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  • Awesome Music:
    • "Transit Delay". Not only is it a tense and pulse-pounding complement to your first encounter with the Xenomorph, it's also a reworked version of the trailer music for the original film, complete with the haunting "siren" sound effect buried in the mix.
    • "Escape From Habitation Deck" is often lauded as the best track of the soundtrack, and for a good reason. It's tense and thrilling, and it matches perfectly the nerve-wracking level it accompanies.
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    • "Encounters" is a hauntingly-beautiful piece of music that is eerie, yet peaceful at the same time. It perfectly captures the atmosphere of hopelessness one feels when they're on Sevastopol, and it can even be heard as the station is gradually falling apart.
  • Big-Lipped Alligator Moment: At the beginning of the Gemini level you come across a woman sitting on a couch staring out the window. While it's common to see other people in the game, usually they're gone if you backtrack in the area- probably dead- but this woman remains in the same area up until the station is blowing up. Despite this, you cannot interact with her and she has nothing to do with the story.
  • Best Level Ever: Arguably one of the later levels, the hive. After several levels of the game basically being Android Isolation, Amanda has to fight her way through an Alien hive, which has multiple Aliens and facehuggers. It almost feels like the whole game was building up to this one area.
  • Breather Level:
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    • Marlow's playable flashback to the Anesidora crew's discovery of the derelict ship on LV-426 is nothing but exploration and references to the first film, and is generally a welcome break from the tense, cat-and-mouse stealth action of the rest of the game.
    • The levels after the Gemini Lab. You can run around all you want and you don't have to worry about the xenomorph jumping down to kill you. Also helping is that the game finally allows you to use all the resources you've been saving, making exploring more rewarding, and generally allowing he player to take a breath for a while. For the time being.
    • The trek through Marlow's ship is a final refreshing change of pace before the game throws you into the thrilling finale, since its basically a straight line to him with almost no enemies sans a lone Facehugger, and only a few puzzles to deal with. Even the subsequent escape sequence isnt particularly difficult.
  • Broken Base
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    • The decision to make the Xenomorph functionally invincible. Some have criticized and dismissed this issue as a lazy design that cheapens the players interaction with the Xenomorph since getting caught by it means instant death until you get the Flamethrower later on. On the other hand, some argue that the break from canon was a genre-bending compromise intended to satisfy both the niche "hide from the enemy" gameplay crowd and the more mainstream shooter gameplay crowd; including weapons while also making the Alien invincible to them was done with the intention of balancing the two approaches.
    • The length. Although some reviewers and players expressed frustration that the game didn't end sooner than it did, others have cited the Scenery Porn EVA sequences and the nail-biting escape from the Habitation Deck as highlights of the game. It all comes down to the discussion of how long a video game should be length wise, since to some, the early parts of the game were better and think the rest of the game after the Alien is taken out is just Padding, while others will argue that the game truly ramps up after said point.
  • Catharsis Factor:
    • Using the stun rod on a Working Joe then grabbing the maintenance jack to inflict a No-Holds-Barred Beatdown.
    • Getting the flamethrower and using it for the first time against the Xenomorph to drive it off.
    • Watching Samuels himself deliver a No-Holds-Barred Beatdown on a Working Joe.
  • Demonic Spiders: The Working Joes. They can take almost all six rounds from the revolver to the head (their only vulnerable spot) which early in the game is likely to be the majority of your ammo. They block melee strikes if they can see them coming, so that's not an option. They're annoyingly quiet, so if you don't keep an eye on your motion tracker you can run right over one before you realize it. Finally, if they do see you, they are much more persistent in tracking you than humans, and much better at it. The only thing in your favor is they're incredibly slow so you can easily outrun (or even outwalk them) as long as they don't manage to corner you. Near the end of the game, an even more annoying version shows up wearing an environmental suit, which renders them immune to EMP mines and the stun baton, two of the four weapons which are guaranteed to stop the normal ones. And the first time you meet them, your weapons have been taken away, so you're unarmed besides whatever molotov cocktails and pipebombs you've managed to squirrel away.
  • Disappointing Last Level: Or, rather, Disappointing Last Chapters. From approximately chapter 14, which is considered a scary, awesome level onwards, the game suddenly begins to pad itself to ludicrous degrees, culminating in several very difficult and frustrating encounters with the Alien. The game could easily end several times in the story, but continuously drags itself along, placing locked doors, powered down generators and a pissed off Xenomorph in your way. The game also moves it's goalposts frequently in these segments, which only adds to the frustration. Even when you reach the final chapter of the game, which is ostensibly a two-story room with some vents in the floor, and a fairly intense and climactic battle with an Alien and manages to drag it out to almost an hour total in just that chapter alone. The ending is also extremely frustrating in and of itself, turning the game into one long 15 hour "Shaggy Dog" Story. Many critics complained about this insane padding, claiming that the game could have easily been toned down from a 15 to 20 hour game to a 12 or 14 hour one, and nothing of any value would be missed.
  • 8.8: While the game has some issues such as the length, Isolation averaged around 8/10 with critical magazines and reviewers. Polygon, Gamespot, and IGN, however, kicked the crap out of the game giving it a 6.5, 6, and 5.9 respectively earning a lot of ire from fans due to it. Many fans go as far as to blame these poor reviews on the fact that the game has not gotten a proper sequel.
  • Ending Fatigue: There are several points where the game could have naturally ended (the destruction of the hive underneath the reactor core or Amanda confronting Marlow on the Anesidora and finding her mother's last transmission), but it continues past this, to the point of filler. Many critic reviews pointed out that the game could have easily been cut down to a more manageable length. To put this in perspective, Isolation is about 18 chapters long, with a short 19th chapter. Both of the above moments happen at around chapter 14 or 15. This means that there are about 5 chapters left until the ending from the point where the fatigue sets in, roughly translating to 5 hours of padding until the ending.
    • However, the fact that it has multiple places where the story could have ended could be Fridge Brilliance, as it reflects on the original film. At the time Alien came out, most films had a three-act structure. And the film could have easily ended with the destruction of the Nostromo and Ripley escaping. However, Ridley Scott decided to have a fourth act, the entire sequence that took place on the lifepod, as a means of throwing the audience off guard. The game could very well have been designed to mimic that story detail, luring people into a false sense of security and then catching them off guard with the final part of the story.
  • Ensemble Dark Horse: The Working Joes were a huge hit with the fanbase, thanks to their "unnecessarily terrifying robot" schtick and disturbingly calm one-liners being alternatively terrifying and hilarious. Some fans have even called them scarier than the alien. It says quite a bit that for the longest time, the page image for this game's Nightmare Fuel page was a picture of a Working Joe and not, you know, the xenomorph.
  • Evil Is Cool: The Alien, easily. It's simultaneously frightening and fascinating, due to the free-roaming AI, adaptable intelligence, and unpredictable behavior. It causes many intense moments, initiates cat and mouse duels with the player, and as many would argue, restored true fear back into the Xenomorph. Many players will proclaim it as the best part of the game by far.
  • Genius Bonus: Apollo Korzeniowski was the father of "Joe" Conrad, author of Nostromo: A Tale of the Seaboard.
  • Goddamned Bats: Facehuggers in the late game. They only take a single burst of flame to kill, but they hide under boxes perfectly still so you don't know they're there, only attack when you're very close, kill you instantly if they connect, and on death emit a squeal which gets the Alien's attention. What's even worse is that they can sometimes come after you while you're in a crawlspace where melee weapons can't be used, forcing you to waste precious ammo.
  • He Panned It, Now He Sucks!: To put it mildly, fans of this game were not amused by IGN reviewer Ryan McCaffrey's extremely critical review, which gave it a score of 5.9. It didn't help that he was most critical of things that many fans saw as positives, like the game's challenging difficulty level, the alien's sophisticated and unpredictable A.I., and the prominent role of the "Working Joe" androids (whom many fans loved almost as much as the alien).
  • He's Just Hiding!: There are quite a few fans who believe it possible that Samuels may have a chance at survival - given that he's a synthetic, he could potentially be fixed by other survivors on the station. Indeed, there are several fanfics featuring this as a premise.
  • Idiot Ball: Arguably, Ripley and the entire crew of the Torrens are holding the idiot ball at the start of the game. They hear a fragmented message from the Comms room of Sevastopol which clearly says "Serious...situation...on...board" and there are obvious signs of heavy damage all over the station from the outside - why on Earth would you still board it?! Ripley barely reaches the docking port after a near-fatal accident during the spacewalk and proceeds to wander around inside muttering "Hmm, I wonder what's going on here?" while staring at deranged graffiti all over the walls saying things like "WELCOME TO THE END OF THE LINE". At no point does she think of walking 2 rooms back, putting her spacesuit on and looking for a way to get out ASAP.
  • Inferred Holocaust: In the level The Hive, you can hear wailing in the distance, undoubtedly people cocooned in walls. When you overload the reactor, it's very likely that they all died. To be fair, most of them were probably impregnated anyway, so you may well have been doing them a favor.
  • Memetic Mutation:
  • Most Wonderful Sound:
    • The repetitive "Bleep, bleep, bleep" of the consoles representing a Justified Save Point can be a huge relief for a player to hear, especially after getting through a particularly tense section.
      • Can be a bit of a mean-spirited tease or Hope Spot though, as nothing is stopping enemies from approaching you when you try to save your game. If it's the alien, nothing is more infuriating than getting impaled from behind while waiting for the lights on the save point to count down.
    • The specific clanks that mean the Xenomorph has crawled back into the vents, giving you slightly more freedom for the time being.
  • Narm:
    • While most of the original film's cast sort-of sound like they did forty years ago, Harry Dean Stanton's voice is so old and weathered that a light breeze could drown him out. His hoarse rasp sounds nothing like Brett in the original film, and Stanton passed away shortly after the game came out, implying he was on death's door while recording his lines. It should be a fitting tribute, but it ends up an exercise in absurdity.
    • At the very end of the game, as you're about to release the docking clamps on the Torrens, you see the Xenomorph calmly observing you from a support beam about twenty feet away. It should be creepy, but its idle animation has it scurrying from side-to-side like it's doing a fucking jig.
    • While usually terrifying, the length of time a Xenomorph can spend sniffing around your hiding spot and not finding you (i.e. in a locker, under a table, etc.) can make you wonder if this particular specimen has some version of OCD.
    • While it makes sense after the breakdown of law and order - and certainly is consistent with the Humans Are Bastards theme of the Alien franchise - the sheer hostility most NPCs have towards the player borders on Stupid Evil. This goes Up to Eleven on the final few chapters when Seegson Security will shoot at you while the station is now crawling with Xenomorphs and facehuggers. In general, it is such an obvious plot device to add an additional enemy type besides the androids and aliens that it breaks suspension of disbelief.
    • During the EVA at the beginning, Taylor quips, "#HatingThis." Such a blatant New Tens piece of argot immediately breaks the game's utilitarian, retro-70s used future vibe.
    • There's a segment late in the game where the Xenomorph leaves you alone because you crawl through a hole it can't fit into...a barricade of hapzardly stacked suitcases at slightly above chest height. It being a barricade rather than a solid wall is perhaps necessary for the purposes of the player being able to see over it from both sides (especially since if you crawl through it on one side to your apparent safety the alien will immediately ambush you on the other) but it's a bit of a headscratcher how this was the best design solution from a developer standpoint, rather than say, a glass window.
  • No Problem with Licensed Games: Isolation is near-universally agreed to be an excellent game, and some fans even hold it up as the best Survival Horror game of all time.
  • Older Than They Think: When the game was released there were many calling it the first good Alien game, apparently having missed Aliens: Infestation on the DS and numerous other games where the Alien was featured prominently, albeit in competition with the Predator, such as the Alien Vs Predator Beat 'em Up from Capcom, the Aliens vs Predator First-Person Shooter games from Rebellion and Monolith, and Alien vs. Predator 2 (2001).
  • One True Pairing: Quite a few fans ship Amanda Ripley with Samuels, and even come up with fanfics where Samuels survives Sevastopol and the two of them just return to Earth to live a happy, Xenomorph-free life. It also helps that Samuels and Amanda share quite a few profound interactions, and Samuels does show genuine concern for her in the game.
  • Paranoia Fuel: Deliberately invoked. Once the Xenomorph gets into the picture, no where is safe and it could be anywhere.
    • The damn motion activated doors and vents will make you jump a few times.
  • Player Punch: Samuels' death in Mission 12. The merciless Hope Spot beforehand doesn't help.
  • Polished Port: The PC port looks absolutely incredible and runs fantastic- the game is so well optimized that the Steam versions lists a 2GB GPU in it's recommended settings, when the average GPU of the time had upwards of 4GB of VRAM. On the other hand, the PS3/Xbox 360 console ports are mediocre at best, with the PS3 version outright being a Porting Disaster due to memory leak issues that cause the framerate to plummet over time.
  • Rooting for the Empire: Marlow's plan to blow up Sevastopol makes perfect sense. At this point, the entire station is infested and all the humans still alive, save Ricardo, are hostile to the point of shooting on sight (case in point: the first people Ripley encounters when she gets back are rogue security forces that want to kill her). The player would be forgiven for asking Marlow to hold off for a few minutes, grabbing Ricardo and Taylor, calling the Torrens for an evac and then telling Marlow to have his fun. The fact that the game ends with everyone dead except for Ripley only further proves his point.
  • Scrappy Weapon: While usually the game subverts this, in that a number of the weapons seem useless when you first get them but then have a much clearer and better use later, the pipe bomb plays this completely straight. While it's definitely the most damaging weapon in the game, it only startles the Xenomorph and has a rather costly crafting recipe. The much quieter EMP and Molotovs are usually better at taking out groups of androids and humans respectively. It's only superior to those two against the hazmat Working Joes (which have both EMP and fire resistance), but in that situation the revolver, shot gun, and bolt launcher work just as well and don't have the risk of blowing yourself up. There is one area in the game where you don't have the above three and don't have to worry about alerting the alien where the pipe bomb becomes effective, but outside that one small part the only reason to craft it is to make room for more of its components.
  • Shocking Moments: Once you discover the hive full of Xenomorphs in the reactor, the shit-spewing, nerve wrecking factor will more than likely go straight through the roof.
  • Special Effect Failure:
    • The game uses occlusion/culling to remove sections of the map the player can't see, saving on rendering time. Occasionally—especially on previous-generation consoles, which can barely run the game—the occlusion bugs out and fails to load environment assets. Nothing breaks the willing suspension of disbelief like opening a vent on the Nostromo and seeing nothing but the skybox beyond, or walking past hovering plastic wrap in Gemini Labs because the game would not load the machinery its supposed to be covering.
    • When you first launch a shuttlecraft, the model of the otherwise elaborately detailed Sevastopol turns into a painfully obvious low-poly model that looks more at home on a Sega Dreamcast title than a modern cutting edge title.
    • The Digital Series, which combines rendered cutscenes with gameplay and transfers first-person dialogue scenes with third-person dialogue scenes, has scenes that fall into this with the newly-rendered scenes. Since there weren't as many resources put into the last part, there are scenes where the cast express emotional dialogue with oddly blank expressions or the Mouth Flaps go out-of-sync and unintentionally make the scenes suffer from a Hong Kong Dub effect. There are also some shots where it's clear that the camera wasn't quite made to make the jump from a first-person narrative to a third-person one, creating an odd "shutter" effect that the characters move through.
  • Tearjerker: Amanda finding her mother's last transmission. Ellen, throughout the recording, tells Amanda that she loves her and promises to see her soon. Naturally, we all know how things end up when the second film comes around.
    • Samuels' Heroic Sacrifice. Unlike the deaths of almost every other named character in the game, he gets the chance to share some poignant last moments with Ripley as he slowly stops functioning, and simply explains that he wanted her to have closure as his reasoning for his sacrifice.
    • Riccardo's death is also pretty tragic since he's the character that works with Ripley the longest as Mission Control and is rightfully terrified the whole time. It doesn't help that he seems pretty young and frail compared to to the other characters.
    • Sometimes you'll hear NPCs hiding from the creature, praying to God it doesn't find them and say they're not ready to die. Even if they were just shooting at you, it's still depressing to be reminded that these are people trying to stay alive.
    • Some of the audio logs on Sevastopol can reveal some pretty sad stories; most notably the log called "Blood on my Hands" by Sinclair, chief of Seegson Security, which you encounter in Habitation Decks towards the end. On the log, a dying Sinclair reveals that the Xenomorphs have killed everyone, including his wife, and have taken his children as well, and that he was powerless to stop them. He then finishes by saying, "just send in the Marines or blow this place up. Take these creatures back to hell."
  • That One Achievement:
    • "One Shot", which means you cannot die during one playthrough. It's extremely difficult to pull off due to the game's randomization, but the difficulty is mitigated by a programming oversight; reloading from a mission save will not trigger the 'player has died' Event Flag.
    • "The One", which requires you to make it through one of the most nerve-wracking parts of the game without dying.
    • "Mercy or Prudence" is also tricky to achieve even for non-trigger-happy gamers because the game tells you the Stun Baton isn't lethal, but still counts it as a kill when you use it.
  • That One Attack:
    • While the Xenomorph is already a one-hit kill enemy, they have one particularly cheap tactic of getting the drop on the player: the ceiling vents. These vents usually have drool coming from them to warn the player, but the player will sometimes be too distracted or running from other enemies to notice it. If the room is dark or fogged up, it's damn near impossible to notice. Sometimes, if the player is really unlucky, the Xenomorph will just drop from the vent if the player gets too close, giving them no time to hide.
    • Some unlucky players will encounter a Xenomorph when crawling through a vent. You may as well just embrace death when you see them there since you can't crawl fast enough to get away, and the spaces are too narrow.
    • During Nightmare Mode, any time you're caught in a chokehold by a Working Joe. If you're not at full health and dont mash that A button fast, you're toast. If you're caught and are unlucky enough to have less than adequate health, touch is death.
  • That One Level:
    • The Medical Ward, due to a serious Difficulty Spike. It's the first zone where the Alien is an active threat all the way through and the Alien itself is far more aggressive than elsewhere in the game (preferring to patrol on the ground instead of through the vents), and you lack most of the tools needed to ward it off if it spots you. The wards are also full of cramped, twisty corridors which can easily bottleneck you into an encounter with the Alien, and objectives are numerous and sometimes vague (at one point you're directed to stare at a whiteboard for several seconds to activate the next objective, with no prompt given). One particular room features a large table in the middle, 2 glass walls and 2 see-through doors at either end. The alien tends to walk into this room and get funnelled around the geometry of the table, patrolling back and forth for minutes at a time. Combined with the glass walls, it gets what is essentially a 360 degree view of the surrounding corridors and can be almost impossible to sneak past. It comes as a tremendous relief when the whole place explodes thanks to Waits' tripwires.
    • The Derelict level, if you're trying to breeze through the game for collectibles or a speedrun. Pretty much every other level relies on skippable FMVs or free-roam conversations the player can rush through to tell the story, but Marlowe's flashback is a lead-paced walking simulator with a bulky and cumbersome suit that drops your mobility to nil and is progress-gated to your slow and awkward AI allies.
    • Gemini Labs is this in spades. The Alien, which at this point is already fairly aggressive, goes for broke and makes a beeline for you if you make too much noise. Even though you have the flamethrower, there are more than a few times where the monster will constantly spawn around you, forcing you to duck into lockers and cubbyholes. It also doesn't help that this level has security cameras that go off if you trip them (which is easy to do due to the oddly-defined cone of vision) which will summon the Xenomorph instantly. Better be near a locker or under a table, cause if you aren't, then you'll die in seconds. And then the final section of the level is you and the Alien locked into a small lab, about three rooms big with numerous floor vents and ceiling vents, creating one of if not the most difficult encounter with the Xeno.
    • On Nightmare Mode, the mission immediately after the Xenomorph is ejected into space, where you have to return to Martial Waits bureau while evading a perfect storm of hostile Working Joes and paranoid Sevastopol citizens equipped with shotguns and riot gear, skyrockets into being one of the trickiest parts of the game. Since you'll only have the bare minimum of weapons and supplies at best, and Joes and footsoldiers alike can kill you in seconds if you make any false move, one either has to be extremely good at either having just enough ammo to kill the Joes or, barring that, evading the Joes or being fortunate enough that the Joes show a rare flash of intelligence and march ahead and kill the guys blocking your path. To say the least, It can really feel like a Luck-Based Mission at times.
    • The Apollo Core. In order to enter the area, you need to leave behind your revolver, shotgun, and flamethrower. And to make things even better, the area is crawling with Working Joes wearing hazmat suits who can't be disabled with the stun baton or EMP mines. There are no vents you can use to sneak around them, and their patrol routes seem to be random. Combine these things with the fact that Working Joes make little noise when they move, and you'll often have one or more of them stumbling upon you while you're trying to figure out how to sneak past another one.
    • Alien Hive. Remember how tough the first Xenomorph was? Imagine a whole nest of them, with Conservation of Ninjutsu subverted like crazy, and Facehuggers every which way. And what's more is that even though you'll have even stronger weapons by this point like the Bolt Gun and Shotgun, the most they can do to the Xenomorphs is stun them. Even the trusty flamethrower, which the Xenomorph can learn to fear, can only point in one direction at a time, so if more than one of the Xenomorphs flank you in a corridor, you are screwed.
    • One of the toughest parts of the game is in Mission 14, where you have to make your way to Ricardo while evading hallways crammed with shotgun-wielding riot guards. While the vents help you bypass some of them, the last stretch forces you to walk right within their line of fire, and any attempt at combat can quickly escalate the situation to being a lost cause, particularly on Hard or Nightmare Mode. Even if you're fortunate enough to have Smoke Bombs or Flashbang Grenades handy (which you probably won't on Nightmare Mode), you have to be really quick lest you want to get mowed down in seconds by them.
    • Mission 17, the escape from the Habitation Deck. The station is progressively falling out of orbit, with fire and power losses everywhere, your flamethrower is down to fumes, and now that there are multiple Xenomorphs and Facehuggers loose not even running away from danger is guaranteed to save you. As if all that wasn't bad enough, there's one incredibly obnoxious generator outage that requires you to backtrack across incredibly dangerous territory twice.
  • They Changed It, Now It Sucks!: Some fans have expressed dissatisfaction with how the game's Xenomorph's design differs from that of the film's, such as it only having two dorsal tubes or possessing digitigrade feet. According to the concept artist, the latter was to give it the necessary agility.
  • They Wasted a Perfectly Good Plot: In the nest level, it is possible to encounter to two Xenomorphs at once. Later, after they flee the core, you would think this would mean that you have to deal with multiple alien threats at once. Nope, except for a brief sequence towards the end, just one at a time.
    • The general consensus is that while the DLCs are good, they don’t tie enough into the main plot. Linguard and Ransome’s in particular are a wasted opportunity since they witnessed events first hand that Amanda only hears about (like the original chestburster that came from Foster or the general breakdown on the station) and their missions could have been used to show case these events.
  • Too Cool to Live: Samuels seems to be the exception to the Corrupt Corporate Executive trope - he's a helpful android that can deliver a No-Holds-Barred Beatdown to a Working Joe, can interface directly with the ship's systems and is the only outright good synthetic character in the game. Yet, he dies midway through the story (in a Heroic Sacrifice) while giving Amanda access to APOLLO.
  • Unintentionally Sympathetic: Both Marshal Waits and Marlow are portrayed as the Well-Intentioned Extremist but, arguably, have the right idea.
    • Waits is willing to sacrifice Ripley to rid the station of the alien. The creature already escaped multiple traps and compassion had recently allowed it to escape yet another. It's also important to note he is completely unaware there is more than one xenomorph on board.
    • Marlow's destruction of the space station also prevents the Aliens from escaping into the general public. He's not exactly wrong in saying the few lives aboard the station are not worth allowing those creatures to reach the rest of humanity. In the end not a single habitant of the station has survived the Alien infestation and only Ripley remains, which just further reinforces Marlow's perspective.
  • The Un-Twist:
    • It's revealed roughly halfway through the game that Weyland-Yutani screwed everyone over and is once again trying to acquire the alien as everyone expected they would. At this point, it would be more surprising for them to not be involved in one of these schemes.
    • The reveal of Samuels being a synthetic was this to people familiar with the series, but a surprise to those who weren't.
    • The game continues after Ripley apparently rids the station of the alien. But for horror fans this is very difficult to believe. At this point most players thought the creature somehow survived or there were more aliens aboard. Sure enough it's revealed the station is infested with xenomorphs.
  • Vindicated by History: While it initially had a polarizing (but still quite positive) reception, the game has gotten a much better reception as the years have gone by thanks to it's brilliant AI, production value, and stellar level design with even several sites that initially trashed the game on release admitting it's one of the best survival horror games ever made.
  • Win Back the Crowd:
    • After the backlash against the previous game, Aliens: Colonial Marines, Creative Assembly said that they hoped this game would restore the prestige to the game franchise. They even made it a point to wait until they had a near-complete build of the game before announcing it, as well as showed off a significant portion to industry journalists well in advance of the release date and had very low-key press releases (and not even bothering to publicize the fact that William Hope [who played Gorman in Aliens] played a key character in the game). The general critical consensus seems to be that despite pacing issues, significant padding and some A.I. issues on the default difficulty, it's still a solid triple-A release, the alien is genuinely scary, and the game is overall worthy of the Alien title.
    • Some fans regard the game as the best installment in the franchise since the second movie. A lot of the material since that point hadn't done much necessary world-building (with the exception of Prometheus). This game gave the players a look at different aspects of the universe with Sevastopol, rather than just giving the aliens a new ability or explaining why a new infestation popped up elsewhere.

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