Alien: Isolation (1st POV Ripley Edition)

#12

My priorities have changed. My "conversation" with Ricardo is over. I made my way down an eerily long corridor at the end of which there were busy synthetics - but I had to go that way.

My plan: take the elevator to Seegson Synthetics, that great chamber where the parts that make these loyal artificial idiots are transferred from left to right. Interestingly, I was there before, before, before I had a flamethrower and when I was barely surviving avoiding monsters. I smiled. Being in the same place again will be easier, now that there are no more monsters, right? They should be.

But once I was there, I realized that nothing would be the same. First; the guy at the nearby console had been killed, and with a magazine stuffed in his mouth. Terrible. And I had to push past him to reveal the code (8382) for the nearby encrypted door. And then, once inside, I had to continue, through the dark ventilation space and on, over a set of ladders. Soon I was at the top of the elevator, which was shaking alarmingly. No, I don't have a moment to waste. I estimated the distance and jumped. The elevator I was standing on immediately fell into the depths and exploded noisily upon impact - with a gas tank, I guess.

And me? Uncomfortably, I grabbed the entrance to the other, more stable elevator. Amanda, you really risk a lot!

I squeezed in, climbed to the top of the elevator and continued through the next ventilation area. It is not at all pleasant to move around these places that seem to be intended for a dark, elongated and monstrous monster. But since he's gone, I didn't feel such fear. Just irritation.

The next place was a small tank of synthetics. Full of mystical synthetic smoke and deactivated humanoids on the floor. But one surprised me earlier because it wasn't deactivated as much as it seemed. That's why I immediately shoot the next person I meet in the head. The faint light in their eyes fades and they remain motionless. Good. When they are like that, easy to "meet", it is immediately easier for me.

But it's not like I don't have problems. This dark place contains a kind of riddle. Typical of this mischief, in order to open the next door that is electrified, I have to activate several nearby switches with my maintenance jack. I'm doing it, but not as fast as I'd like. Still, it's dark all around, and I reluctantly use up my portable flashlight and its battery.

Synthetic troubles always come when you don't need them. That's how this nearby synthetic, which was inactive until recently, was activated when I turned on the last switch. And while he looked around, I quickly moved away to a decent distance and threw a bomb in his face. It worked. He remained in one piece, but the entire chamber was the milky white tones of his synthetic blood from then on. There you are, you deserve it, because you activated yourself when you shouldn't have!

I open another door and go on, without stopping. Do I feel guilty? Not at all. After seeing what these synthetics do to people...no. They deserve no mercy. Exceptionally, if they do not attack, then they can be tolerated. Although I wouldn't be surprised if they soon receive instructions from APOLLO to pretend politeness and meekness, and then, when a man turns his back on them, to twist his neck. So it's always worth being on the lookout for them.

The door in front of me, big, massive, bulky, automated... closes despite me running to get inside. Damn it! I briskly enter the nearby vent passage and rush on, wondering if I will find a way to continue towards APOLLO...

But as I move, I am privileged to see a grotesque and unusual scene.

Samuels! I see him! He is here, behind the partition. He is currently arguing with Seegson's synthetics about approaching APOLLO. As expected, the android is against it because it goes against his instructions.

But Samuels has no time.

I don't have time for this - he will use a pleasant elegant voice and start brutally destroying the synthetics with powerful blows to the head. Seegson's doll is soon motionless and on the floor.