This article covers the known deleted sequences from the 2014 video game Alien: Isolation.

While it is common for video games to have their plot edited or altered during development, Alien: Isolation is notable in that it underwent a major re-write around a year before release, altering the game's story quite substantially; while key events remained the same, the paths that led to them were originally quite different and the game seems as though it was initially intended to be significantly longer. Several characters also had notably different personalities and goals in earlier versions of the story. The finished game still contains data relating to the earlier plot, in the form of unused script files found within the Xbox 360 build and references to cut maps and unused events within the standard build of the game.[1]

Note that because the cut material has been pieced together from unused script files, the events and locations of these sequences, as well as their timing within the overall story, have merely been interpreted from dialogue and as such may not be entirely accurate. Furthermore, the missing script sections seem to be incomplete, and as such there are several gaps in the expanded story they represent. However, some sections are verified in legitimacy through concept art found either online or in The Art of Alien: Isolation, as well as through references to cut maps within the game. A developer of the game noted that a lot of early scripts were unofficial and never seen by Fox.

Towards the end of this article, maps and environments that were removed from the game, including several with no obvious story purpose, are described. Game features removed from the final product are also covered, detailing how elements such as the user interface (UI) and gameplay mechanics changed during development. This information is sourced from leftover code in the game files as well as footage from pre-release events and early demos of the game — mainly the E3 demo and pre-alpha demo nicknamed "Showlevel".

A full transcript of the deleted sequence scripts can be read here.


The game originally opened with a prologue sequence that touched upon events at Sevastopol Station before the arrival of the Torrens. This section featured stories from most of the game's supporting characters, including Marshal Waits, Julia Jones, Zach Watson, Chief, Ricardo, Hughes, Dr. Kuhlman, Barker, Smythe, Ransome, Spedding and Dr. Lingard, as well as characters ultimately cut from the final game such as Eisner, Jackson and Harper. Events that would have been shown during this sequence include:

  • Eisner getting his family aboard the Solace and escaping Sevastopol.
  • Waits and his men forcibly ejecting all civilians from the Spaceflight Terminal.
  • Hughes being duped by APOLLO into shutting down communications on the station and then being thrown out by a Working Joe when he attempts to revert the lockdown.
  • Kuhlman trying to break into San Cristobal to remove the Chestburster that has been implanted inside him.
  • Ransome trying to reap financial reward from the Xenomorphs, including ordering the Working Joes to strip the Anesidora for clues and attempting to escape the station with the information he has.
  • Spedding investigating the strange behavior of the androids on the station.
  • Waits announcing his intention to resign following the incident and holding himself partially responsible.
  • Lingard revealing that she is involved in the trading of black market medical supplies, which are brought to Sevastopol by Marlow.
  • An engineer named Jackson witnessing the Drone attacking his colleague and lover Harper.

Some of these events are still referenced in the game (primarily through various archive logs) but many were deleted from the story entirely. Among the more interesting changes revealed by the script for this sequence is the fact that originally, it was Heyst and Meeks who were attacked by Facehuggers on LV-426, not Foster. Waits also makes mention of a "contingent of specialists who've arrived from Weyland-Yutani" and are attempting to help him deal with the Xenomorph outbreak — in the finished game, the only people from Weyland-Yutani to ever set foot on the station are those from the Torrens, but Waits' comment in the cut opening implies the company had already put a team aboard, presumably to help them recover Xenomorph samples or a specimen. The files also reveal that in this earlier version of the game, Dr. Lingard recognizes the potential financial value of the Xenomorph and sends samples to the Gemini Exoplanet Solutions team herself; in the finished game, it is Ransome who does this, against Lingard's will (as revealed in the game's archive logs).

Little is known about how this section would have played out — it may simply have been a cutscene, although it seems possible that the player may have been able to control the characters during these short story elements. A map is referenced in the game files with the name "BSP_P01_TwoTeams", with "P01" seeming to indicate that this section would have been part one of the story, and "TwoTeams" referencing the ability to swap between characters within the map (as is the case in the bonus DLC map Crew Expendable). It is possible that this section was removed as it was fairly complex yet not particularly essential to the overall story. However, some of the dialogue snippets from this section were subsequently recycled as archive logs in the final game.

The Solace

Main article: Solace

Concept artwork of the frozen interior of the Solace.

A significant sequence was removed before the Torrens reaches Sevastopol in which the crew were to wake from hypersleep only to realize they are not yet at their destination — instead, they have been roused early in response to an emergency SOS signal (mirroring the beginning of Alien). They quickly learn that the signal is coming from a ship, the Solace, which is drifting lifeless in space. Ripley boards the vessel to investigate, finding that the life support systems have failed and the interior is in a deep freeze. She goes to the engine room to reactivate the vessel's power, noting, "This ship wasn't built for deep space travel; the engine had no FTL drive. It shouldn't be out here."

Ripley soon discovers evidence that those on board had drawn up a rota for sharing the hypersleep pods; evidently the ship launched with far more people than it was capable of carrying for an extended period of time. Shortly afterwards, Ripley finds the first bodies, passengers or crew who froze to death when life support failed, noting grimly that "it wasn't quick". Verlaine instructs Ripley to leave, pointing out that Weyland-Yutani will sue her if her passenger is killed before she can deliver her to Sevastopol as ordered, but Ripley refuses until she is sure there are no survivors aboard. Continuing her search, she finds blood, "a lot of it", along with several audio logs recorded by Eisner that reveal the desperation of those aboard the ship — including passengers resorting to violence as the pressure to share the few cryo tubes mounted, as well as his dwindling sanity when he is finally left alone in the darkness aboard the stricken vessel. Eventually, Ripley finds the bodies of the remaining passengers "squashed into the hypersleep berths" and learns to her horror that the Solace came from Sevastopol. Suddenly, the derelict ship begins to break apart. Ripley scrambles back to the airlock and is rescued by Samuels, sent aboard by Verlaine to bring her back. During her frantic escape, Ripley apparently sees evidence or glimpses of — but does not directly encounter — a Xenomorph, which presumably dies when the ship breaks apart.


"Solace Ice" concept art.

The Solace is featured and explicitly named in several pieces of concept art created for the game. Further evidence of its existence remaining in the game include the Anesidora's map file, which is named "SOLACE", hinting that the interior layout of the Solace was re-purposed for the Anesidora. The Anesidora mission also ends with the ship breaking apart and exploding, possibly a reuse of effects created for the section of gameplay set aboard the Solace. Part of the script for the mission aboard the Solace can also be found in the console version of Alien: Isolation, along with references to a "corridor decompression" animation sequence in the final build of the game.

Back Aboard the Torrens

The removed Solace sequence would have been followed by an additional section set aboard the Torrens once Ripley has returned to the ship. In it, the crew argue about the decision to investigate the Solace — Samuels chastises Verlaine for letting Ripley go, but Verlaine points out that there are penalties for ignoring a distress signal. When Samuels continues to insist it unnecessarily jeopardized their mission, Ripley points out that she does not officially work for Weyland-Yutani and was therefore well within her rights to risk her own life investigating the derelict ship. After Verlaine and Samuels go to continue the debate in private, Ripley and Taylor discuss Samuels, whom Ripley snidely labels "a real company guy".

Notable in this deleted sequence is how drastically different Samuels' personality is compared to the final game; whereas he is portrayed as being amicable and compassionate in the finished product, the script for this sequence shows him to be far colder and sterner, caring only for the mission to Sevastopol and condemning the search for possible survivors aboard the Solace as an unnecessary risk. As Ripley herself puts it, he is a company man, only interested in Weyland-Yutani and its interests. This shift in personality ties into later events involving him and Taylor that were likewise cut from the game.

Kuhlman Impregnated

Following on from the revelation that Dr. Kuhlman is impregnated with a Chestburster in the game's deleted opening, a later added scene revealed that the doctor has been using patients, or possibly other survivors on Sevastopol, as test subjects to try and work out how to safely remove the Chestburster from himself. Most notably, while trying to call survivors over to test on, he says, "I need... You there! What is it? A hurt friend? Need a fix? Perhaps we can help each other," which is quite similar to dialogue used when he first encounters Amanda in the final game.

More Than One

After Ripley has jettisoned the first Drone in the Project KG-348 module and returned to Sevastopol, her original dialogue implies that she already suspected there was more than one of the creatures on the station. As she tells Waits, "We're not out of this. I don't think it was the only one. Not after what I saw in Medical." This is contrary to the finished game, in which the existence of multiple Xenomorphs is a plot twist held back until the player discovers the Hive in Reactor Maintenance.

Pursuing Marlow

One of the biggest changes between the original game and the released version was the role of Marlow in the story. Whereas he is already in custody at the Colonial Marshal headquarters when Ripley first arrives there in the game, and is only ever encountered in two brief (but pivotal) moments, it was originally planned for the character to play a far more extensive role in the plot. Instead of being detained from the start, Marlow was to be on the run somewhere on Sevastopol, and he was to have the Nostromo black box with him — apparently, Ripley does not find it early on in the Lorenz SysTech Spire as in the final build. After the first Drone has been dealt with, Marshal Waits sends Ripley after Marlow, learning from a recording she recovered previously that he is hiding in the Corporate Penthouses in the Solomons Habitation Tower.

Explosive Traps

An interesting plot change revealed by some of the unused scripts involves the explosive traps set for the Xenomorph all over Sevastopol — originally, it seems Marlow was the one responsible, not Waits and his men.

Body Hunt

Ripley's pursuit of Marlow requires her to find a private Seegson shuttle, the only way for her to reach the secure Corporate Penthouses. This leads her back to the San Cristobal Medical Facility, where a shuttle belonging to an executive named Barker, who recently came to the hospital for treatment and subsequently died, is still docked. When she finds the shuttle requires a security keycard, she must search for Barker's body in the facility, eventually locating it — and his personal effects — in the morgue. While there, she discovers the bodies of Heyst and Meeks, dead from the Chestbursters they unwittingly brought aboard. Multiple sound effects still exist in the game files for discovering the medical records of the Anesidora crew.

Mission 6 ID Card

The drawer opened when the access rewire is used in mission 6.

Interestingly, the script files reveal that Ripley would have needed to replace several safety stabilizers in order to access the morgue; this mirrors how the player must replace several coolant cylinders in order to access the morgue's cold rooms and progress through San Cristobal in mission 6 of the finished game. It seems highly probable that this brief and otherwise inconsequential morgue section of gameplay was simply recycled from this cut sequence, especially as activating the rewire system to open the vent out of the area also opens a small drawer nearby, which presumably would have contained Barker's personal effects. In the final game this drawer contains the ID tag of C. McCormack.

Some mentions of Barker can still be found in the final game — including an archive log and two unused game models (a statue and a cigar packet). His name also appears on the patient list found on a whiteboard in the medical canter.

The Corporate Penthouses


Concept art showing one of the suites with a hull breach.

Upon arriving in the Corporate Penthouses, Ripley tracks Marlow to the office of Seegson executive Ransome, who, like Marlow, originally had a larger role in the game. She realizes that Ransome was one of the victims aboard the Solace, and also learns of his attempts to manipulate the Xenomorph discovery to his professional advantage — his machinations in this regard are still featured in the game's archive logs. While Marlow has already moved on, Ripley discovers that he came to Ransome's office to steal the launch codes for the Anesidora. Thinking he is planning to flee, Waits orders her to get after him, telling her he will meet her there.


More decompression concept art.

While cut from the game, the executive suites later formed the basis of the first DLC pack for the game, Corporate Lockdown. This was most likely a way for the developers to use maps that were late in development and would otherwise have been wasted effort. Multiple animations and sounds for the deleted level, M15, are still referenced and sometimes present in the game files.

Samuels and Taylor Break Out


Early concept art of Amanda, Verlaine, Taylor and Samuels.

Although initially Amanda's allies, in the original cut story both Samuels and Taylor later turn hostile, breaking out of the Marshal Bureau while Ripley is in pursuit of Marlow and attempting to escape the station on their own, presumably taking with them any evidence of the Xenomorphs they have been able to recover. In this version of events, it is apparently Taylor who kills Waits, not the rampaging Working Joes as in the final game. Ricardo is also shot and wounded in this confrontation.

As they flee, Samuels contacts Verlaine aboard the Torrens and requests extraction, lying to Verlaine that Ripley had been killed aboard Sevastopol. While it is assumed they are unsuccessful in their plans to abandon Ripley, their ultimate fates are not revealed in the missing script sections.

Hostile Security


Seegson Private Guard suit on display in the Marshal Bureau.

In pursuit of Samuels and Taylor, Ripley encounters Seegson Security operatives who are raiding the civilian encampment in the Galleria mall, stealing their supplies and killing any who resist. Ripley eventually finds that they have slaughtered everyone in the shelter.

While Seegson Security appear only fleetingly in the finished game, their corrupt dealings are the subject of several archive logs, and concept art of their operatives can be found in The Art of Alien: Isolation. Many references to their guns (simply named "SMG") can still be found in the game along with models of the weapon's magazine. Concept art also exists of civilians taking cover from gunfire, presumably from the security forces. The suits of the original Seegson Private Guards can be seen on display in the Marshal's office.


Given that Marlow was on the run on Sevastopol in the early part of the game, it seems as though the flashback to LV-426 originally took place much later in the story, after Ripley catches him and locks him up in the Marshal headquarters. During the sequence, the initial trek across LV-426 would have been longer, with the Anesidora crew occasionally pausing to take geological and atmosphere samples along the way. Interestingly, the unused script files for this sequence reveal that Foster was the one to stay aboard the Anesidora, while Lewis accompanied Marlow, Heyst and Meeks to the derelict; Foster and Lewis' roles are swapped in the finished game.

Unused audio files also suggest Marlow was originally intended to provide narration over at least some of the LV-426 flashback sequence.[2]

LV-426 Part III


Concept art showing the bridge of the Anesidora on LV-426.

The LV-426 flashback in the final build of the game takes place on the maps "BSP_LV426_PT01" and "BSP_LV426_PT02"; however, a third map named "BSP_LV426_PT03" is also referenced, indicating that there was originally a third section of gameplay on the planetoid, presumably continuing after the crew comes into contact with the Eggs. A significant amount of concept art exists of the interior of the Anesidora's bridge, so it seems likely the player may have returned to the ship in this section of the game. It is unknown why this sequence was cut, although it could have been due to it playing too similar to the events of the original film, Alien, or simply time restrictions during development.

Working with Marlow


Development map of Sevastopol, showing the unvisited sections.

Another significant difference in the original scripts centers on Marlow's plan to kill the Xenomorphs by destroying Sevastopol. Instead of escaping and carrying out this mission alone, he apparently informs Ripley of his plan while he is locked up in the Marshal Bureau. This would have led to one of the most significant differences between the early story and the finished game — Ripley actually agrees with Marlow and helps him carry out this plan, realising that it is likely only days or perhaps even hours before the Xenomorphs have taken or killed every person on Sevastopol, at which point there will be no one left to warn any rescue teams that may come to investigate the station's silence. To this end, she helps Marlow cut himself out of his cell and the two set off together, the player and Marlow working as a team. Their plan is to reach the Anesidora (which is being kept in a dry dock on the station) and activate the ship's self destruct system. They would then get to the Torrens and escape Sevastopol before the detonation, taking with them as many survivors as they can (including Ricardo, whom Ripley promises to return for).

Ellen's Fate

Some of the deleted sections where Ripley works with Marlow contain dialogue that implies she originally learned more about the disappearance of the Nostromo, including the fact that it was deliberately routed to LV-426 by Weyland-Yutani. She also learns that her mother may still be alive, adrift in space somewhere, leading her to promise Marlow, "Once this crap is over I can start trying to find her." It is assumed she received this information from Marlow himself, who no doubt gleaned it from the Nostromo's black box.

In a near-final build of the game, Ripley's understanding of her mother's fate had changed somewhat — when Marlow informs her of the equipment he found inside the derelict on LV-426, left by the crew of the Nostromo, Ripley assumes her mother is dead, concluding, "She's never coming back. My mother's never coming back." Ultimately, these conversations were removed, perhaps as they may have interfered with a potential sequel.

Better That Way

Having joined forces, Ripley and Marlow head to the Anesidora; along the way, they encounter a group of armed survivors preparing to execute another who was previously attacked by a Facehugger. Dialogue in the script seems to imply the player would have been given the choice to either execute the infected survivor themselves, or have Marlow do it. Afterwards, Marlow would reassure Ripley, "It's better that way. I've seen what happens."

Blowing Up the Anesidora


Concept art possibly showing the Anesidora in dry dock.

Ripley and Marlow eventually reach the Anesidora, only to find that Ransome has previously ordered the Working Joes to completely strip the vessel for clues regarding the Xenomorph. The Joes are still hard at work, complicating their efforts to get onto the ship and blow it up. Marlow uses himself as bait to lure the Joes away so that Ripley can get aboard; the two later rendezvous aboard the vessel, but discover the self destruct device has been removed. As a workaround, Marlow decides to try and overload the engines manually (the same process he employs to destroy the ship in the finished game), but the process goes wrong and he is killed, although in his final moments he saves Ripley's life. Although there is an explosion, the blast is limited and it does not destroy Sevastopol.

Return to the Hive

Alienisolation environment reactor core hive 02 by brad wright-SNIPPED

Concept art potentially showing the original larger hive.

In a last attempt to wipe out the Xenomorphs, Ripley decides to deactivate Sevastopol's orbital stabilizers (referred to as gravity anchors in the script and concept art), hoping to drop the entire station into KG-348's atmosphere. On the way to the stabilizer controls on the engineering decks, she was to encounter the Hive for a second time, discovering that it is now considerably larger than when she previously found it. Observing the rapid expansion, she asks Ricardo, "Can you imagine what would happen if this thing got loose in one of the colonies?" which would have been an obvious reference to Aliens and the fate of Hadley's Hope.

This sequence likely explains why so much "Hive" concept art was produced that bears little resemblance to the Hive discovered in the final game.

The Gravity Anchors

Alien Isolation Concept Art BW gravity-anchor

Concept art showing the stabilizers or "gravity anchors".

Upon reaching the stabilizer control room, Ripley sets about shutting down the stabilizer arrays manually. However, when she deactivates the first of the three arrays, APOLLO detects her actions and locks down the facility, halting her progress. Ripley has Ricardo impersonate the facility's chief engineer, a man named Lee, to convince APOLLO she has been apprehended and to lift the lockdown. The ruse works, but even so, Ripley's progress through the facility is treacherous; at one point she has to crawl through a heat exhaust vent, timing her progress to avoid being incinerated.

Nevertheless, Ripley succeeds in deactivating a second stabilizer, thereby degrading Sevastopol's orbit and sealing its fate. Ricardo contacts her and informs her there are "creatures on the move — all over the station"; apparently the Xenomorphs are somehow aware the station has been compromised. He goes on to explain his attempts to hack Seegson Communications and contact Verlaine have failed, and so Ripley suggests she go there herself. Ricardo warns her that someone there is already trying to access systems; this is presumably the Seegson Security personnel that Ripley encounters there in the finished game, who are trying to call in the Torrens so they can hijack it and escape Sevastopol.

While Sevastopol's fate in the final game is much the same, it involves no input from Ripley, and the stabilizers are simply destroyed when the Anesidora explodes from Marlow's sabotage.

Ricardo's Death

Originally, the timeline of Ricardo's demise was such that his death by Chestburster was to happen in front of Ripley, taking place after she realigns Sevastopol's communications antenna to contact the Torrens (the point at which she finds him subdued by a Facehugger in the finished game). In this version of events, his impregnation was to take place "off-screen" much earlier, during the period Ripley is cut off from him while inside APOLLO.[3] Subsequently, he would have recovered with little memory or understanding of what had happened (much like Kane in Alien) and would keep his growing fears that something was wrong to himself, up until the point the Chestburster emerges. However, upon reflection, the development team realized that the gestation period should be considerably longer — the process took around 24 hours in Alien. Thus, Ricardo's fate was changed so that he simply falls victim to a Facehugger later in the game, forcing Ripley to leave him behind. Writer Will Porter later accepted the change, stating, "That came with its own added elements of horror, when he presumably regains consciousness off-screen, so we gained something there."[3]

Amanda's True Nature

In the initial pitch of Alien: Isolation (when it was known as Alien Year Zero), Amanda Ripley was actually an android. This fact would not be revealed to the player until the end of the game. The developers originally planned to make her a synthetic out of concern that the player would not believe Amanda would go searching for her mother in deep space; her being an android programmed to do so would provide solid motive. However, as development progressed and Amanda became a more prominent character, the developers felt that it would be inappropriate to keep the android twist in the story. The idea was cut and the game's plot was then re-written, supposedly around a year prior to release.

Alternate Ending


Storyboards for the original ending.

An alternate ending to the game can be found within some concept art for mission 18.

As in the released version of the game, Amanda successfully releases the Torrens from the docking clamp outside of the tow platform by activating the emergency explosive bolts. However, the blast launches her into space — evidently she did not tether herself to the ship beforehand in this version of events — along with several of the Xenomorphs that had been about to attack her. The Torrens is forced to abandon Ripley and escape the gravitational pull of Sevastopol before it drags the vessel down with it (similar to a sinking ship dragging survivors under). It moves out of orbit as Verlaine attempts to contact an unconscious Ripley, who is shown floating through space before the title and end credits appear. Thus, the entire epilogue section present in the finished game — mission 19, in which Amanda gets back aboard the Torrens and is confronted by one last Xenomorph — is absent.

Interestingly, the absence of the epilogue means that Verlaine and Connor clearly survive in this version of events, while Amanda's ultimate fate remains in question. This ending also notably recalls certain fan theories that the epilogue section of the game may in fact be a dream, and that Amanda never actually sets foot aboard the Torrens after being thrown away and presumably knocked unconscious by the detonation of the release bolts. Evidence suggested to support this theory include the fact the Torrens seems unlikely to have escaped the failing Sevastopol if the crew had been killed by the Xenomorph aboard, and the fact that the final section of gameplay arguably possesses a certain dream-like quality.

Cut Archive Logs

Among the game's files are several audio logs that ultimately do not appear in the game. Transcripts of these logs can be read below. Logs are arranged here in the order they appear within the game's audio file directory — which is neither chronological nor necessarily the order in which the player would have collected them.

Locked Down Hospital (Lingard) - Audio
"Morley, this is Lingard. I've followed Waits' orders and locked down the hospital. If you need access to anything I've left details in my office – 232."

Terminal Riot (Julia Jones) - Audio (for alternate version)
"Julia Jones, journal entry 17th November. Oh my god, this is utter bullshit. Marshal god damn Waits finally called a public meeting, after our furious demands and the petition. The bastard said he was going to address the rumors that have been circulating on Sevastopol. “Rumors?” What an asshole. Rumors don't kill people. Instead of giving us the answers we wanted, he continued to be evasive. The bastard's covering something. Anyway, everything went to hell. Waits and his thugs were pelted by projectiles from the crowd. Then someone fired a gun, for fuck's sake! I was screaming for them to stop. Jesus, we're all in this together, aren't we? There's talk of suing Seegson for mismanagement or corporate irresponsibility. Class action. Give me a damn pen. Where do I sign? And someone suggested taking that bastard Waits to a Colonial Marshal Service I.A. tribunal. Christ. In the Terminal, it was horrible. There was panic. I've never seen anything like it. I'm so afraid. Waits and his goons forcibly ejected us from the Terminal. Unbelievable. “Protect and Serve”? What a joke. Feels like we're really on our own now. God, I'm so fucking scared."

Securing the Camp (Ricardo) - Audio
"Carter, it's Ricardo. Waits and I have put together a package for your camp in the tech stairway. Medical supplies – painkillers, antiseptic, bandages. There's some canned food, nothing that's gonna go bad. Finally – soap, water, toilet paper. Be careful, lots of crazies out there. Good luck."

The Signal's Clear (Marlow) - Audio
"That's it Taylor – it's letting me enter the Anesidora's co-ordinates. The signal's clear. This is Captain Marlow initiating the Anesidora's automatic recall systems. Code: Sigma Alpha Two Three Nine. Destination to follow."

Axel's Journal #331 (Axel) - Audio
"Axel's journal entry 331 – Excuse me if I lack my usual eloquence, but I woke up today with a pounding hangover. Last night I toasted the decommissioning of Sevastopol. No one else seemed to want to celebrate – pussies – so I was forced to drink the lion's share. Now, they say liquor loosens the tongue, even Sevastopol's piss-weak booze, and when I started cursing out Marshal Waits, a stranger staggered up to me and joined in. He was completely wasted, Drunk fucker kept saying he 'wasn't from these parts', but when I asked where he was from he put his finger to his lips and said he couldn't tell. Asshole. That's it, I'm going back to bed."

Awaiting Response (Taylor) - Audio
"Marshal Waits, this is Nina Taylor, from the Weyland Yutani team assigned to collect the Nostromo flight recorder. We are yet to receive confirmation that you are prepared for our arrival on Sevastopol. I will be present to oversee the legal technicalities, along with a fellow executive and a colleague. The flight recorder contains proprietory Company data. We understand Sevastopol is currently being decommissioned, but we trust the device's safety is of primary importance. Please respond as soon as possible."

Meeks, Pick Up (Heyst) - Audio
"Meeks, pick up. What the hell do you think you're doing? I know you were on the sauce last night, and once you get a few drinks in you your lips start flapping. You know that Marshal is looking for us, right? There's not that many people here and you start shooting your mouth off, he's going to find us. Marlow's already got picked up and I haven't heard from Foster at all. If you need to hit the booze, make sure you do it alone. Heyst out."

Journal Entry #333 (Axel) - Audio
"Axel's journal entry 333 – I fucking knew something was going down. I told them, but they just laughed it off. Well, they're not laughing now are they? To be fair, no-one is. I spent all last night wide awake, gun in my lap, twitching at the curtains. People are disappearing, and the word is Waits has been trying to keep it quiet. 'We are in control of the situation' – balls! There's a killer on the station and Waits knows who it is. Could even be one of his team. All I know is, I'm not staying another night. I'm getting someplace safer."

Dead Soldiers (Zach Watson) - Audio
"Well, here I am. Dry for a score and then Sevastopol happened. Happened to us all. Whole place has changed on me. Shifted. Nothin's right no more. Only thing to do is drop anchor in a bottle and get good and sunk. Killed a quart now and I still feel colder than a witches' tit. Still hearing things. What's out there? Here's to dead soldiers."

Cut Maps/Locations

The Patna

AI Patna

Concept artwork of the Patna.

A ship named the Patna (unrelated to the USCSS Patna from Alien3) was intended to appear in Alien: Isolation as a medical transport vessel, however it was cut from the final game. The exact role the ship may have palyed is unclear. Concept art of the ship can be found within The Art of Alien: Isolation and references to the map file "BSP_Patna" can still be found in the final game. The ship was listed as containing basic infirmary, hypersleep and morgue facilities as well as featuring proportionally large engines, keeping the design in-line with Ron Cobb's original Alien aesthetic. At the center of the Patna was an exposed coolant chamber which would allow for the contents to be frozen for transit.

It is believed that the Patna was cut early in development and re-used to create the Solace, which later became the Anesidora.

The Dry Docks


Concept art of the Dry Docks showing the Anesidora next to some Power Loaders.

Two maps are referenced in the game files for the Dry Docks - "ENG_DryDock" and "ENG_DryDockCargo". This is the location where Ripley and Marlow would have unsuccessfully tried to detonate the Anesidora and destroy Sevastopol in the original script of the game. Various pieces of concept art seemingly show views of this area from afar as well as one piece (to the right) showing an internal view of how large the space was. Seegson logos with the subtitle "Corporate Docks" also exist, possibly intended for the uniforms of the workers employed in this section of Sevastopol.

This map apparently made it quite far into development, a window from the map is reused in the Tow Platform where Amanda goes to extend the maintenance rig near the end of the game. An ambient sound file can also be found in the game titled "AMB_Docks_Cargo", presumably intended for the ENG_DryDockCargo map. Additionally, the map "ENG_ReactorCore" (which contains Sevastopol's reactor core and the area surrounding it) references a script for the player entering the map "FromDryDockCargo". Activating this allows you to hear audio of the player arriving by a transit car, so it is possible that the Dry Docks were originally accessible by one of the now disabled transit points in the Reactor lobby. This is further confirmed by an ambient sound reference titled "AMB_DryDock_Transit". Further ambient sounds for the Dry Docks reference "Umbilicus", "Vent" and "Transit_Control_Room", so it is likely that these were the main areas found within the map(s).

Cooling Plant and Waste Management


Concept art of the waste chute (more in the gallery at the bottom of this entry).

The Cooling Plant and Waste Management sections of Sevastopol, located on the Engineering decks, were seemingly to be a playable environment, spread over three separate maps. The relevant sectors of the station are labelled on a schematic of Sevastopol that was drawn early in development (seen below), when the game was still known as Alien Year Zero. The game's files refer to maps named "ENG_WasteChute", "ENG_WasteManagement" and "ENG_CoolingPlant". Although the reasons behind the removal of these maps is not known, it is likely due to the massive change of story prior to the game's release. Since these locations are labelled on the map of Sevastopol, referenced in the final game's map list and also shown in concept art, we can assume that these sections made it quite far into development even though very little is known about them. It is believed that the Cooling Plant would have been accessible from the map ENG_ReactorCore, as that map has a script to handle the player entering "FromCoolingPlant". This script can be activated, and triggering it places the player underneath the elevator that they arrive in from APOLLO (TECH_MuthrCore).

The "relay" section of the second Salvage Mode DLC map seems to use the waste chute concepts heavily in its design.

The Gravity Anchors


Concept art of the gravity anchors.

A large amount of concept art was produced for the Gravity Anchors area of the station and The Art of Alien: Isolation details some more information about the anchors themselves. Additionally, a reference can be found within the game files to a map directory (removed in the final build of the game) for "ENG_Gravity_Anchor". The game classifies each section of Sevastopol with a different prefix, the Gravity Anchors receiving the "ENG" prefix for Engineering as they were located at the bottom of Sevastopol. Due to the map being referenced within the final build of the game, along and all the concept art available online, it is assumed that this section of the game made it quite far into development. A number of sound files can also be found in the game for this mission/map.

Comms array catwalks


Seegson Communications Comms Array whitebox.

Early whitebox concepts for the external communications array found within Seegson Communications show extensive catwalk sections on the exterior of Sevastopol, something which is not found within the final game. These catwalks completely surround the communications dishes and have multiple levels accessible by ladders. Of course, the use of ladders while in a spacesuit is ridiculous and is not present in the final game, replaced by an elevator in sections where the catwalk is multi-storey.


Presumed Tow Platform whitebox.

Another whitebox concept shows what is presumed to be the exterior of the Tow Platform where Amanda boards The Torrens at the end of the game in mission "SHOWDOWN". This again has extensive catwalk sections and is multi-storey accessible via a ladder. The levels are marked with large numbering, something which is seen a lot in early game prototypes and concept art, but used less in the final product.

Transit Shuttles

Although only seen briefly when flying to the Anesidora in the final version of Alien: Isolation, transit shuttles were originally planned to be a more significant part of life on Sevastopol, with shuttles required to reach the Executive Suites (requiring a personal keycard to access and operate). The cut mission "M15" would have seen Amanda use the transit shuttles, and while this isn't present in the final game, an animation previs can be seen showing what the sequence would have looked like - as well as an initial storyboard design for the sequence. Two loadscreen cutscenes can also be found in the game files showing the shuttles transiting between Sevastopol's towers. It is likely (and also hinted at through leftover codenames in the shipped version of the game) that the SHUTTLE cutscenes replaced this animation previs in "M15" to allow the new map to load during the transition.

Amanda does use an inter-tower transit shuttle in the final game however it lacks the extended animation seen in the designs and previs below. This is likely what came from the intended implementation in M15, although more basic than planned.

M15 previs animation WIP and PROTOTYPING

M15 previs animation WIP and PROTOTYPING

A previs animation for the cut shuttle sequence in "M15".

M15 animatic

M15 animatic

An animated storyboard for the shuttle sequence in cut "M15".



Loadscreen cutscene "SHUTTLE_01" showing the transit shuttle moving between Sevastopol's towers.



Loadscreen cutscene "SHUTTLE_02" showing the transit shuttle moving between Sevastopol's towers.

Cut Game Features

General gameplay mechanics


The in-game model for the "Memento Mori" bag that the player would have been able to pick up, known as "MEMENTO_MORI_TEMPLATE".

A feature known as "Memento Mori" would have allowed players to pick up items from where they had died when they respawned. The feature could be toggled on or off and although cut from the game, the model of the Memento Mori bag that would contain the player's items and the code for the settings to disable it can still be found in the final game's files.

Another removed feature was a "New Game+" mode, likely unlocking additional difficulties or features for a second playthrough, although very little is known about the specifics. Novice and Nightmare mode were added in a patch post-launch, able to be selected on first playthrough. These modes may have originally been intended to be unlocked through "New Game+".

The game also originally featured more variety in the arcade machines seen in mission 2, when Amanda first enters the Spaceflight Terminal and goes to Cred-Op Amusements to restore power. The game's files contain jingles for three unused arcade games titled "Power Up", "Dinky King" and "Super Mooria", the latter two obvious puns on the classic video games Donkey Kong and Super Mario. Additionally, a jingle and a large number of in-game sound effects can be found for another arcade game called "Dragon Gauntlet"; the sound files seem to indicate that this was a fighting game akin to Street Fighter, while the name "Dragon Gauntlet" is presumed to be based on an item available in Runescape that grants improved melee abilities.

Additionally, the player was originally able to zoom the flashlight in and out, but this feature was removed from the game in favour of an average-sized fixed beam. This could have been in an attempt to simplify the control scheme. References to this feature and sound effects for the zoom ability can still be found in the game files.

Third Person Gameplay

Alien- Alien Isolation 3rd Person Demo

Alien- Alien Isolation 3rd Person Demo

A video of the game when it was third person.

Originally Alien: Isolation was a third person experience using a cover and traversal system to allow the player to hide from the Xenomorph. The game was later changed to become a first person experience, with lockers effectively replacing the third person object cover system. It's not known how late into development this switch happened, but a video of the game running in this third person state can be seen and it is clear that the game is far into production, with a lot of final assets in place including props and environment assets which are identical to that of the shipped version of Alien: Isolation. A number of references to this third person mechanic are also still present including the definitions for the cover and traversal system. It's interesting to note that a lot of the third person code seems to be more in the style of Viking: Battle for Asgard's configuration files, perhaps indicating that the switch to first person was done around the same time as the completion of the CATHODE script editor, which supposedly held up development while it was being created and caused massive game rewrites once it was ready. The developers explained that their choice to move to a first person experience was to immerse the player in the world of the game.

A playable Xenomorph

Multiple references can be found in the files to a point in development where Alien: Isolation was a two-player experience, in which one player would control Amanda and another would control the Xenomorph.


A section of code from "ALIEN_PLAYER.BML", the behaviour settings file for the player controlled Xenomorph.

In the final PC build of the game, these are only very vague hints through occasional mentions of player numbers and multiplayer features. However, digging deeper into leftover debug settings reveals that the programmer could originally opt-in to manually control other humans, Working Joes and the Xenomorph. This is further expanded upon in files found within the console build of the game, where two files can be found named "ALIEN_PLAYER" and "ALIEN_TEST" which are not present in the PC release. These behavior settings specify a second player having the ability to control a Xenomorph, with the first player controlling Amanda. The Xenomorph had 1,500 health points compared to Amanda's 1,000 health points and an ability to peek around corners like Amanda, but with a vastly reduced range — only being able to move 45% of Amanda's horizontal peeking and 25% of Amanda's vertical peeking.

It is not known if this feature was ever intended to make it into the final game, or if it was simply a means for the developers to test gameplay before the AI was fully finished. It is possible that this method of controlling enemies through the debug options, or having a second player controlling the Xenomorph, was only intended for use in promotional material so that the team didn't have to rely on the AI to perform the actions they needed to capture.

Craftable items

The player's inventory has slots for both small and large medkits, the latter of which was cut from the game. The large medkit would have restored all of the player's health when used, as opposed to just a percentage of it. Four other cut craftable items referenced in the game files are known as "chem_light", "wide_area_chem_light", "explosive_mine" and "incendiary_mine". The inventory also references a mission-specific item called the "Oscillator". Oscillators are used to create electronic signals which can be output as sound — therefore it is possible that the "Oscillator" was simply an early version of the noisemaker.

UI changes

A number of changes were made to the game's user interface (UI) close to release, specifically the motion tracker interface, HUD and "hub" menu.


The original motion tracker interface, as seen in the pre-alpha demo.

The original design of the motion tracker UI was similar to what is seen in the final game, however it was lighter and didn't fade towards the edges of the screen. More film grain was applied and the tracking dot was slightly different to the final game, with the pre-release dot being solid white and seemingly updating more frequently than the final game's dot with blurred edges. According to a developer, these changes were made to the motion tracker due to performance drops with the original design.


The pre-release "hub" screen.

A number of large changes were also made to the "hub" screen (where the level map can be viewed), with additional tabs allowing the player to check audio logs, inventory and more. In the pre-release demo this screen also had a blue tone with more of a mechanical "blueprint" feel, whereas in the final game this screen is a lot darker with a flatter design and a semi-transparent background. The tab for accessing the inventory menu can be seen in the release game files, although is not accessible within the game. Notably, in the screenshot of the original map design in the hub (to the right), the "KG-348 Research Labs" are named "Prophesys Research Labs".

Ayz hud comp 2

Pre-alpha HUD, E3 HUD, final HUD.

The original HUD was also modified late in development, switching the rounded HUD bar seen in pre-release demos to blocks of information as seen in the final game. Interaction prompts were also changed from red to green, and objective popups were changed to match the style of the new hub design.

Sevastolink terminals

Pre-release ayz

The early Sevastolink design.

In pre-release screenshots (and potentially also some game demos) of Alien: Isolation, the Sevastolink terminals (manufactured by Karnak) have a different design to the ones seen in the final game. They feature an alternate keyboard design and seem to have a different style of user interface. This original interface seems to be black and white, whereas the interface in the final game is based on shades of green and white. The original terminal design can be seen in the KG-348 Research Labs where there is a prop computer that the player cannot interact with that uses the original model. Notably, this computer doesn't hold the Karnak logo like the final Sevastolink terminal design does.

Working Joes

Ayz alpha workingjoe comp

A comparison of the pre-alpha and final Working Joe model seen in the KG-348 Research Labs.


Working Joe concept art.

Similarly to the Sevastolink terminals, the Working Joes also featured a different design in earlier versions of the game. In the Pre-Alpha Demo (nicknamed "Showlevel") the Working Joes seen dead in the KG-348 Research Labs feature a more human facial design compared to the mannequin-like look in the finished game. In early revisions of the in-game posters, this original Working Joe design is also seen. The androids hold a clearly more human-like appearance although still being fully white skinned. The developers stated that they went for a very robotic appearance for the Working Joes to allow the player to easily identify them as a different character to other survivors on the station, hence the change of character model.

Further human-like variants of the Working Joes were experimented with (see right) which featured hair and hats. Again, these were removed from the game likely for the same reason, and likely also because they look less menacing with long hair and a baseball cap! Check out comparisons of the pre-release posters and final game posters in the gallery at the end of this article to see the changes to the art. Interestingly the original Working Joe poster art shows them with a name badge and the Weylan-Yutani logo on their chest. It is possible that Working Joes were not originally planned to be manufactured by Seegson.

Amanda's backpack

Ayz bag

The texture for Amanda Ripley's bag, showing the Sonic logo which was hidden in the final game.

Initially, Amanda had a Sonic the Hedgehog logo sewn into her backpack. It can still be seen in the bag_details texture (shown to the right).

Bonus content

In the finished game, the "Extras" tab on there main menu simply contains an option to re-watch the game's end credits, but the UI files for the menu indicate there were originally to be several additional options, including "Image Gallery", "Dev Diaries" and "Achievements and Progress". Selecting "Dev Diaries" would have allowed the player to view three sections named "Making of Alien: Isolation", "Deleted Scenes" and "CG Trailer". It's not known why these features were removed from the game. The original main menu used for the pre-alpha demos also included a splash-screen for CATHODE, the custom engine that the game runs on. No mention of CATHODE is seen in the final build of the game, however it is referenced on the store page.


  • Multiple pieces of music were compsoed for the game's main menu, each with a different mood. The development team then voted on which one they liked best, with the winner being used in the finished game. One rejected piece was similar to the music used in the survivor mode DLC packs, with an eerie piano backing. This theme was seemingly not shipped with the game.
  • The game's engine (known as CATHODE) is based upon a highly modified version of the engine used for 2008's Viking: Battle for Asgard.

A screenshot of the Xenomorph in Alien: Isolation's early whitebox testing.

  • The working title for Alien: Isolation was Alien Year Zero. This name was used from the original greenlight demo through the game's development, often referenced in filenames. Publicly the title was never used.
  • The development team noted that the typical "whitebox" model of prototyping game mechanics didn't work for Alien: Isolation. It was only when they added basic lighting and sound that the character had the effect they were looking for.


External Links

See Also


  1. "Steam Community - Alien: Isolation - The Original Story!". Retrieved on 2016-01-08.
  2. "SoundCloud - Marlow Cut Audio". Retrieved on 2018-01-22.
  3. 3.0 3.1 "AVP Galaxy - Interview with Alien: Isolation Writers Will Porter and Dion Lay". Retrieved on 2015-02-03.