Centuries ago, humanity mastered space travel only to find themselves alone in a quiet solar system. Everything changed when they encountered the Navigators, a species of aliens capable of teleportation. Not long after building a new home on a distant planet and surrounding it with satellite colonies, the Navigators revolted, leaving the colonies stranded on the far side of the Universe, with no contact with Earth.
Long after Earth has fallen into the realm of legend, agent Kenner Fense works for the Colony Defense Bureau, an organization claiming to keep the peace among the impoverished colonies while the wealthy and powerful isolate themselves on the planet’s surface. But Fense’s latest mission, which should have been a routine assassination, turns his world on its head when he meets a young woman named Ashes and her newfound friend, a captive Navigator.
Fense and Ash find themselves on the run from those who would use the creature’s power to do immeasurable harm, but it’s a small solar system with few places to hide. The chase brings out the best and worst humanity has to offer, and the only safe place to hide may be the only place no one knows how to find: Earth, the Foreland.
The Foreland comes out October 15th, 2021. Digital pre-order links below. Softcover and hardcover editions will be available in the next few weeks.
For the past few years, I’ve been slow to write or publish new fiction. It’s time for that to change. Late last year I was part of a team of talented individuals who published Crypto Bizarro, an illustrated horror story collection for adults. I’m just getting started.
I wrote this one a long time ago. Many of my works have touched on science fiction, but few have flown so far as to reach space opera territory. I ended up writing a novel in the genre, and while I felt like it had a large scope and a lot going on, it ended up being one of my shortest novels yet. That story is focused on a small set of characters on a very specific mission, but the world I found them in had a lot of other stories going on. The Forever Earth is one of them.
In the distant future, humanity has reached the apex of space travel, finding themselves alone in a dark and quiet solar system. Then the Navigators appear, a species of aliens capable of bringing mankind into a new frontier via teleportation.
Cody is one of the first settlers to uproot his life and move to a space colony orbiting a habitable planet half a universe away. People from all walks of life make their way to the colonies, hoping to earn a shot at one day living on a new planet’s surface.
But half a universe isn’t far enough to escape humanity’s demons, and Cody and the rest of the colonists soon find themselves cut off from Earth, stranded in the silence of unfamiliar stars. Culture shock, separation anxiety, and lawlessness collide, and Cody’s only hope for peace rests with his dreams of the little blue planet he left behind, and his ability to find his way back.
The Forever Earth will be available on May 10th, 2019, from most eBook retailers. Pre-order links can be found below:
Full disclosure: I’m a staff writer at Cubed3. The reviews I post here on my blog don’t reflect the opinions of Cubed3 and are written on my own time.
All pictures taken by me using the PS4’s share features.
The horror genre is very close to me, and nothing has ever scared me as deeply or profoundly as the titular creatures from the Alien franchise.
I couldn’t tell you when the first time I saw Alien was, but I know it was a long time ago. I’m sure I watched it with my parents, and most likely, my dad had me cover my eyes every time the alien appeared. (Looking back, I wonder if I imagined things far worse than what appears in the movie. More likely, this is the one series that I couldn’t.)
H. R. Giger’s iconic aliens have a beauty and an aesthetic that remains unmatched. No reboot or redesign has ever been needed (or, as far as I know, so much as wanted); the aliens are as ethereal and frightening today as they were when they were first brought to life by designer H. R. Giger, writers Dan O’Bannon and Ronald Shusett, director Ridley Scott, and actor Bolaji Badejo. Nothing has ever starred in more of my nightmares, and those are always the worst; I’ve had dreams where the creatures are only mentioned and they’ve caused me to wake up sweating and afraid.
As connected as I was to the films growing up, I never really played any of the games. As a big fan of Borderlands, I was excited to hear that Gearbox Software would be making a video game set in the Alien world: Aliens: Colonial Marines. Then the game actually came out, along with a firestorm of controversy, finger-pointing, and disappointed gamers.
I eventually rented the game after a few patches and updates had dropped, and it was more or less playable. While a few parts were fun in their own right, it wasn’t exactly the Alien experience I was hoping for.
Along came Alien: Isolation. Sega took a big risk in even planning another Alien game so soon after the disaster of Colonial Marines, but it’s one that paid off. Just by looking at the game, you can tell it’s something special.
The game looks like something right out of the movie. Just about everything aboard Sevastopol is faithfully recreated, from the clunky, 70’s-inspired vision of future technology to the oddly invasive manual input, like huge levers and parts of the ship that have to be physically cut away to gain access to certain areas.
The concept of the game is an immediate winner for me: Set on a space station called Sevastopol, Alien: Isolation ditches the more action-oriented concepts behind the previous game in favor of the more subtle horror the first film had.
I was so excited to get into this game, but playing in a dark room with headphones was almost too much. Here was the creature from my nightmares, presented to me in an interactive format like never before. At times I found myself hiding just to catch my breath, afraid to move like when I first played Outlast. In some ways, Alien: Isolation almost feels like an Alien mod for that game.
And, as much as I loved the game at first, things quickly went south. By the fifth mission, I was getting tired of rushing from locker to locker, wasting most of the game just hiding. It seemed like as soon as I lost the alien, it was right on my tail again, and I could spend an hour just traversing a hallway.
The game’s fifth mission almost sank the ship. Taking place in Sevastopol’s medical bay, which is a huge, multi-room area, it seemed absurd that the alien would follow me from chamber to chamber, hallway to hallway, supposedly unsure I was there but somehow miraculously always within a few yards of me. The motion tracker seemed like it was toying with me—at one point I watched the alien enter a room across from me, and I pulled it out only to see the thing tell me the alien was somewhere behind me. It was clear the game’s mechanics weren’t quite up to the task with its presentation. This culminated in nearly two hours of winding my way along this hall, only to have the alien come down from the vents overhead right as I was about to reach the door that led to the end of the mission. I quickly ducked under a table to wait for it to leave, and watched as the alien rounded a corner only to somehow spot me, despite absolutely no input on my part, and return from around the corner and kill me. And this was on easy mode!
At that point I swore I was done with the game, but I couldn’t keep myself away from it. It felt like I had come too far to just give up. It was personal now: That alien had to die. No way was it getting the best of me.
I went in with a new mindset. I decided the game was most likely not as logic-based as I was assuming, and it appears I was right. For example, the ambient noises aren’t always the alien, and even when they are, they aren’t often indicative of its position. A noise to the left doesn’t mean the alien is over there. The same was true for distant footsteps; as soon as the alien rounds a corner, there’s a good chance he’s not even there anymore. Assuming he’s prowling that same hallway is an exercise in futility, and a great invitation to spend the rest of Amanda Ripley’s life in a locker.
I still died a time or two in the medical bay, but this new philosophy proved fruitful, and I made decent progress through the game. The cat-and-mouse bits still caused me anxiety, and sometimes were more annoying than they were frightening, but I was having fun again, and a lot of it.
The game changes pace once the player gets the flamethrower. No longer entirely defenseless, the alien still can’t be killed, but it can be scared off, so long as you see it before it sees you.
On the whole, this might be the most frightening video game I’ve ever played. I found myself dreading it, hoping each thing I had to do would be the last. There are very few ways for the alien to “get” you, only a few death animations, and while they’re very well done (and expertly touch on the franchise’s body horror elements) they also become repetitive. Still, I was constantly afraid of the alien, especially at times when my flamethrower ammunition was dwindling.
I had an odd determination to finish the game, akin to facing my fears. Alien: Isolation is well-crafted and gave me the perfect opportunity to do that. Xenomorphs have always been indestructible to me, especially in my nightmares, and I respect how much effort was put into this game to recreate that aspect of them.
Alien: Isolation has its flaws. Sometimes it seems like the writers had no idea where to take the story next, so they just borrowed scenarios straight from the films. I appreciate longer games, but this one has a very select few enemies and ways of dealing with them, so more diversity in mission objectives, enemies, or avoidance techniques would’ve done it justice. On the whole it was fun, terrifying, and gorgeous. Unfortunately, the ending seems like it looked great on paper, but passes by as a ten-second long cinema, and just looked weird and unfulfilling.
I don’t know if I’ll ever play this game again. I think once was enough. That weird ending did leave things wide open for a sequel, and I’m conflicted about that. I’d love to see this team expand on their ideas, but I’d prefer to see them do it with a new story instead of painfully dragging out the one they have. If nothing else, Alien: Isolation proves that there is a treasure trove of storytelling and scares to be had in this franchise, something that hasn’t been successfully tapped into in a very long time. In a lot of ways, this game is a true successor to the films, and is better than most of them. The last thing I want is for it to careen down the same path that brought us the likes of Aliens Vs. Predator: Requiem and Colonial Marines.