Mehhhh. It's altogether too easy to get these games horribly, horribly wrong. Just hire Monolith, point at AvP2 and say "Like that but with better graffix please."
At least we know Gearbox wont screw it up like Rebellion did. Huge Predator and Alien fan, but the level design, insane amounts of motion-blur and upside-down camera really put me off AvP.
I cant wait to see some proper gameplay footage! :)
Rebellion got pretty lucky with the first AvP1 I think. At least judging by their second failed attempt. So if this can make me scream like a little girl and really feel like I was in Aliens, like their first one hit wonder did; then I shall be very happy indeed.
NeonSpyder"Das est NTLDR?"Join Date: 2003-07-03Member: 17913Members
Yeah no kidding.
I literally could not play past the first mission in the original AVP because the sounds of the motion sensor and the threat of aliens in vents and out of sight scared the crap out of me. That game was GOOD man, all of it.
The people who said the alien view rotation was disorienting or nauseating are wimpy fleshlings, ripe for the harvest. Biting my way through a ribcage as a chestburster was one of the most visceral experiences I've ever had in a game.
Look, I realize that as a mutant abomination with no inner ear, you have grown accustomed to orienting yourself by sight rather than feel, but to those of us with a healthy set of senses, not <i>intuitively</i> knowing where up and down are relative to your viewpoint makes it all but unplayable if you climb on walls and ceilings too much.
I mean, don't get me wrong, it's GREAT that your crippling handicap actually has it uses instead of only making you fall flat on your face all the time, but don't come here and tell me it makes you superior. You're like those morbidly obese people who claim that the rest of us are underweight and useless because we're unable to crush a small car by sitting on it.
My apologies I was referring to the horrible more recent multiplatform rendition of AVP.
AVP2 was awesome aside from your character having a full of death-wish <i>"whats that you want me to open all these blast doors in the alien filled darkness while you all hide in the APC ?"</i> and <i>"Oh some of our marines are trapped in an alien hive shall I go in and singlehandedly rescue them while you all guard the APC?"</i>.
Edit: I think the view orientation in the newer avp was too much for a lot of people because of the excessive motion blur and the leap and vent mechanic which made it all the more disorientating.
The first couple of marine missions where the best thing about the game, they didn't even get the smartgun sound right =/
<!--quoteo(post=1850014:date=Jun 5 2011, 08:36 PM:name=lolfighter)--><div class='quotetop'>QUOTE (lolfighter @ Jun 5 2011, 08:36 PM) <a href="index.php?act=findpost&pid=1850014"><{POST_SNAPBACK}></a></div><div class='quotemain'><!--quotec-->Look, I realize that as a mutant abomination with no inner ear, you have grown accustomed to orienting yourself by sight rather than feel, but to those of us with a healthy set of senses, not <i>intuitively</i> knowing where up and down are relative to your viewpoint makes it all but unplayable if you climb on walls and ceilings too much.
I mean, don't get me wrong, it's GREAT that your crippling handicap actually has it uses instead of only making you fall flat on your face all the time, but don't come here and tell me it makes you superior. You're like those morbidly obese people who claim that the rest of us are underweight and useless because we're unable to crush a small car by sitting on it.
You <i>freak.</i><!--QuoteEnd--></div><!--QuoteEEnd-->
Let go of your earthly bindings! Gravity is important to those whose movements are restricted by such crude and base impulses. Walls, floors, ceilings, these terms have no meaning in our glorious ballet of carnage. There are only surfaces over which I flow to find a better angle on my prey's throat.
X_StickmanNot good enough for a custom title.Join Date: 2003-04-15Member: 15533Members, Constellation
Australians have to chase wall running alligators and kangaroos and dropbears up skyscrapers daily, just to keep their cities from becoming infested with the deadly beasts.
This, combined with the natural australian immunity to fall-damage, means that knowing where the ground is in relation to your orientation isn't as important as it is everywhere else in the world.
I got to see the gameplay demo today that they showed behind closed doors at E3. Looks strong technically, but the design is gonna split opinion I think. Its very <i>Aliens</i> rather than <i>Alie</i>n or <i>Alien 3</i>.
<!--quoteo(post=1856143:date=Jun 25 2011, 05:31 AM:name=marks)--><div class='quotetop'>QUOTE (marks @ Jun 25 2011, 05:31 AM) <a href="index.php?act=findpost&pid=1856143"><{POST_SNAPBACK}></a></div><div class='quotemain'><!--quotec-->I got to see the gameplay demo today that they showed behind closed doors at E3. Looks strong technically, but the design is gonna split opinion I think. Its very <i>Aliens</i> rather than <i>Alie</i>n or <i>Alien 3</i>.<!--QuoteEnd--></div><!--QuoteEEnd--> yeah so`? i thought it was the plan. of course is colonial marines located in the aliens part of the timeline, since alien was like 50 years before when colonial marines werent even established yet, since there were no colonies, and alien 3 just sucked ass and is not realy considered to be canon
and personaly i think aliens was brilliant, design and technology wise, they even hired the original set designers of the sulaco and nostromo ( Ron Cobb and Syd Mead ) to create all the unknown places in the ship, to expand the purpose of the sulaco as vast set piece even more.
To be fair I doubt they showed much beyond a few action set-pieces to give people an idea of how it plays.
No point spoiling all the scary bits for a games thats a year away and theres a few good interview/previews out there with the games head developers who mention they didn't want it just to be a replication of aliens to pander to the fans but something and expands on it so its hard to say at this point how it'll end up.
However I for one wouldn't have a problem even if it did focus more on aliens gun ho style.
All gearbox did with dnf was make it stable enough to play and help port it to consoles, 3DR made most of the content then Triptych put everything together and finished the PC version of it and Piranha games made the multiplayer and helped with the porting.
Besides Randy Pitchford said himself that it wasn't going to be amazing even before it came out so its puzzling to me why a lot of people expected more from it.
You know what they say you can polish a turd but in the end its still a piece of crap.
I really wish they'd take this opportunity to completely retcon Aliens 3 and Resurrection. And AvP. And AvP 2. And the latest AvP game.
Pretty much everything after the *real* AvP 2 game and Aliens movie. Because everything after that was ###### garbage.
<b>SERIOUSLY WHAT THE HELL JAMES CAMERON SPENT THE ENTIRE MOVIE SAVING HICKS BISHOP AND NEWT AND THEN YOU KILLED THEM ALL OFF IN THE FIRST FIVE MINUTES YOU ARE THE WORST DIRECTOR EVER AND I HOPE YOU HAVE TO WATCH YOUR FAMILY DIE SOME DAY</b>
<!--quoteo(post=1856311:date=Jun 25 2011, 02:07 PM:name=Temphage)--><div class='quotetop'>QUOTE (Temphage @ Jun 25 2011, 02:07 PM) <a href="index.php?act=findpost&pid=1856311"><{POST_SNAPBACK}></a></div><div class='quotemain'><!--quotec--><b>SERIOUSLY WHAT THE HELL JAMES CAMERON SPENT THE ENTIRE MOVIE SAVING HICKS BISHOP AND NEWT AND THEN YOU KILLED THEM ALL OFF IN THE FIRST FIVE MINUTES YOU ARE THE WORST DIRECTOR EVER AND I HOPE YOU HAVE TO WATCH YOUR FAMILY DIE SOME DAY</b><!--QuoteEnd--></div><!--QuoteEEnd-->
Ah so I'm not the only person who owns all four movies but only watches three of them.
X_StickmanNot good enough for a custom title.Join Date: 2003-04-15Member: 15533Members, Constellation
Director's cut (or the extended cut, or the whatever-wasn't-in-the-cinemas cut) of Alien 3 actually isn't that bad. The "lol hicks and newt died XD" part is annoying but other than that it's not too bad. More like Alien than Aliens.
Something that made me laugh was that Sigourney Weaver had a clause in her contract demanding $40,000 if she had to shave her hair again after principal filming had finished (because her bald head was upsetting her young daughter. yup.). And then by the time reshoots rolled around, her hair had grown back! So rather than pay her the 40k to shave her head again, they spent 16k developing and applying a bald-cap for her that looked like her previously shaved head.
yeah, alien 3 was just one big script disaster, was many times rewritten, when they started filming they still had no script, so go figure
<!--quoteo--><div class='quotetop'>QUOTE </div><div class='quotemain'><!--quotec-->Alien 3 had a difficult production, with various screenwriters and directors getting involved in the project, and shooting even started without a finished script. The film was the big-budget debut of a young David Fincher, who was brought into the project very late in its development, after a proposed version written by Vincent Ward at the helm fell through. Fincher had little time to prepare, and the experience making the film proved agonizing for him, as he had to endure incessant creative interference from the studio and had to shoot the film without having a definite script. The added weight was also to create a film worthy of the work of the two revered directors that had gone before him, James Cameron and Ridley Scott.[1] Upon completion, the studio dismantled and reworked it without Fincher's consent, including releasing a teaser trailer that suggested the film would take place on Earth.<!--QuoteEnd--></div><!--QuoteEEnd-->
and here are the previous script drafts to alien 3, read it, and appreciate the script they finaly took for alien 3, some very terrible ideas, and some realy awesome ones which combined would have made a way better movie if they wouldnt just have quickly duct taped a script together while already shooting the movie.
<!--quoteo--><div class='quotetop'>QUOTE </div><div class='quotemain'><!--quotec-->William Gibson A very early script treatment was written by science fiction author William Gibson. At the time of his involvement, Sigourney Weaver "seemed doggedly unwilling to participate", so the main narrative focus became Hicks and Bishop. The version available on the Internet is, according to Gibson, "about thirty pages shorter than the version I turned in. It became the first of some thirty drafts, by a great many screenwriters, and none of mine was used (except for the idea, perhaps, of a bar-code tattoo)."[11] In copies of Gibson's treatment, "chestbursters" erupt out of human hosts as in previous installments, and turn into "bigger, meaner, faster" Alien Warriors. However due to initial genetic modification experiments undertaken by the Biological Warfare division on the space station (Anchorpoint), the Aliens additionally exhibit a close proximity airborne virulent contagion. When exposed at close range, the victim, after a variable amount of time goes through "the Change" as Gibson calls it, and becomes a form of alien warrior, the suspense being that the team does not know if anyone is infected until they find out when it is least expected. The process imagined by Gibson can be summarized as an involuntary change in the human's skeletal and muscular makeup below the skin, concluding with the newly formed Alien graphically tearing the flesh husk off of its body. The storyline for the film picked up after Aliens, as the Sulaco drifts into an area of space claimed by the "Union of Progressive People", due to a navigational error. The ship is boarded by people from the U.P.P, who are attacked by a facehugger, hiding in the entrails of Bishop's mangled body. The soldiers blast the facehugger into space and take Bishop with them for further study. The Sulaco then arrives at Anchorpoint, which is a Company run space station/mall. A fire on the ship caused by remaining Aliens puts Ripley into a coma and Hicks is left to investigate if the rumors are true that Weyland-Yutani are developing alien warriors (which they are). The U.P.P. is also doing their own research, due to custody of Bishop. After they have finished with Bishop, they repair him (albeit with cheap parts) and return him to Anchorpoint in a show of good will. Eventually Anchorpoint and the U.P.P stations are overrun with the parasite and Hicks must team up with the survivors to destroy the aliens. The film ends with a teaser for Alien 4 in which Bishop suggest to Hicks that humans are united against a common enemy and they must track the aliens to their source and destroy them. The screenplay was very action oriented, containing 8 marine vs alien battle scenes whereas its predecessor James Cameron's contained only 2 such scenes. It also featured an extended cast with new characters and has a considerable following on the Internet. The producers, while liking certain parts, were unhappy with the screenplay. Gibson was asked to make rewrites with their newly hired director, Renny Harlin, but declined citing various other commitments and "foot dragging on the producers' part."[9]<!--QuoteEnd--></div><!--QuoteEEnd-->
<!--quoteo--><div class='quotetop'>QUOTE </div><div class='quotemain'><!--quotec-->Eric Red re-write The next draft was done by Eric Red, writer of the cult horror films The Hitcher and Near Dark, and opened with a team of Special Forces marines boarding the Sulaco unarmed and finding that all the survivors of the LV-426 mission had fallen victim to the aliens. The only reference to the first two films being a torn spacesuit nametag that is found bearing the name "Ripley". The screenplay in a sense was even bolder than the Gibson script, in that it took place in an entire small-town USA city in a type of bio-dome in space. Red's screenplay resurrected the idea of aliens transforming humans into cocoons that was deleted from the original film. The screenplay's brash storyline culminates in an all out battle with the townsfolk facing hordes of Alien Warriors, yet it also contains an arguably higher level of horror than the previous films and screenplays. It is also the first screenplay in the Aliens genre to feature a genetically mixed Alien-Human creature in antibiosis (foreshadowing the "newborn" in Alien Resurrection). The screenplay also re-uses the "alien virus" idea from Gibson's draft, which this time gives rise to Alien mosquitoes, cattle, dogs and chickens and has even gained the ability to infect matter and technology as well, resulting in the space station itself being transformed into a giant alien-like creature. After being shown Red's screenplay, then-director Renny Harlin walked out on the project to direct Die Hard 2, and Red was fired shortly afterward. It was at this point that Giler and Hill abandoned their plans for the two Alien sequels.<!--QuoteEnd--></div><!--QuoteEEnd-->
<!--quoteo--><div class='quotetop'>QUOTE </div><div class='quotemain'><!--quotec-->David Twohy's "Prison Planet" Writer (and future director) David Twohy was next to work on the project. His version featured a prison planet, which was being used for illegal experiments on the aliens for a Biological Warfare division. The screenplay details how inmates on death row were mock executed in a gas chamber, while actually being kept alive and being used as bait in experiments with the Alien. Examples included breach testing, where the Alien would be videotaped using scientific high speed cameras as it searched for - and found - the weakest part of a structure with a human bait inside, broke through and attacked the victim. This screenplay was also the first to propose a failed clones scenario, describing large jars of Alien test clones, some fused together as Siamese twins, possibly as a forerunner to the "clones of Ripley" scene in Alien Resurrection. It was also the first script to feature a high number of different Alien types (Rogue Alien, Spike Alien, Alien chameleon, etc.), and was the first screenplay to flesh out the idea of the "newborn" (used later in Alien Resurrection), called the "newbreed" here. Finally, the script also had numerous scenes where victims are piecemeal sucked into space through a small rupture in the hull (or through bars) causing very gruesome deaths, possibly functioning as a precursor to the death of the "newborn" in Alien: Resurrection. When new director Vincent Ward told the studio he was not interested in filming Twohy's script and wanted to pursue his own idea of the film, Twohy's draft was scrapped.<!--QuoteEnd--></div><!--QuoteEEnd-->
<!--quoteo--><div class='quotetop'>QUOTE </div><div class='quotemain'><!--quotec-->Vincent Ward's "Wooden Monastery" The story by Vincent Ward[12] and the screenplay with co-writer John Fasano had Ripley's escape pod crash landing on a monastery-like satellite, which had parts of its interior, both, wooden and archaic in design. The Alien 3 special features disc set, Alien Quadrilogy[13] explains how Ward came about creating the story for this partially wooden satellite also as a place of refuge for Luddite-like monks. The story begins with a monk who sees a "star in the East†(Ripley's escape pod)[14] and at first believes this to be a good sign. Upon arrival of Ripley, and with increasing suggestions of the Alien presence, the monk inhabitants believe it to be some sort of religious trial for their misdemeanors, punishable by the creature that haunts them. By having a woman in their monastery, they wonder if their trial is partially caused by sexual temptation, as Ripley is the only woman to be amongst an all male community in ten years. To avoid this and (hopefully) the much grimmer reality of what she has brought with her, the Monks of the "wooden satellite" lock Ripley into a dungeon-like sewer and ignore her advice on the true nature of the beast.[15] The monks believe that the Alien is in fact the Devil.[16] Primarily though, this story was about Ripley's own soul searching complicated by the seeding of the Alien within her and further hampered her largely solo attempts to defeat it. The Alien Quadrilogy DVD set features scenes and illustrations that show this ‘Wooden Planet’. Aspects of the monastery and monks of these drafts were later utilised in the final production of the film by having the male inmates participating in an apocalyptic religion that forbade sexual relations. Primarily it was the plot of Alien 3 that was borrowed from this story but little of this world remained in the film. Despite his credit,[17] Ward noted that the things he liked best about the story and those that he believed would have made it work were not used. The screenplay featured scenes set in different locations on the one-mile (1.6 km) wide wooden planetoid, ranging from wheat fields, through a grisly but darkly comic scene in the monks’ communal toilets, to furnaces and a glass works (also used in the finished film). Empire Magazine described Ward’s ‘Wooden Planet’ concept as ‘undeniably attractive – it would have been visually arresting and at the very least, could have made for some astonishing action sequences. In the same article, Norman Reynolds - Production Designer originally hired by Ward, remembers an early design idea for “a wooden library shaft. You looked at the books on this wooden platform that went up and downâ€. ‘Imagine the kind of vertical jeopardy sequence that could have been staged here – the Alien clambering up these impossibly high bookshelves as desperate monks work the platform’.[18] Sigourney Weaver described Ward’s overall concept as “very original and arresting.â€[19] Former London Times journalist David Hughes included Ward’s version of Alien III amongst ‘The Greatest Sci-Fi Movies Never Made’[20] in his book of this title. Since Ward’s vision for the film was never borne out into the arena of public scrutiny, this is obviously reserved for those who have taken a particular interest in the Alien project. However, Ward’s proposed version of Alien III has gained a certain following with the 2009 article in Empire Magazine[21] and an extensive section dedicated to Ward’s vision in the Alien Quadrilogy box set.<!--QuoteEnd--></div><!--QuoteEEnd-->
<!--quoteo--><div class='quotetop'>QUOTE </div><div class='quotemain'><!--quotec-->Walter Hill and David Giler's Shooting Script Short on time before filming was due to commence, producers Walter Hill and David Giler took control of the screenplay themselves, melding aspects of the Ward/Fasano script with Twohy's earlier prison planet screenplay to create the basis of the final film. David Fincher did further work on the screenplay with author Rex Pickett, and despite Pickett being fired and Hill and Giler writing the final draft of the screenplay, he revised most of the work done by the previous authors.<!--QuoteEnd--></div><!--QuoteEEnd-->
and this: The film was shot at Pinewood Studios, starting on January 14, 1991, without a finished script and with $7 million already having been spent.
i liked David Twohy's draft, even though it could have needed more newt and hicks and ripley, and some william gibson script thrown in without that alien virus, even though the transformation scene would have gotten something John Carpenter´s "the thing" like, and been very gory :o.
but i dislike the idea that aliens would have all of a sudden some OP airborne viral effect on humans which turns them from the inside into alien warriors
Comments
--Scythe--
I cant wait to see some proper gameplay footage! :)
I literally could not play past the first mission in the original AVP because the sounds of the motion sensor and the threat of aliens in vents and out of sight scared the crap out of me. That game was GOOD man, all of it.
Hey cant possibly be worse than AVP2 can it ?
Also 4-player co-op <3
:(
:(<!--QuoteEnd--></div><!--QuoteEEnd-->I think Drake means AvP (the recent Rebellion reboot) not AvP 2 (the 2001 Monolith game). I loved AvP 2.
:(<!--QuoteEnd--></div><!--QuoteEEnd-->
That's because AvP2 was <b>incredible</b>.
The people who said the alien view rotation was disorienting or nauseating are wimpy fleshlings, ripe for the harvest. Biting my way through a ribcage as a chestburster was one of the most visceral experiences I've ever had in a game.
--Scythe--
I mean, don't get me wrong, it's GREAT that your crippling handicap actually has it uses instead of only making you fall flat on your face all the time, but don't come here and tell me it makes you superior. You're like those morbidly obese people who claim that the rest of us are underweight and useless because we're unable to crush a small car by sitting on it.
You <i>freak.</i>
AVP2 was awesome aside from your character having a full of death-wish <i>"whats that you want me to open all these blast doors in the alien filled darkness while you all hide in the APC ?"</i> and <i>"Oh some of our marines are trapped in an alien hive shall I go in and singlehandedly rescue them while you all guard the APC?"</i>.
Edit: I think the view orientation in the newer avp was too much for a lot of people because of the excessive motion blur and the leap and vent mechanic which made it all the more disorientating.
The first couple of marine missions where the best thing about the game, they didn't even get the smartgun sound right =/
I mean, don't get me wrong, it's GREAT that your crippling handicap actually has it uses instead of only making you fall flat on your face all the time, but don't come here and tell me it makes you superior. You're like those morbidly obese people who claim that the rest of us are underweight and useless because we're unable to crush a small car by sitting on it.
You <i>freak.</i><!--QuoteEnd--></div><!--QuoteEEnd-->
Let go of your earthly bindings! Gravity is important to those whose movements are restricted by such crude and base impulses. Walls, floors, ceilings, these terms have no meaning in our glorious ballet of carnage. There are only surfaces over which I flow to find a better angle on my prey's throat.
--Scythe--
This, combined with the natural australian immunity to fall-damage, means that knowing where the ground is in relation to your orientation isn't as important as it is everywhere else in the world.
yeah so`? i thought it was the plan. of course is colonial marines located in the aliens part of the timeline, since alien was like 50 years before when colonial marines werent even established yet, since there were no colonies, and alien 3 just sucked ass and is not realy considered to be canon
and personaly i think aliens was brilliant, design and technology wise, they even hired the original set designers of the sulaco and nostromo ( Ron Cobb and Syd Mead ) to create all the unknown places in the ship, to expand the purpose of the sulaco as vast set piece even more.
<div align='center'><img src="http://www.culturedeluxe.com/wp-content/uploads/sulaco1.jpg" border="0" class="linked-image" /></div>
No point spoiling all the scary bits for a games thats a year away and theres a few good interview/previews out there with the games head developers who mention they didn't want it just to be a replication of aliens to pander to the fans but something and expands on it so its hard to say at this point how it'll end up.
However I for one wouldn't have a problem even if it did focus more on aliens gun ho style.
All gearbox did with dnf was make it stable enough to play and help port it to consoles, 3DR made most of the content then Triptych put everything together and finished the PC version of it and Piranha games made the multiplayer and helped with the porting.
Besides Randy Pitchford said himself that it wasn't going to be amazing even before it came out so its puzzling to me why a lot of people expected more from it.
You know what they say you can polish a turd but in the end its still a piece of crap.
Pretty much everything after the *real* AvP 2 game and Aliens movie. Because everything after that was ###### garbage.
<b>SERIOUSLY WHAT THE HELL JAMES CAMERON SPENT THE ENTIRE MOVIE SAVING HICKS BISHOP AND NEWT AND THEN YOU KILLED THEM ALL OFF IN THE FIRST FIVE MINUTES YOU ARE THE WORST DIRECTOR EVER AND I HOPE YOU HAVE TO WATCH YOUR FAMILY DIE SOME DAY</b>
Ah so I'm not the only person who owns all four movies but only watches three of them.
...
But it is definitely in high orbit above the shark.
Something that made me laugh was that Sigourney Weaver had a clause in her contract demanding $40,000 if she had to shave her hair again after principal filming had finished (because her bald head was upsetting her young daughter. yup.). And then by the time reshoots rolled around, her hair had grown back! So rather than pay her the 40k to shave her head again, they spent 16k developing and applying a bald-cap for her that looked like her previously shaved head.
Hollywood!
So if I ever wanted to see alien 3, I'd just watch alien 1 again.
<!--quoteo--><div class='quotetop'>QUOTE </div><div class='quotemain'><!--quotec-->Alien 3 had a difficult production, with various screenwriters and directors getting involved in the project, and shooting even started without a finished script. The film was the big-budget debut of a young David Fincher, who was brought into the project very late in its development, after a proposed version written by Vincent Ward at the helm fell through. Fincher had little time to prepare, and the experience making the film proved agonizing for him, as he had to endure incessant creative interference from the studio and had to shoot the film without having a definite script. The added weight was also to create a film worthy of the work of the two revered directors that had gone before him, James Cameron and Ridley Scott.[1] Upon completion, the studio dismantled and reworked it without Fincher's consent, including releasing a teaser trailer that suggested the film would take place on Earth.<!--QuoteEnd--></div><!--QuoteEEnd-->
and here are the previous script drafts to alien 3, read it, and appreciate the script they finaly took for alien 3, some very terrible ideas, and some realy awesome ones which combined would have made a way better movie if they wouldnt just have quickly duct taped a script together while already shooting the movie.
<!--quoteo--><div class='quotetop'>QUOTE </div><div class='quotemain'><!--quotec-->William Gibson
A very early script treatment was written by science fiction author William Gibson. At the time of his involvement, Sigourney Weaver "seemed doggedly unwilling to participate", so the main narrative focus became Hicks and Bishop. The version available on the Internet is, according to Gibson, "about thirty pages shorter than the version I turned in. It became the first of some thirty drafts, by a great many screenwriters, and none of mine was used (except for the idea, perhaps, of a bar-code tattoo)."[11]
In copies of Gibson's treatment, "chestbursters" erupt out of human hosts as in previous installments, and turn into "bigger, meaner, faster" Alien Warriors. However due to initial genetic modification experiments undertaken by the Biological Warfare division on the space station (Anchorpoint), the Aliens additionally exhibit a close proximity airborne virulent contagion. When exposed at close range, the victim, after a variable amount of time goes through "the Change" as Gibson calls it, and becomes a form of alien warrior, the suspense being that the team does not know if anyone is infected until they find out when it is least expected. The process imagined by Gibson can be summarized as an involuntary change in the human's skeletal and muscular makeup below the skin, concluding with the newly formed Alien graphically tearing the flesh husk off of its body. The storyline for the film picked up after Aliens, as the Sulaco drifts into an area of space claimed by the "Union of Progressive People", due to a navigational error. The ship is boarded by people from the U.P.P, who are attacked by a facehugger, hiding in the entrails of Bishop's mangled body. The soldiers blast the facehugger into space and take Bishop with them for further study. The Sulaco then arrives at Anchorpoint, which is a Company run space station/mall. A fire on the ship caused by remaining Aliens puts Ripley into a coma and Hicks is left to investigate if the rumors are true that Weyland-Yutani are developing alien warriors (which they are). The U.P.P. is also doing their own research, due to custody of Bishop. After they have finished with Bishop, they repair him (albeit with cheap parts) and return him to Anchorpoint in a show of good will. Eventually Anchorpoint and the U.P.P stations are overrun with the parasite and Hicks must team up with the survivors to destroy the aliens. The film ends with a teaser for Alien 4 in which Bishop suggest to Hicks that humans are united against a common enemy and they must track the aliens to their source and destroy them. The screenplay was very action oriented, containing 8 marine vs alien battle scenes whereas its predecessor James Cameron's contained only 2 such scenes. It also featured an extended cast with new characters and has a considerable following on the Internet. The producers, while liking certain parts, were unhappy with the screenplay. Gibson was asked to make rewrites with their newly hired director, Renny Harlin, but declined citing various other commitments and "foot dragging on the producers' part."[9]<!--QuoteEnd--></div><!--QuoteEEnd-->
<!--quoteo--><div class='quotetop'>QUOTE </div><div class='quotemain'><!--quotec-->Eric Red re-write
The next draft was done by Eric Red, writer of the cult horror films The Hitcher and Near Dark, and opened with a team of Special Forces marines boarding the Sulaco unarmed and finding that all the survivors of the LV-426 mission had fallen victim to the aliens. The only reference to the first two films being a torn spacesuit nametag that is found bearing the name "Ripley". The screenplay in a sense was even bolder than the Gibson script, in that it took place in an entire small-town USA city in a type of bio-dome in space. Red's screenplay resurrected the idea of aliens transforming humans into cocoons that was deleted from the original film. The screenplay's brash storyline culminates in an all out battle with the townsfolk facing hordes of Alien Warriors, yet it also contains an arguably higher level of horror than the previous films and screenplays. It is also the first screenplay in the Aliens genre to feature a genetically mixed Alien-Human creature in antibiosis (foreshadowing the "newborn" in Alien Resurrection). The screenplay also re-uses the "alien virus" idea from Gibson's draft, which this time gives rise to Alien mosquitoes, cattle, dogs and chickens and has even gained the ability to infect matter and technology as well, resulting in the space station itself being transformed into a giant alien-like creature. After being shown Red's screenplay, then-director Renny Harlin walked out on the project to direct Die Hard 2, and Red was fired shortly afterward. It was at this point that Giler and Hill abandoned their plans for the two Alien sequels.<!--QuoteEnd--></div><!--QuoteEEnd-->
<!--quoteo--><div class='quotetop'>QUOTE </div><div class='quotemain'><!--quotec-->David Twohy's "Prison Planet"
Writer (and future director) David Twohy was next to work on the project. His version featured a prison planet, which was being used for illegal experiments on the aliens for a Biological Warfare division. The screenplay details how inmates on death row were mock executed in a gas chamber, while actually being kept alive and being used as bait in experiments with the Alien. Examples included breach testing, where the Alien would be videotaped using scientific high speed cameras as it searched for - and found - the weakest part of a structure with a human bait inside, broke through and attacked the victim. This screenplay was also the first to propose a failed clones scenario, describing large jars of Alien test clones, some fused together as Siamese twins, possibly as a forerunner to the "clones of Ripley" scene in Alien Resurrection.
It was also the first script to feature a high number of different Alien types (Rogue Alien, Spike Alien, Alien chameleon, etc.), and was the first screenplay to flesh out the idea of the "newborn" (used later in Alien Resurrection), called the "newbreed" here.
Finally, the script also had numerous scenes where victims are piecemeal sucked into space through a small rupture in the hull (or through bars) causing very gruesome deaths, possibly functioning as a precursor to the death of the "newborn" in Alien: Resurrection.
When new director Vincent Ward told the studio he was not interested in filming Twohy's script and wanted to pursue his own idea of the film, Twohy's draft was scrapped.<!--QuoteEnd--></div><!--QuoteEEnd-->
<!--quoteo--><div class='quotetop'>QUOTE </div><div class='quotemain'><!--quotec-->Vincent Ward's "Wooden Monastery"
The story by Vincent Ward[12] and the screenplay with co-writer John Fasano had Ripley's escape pod crash landing on a monastery-like satellite, which had parts of its interior, both, wooden and archaic in design. The Alien 3 special features disc set, Alien Quadrilogy[13] explains how Ward came about creating the story for this partially wooden satellite also as a place of refuge for Luddite-like monks.
The story begins with a monk who sees a "star in the East†(Ripley's escape pod)[14] and at first believes this to be a good sign. Upon arrival of Ripley, and with increasing suggestions of the Alien presence, the monk inhabitants believe it to be some sort of religious trial for their misdemeanors, punishable by the creature that haunts them. By having a woman in their monastery, they wonder if their trial is partially caused by sexual temptation, as Ripley is the only woman to be amongst an all male community in ten years. To avoid this and (hopefully) the much grimmer reality of what she has brought with her, the Monks of the "wooden satellite" lock Ripley into a dungeon-like sewer and ignore her advice on the true nature of the beast.[15] The monks believe that the Alien is in fact the Devil.[16]
Primarily though, this story was about Ripley's own soul searching complicated by the seeding of the Alien within her and further hampered her largely solo attempts to defeat it. The Alien Quadrilogy DVD set features scenes and illustrations that show this ‘Wooden Planet’. Aspects of the monastery and monks of these drafts were later utilised in the final production of the film by having the male inmates participating in an apocalyptic religion that forbade sexual relations. Primarily it was the plot of Alien 3 that was borrowed from this story but little of this world remained in the film. Despite his credit,[17] Ward noted that the things he liked best about the story and those that he believed would have made it work were not used. The screenplay featured scenes set in different locations on the one-mile (1.6 km) wide wooden planetoid, ranging from wheat fields, through a grisly but darkly comic scene in the monks’ communal toilets, to furnaces and a glass works (also used in the finished film).
Empire Magazine described Ward’s ‘Wooden Planet’ concept as ‘undeniably attractive – it would have been visually arresting and at the very least, could have made for some astonishing action sequences. In the same article, Norman Reynolds - Production Designer originally hired by Ward, remembers an early design idea for “a wooden library shaft. You looked at the books on this wooden platform that went up and downâ€. ‘Imagine the kind of vertical jeopardy sequence that could have been staged here – the Alien clambering up these impossibly high bookshelves as desperate monks work the platform’.[18] Sigourney Weaver described Ward’s overall concept as “very original and arresting.â€[19] Former London Times journalist David Hughes included Ward’s version of Alien III amongst ‘The Greatest Sci-Fi Movies Never Made’[20] in his book of this title. Since Ward’s vision for the film was never borne out into the arena of public scrutiny, this is obviously reserved for those who have taken a particular interest in the Alien project. However, Ward’s proposed version of Alien III has gained a certain following with the 2009 article in Empire Magazine[21] and an extensive section dedicated to Ward’s vision in the Alien Quadrilogy box set.<!--QuoteEnd--></div><!--QuoteEEnd-->
<!--quoteo--><div class='quotetop'>QUOTE </div><div class='quotemain'><!--quotec-->Walter Hill and David Giler's Shooting Script
Short on time before filming was due to commence, producers Walter Hill and David Giler took control of the screenplay themselves, melding aspects of the Ward/Fasano script with Twohy's earlier prison planet screenplay to create the basis of the final film. David Fincher did further work on the screenplay with author Rex Pickett, and despite Pickett being fired and Hill and Giler writing the final draft of the screenplay, he revised most of the work done by the previous authors.<!--QuoteEnd--></div><!--QuoteEEnd-->
and this: The film was shot at Pinewood Studios, starting on January 14, 1991, without a finished script and with $7 million already having been spent.
i liked David Twohy's draft, even though it could have needed more newt and hicks and ripley, and some william gibson script thrown in without that alien virus, even though the transformation scene would have gotten something John Carpenter´s "the thing" like, and been very gory :o.
but i dislike the idea that aliens would have all of a sudden some OP airborne viral effect on humans which turns them from the inside into alien warriors