The developers wanted to create them to be believable and also to fit into the original movies. The first chapter deals with the creation of the main characters. I’ll just pick some information that I find interesting and of course I’ll share some beautiful artwork to go with it. I won’t be including every single detail from the book, so you can enjoy it yourself. Please be aware that some of the images below might contain spoilers for the game if you haven’t played it yet. ContentsĪfter a brief foreword from the game’s lead artists Jude Bond the book is split up into 6 chapters. I think any fan of the Alien franchise would love it. The pages are thick and glossy and it’s a joy to browse through it. Under the jacket the book hard cover is black with a green rough pencil sketch of the Xenomorph on the front.Ĭlick on the thumbnails below to see bigger photos!įrom the very first page when you open the book, you can see a black & white concept art of the Xenomorph in various scenes (both front and back inside cover) and from then on, there’s so many beautiful art and screenshots from Alien: Isolation as well as interesting facts about the production of the game. The bright green parts of the image are in glossy finish as well as the name of the game (both in front and on the spine). The detachable jacket features the Sevastopol station on the front and the Xenomorph on the back. The equally impressive Games for Two, all courtly piano and viola interplay, pitches up midway between Philip Glass and Yann Tiersen, while Cascades is a truly gorgeous miniature – simple, crystalline, music-box-like glockenspiels twinkling mellifluously in a round the musical equivalent of freshly-formed icicles glinting in morning sunlight.The book is a little bit larger than a standard A4 and it opens up horizontally instead of vertically. It begins like a Michael Nyman film theme running backwards and is then inexorably engulfed by stratus clouds of Arvo Pärt-like legato strings, before a simple, haunting glockenspiel figure guides us toward some ambiguous valediction. Not that this elegant, fastidiously constructed album could ever be called bland: there’s too much vaulting drama in the opening Shadow Play, alone, for that.
#LINE DRAWING OF ANESIDORA TV#
This is music of such beautifully non-specific, enigmatic tone that it comes as no surprise to learn that Teague’s compositions are regularly used by TV programme makers and advertisers to enhance their images. Indeed, for all the pointillist precision of Field Drawings’ 12 relatively brief essays, graph paper solemnity is always kept at bay by Teague’s robust approach to melody and his ability to evoke a consistent mood, one that’s neither euphoric nor melancholy but which remains irrefutably ‘heightened’, even dream-like, throughout. For while Teague is happy to play with the tuned percussion sounds and polyrhythms so beloved of Steve Reich and the New York minimalist ‘school’, he is clearly less concerned with matters of rhythmic complexity or anything as arid or theoretical as ‘phase shifting’, preferring the emotional tug evoked by the enmeshing of simple, contrapuntal melody lines and the glowing properties of modulating major-to-minor chord sequences set against pretty, arpeggiating note clusters. It’s tempting to label this kind of thing ‘minimalist’ – tempting, but wrong.
This, Teague’s third album of delicately poised, wordless instrumental fare, focuses less on the sweeping, bowed string phalanxes that have characterised his previous releases and errs instead toward the dulcet timbres of glockenspiels, xylophones, marimbas, piano and pizzicato plucking – or electronic approximations thereof. Bristol-based composer Ryan Teague is one of an increasing number of artists, from Efterklang to Portico Quartet, Ólafur Arnalds to Nils Frahm, successfully operating in the fertile margins between chamber orchestration and electronic processing.
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