Editorials
Why It’s Time for the ‘Alien vs. Predator’ Games to Make a Comeback
It’s easy to take the Aliens vs. Predator franchise for granted years after the crossover became mainstream, but long-time fans remember that it was actually quite the long journey to get this far. With a shared universe originally being teased at the end of Predator 2, our favorite movie monsters initially had to duke it out in the pages of cult comic-books (like the celebrated Machiko Noguchi Saga, which was recently adapted into Disney’s tragically unreleased anime series AVP: Annihilation) and a series of hit video games that once dominated the licensed market.
In fact, from the 90s to the early 2000s, the AVP games were legendary due to their distinct gameplay and innovative multiplayer elements. However, after the release of a failed reboot in the seventh console generation, the series mostly faded into obscurity. Sure, we’d see great individual Alien and Predator titles (like 2014’s Alien: Isolation and IllFonic’s Predator: Hunting Grounds), but it seems like the rights holders have no interest in giving these creatures an updated rematch.
And with new Alien and Predator projects in the works as we speak, I’d like to take a look back at a hybrid franchise that’s been dormant for 14 years and make a case for these groundbreaking shooters to make a triumphant return.
Back in the early 90s, the overwhelming success of Dark Horse’s Aliens vs Predator comics led to a series of tie-in deals which included a collectable card-game, pinball machines and several video games. The first of these digital crossovers came in the form of an old-school beat ‘em up on the SNES, though this passable licensed title was soon overshadowed by a similar yet vastly superior arcade game the very next year.
Also called Alien vs Predator, this Capcom classic allowed Predators and humans (including a cyborg version of Schwarzenegger’s Dutch) to team up and take on creative new xenomorph variations. However, despite the success of this arcade classic that remains trapped on ancient hardware, the franchise would only really hit its stride in 1994 with the release of the Sega Jaguar’s first killer app, Rebellion Development’s Alien vs Predator.
A high-tech first-person shooter featuring three distinct campaigns – one for colonial marines, one for the Predator and a surprisingly vicious one for a rogue xenomorph – the game wowed critics with its advanced graphics and varied gameplay. From a noticeable passion for the source material to attention to detail (like justifying game-y elements by depicting the entire experience as a simulation of a real event), it was only natural that this title would serve as a blueprint for its more ambitious follow-up.
Exactly what it says on the tin.
Originally developed for PlayStation, Sega Saturn and Windows simultaneously, Rebellion’s sequel eventually ditched the console versions in order to focus on the PC’s more advanced hardware. Aiming to perfect the core concept of the first outing, the new game became a complete rehaul of the experience, bringing the shooter closer to its late 90s peers than the Doom-like gameplay loop of the previous title. Not only were the sprite graphics replaced by 3D models (which allowed for more dynamic movement and aiming) but the gameplay for each species became even more distinct.
While the skeleton of this formula was already in place with the Sega Jaguar version of the game, it was only on the PC that Rebellion cemented the idea that each campaign should be a completely different genre (with the weak humans dealing with horror, the high-tech Predators being stealthy killers and the Xenomorphs unleashing mayhem in a gory power fantasy).
Naturally, Aliens Versus Predator became a runaway hit, blowing critics and fans out of the water despite being compared unfavorably to the groundbreaking Half-Life. While the graphics weren’t exactly the best that 3D gaming had to offer, the title more than made up for that with its fine-tuned mechanics – as well as the popular notion that it was effectively three games in one.
The title was also boosted by a robust multiplayer scene, something that even led to the developers releasing the original source code online so that the game could live on indefinitely. And with such a huge audience, it makes sense that an AvP 2 was already on the horizon.
Developed by Monolith, 2001’s Aliens Versus Predator 2 was an even bigger hit than the first one, with the game once again developing a sizable multiplayer userbase and featuring the best campaign so far (which actually had the three stories intersect as they formed a cohesive narrative). Hell, the series had become so popular that it eventually got an underrated RTS spin-off, as well as an unauthorized fan-film which added Batman himself into the galactic conflict.
With the ongoing success of AvP making waves in mainstream media, the gaming franchise’s massive player-base actually became a huge motivator for Fox to finally pull their proposed crossover film out of production hell. And despite the middling critical reception of their eventual duology (not to mention Requiem’s odd PSP-exclusive movie tie-in game), it was only a matter time before Fox would commission a new game.
Best Xenomorph campaign ever.
Unfortunately, the movies ended up ignoring most of the crossover franchise’s established comic-book and video game mythology – which meant that a new game would have to be a reboot following the new lore. Enter Rebellion’s 2010 take on AvP: a decent title sabotaged by corporate expectations and shifting trends in FPS gaming. A bizarre mix of old and new that clearly favored some parts of the campaigns over others (playing as the Xenomorph was way more fun than anything else), the game ended up killing the franchise despite selling well enough for there to be rumors of a sequel.
In fact, since 2010, the only new AvP game we got was a mediocre mobile title that was discontinued soon after launch. Meanwhile, the Alien and Predator film franchises have been taking a break from each other, with all their current projects appearing to avoid what was once a rich, interconnected history that I think shouldn’t be forgotten (which makes the cancelation of Annihilation even more heartbreaking).
I mean, reviving these games makes a lot of sense in an era where “boomer shooters” are making a comeback in both indie and AAA circles. And with so many retro remakes making the rounds, why shouldn’t Disney invest in a direct translation of these FPS classics for a modern audience? At this point, I’d even accept a cheap remaster to keep the titles easily playable on modern hardware.
Developers could also try a new approach to this familiar premise, as a game with three wildly different play styles might benefit from expansive levels with immersive-sim-like design accommodating each species in a unique way. A hypothetical revival could even incorporate asymmetrical multiplayer elements into the experience as they interweave contrasting gameplay styles into a single terrifying whole. While I’m not a fan of multiplayer exclusive mechanics, even I would appreciate Souls-like additions like making it so your campaign can be invaded by rogue players online.
The way I see it, the unprecedented variety of modern first-person gaming mechanics means that the possibilities for a revival are nearly endless, which is why it would be a shame to see this franchise fall into perpetual obscurity while Disney twiddles its thumbs. Sure, there’s always the option of having some developer simply incorporate this formula into a new IP that isn’t limited by corporate oversight, but I think half the fun of these games comes from seeing some of our favorite established movie monsters come to life in new and interesting ways.
However, even if the Alien vs Predator games stay trapped in the past (though Rebellion has also expressed interest in trying their hand at a new title), they’ll remain infinitely replayable classics that deserve to be revisited as some of the most thrilling experiences in either franchise, interactive or not.
Fun times were had by all.
Before director John Fawcett and writer Karen Walton introduced the world to the Fitzgerald sisters, werewolves had all but vanished from the big screen. In fact, the last theatrical offering of lycanthropic horror, prior to Ginger Snaps, was 1997’s An American Werewolf in Paris. And as one might recall, the reviews for that movie weren’t so hot. So, clearly, the genre was in desperate need of fresh eyes.
Ginger Snaps first emerged some years after what many deem to be the peak of Canadian horror: the 1970s and ‘80s. Or as cinephiles like to call it, the “tax shelter era”. Yet unlike a lot of the movies produced back then (and even now), this cult classic isn’t vague about its story’s location. Rather than passing off the Great White North as the U.S., Ginger Snaps was squarely set in Canada. The fictional suburb of Bailey Downs is indeed an amalgam of multiple places, but nonetheless, it is 100% Canadian.
In an editorial titled “What Canadian Horror Tells Us about Our Deepest Fears”, journalist Harrison Mooney related deep-seated Canadian anxieties to Canadian horror cinema. Although Ginger Snaps wasn’t one of the mentioned titles, Mooney’s notion that Canadian horrors feed on homegrown fears is still applicable. Ginger Snaps is a movie that very much deals with “the loss of control” and “the violent outsider”, as well as the Canadian land itself. That last point—“colonialism has traumatized even the settlers”—is most apparent in the prequel, Ginger Snaps Back: The Beginning; however, it can also pertain to the trilogy’s other entries.
Katharine Isabelle and Emily Perkins in Ginger Snaps 2: Unleashed.
Before reaching that period prequel, and after first getting to know the two Fitzgerald sisters, the Ginger Snaps trilogy touches down in an urban locale (really Edmonton). Ginger Snaps 2: Unleashed vaguely picks up where the original movie left off, with Brigitte (Emily Perkins) going things alone after losing Ginger (Katharine Isabelle). The cozy-turned-creepy atmosphere of Bailey Downs has also been swapped out with a comprehensively bleaker one as Brigitte endures more than just another harsh Canadian winter.
As with any other sequel intent on not repeating things, Ginger Snaps 2 chronicles a different struggle for its main character. The affliction remains the same as before, but the fight to stave it off is unique to Brigitte Fitzgerald. The movie fully understands that no two werewolves should ever be the same. And ensuring that distinct transformation was a newcomer named Megan Martin. What the screenwriter lacked in sheer experience, she made up for in wild ideas.
After passing the directorial reins to Brett Sullivan, the first movie’s editor, Fawcett stayed on as a producer. Walton’s characters were left in capable hands with Martin, who more than delivered on that potential for familial grief entwined with detachment issues. Naturally, one might worry that Ginger’s demise dampens the possibility of a good story; she is the namesake, after all. On the contrary, Sullivan and Martin found a clever, if not familiar, way to keep Ginger around, all without sacrificing character development for the sequel’s actual protagonist.
Tatiana Maslany in Ginger Snaps 2: Unleashed.
While Ginger Snaps is one of many movies that enthusiastically dispels the myth of safety in the suburbs, Ginger Snaps 2 leans into the idea of cities being crime-ridden and dangerous. Of course, the threat lurking around every corner here is not that forward, but an otherwise harmless librarian (Brendan Fletcher) who was hoping to score Brigitte’s number. No, it’s that mysterious werewolf who has taken a liking to the main character—and then continues to stalk her throughout the story.
As if the literal beast on her tail wasn’t an ample enough reminder of her own looming fate, Brigitte is also being viciously haunted by her past. That come-and-go-as-she-pleases specter of Ginger, a manifestation born from grief, unresolved trauma, and monkshood abuse, fluctuates between comforting and cruel. She can either soothe little sis during her syringe sessions, or she can sardonically read her as no one else can.
While it is certainly Isabelle playing the ghost, that depiction is less Ginger and really more Brigitte. This damning evidence of the Fitzgerald girls’ codependency problem—not even death can put an immediate stop to it—shows how Brigitte can only be honest with herself by filtering her thoughts through a likeness of Ginger. Ultimately, though, there is a breakthrough moment for Brigitte; it’s one where she can stop living in her sister’s shadow and, at least for a few minutes, relinquish her overwhelming survivor’s guilt.
Emily Perkins in Ginger Snaps 2: Unleashed.
Werewolf stories are often psychological by nature. Scarcely ever do humans seem to willingly give in to that bone-breaking transformation—that complete lack of self-control. This internal conflict has been there since the beginning of the genre, and movies like Ginger Snaps 2 run away with the concept. So while setting the sequel inside a rehab center feels a little on the nose, that location offers a potent playground for the characters. It’s also one most befitting of gritty, post-Y2K horror.
With its emphasis on psychology, the sequel is constantly studying its characters and how they tick. Brigitte obviously gets the most extensive analysis; on top of Ginger’s intermittent commentary, the Happier Times staff gives its latest in-patient a clinical, and sometimes amusing, evaluation. In addition to Brigitte’s review are these less spoken assessments of the supporting characters. These particular deuteragonists, such as that deceptively clean-cut orderly (Eric Johnson) who trades drugs for sex, are key components in the movie’s overall sense of weirdness.
Of all those offbeat side characters who make Ginger Snaps 2 an unusual, not to mention worthwhile, viewing, Tatiana Maslany’s Ghost is the most influential. Almost always doing or saying something that provokes unease, Ghost is fascinating enough to warrant her own movie. It would be hard to convince anyone this petite, blonde, and twisted teen is lovable, yet that growing instability of hers becomes a surprising source of entertainment in the sequel. So, yes, this movie absolutely found someone more frightening than a werewolf, and her name is Ghost.
Without getting caught up in any arguments about which of the first two movies is better, Ginger Snaps 2 is an impressive follow-up. Fully doing its own thing and not trying to catch lightning in a bottle twice, the second movie is tailor-made for cinephiles who crave bold and very strange sequels.
Emily Perkins in Ginger Snaps 2: Unleashed.
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