In Duskers you scavenge for fuel, resources, and equipment in a universe gone dark. A roguelike that has finally reached the end of its troubled development (which saw the studio, Misfits Attic, and the game saved by investors ) it displays an unflinching commitment to the blueprint laid out by Scott’s rich and tactile universe.
Duskers is a game drenched in that influence, one that tasks you with wading around aging industrial interfaces while being serenaded by heavyweight digital noise. Yet Scott’s bulky tech and palpably physical displays are the film’s own creations, their flickering, juddering influence felt even now. Alien, like Blade Runner, was standing on the shoulders of those that had come before, most notably, the towering form of Star Wars (1977) and John Carpenter’s pulpy Dark Star (1974). There’s something so innately satisfying about those crunchy graphics and compressed sounds, reflected in the faceplate of a helmet, that never seems to fade. The same goes for the opening corridor crawls of Alien ’s “haunted house in space”, leading to that first jump scare, not from a xenomorph, but a chirruping, groaning screen, leaping to life. Dick, and Fritz Lang) it is that Scott presented it with such fidelity, confidence, and elegance that it seemed like something altogether new. It’s not that Scott created this image from scratch, out of thin air (it was built from the fragments of Moebius, Phillip K. It’s a trick director Ridley Scott would pull again three years later, with Blade Runner ’s (1982) industrial cityscape cutting to a reverse shot of a human eye creating an image that would become central to cyberpunk and science fiction for decades after.
The opening to Alien (1979) is one of those moments in cinema when something was crystallized, defined, even immortalized.
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