.1 Dolby Digital [1979 Theatrical Version Only]Composer’s Original Isolated Score 5.1 Dolby Digital [1979 Theatrical Version Only]Deleted Scenes”

OPINION: Let's have a blind hero

From Perception, by The Deep End Games/Feardemic

From Perception, by The Deep End Games/Feardemic

by Patrick Greene

We’ve all been talking about the future of the Alien franchise even more than usual lately, and that’s got me thinking about the sort of story I’d personally like to tell.

I’ve been playing various survival horror games for most of my life, so I’ve gotten pretty used to the usual tropes. But three games that scared the absolute shit out of me in recent years were PT (the Silent Hills playable trailer/demo); Alien: Isolation (obviously); and Perception (wherein you play a blind protagonist forced to navigate through echolocation).

And I’ve been thinking: how cool would it be to have a very small, very tight Alien film with a blind hero? We talk a lot about “putting the monster back in the dark,” and to me this’d be the most evocative way of doing so.

As the audience, we’d obviously still see everything. But identifying with a protagonist who can’t see the beast would set up a whole new set of fascinating dilemmas. What if the hero is trapped in a space they haven’t experienced before, and is forced to navigate with sound? Would it draw the alien towards them?

And traditionally, one of the chief advantages a xenomorph has over a human is its ability to creep in the darkness. What if the human were just as comfortable in those spaces? Could they turn the tide on the alien?

Plus, I’d love to have sequences where there’s virtually no visible light, but sound is extraordinarily amplified. Some of the best moments in the films come through sound cues. The chains rattling in Alien; the beeping proximity detector in the hive in Aliens; the howling windstorms on Fury 161. What if we were immersed in darkness and subject to extraordinary sound editing that felt like we were truly trapped with the monster?

I’ve also been thinking a lot about dreams lately (more on that coming in a separate post). A number of my favorite sequences in the expanded universe have been rooted in dreams (the Queen Mother, for example). Various rejected/altered scripts for the films have featured extended dream sequences that are absolutely fascinating. What if this blind hero, unable to process visual light in physical space, were more attuned to dream frequencies coming from a Queen Mother? Without being distracted by horrifying sights in the physical world, perhaps they’d be able to wage a deeper war in the dream space.

Just a thought, but I think it’d be a ton of fun to experience what a filmmaker like, say, Alex Garland (PLEASE) could do with this idea.

The Queen Mother, as seen in  Aliens: The Female War  (originally  Aliens: Earth War ). Art by John Bolton.

The Queen Mother, as seen in Aliens: The Female War (originally Aliens: Earth War). Art by John Bolton.

Travis Fimmel Cast in Ridley Scott’s New Sci-Fi TV Epic, Raised By Wolves

Ridley Scott is going back to Science Fiction. In what will be his first television series, Scott is adapting Raised By Wolves and has just cast Travis Fimmel (Vikings) in the one of the lead roles. The series will premiere on TNT. This is Scotts first foray back into the sci-fi genre since the underperforming ALIEN: Covenant was released in 2017.

More found at ScreenRant.


It's official: Alien: Blackout is a mobile game, and it's dropping January 24

by Patrick Greene

“Heeeeeyyyyyyyyy …”

“Heeeeeyyyyyyyyy …”

Fandom has been buzzing about what “Alien: Blackout” could mean ever since Fox applied for the trademark back in November. We’ve known about an in-development shooter from Cold Iron Studios for nearly a year now, and speculation about a sequel to the legendary Alien: Isolation has been running rampant for years.

And just days ago, Fox began releasing a series of teasers saying “Amanda Ripley” and “Read. Play. Watch.”

With the release of today’s official Alien: Blackout trailer, we know what the “play” stands for: a mobile game.

Developed by D3 Go in conjunction with FoxNext, Alien: Blackout is set to release on January 24th at a price of $4.99 (you can preorder it today on the App Store, Google Play, and the Amazon Appstore).

Wait: it’s a mobile game?

Yeah, it’s a mobile game. This is either totally “meh” news or completely devastating, depending on who you are and what you’ve been looking forward to. Speaking personally (this is Patrick’s opinion, not necessarily the opinion of PO in general), I think this is totally fine. Fox is being very clear that this is a small piece of a larger picture (they even highlight the “play” in “Read. Play. Watch.” at the end of that trailer). If this were the only thing happening in our franchise this year, I think it’d be pretty upsetting. But the reality is we still have a Cold Iron game in development (which looks from all angles to be a marquee-level enterprise on consoles, PC, etc.).

We’ve already spent years being consistently told that a direct sequel to Isolation isn’t happening (which is awful news, considering it’s an unimpeachable masterpiece). Fox isn’t marketing this as “the” Alien: Isolation sequel. It’s probably healthier in the longterm to look at this as a nice little side experience. If Creative Assembly announced last year that they were working on the official followup to Alien: Isolation, and then announced at a major event that it was mobile-only—this would be a different story. But as it stands, this is just a little side product that fits into the bigger picture and offers another chance to engage with Amanda Ripley.

To that end: the basic mechanic here is that we are playing the role of Amanda, who is guiding a crew through a crippled WY space station using emergency controls on a holographic map. Similar in appearance (and apparently in practice) to the “rewire system” sequences in Alien: Isolation (see below), the gist is that we’ll be making decisions about which doors to open, which resources to conserve, and which risks to take as we help this crew escape a xenomorph.

A rewiring sequence in Alien: Isolation

A rewiring sequence in Alien: Isolation

The control layout in Alien: Blackout

The control layout in Alien: Blackout

Another bit of personal opinion here: the best mobile games are the ones that feel built from the ground up for a mobile experience. A reason Pokémon Go is so popular is because it uses inherent strengths of mobile phones—their mobility—as a core mechanic. Angry Birds took off because it could be controlled easily with a single finger, and its design was simple enough to work cleanly and fluidly on basically any smartphone processor. The only mobile Alien game I play with any regularity is a freakin’ pinball game, and it’s brilliant because it is absolutely nothing more or less than what I want out of a mobile gaming experience. It’s a few pinball tables that I can pick up and play for ten minutes while waiting for the commuter train in the morning. I get a chance to immerse myself in Alien for a few minutes, and it’s just engaging enough to make me turn the music in my headphones off (but not so engaging I miss the train).

I personally think Alien: Blackout will work. The concept is simple, the functionality won’t strain processors, the mechanics don’t depend on dexterity (which goes to hell the second you play on a mobile device), and the game is relatively short but built to be replayable (seven levels, with different outcomes each time based on choices you make). In that way, it sounds quite a bit like that Offworld Simulator Amazon Echo game we reviewed last April: it’s simple, repayable, and fun, and it’s a chance to have a little more Alien in our lives.

What about “read” and “watch?”

We still have “read,” which could be the about-to-drop Aliens: Resistance (coming January 23, i.e. a day before Blackout releases). Resistance is set to star Amanda Ripley, so that’d make a lot of sense—and it’s closely tied to Aliens: Defiance, which was a hit for Dark Horse critically and commercially. There’s also an Isolation novelization coming from Keith R.A. DeCandido (which of course is another Amanda-centric product).

And “watch” could signify many, many, things, but will most likely center around the long-rumored streaming series. A film announcement is unlikely given the state of the Fox/Disney merger, and last year’s short-film competition entries are likely still in production, so a web series (animated or otherwise) would make quite a bit of sense.

All this is to say: there is A LOT coming this year for Alien fans. Whether or not you’re thrilled about Alien: Blackout, rest assured that this is the first of many upcoming announcements.

It’s going to be a banner year for us.

Even if it kicks off with a mobile game.

final note.

Check out what Patrick and Jaime have to say on the news in this exclusive Rumor Control Video Update episode.

Is It Real? Creating the World of Blade Runner 2049

Chris Menges of Weta Workshop. Tomas LeMarquis. Loren Peta as Rachael 2.0.

Chris Menges of Weta Workshop. Tomas LeMarquis. Loren Peta as Rachael 2.0.

Shoulder of Orion: The Blade Runner Podcast was granted exclusive access to major players in Denis Villenueve’s masterpiece, Blade Runner 2049. The information discussed in these interviews is not available anywhere else. Weta Workshop’s miniature team, featuring Steven Saunders, Joaquin Loyzaga, and Chris Menges (pictured above), along with Rachael 2.0 star Loren Peta, and Tomas LeMarquis who performed Wallace Corp’s File Clerk opposite Ryan Gosling’s Officer K. Each interview provides unfettered access to the top secret behind the scenes process that would bring Blade Runner 2049 to life.

Shoulder of Orion: The Blade Runner Podcast is the only Blade Runner podcast of its kind, offering heady discussion on the themes, characters and processes of both Blade Runner and Blade Runner 2049. For access to our repertoire of episodes and discussions check out our main site or find our episodes through iTunes, Spotify, Podbean, TuneIn or Google Play.

Shoulder of Orion: The Blade Runner Podcast was formed in August of 2017. After not finding an outlet of discussion for the Blade Runner films, podcast founder Jaime Prater decided to answer the void with an official fan podcast covering all things Blade Runner and Blade Runner 2049.

Jaime Prater


NETFLIX Releases First Images From New Dark Crystal

The Dark Crystal: Age of Resistance First Photos Revealed!

On the 36th anniversary of the release of Jim Henson’s original masterpiece, The Dark Crystal, NETFLIX has finally released three character images of the new Gelfling characters set to take the audience through a ten hour series, which will drop in 2019.

Deet: A Gelfling

Deet: A Gelfling

Rian: A Gelfling

Rian: A Gelfling

Brea: A Gelfling

Brea: A Gelfling

This next info comes from

Gelfling Characters (in addition to Balfe and Domer)
Helena Bonham-Carter
Harris Dickinson
Eddie Izzard
Theo James
Toby Jones
Shazad Latif
Gugu Mbatha-Raw
Mark Strong
Alicia Vikander

The Skeksis & Mystics (in addition to Hamill and Samberg)
Harvey Fierstein
Ralph Ineson
Jason Isaacs
Keegan-Michael Key
Ólafur Darri Ólafsson
Simon Pegg

Aughra will be voiced by:
Donna Kimball

Additional characters will also be voiced by puppeteers from the production, including Alice Dinnean, Louise Gold, Neil Sterenberg and Victor Yerrid.

As previously reported, The Dark Crystal: Age of Resistance will take place “many years” before the events of the film. “When three Gelfling discover the horrifying secret behind the Skeksis’ power, they set out on an epic journey to ignite the fires of rebellion and save their world.”

Louis Leterrier (Now You See Me, The Incredible Hulk) will executive produce and direct.

The Dark Crystal: Age of Resistance will combine the art of puppetry perfected by The Jim Henson Company, with Louis’ vision, powerful storytelling and a mix of cutting-edge digital imagery and visual effects,” Cindy Holland, Vice President of Original Content at Netflix, previously said in a statement. “I can’t wait for families around the world to see how we bring these unique characters to life.”