作者：James Batchelor

昨晚，在我们的首次Develop’s An Audience With活动上，Creative Assembly揭示了他们是如何在《异形：隔离》中复苏Ridley Scott所创造的异形。

超过50名参与者一起前往伦敦Soho的Ray Dobly Theatre去听取首席设计师Clive Lindop，首席UI美术师Jon McKellan以及首席游戏玩法设计师Gary Napper分享他们对于今年最受期待的一款游戏的看法。

看法

1.20th Century Fox提供给Creative Assembly许多“异形”的数据

20th Century Fox于1979年创造了原版电影（由Ridley Scott指导）提供了3字节的幕后照片，视频以及其它电影资产去帮助Creative Assembly再现最初的氛围。

这还包括道具的相关注释以及半成品布景设计等能够帮助Creative Assembly更加清楚背景的构造。

首席UI美术师John Mckellan说道：“这就是一个特有的金矿。我们从之前从未尝试过的角度去看待事物。”

2.一些游戏内部的视频是利用VHS和Betamax进行拍摄

贯穿游戏，玩家将在屏幕上看到来自运行Sevastopol Station的公司的视频。比起在看上去太过整洁且现代的后期制作上花费时间和资源，Creative Assembly深入挖掘一些早前的视频记录以及Betamax（游戏邦注：新力公司发展的Beta制录像系统）为游戏呈现一种复古感。

团队在计算机上创造了最初的动画—-例如公司logo。有些视频风格的人造内容于最初阶段被添加进入，但所有的动画被转换为电影文件从而能够添加到VHS中。然后他们记录这些序列并在一个早旧的便携式TV上进行播放，随意摆弄追踪设置就像他们所做的那样，并尝试着不同的变形风格。

首席UI美术师John McKellan说道：“在一间小黑屋里做这些事真的很有趣。我们回顾了连续镜头，并想着‘哇，这太吓人了—-我们真的做到了。’”

实际上，整个用户界面主要是受到破旧的VHS连续镜头的启发，并伴随着菜单以及闪烁的地图。

3.HUD非常精细

为了创造出真实感并让玩家沉浸于世界中，Creative Assembly已经避免了屏幕被传统的HUD（经常呈现出死亡或雷达）给弄乱。相反地，开发者选择执行有形的道具，如行动追踪器，去呈现异形的下落并保持屏幕上呈现的游戏信息数量达到最低值。

所呈现的所有元素在某种程度上都要确保“处于世界中”，甚至是与那些复古的扭曲视频相联系。例如，生命值的出现与摄像机的电池指示器类似。

“工具是低保真度的，不仅是从美学上看，还是从游戏玩法上看。行动追踪器并不是一个带有魔力的高级HUD元素，这只是一个好像坏掉的笨拙盒子，并且我们不得不瞄准该对象。这是一个主动的UI元素而不是被动的，玩家不得不使用工具。”

4.技术并不能拯救你

Creative Assembly投入了许多努力去创造最初的电影那般的背景和感觉。比起像《质量效应》那样的高科技奇幻外观，《异形：隔离》将提供一个对于未来的低保真度愿景，并伴随着笨拙的器械等等，如行动追踪器。就像Clive Lindop所说的：“技术并不能拯救你”。

“尽管科幻将呈现给你帅气的Han Solo或《星际迷航》中的移相器，行动追踪器并不能带给你优势。技术并不能拯救你。这里没有任何魔法武器能够拯救你。”

5.Creative Assembly编辑了一个70年代的科幻风格指南并涉及了“混合装备”

决定支持最初《异形》电影的外观和感觉，以及其它70年代的科幻元素，开发团队再次经历了40年前好莱坞的制片人所经历的过程。概念艺术是基于Ron Cobb以及法国艺术家Moebius的风格进行设计，他们是对首部电影的外观设计做出最大贡献的两位艺术家，而《异形》的布景是通过使用20th Century Fox所提供的蓝图并基于一对一规模重新设计。

一旦做到这点，团队将抽出每个布景的不同元素—-面板，门，家具，并使用它们去创造一个在为《异形：隔离》创造关卡时能够遵循的风格指南，即通过熟悉的元素组成新的位置。

Creative Assembly同样也试验了早期好莱坞所使用的“混合装备”技巧：使用普通对象的组块，如收音机，烤箱等等，将其混合在一起并提供给它们一个全新的外观，从而让它们看起来像是未来派的工具。关于真实性的额外标准，团队限制自己只能使用1979年之前所创造的对象。

6.游戏是依靠观察者对Xenomorph的看法，而不是电影

在《异形：隔离》中，你可能并不会像想象中那样看到更多异形。首席游戏设计师Gary Napper表示在最初的电影中，虽然整部影片长达117分钟，但是异形在屏幕上却只出现了3分钟。

尽管缺少在屏幕上的出现时间，可能真正的特性非常缓慢，并且在他们看不到的时候攻击角色（与续集不一样），观众所面对的仍然是威武，具有侵略性，聪明，不可预测且致命的怪物。这将通过Creative Assembly所致力于创造的游戏世界呈现出一种感觉。

Napper说道：“关于你在电影中只看到异形出现3分钟是有原因。这并不是因为它是一个穿着橡胶套的人，而是因为它真的很吓人。”

7.Xenomorph通过每一次的遭遇而学习

首席游戏玩法设计师Gary Napper说道：“我们很早就学到的一点便是不能照本宣科地创造敌人。我们需要创造一些让玩家每次玩都会有所不同的内容。你将死掉很多次，这意味着你要一直重新开始，而如果异形是按照脚本行动，你便只会看到同样的行为。这就使得异形变得是可预测的，从而丧失了许多恐怖感。”

为此的解决方法便是创造一个复杂的行为设计，即Xenomorph基于不同情境去调整战术。每次遭遇都将结束两种方法中的一种：要不就是玩家死掉，要不就是异形被击退。如果是后者，显然玩家将从每次遭遇中获得学习，所以Xenomorph也是如此。基于玩家如何自我防御，异形将知道该期待什么，并相对应地改变策略，所以使用相同的战术去吓跑怪兽并不有效。它可能会在游戏之后的阶段伏击你。

Napper承认：“这是一件棘手的任务。我们说它在学习，但事实却不完全这样。它带有一整套行为设计能够在遭遇出现时打开。”

8.异形将调查并研究“次要”资源

异形背后机智的AI不会只是对玩家本身做出反应。如果它听到一个声音或看到一个对象移动，但却错过了你，它便会清楚这种情况不会只是发生在自己身上。

首席设计师Clive Lindop说道：“异形能够察觉到次要资源。当你打开一个气闸时，异形将认为这是不寻常的。如果它看到一个储物柜被打开而不是看到你，它将仍会好奇为什么储物柜的门会被打开。这并不是只发生在它身上的情况。”

9.你必须仔细地听

异形的许多目的将通过它所制造的声音传达给玩家。歇斯底里的尖叫将向玩家述说它的目的是攻击，尽管当它看到某些事时会发出不同的声音。

比起音乐，团队更加专注于通过异形的声音去告诉玩家它的目的。就像Lindop所说的，来自最初电影的许多音频线索已经是众所周知的事了，他们必须确保游戏的音乐不会破坏紧张感和沉浸感。

Lindop说道：“你必须拥有许多精心策划的动态音频层。如果你做得不合理，你便只会对玩家说‘看，他在那里！’所以我们必须谨慎地做到这点。”

10.Creative Assembly重录了最初《异形》的音轨线索

在20th Century Fox所提供的原材料间，Creative Assembly也可以获得最初的音轨。《异形：隔离》中包含了一些具有标志性的音乐，但是你却不一定会记得它。开发团队使用管弦乐队重新录制了一些最初线索，某些致力于最初电影音轨的音乐家也提供了帮助。

Lindop解释道：“问题在于人们太熟悉原先的音轨了，人们将清楚地知道每个线索意味着什么。所以我们在分数系统中创造了全新的分数元素。我们必须小心地进行分层—-如果你的生存是基于你所听到的内容，那么在Shepperton听弦乐真的没有多大帮助。”

游戏的音乐是基于玩家所看到的内容，而不是Xenomorph在做什么—-这并不是只有在异形靠近时才会出现。

11.Xenomorph带有将近80套的动画

Creative Assembly并不希望异形太像一个穿着橡胶衣的人：它希望在每次遭遇时这个生物都是可信的且能够适当地移动。为了Xenomorph所处的不同状态而创造的70至80套动画包括：奔跑，攻击，偷偷接近玩家，或搜索他们等等。

关键是，最上层的怪兽具有单独的动画，这对于《异形：隔离》团队来说非常重要。

Napper说道：“实际上转头并看着你对于我们来说是项巨大的任务。我们希望玩家能够通过异形移动或表情等方式去理解它的目的—-当然了，异形并未具有真正的表情。所以实体移动对于传达异形的行为非常重要。”

12.《异形：隔离》是基于全新的引擎

《异形：隔离》背后的团队为了适应所使用的技术而从头开始创造一个新引擎，即基于Xenomorph的行为设计和灯光与氛围效果。

这也让关卡设计师可以基于上述提到的低保真度“70年代风格指南，快速且有效地从一些模组化资产（游戏邦注：包括门，椅子，桌子，面板等等）中创造出新环境。

McKellan解释道：”创造一个新引擎真的很可怕，但这能让我们根据想要做什么而创造技术。灯光也是根据我们的想法发挥作用。“

13.团队设计了一个全新的行动追踪器

著名的行动追踪器将向游戏作报告，但这一次Creative Assembly创造了它自己的技术版本。就像在电影中那样，设备仍然会呈现出异形的接近度，而不是其具体的位置，这意味着异形可以在室内，隐藏着或在通风管中。

正如它的名字那样，如果异形并未移动，玩家便不能在追踪器上看到它。当使用它时，玩家也会失去对周边环境的关注。团队表示专注它时能够确保设备功能会基于一种可信的方式而呈现一种身临其境之感，这对于惊悚游戏来说非常重要。

此外，粉丝们也会注意到行动追踪器的一端仍然附有制冰格。

14.Creative Assembly向异形世界中引进了黑客

在《异形：隔离》中，玩家将遭遇计算机和其它能够侵入访问信息或触发游戏内部行动的设备。这是现今为此常见的游戏机制，但开发者却面对了一个问题。

McKellan说道：”70年代的时候还未出现黑客。所以我们必须想出一些不同的内容。“

从VHS风格的游戏呈现中吸取灵感，开发团队专注于信号追踪理念。玩家将收听计算机的信号，选择工具屏幕商店图标，这保留了复古的闪烁与扭曲。基于这种方法，Creative Assembly能够引进一些玩家所熟悉名并且在《异形》世界中不会觉得不自然的内容。

15.你将能够创造你自己的武器

尽管Creative Assembly并未分享更多细节，但通过昨晚的呈现我们知道他们创造了一个锻造系统让玩家能够通过在Sevastopol Station附近找到的对象而创造自己的防御工具和武器。玩家也有能力能够躲避或吓跑异形。

这将与Xenomorph的行为设计维系在一起：当异形了解玩家使用每个道具能够做什么时，它将做好准备去遭遇它。

为了确保每个玩家都会觉得游戏的与众不同，锻造对象从来不会出现在同样的地方。如果你在碗柜发现一个便捷的工具或组件，你也不能保证好友不会找到同样的东西。这将鼓励玩家去探索每一个关卡。

16.关卡设计是开放的且伴随着一些比较路线

面对一个异形的理念将挑战《异形：隔离》的关卡设计师去创造没有封锁领域，没有线性廊道，没有玩家逃不掉的环境。环境需要足够大才能让Xenomorph通过并从任何角度发动攻击，同时也能够带给玩家任何可能逃脱的机会。

结果便出现了许多开放领域，即伴随着每个空间的多个出入点，并且还有异形和玩家都能使用的比较路线，如地板下。同时还有许多可因此的储物柜。

17.这是你死时会发生的事

《异形：隔离》是基于检查点系统进行创造，以此去保存玩家的进程。为了确保玩家并未因为失去进程或被丢到异形的路线上而受到伤害，游戏将检测玩家和异形的下落以决定在哪里进行保存。这意味着将频繁地进行不定期保存；同时检查点间的距离将变得更长。

18.是的，血液仍然是酸的

在展示的最后，Napper表示异形那标志性的酸血将出现在《异形：隔离》中，并且将成为游戏机制的一部分。

虽然他并未透露过多细节，但却表示在接下来几个月里，关于异形的特别血液的更多信息将出现在我们面前。

（本文为游戏邦/gamerboom.com编译，拒绝任何不保留版权的转载，如需转载请联系：游戏邦）

18 things we learned about Alien: Isolation last night

By James Batchelor

Find out what you missed during our inaugural Develop’s An Audience With

Last night, Creative Assembly revealed how it is bringing Ridley Scott’s Alien to life in the upcoming Alien: Isolation during our first Develop’s An Audience With event.

More than 50 attendees headed to the Ray Dobly Theatre in Soho, London to hear lead designer Clive Lindop, lead UI artist Jon McKellan and lead gameplay designer Gary Napper share an insight into one of this year’s most hotly-anticipated games.

These are just the highlights of what was revealed last night.

Creative Assembly’s McKellan (left), Napper (middle) and Lindop (right) were on hand to answer the audience’s questions about Alien: Isolation

THE VISION

1. 20th Century Fox gave Creative Assembly a goldmine of Alien data

20th Century Fox, which produced the original film classic directed by Ridley Scott in 1979, provided three terabytes of behind the scenes photos, videos and assets of the movie to help Creative Assembly authentically recreate the atmosphere of the original.

This included notes on props and work-in-progress set design to give Creative Assembly an insight to how the sets were constructed.

“It was a proper gold mine. We saw angles of things we’d never seen before,” said lead UI artist John Mckellan.

2. Some in-game videos were filmed off VHS and Betamax

Throughout the game, players will encounter videos on screens from the companies that run Sevastopol Station. Rather than spending time and resources on post-production that would still look too clean and modern, Creative Assembly dug out some old video recorders and Betamax machines to give the game that authentic retro feel.

The team created the initial animations – company logos, for example – on computers. Some of the video-style artefacts like wobbly lines were added during this initial stage, but all animations were then converted them to movie files that could be put onto VHS. Then they filmed those sequences playing on an old curvy portable TV, messing around with the tracking settings as they did so and experimenting with different types of distortion.

“It was a lot of fun being in a dark room doing this stuff,” said lead UI artist John McKellan. “We looked back at the footage and thought ‘wow, that looks awful – we’ve nailed it’.”

In fact, the entire user interface has been inspired by worn out VHS footage, with menus and maps flickering while players view them.

3. The HUD is very subtle

To create that authentic feel and immerse the player in the world, Creative Assembly has avoided cluttering the screen with the traditional HUD that often displays health or a radar. Instead, the developer has chosen to implement tangible items, such as the motion tracker, to display the Alien’s whereabouts and keep the amount of game information that is permanently on screen to a minimum.

All elements are displayed in a way that keeps them ‘in world’, and even tie in with that retro distorted video aesthetic the team explained. For example, the health bar appears similar to the battery indicator from a video camera.

“Tools are lo-fi, not only in aesthetic terms, but in game play too. The motion tracker isn’t an advanced HUD element with magic capabilities, it’s a clunky box that feels broken and has to be aimed. It’s an active UI element rather than passive – the player has to use the tool.”

The motion tracker isn’t an advanced HUD element with magic capabilities – it’s a clunky box that feels broken and has to be aimed.

Jon McKellan, lead UI artist

4. Technology will not save you

Creative Assembly has put a lot of work into recreating the original film’s setting and feel, right down to the late 70s vision of what the future would look like. Rather than the high-tech sci-fi look of modern games like Mass Effect, Alien: Isolation will offer a lo-fi vision of the future with clunky machinery, such as that motion tracker. As Clive Lindop says, “technology will not save you”, colourfully describing the Alien universe as “more at the council estate end” of sci-fi.

“While high sci-fi gives you a handsome Han Solo or phasers in Star Trek, the motion tracker doesn’t give you an edge. Technology will not save you. There is no magic weapon that has ‘I Win’ written on it that will save you.”

5. Creative Assembly compiled a ‘70s sci-fi style guide and dabbled in ‘kit bashing’

Determined to maintain the look and feel of the original Alien film, as well as other notable ‘70s sci-fi flicks, the team recreated the processes used by Hollywood 40 years ago. Concept art was designed in the style of Ron Cobb and French artist Moebius, two of the most influential artists behind the look of the first movie, and sets from Alien were recreated on a one-to-one scale using blueprints provided by 20th Century Fox.

Once this was done, the team pulled out different aspects of each set – panels, doors, pieces of furniture – and used them to create a style guide that they would follow when creating levels for Alien: Isolation, composing new locations out of familiar elements.

Creative Assembly also experimented with the old Hollywood technique of ‘kit bashing’: taking pieces of ordinary objects such as radios, toasters and so on, mashing them together and giving them a new paint job to make them look like a futuristic tool. For that extra level of authenticity, the team limited themselves to only using objects that were made before 1979.

THE ALIEN

6. The game builds on the viewer’s perception of the Xenomorph, not the film

You may not always see the alien as much as you think in Alien: Isolation. Lead game designer Gary Napper said that in the original film, the alien is only on-screen for roughly three minutes of its 117-minute run-time.

Despite its lack of screen time and perhaps true characteristics of being slow and attacking characters when they aren’t looking (Unlike in its sequels), the viewers’ takeaway was still often of an imposing, aggressive, intelligent, unpredictable and ruthless monster. It’s building up to that perception through the game’s world that Creative Assembly is looking to recreate.

“There’s a reason you only see the alien for three minutes in the film. It’s not because it was a guy in a rubber suit, it’s because it was really scary,” said Napper.

7. The Xenomorph learns from each encounter. Sort of.

“Something we learned very early on is we couldn’t make an enemy that was scripted,” said lead gameplay designer Gary Napper. “We needed something that would be different every time you played it. You’re going to die a lot, which means restarting a lot, and if the alien was scripted, you’d see the same behaviour. That makes the alien become predicatable, and a lot less scary.”

The solution was to create a complex behavioural design where the Xenomorph adapts its tactics based on the situation. Each encounter will end one of two ways: either the player will die, or the alien will retreat. If it’s the latter, obviously players will have learned from that encounter but so will the Xenomorph. Depending on how the player defends themselves, the alien will know what to expect and change its strategy accordingly, so using the same trick to scare the beast off won’t always work. It might even try to ambush you in the later stages of the game.

“It’s a tricky thing,” Napper admits. “We say it learns, but that’s not quite true. It has a set of behavioural designs that unlock as encounters occur.”

There’s a reason you only see the alien for three minutes in the film. It’s not because it was a guy in a rubber suit, it’s because it was really scary.

Gary Napper, lead gameplay designer

8. The Alien will sense and investigate ‘secondary’ sources

The clever AI behind the Alien won’t just react to the player themselves. If it hears a noise or sees an object move but misses you, it will understand that things don’t just happen on their own.

“The Alien perceives secondary sources,” said lead designer Clive Lindop. “When you fire an air lock, the Alien will think that’s unusual. If it sees a locker open but not you, it will still wonder why the door opened. That doesn’t just happen on its own.”

9. You’ll have to listen carefully

Much of the Alien’s intentions will be expressed to the player through the noises it makes. A hysterical scream will relay to the player its intention to attack, while it will audibly make different sounds when it’s seen something, is searching for you or has lost all trace if its prey.

The team has focused on the Alien’s sounds itself rather than music to tell the player what its intentions are. As Lindop says, a lot of the audio cues from the original film are now well known, and they must ensure the game’s music doesn’t ruin the tension and immersion.

“You have to have a lot of very carefully planned dynamic audio layers. If you pump it out too much, you’re saying to the player ‘hello, he’s over there!’ So we had to be really careful with that,” said Lindop.

10. Creative Assembly has re-recorded cues from the original Alien soundtrack

Among the source material provided by 20th Century Fox, Creative Assembly also had access to the original soundtrack. Some of this iconic music is included in Alien: Isolation, but not necessarily how you remember it. The team re-recorded several of the original cues with a full orchestra, including some of the musicians that worked on the first film’s soundtrack.

“The trouble is the soundtrack is so well known that people will know exactly what each cue means,” explained Lindop. “So we created new score elements that sit within this score system. We had to layer it carefully – if your survival is based on what you hear, hearing the strings section at Shepperton is really not that helpful.”

The game’s music is actually based on what the player sees, not what the Xenomorph is doing – it won’t just build up when the alien is somewhere near by.

“We didn’t want players to use the music as an alien detector,” Napper said.

The fact that the head turns and looks at you was a massive thing for us. We wanted players to understand the alien’s intentions by the way it’s moving.

Gary Napper, lead gameplay designer

11. The Xenomorph has almost 80 sets of animation

Creative Assembly didn’t want the alien too look like a man in a rubber suit: it wanted this creature to be believable and move appropriately for each encounter. Between 70 and 80 sets of animation were created for different states the Xenomorph might be in: running, attacking, sneaking up on the player, or searching for them.

Crucially, the head layer of the beast has separate sets of animation, something that was very important to the Alien: Isolation team.

“The fact that the head turns and looks at you was a massive thing for us,” says Napper. “We wanted players to understand the alien’s intentions by the way it’s moving or by its expression – but of course the alien doesn’t really have a expression. So physical movement was very important to communicating the alien’s behaviour.”

THE GAME

12. Alien: Isolation is based on a brand new engine

The team behind Alien: Isolation had to create a new engine from scratch in order to accommodate the technology being used, both in terms of the Xenomorph’s behavioural design and the lighting and atmospheric effects.

This also allowed level deisgners to quickly and efficiently make new environments out of a bank of modular assets – doors, chairs, tables, panels and so on – based on the aforementioned lo-fi ‘70s style guide.

“Building a new engine is a really scary thing to do but it allowed us to build the technology around what we wanted to do,” McKellan explained. “The lighting behaves the way we want it to, for example.”

13. The team has designed a new motion tracker

The famous motion tracker will make a return to the game, but this time Creative Assembly has built its own version of the famous tech. Like in the films however, the device will still only display the Alien’s proximity, and not its specific location, meaning the Alien could be in the room, hiding or in the vents.

As with its name, if the Alien is not moving, the player will not see it on the tracker. When using it, the player was also lose focus of the environment around them. The team said it was focused on making sure the device functions in a believable way to carry through that immersive feel so important to the survival horror.

And as a nod to the original, fans will notice the motion tracker still has ice cube tray stuck on the side.

14. Creative Assembly introduced hacking to the world of Alien

In Alien: Isolation, players will encounter computers and other devices that they can hack to access information or trigger in-game actions. It’s a common gameplay mechanic these days, but the developers faced a slight problem.

“Hacking wasn’t a thing in the ‘70s, there was nothing to hack,” McKellan said. “So we had to come up with something different.”

Taking inspiration from the VHS-style presentation of the game, the team focused on the idea of signal tracking. Players will tune into a computer’s signal, selecting icons on their gadget’s screen, which retains that retro flicker and distortion. This way Creative Assembly are able to introduce something gamers are used to without it feeling out of place in the Alien world.

If your survival is based on what you hear, hearing the strings section at Shepperton is really not that helpful.

Clive Lindop, lead designer

15. You’ll be able to make your own weapons

While Creative Assembly didn’t go into specifics, there were references throughout last night’s presentation to a crafting system that allows players to make their own defensive tools and weapons out of objects they find around Sevastopol Station. Players will also have ‘abilities’ that can be used to either evade or scare off the alien.

These will tie in with the Xenomorph’s behavioural design: as the alien learns what players can do with each item, it will be more prepared to counter it when faced with the same tool in future encounters.

And to ensure the game feels more unique to each player, crafting objects are never in the same place. If you find a handy tool or component in a cupboard, there’s no guarantee your friends will find the same thing, if they find anything at all. This will encourage thorough exploration of each level.

16. Level design is open and littered with alternative routes

The concept of facing an alien that could be anywhere challenged Alien: Isolation’s level designers to create environments with no closed off areas, no linear corridors, nowhere for players to be inescapably trapped. Environments needed to be big enough for the Xenomorph to stalk through and attack from any angle, while also giving players a possible means of escape.

The result is a lot of open areas, with multiple entry and exit points to every room, as well as alternative routes for both the alien and the player to use, such as under the floor. There are also lockers to hide in.

“Sometimes it’s best to hide,” said McKellan.

17. This is what happens when you die

Alien: Isolation is built on a checkpoint system to save the player’s progress. To ensure players aren’t aggrieved with losing their progress or thrown straight into the Alien’s path upon each load, the game will detect the whereabouts of the player and Alien is to decide where to save. This means that occasionally saves will be frequent; while at other times the length between checkpoints may be longer.

“We’ve tried to make sure it’s quite forgiving,” said Napper.

18. Yes, the blood is still acidic

At the end of the presentation, Napper teased that the Alien’s iconic acid blood would return in Alien: Isolation, and would indeed form part of the game’s mechanics.

He didn’t go into further detail on the matter, but said there would be more information revealed on what part the Alien’s special blood will play in the game during the coming months.(source:develop-online)