#juggernaut xenomorph

[kurt-accursedd]

P e r f e c t c r e a t i o n .

[beyondthecosmicvoid]

Full Xenomorph Life Cycle Explained - Egg to Queen and Beyond

[ozimaniac]

Crossover Xenomorph Staff x Ramattra

This is inspired by David's notes in Covenant. Ramattra would take his role in this AU (I will expand on this idea and create a Ramattra design eventually)

[Transcript below]

Handheld Bioweapon: The Staff

Biologically engineered on Planet 4. Entirely made from mutated fauna, native to Planet 4, as results of the released pathogen A0-3959X.91 – 15, as well as remaining technology from the Juggernaut. When operated, this device will shoot pathogen spores at a high velocity. The target will undergo various mutations – depending on their own biology, and speed of the mutations may vary on the amount of exposure to the pathogen. There is no cure for the symptoms. Staff is coated in a special resin to give stability.

Manumala noxhydria "Facehugger" (deceased) Used for decorative purposes.

Mutated bones with a curved shape are used to hold the egg in place. Technological components are hidden within.

Ovomorph imitation. Results are achieved by exposing the eggs of an insect-like creature to the pathogen. Offspring is removed. Egg needs to be replaced, depending on the usage. Will release pathogen spores when accelerated by the "gravity core" which is placed inside of the egg.

Mutated spine and remnants from a reptile, which are used as a base for the staff.

[teecupangel]

Hello dear angle. I'm back with an ask that idk if it's wierd or not. Actaully I'm trying to start a fanfic about a civilizade xenomorph society and I'm turing everthing I like to these cute little parasites. So… I wanted to ask what do you think about an android Desmond with his three white xenomorph ancestors? I've read several comics and novels of alien and what I discovered was that xenomorphs were created to be a biological weapon. So I was thinking what if Desmond android was created by abstergo to controll the xenemorphs. He is like a queen to them because of the DNA they share. In this au the assassin-templair war is not still over. And even in the sky they are trying to take cotroll over the galaxy. What if Desmond works in one of abstergo's labs. Until he saw a xenomorph for the first time in his life. It was pure white with a strange looking mark on its forhead. Some thing about this mark was familiar to him which he didn't know why. The first time he saw it he felt a strong bond between them. He felt so safe around that monster. It felt like family. Like home. He put his hand on the glass. The creature came closer with curiosity and placed its hand where was desmond's. And suddenly something flashed before Desmond's eyes. A face. A man with white cloak that was standing there and staring at him in a kind smile. And then he was in the lab again. He stared at the monster and smiled. "Ezio. So it's your name."

I will leave it from here for you. I belive in you. You can turn this to a movie that worths watching. And mabey it's ezides? I love ezides fanfics and i don't know why. They're kinda apposite but still cute. Your blog is wonderful 🤩

(Thank you! While I cannot promise I can make this a movie worth watching, I will do my best to make this something monster fuckers would at the very least be curious about XD)

It’s not weird. I mean, I’m fine with weird ideas XD

Also, Alien is one of my favorite horror movies.

For this one, what if we just throw away Alien/Prometheus canon and spin this into another AU (mainly because this gives us an excuse to not use the canon explanation of white xenomorphs and the proto xenomorphs.

For this one, let’s set up Abstergo as being sorta in a decline after humanity decided to live among the stars. While they had been focused on profiting and trying to eradicate the Brotherhood, Weyland-Yutani slips pass them and became the juggernaut corporation that more or less controlled human settlements.

DESMOND was meant to be the prototype of an android line that should have exceeded everything Weyland-Yutani approved androids could.

But there were a bit of problem with DESMOND. For one, he appeared too cold, less expressive than the cheapest android and has a hard time understanding orders.

It was a failure.

So Abstergo had to pivot and create a new product. They manage to get samples of Weyland-Yutani’s ‘prized’ secret project and a basic ‘overview’ of what it’s meant to be.

Unfortunately, the samples didn’t have enough genetic information to complete their version and they thought, “Hey, you know what we have? The DNA sample of some dude that died during the 21st century! That might work!”

In their defense, the lead of the project, Dr. Vidic (relation to the late Warren Vidic is unknown), believed in this ‘rumor’ that Sample 17 is the golden ticket to Abstergo’s success. It was the key to the success of the Animus Project. Why not this project as well?

If the human DNA is unusable for this project, Sample 17’s Isu DNA might be what they needed.

For this one, they made three Prototypes to use for different ‘experiments’.

They were called Zero-One, Zero-Two and Zero-Three.

Zero-One is taken to the deepest part of the space station to be experimented on.

Zero-Two is kept in one of the more secured floors to be observed with limited ‘contact’.

Zero-Three is kept on stasis while Zero-One and Zero-Two are being ‘observed’. Once the observation period is over, Zero-Three will be eliminated and dissected to gather more data using what data they gathered from Zero-One and Zero-Two.

DESMOND has been turned into a messenger android, delivering devices and other items and acting similar to someone who takes picture of the person who took a package.

It was one of the few things it could do without having to be supervised the entire time.

It is during one of its delivery to Dr. Vidic that it sees Zero-Two.

There was something about Zero-Two that makes it feel something.

Makes him feel something.

Their first meeting ends with him calling Zero-Two ‘Ezio’.

His Ezio.

DESMOND starts visiting him whenever he has the chance.

And Abstergo sees this all.

Hard not to considering the floor Ezio is in is covered in surveillance tech.

Dr. Vidic thinks this is a good thing.

DESMOND can communicate with Zero-Two. With enough time, DESMOND can be used to control Zero-Two.

No.

Control an army of them.

So he takes DESMOND under his wing and starts to supervise the meetings.

The tried and true method of carrot-and-stick.

With DESMOND being the carrot.

During that time, the team in charge of experimenting of Zero-One fuck up big time.

Maybe they didn’t take in consideration the idea that Zero-One would use its acid blood to destroy its cage.

Maybe they underestimated Zero-One’s intellect and it manages to get them to open the cage by pretending to be sick or dead.

Whatever the reason will be, the end result is the same.

Zero-One kills the team that has been experimenting on it and starts to hunt down everyone in the Space Station.

During this time, Dr Vidic gets the idea of hunting Zero-One using Zero-Two.

And he does it by having DESMOND become bait because he knows Zero-Two will protect DESMOND.

He didn’t take in consideration that DESMOND’s connection might not be exclusive to Zero-Two alone.

So when DESMOND sees Zero-One, he sees him about to kill another Abstergo personnel. The personnel begged for help but DESMOND simply stood there.

Dr. Vidic thought (as he watched the feeds from a drone) that DESMOND is doing as ordered, to find Zero-One and to place himself in danger until Zero-Two gets to his position (Zero-Two has been fashioned with a device that would push a strong sedative inside him in a push of a button, deliberately placed in a part of his body that he cannot use his acid blood to dissolve it)

Zero-One kills the personnel and starts moving to DESMOND’s position on all fours. A predator slowly making its way to its next kill.

That’s when Dr. Vidic sees DESMOND take a step towards Zero-One and reach a hand.

Without any mirror, DESMOND touches Zero-One as he says, “Altaïr?”

“You want to kill them all? Okay.”

“… We can do that.”

.

Unorganized Notes:

They take Ratonhnhaké:ton out of stasis during Altaïr’s rampage and DESMOND stays with him because he hasn’t gotten used to moving yet and is the most vulnerable of the three.

Considering it’s me, I would suggest we just turn this into all three main couples (AltDes, EziDes, ConDes) for triple the ‘fun’.

They feel a connection to DESMOND because he is created to be a complete copy of Sample 17 with an android body. Technically, his ‘genetics’ is more or less in that ‘white fuel’ he creates himself and a bunch of 1s and 0s makes up Sample 17’s entire DNA.

In a more… ‘strange’ level, they feel a connection to DESMOND and DESMOND feels a connection with them because they’re the closest species to one another. Both created from Sample 17.

If you want smut in this one, well, they see DESMOND as their Queen and they have the instinct to mate with their Queen because Sample 17’s genetic code had a hardwired ‘order’ of needing to reproduce sexually. (to create Desmond Miles but the order is still there). Otherwise, they feel the need to protect DESMOND and to satisfy his every desire.

The xenomorphs take one more and more characteristics of the ‘target’ ancestor in terms of personality and habits. On the flipside, DESMOND starts acting more… ‘selfish’ the longer he stays with the three.

This would end with the space station succumbing to the xenomorphs but Dr. Vidic manages to send out an SOS before he dies.

This is the part where we can focus on developing DESMOND’s relationship with the xenomorphs (insert smut here if you want).

Then… an Abstergo rescue ship is pinged on the radar and… more cannon fodders as well as the possibility of finally leaving the space station.

The twist is there’s an Assassin aboard the rescue ship and this Assassin would get in contact with DESMOND and realize who he is based on because the Brotherhood never forgot Desmond Miles. (this gives us the chance to make this either (1) DESMOND and the xenomorphs joining the Brotherhood for a sorta morally gray good guys scenario or (2) they kill the Assassin and go on full on corrupted “the world against us” setup)

[muthur9000]

Donation: Devan Gill, Olethros

Donation: Devan Gill, Olethros

Encapsulating the theme of LV 223, Devan’s design utilises different aspects of the Prometheus Planet.

Combining the tail of the Xenomorph cradling the Juggernaut, encompassing the skeletal structure of an android and rising above its centre a star.

This art piece is by Devan Gill, creator of Olethros.

Olethros is an upcoming 13-issue webcomic that will bridge the gap between 2017’s…

[oddlyozzymosis]

Clive absolutely fucking loves his eldritch horror bodyguards with every fiber of his being and you can never change my mind. Technically there's MV spoilers but I don't care,,,,, Clive is too good to not post

Clive loves the Juggernaut @firebuug and he loves his Unknown friend and he loves his Xenomorph friend and he loves his symbiote friend all unconditionally.

He's just a baby.... Who's too nice.... So he has a bunch of big protective monster friends.

[gothic-fiction-in-space]

“Covenant” by: http://instagram.com/daddys._.trash

(I got permission to post it)

[cvltofthepopcvlture]

Hi-res scans from Alien: Covenant (Empire Magazine)

[thecomicon]

In Mega-City One No One Can Hear You Scream! Previewing 'Judge Dredd Case Files' #36

In Mega-City One No One Can Hear You Scream! Previewing ‘Judge Dredd Case Files’ #36

The juggernaut of the Judge Dredd Case Files continues, reprinting every Dredd, in order. And here we’re up to 2002 and 2003, where Dredd and Mega-City One came up against those lovable little xenomorph critters in the epic ‘Incubus’. Yes, ‘Incubus’ is the big storyline here, written by John Wagner and Andy Diggle and with Henry Flint doing stunning things on the artwork. It’s everything you…

[aion-rsa]

New Mutants: How Magik and Lockheed Fit Into the X-Men Franchise’s Evolution

https://ift.tt/eA8V8J

This article contains New Mutants spoilers.

The New Mutants, now available to watch on streaming, is the final outing in Fox’s eclectic X-Men film franchise. While Marvel Studios’ finally confirmed Deadpool 3 is a wild card in how it connects to anything, that’s in Disney’s hands now. Otherwise, we have 13 movies in 20 years celebrating superpowers as a metaphor for real-life prejudice. But only in the end, did the X-Men franchise really start to open up to a universe where mutants aren’t the explanation to everything outlandish.

One of the reasons the Avengers movies worked out so well was the contrast. It was a tech super-genius, a super-soldier from another era, a science-based anger monster, a Norse god, and two hyper-competent humans teaming up against an alien invasion. This felt fresh and right for a comic book universe. For X-Men, they didn’t embrace such an idea until it was too late.

Being from the Marvel comic universe, X-Men has always shared continuity with otherworldly concepts from other walks of life. And while the movies didn’t include connections to the larger Marvel Universe, even the X-Men properties themselves eventually strayed off from the mutant gene.

Think back to X-Men: The Last Stand. The movie introduced two major parts of X-lore in the form of the Juggernaut and the Phoenix. In the comics, Juggernaut is powered by a demigod bent on destruction and his connection to everything X-Men comes from his relationship with his stepbrother Charles Xavier. Understandably, they didn’t want to delve too far into that for a supporting villain and made zero mention of any relationship with Xavier, all while explicitly showing that in this world, Juggernaut’s strength was based on the mutant gene.

As for Phoenix, despite being one of the most defining X-Men storylines, the force was revealed not to be a cosmic being from beyond the stars, but an overpowered and uncontrollable part of Jean Grey’s psyche. It is depicted as the worst-case scenario for someone having mutant abilities.

Even the super-science of the X-Men movies was almost explicitly about mutants. A psychic hub to track down mutants. A cure for mutant abilities. Shoving multiple mutant powers into a single human test subject. Time travel by using mutant mind powers. Robots programmed to exterminate mutants and counter their powers.

Gradually, they started to branch out. Wolverine fought a samurai mech. Deadpool showed that excessive physical abuse could awaken powers in non-mutants if done right. Cable used time travel in a way that wasn’t directly linked to a mutant’s abilities. In Logan, Donald Pierce is a cyborg. Even though X-Men: Apocalypse once again reveals the Phoenix as an extension of Jean’s psychic powers, Dark Phoenix goes against it by adding its cosmic origins and throwing in a bunch of aliens as the antagonists.

Who is Magik and what are her powers?

That brings us to New Mutants and the character of Illyana Rasputin, otherwise known as Magik. Unlike the other four main characters, Magik existed before New Mutants was a thing in the comics. Dating back to Colossus’ first appearance in 1975’s Giant-Size X-Men #1, Illyana was just a side character with the focus on her chrome-plated older brother. Being that she was only a little girl, they decided to dramatically age her up in order to make her a believable hero type.

Seven years after her debut, Illyana was involved in a storyline where the villain Belacaso pulled her into Limbo (not-quite-Hell, but kinda). A moment later, Kitty Pryde pulled her back to Earth, but Magik came out of it as a teenager. A later miniseries explained what she was up to in-between those instances, where time moved differently and she spent several years training in combat and magic.

Magik then joined the New Mutants as it turns out, she does have a mutant power based on teleportation. It’s just that, at least back in the early days, she would have to go to Limbo before choosing where else. So she could get you to the Grand Canyon if you want, but there’s a quick stop in an otherworldly hellscape first.

This situation would lead to Inferno, the New Mutants’ big event that was going to be the basis for one of the film sequels had New Mutants caught on and not have been released among a gigantic film industry quagmire and global pandemic.

What’s up with Lockheed?

The movie was fairly accurate on its portrayal of Magik, but what of that weird dragon puppet stuff going on? That would be Lockheed, another one of the non-mutant aspects of classic X-Men comics. Lockheed is more linked to Kitty Pryde than even Magik, but Illyana does have ties to his origin. Sort of.

Back before Illyana took her trip to Limbo and lost her innocence, Kitty was trying to get her to sleep by telling her a bedtime story. It ended up being a medieval fantasy where the characters were mapped out as members of the X-Men (this was adapted into an episode of X-Men: The Animated Series, but it’s told by Jubilee and mainly remembered for its rough animation). Since the team wasn’t going to have a state-of-the-art sci-fi jet in this setting, Kitty came up with Lockheed, a large dragon that they would fly around on.

A few months after Magik’s return from Limbo, the X-Men were stuck in a space story where they fought Xenomorph knockoffs the Brood while teaming up with Carol Danvers (who had a really, really nasty split from the Avengers prior). During that adventure, Kitty was rescued by a random dragon.

Imagination! Imagination!

A dream, can be a dream come true!

With just that spark… in me and you!

The dragon – which Kitty named “Lockheed” because of her bedtime story – ended up following her back to Earth. They were only a few years before such a thing bit Spider-Man in the ass, so everyone was okay with Kitty having her own pet dragon from outer space.

Later comics revealed Lockheed to be far more competent and intelligent than anyone realized, to the point that he was an undercover agent of SWORD (Sentient World Observation and Response Department) like a character out of Men in Black. And he can talk, but chooses not to do that when anyone’s in the room.

Lockheed has indeed palled around with Magik in the comics, but he’s more of a sidekick to Kitty. Considering they did a whole five-season animated series without even mentioning Kitty (despite the previous attempt at an X-Men cartoon, Pryde of the X-Men, literally being named after her) there was no problem in cutting out the middle woman.

While the New Mutants movie suggested something supernatural was going on with all the Pennywise-like horror situations haunting everyone, the whole thing ended up just being Dani Moonstar’s psychic powers manifesting and going out of control. The double-twist in all of this is that after all this time, the X-Men film franchise had fully embraced stepping outside the box by going full ham on Magik’s character.

Teleports to Limbo on the reg? Check. Her dragon puppet can manifest into a literal purple dragon? Check. Has some kind of mystic sword? Check. Yes, she’s a mutant, but that doesn’t mean she’s not magical.

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

Ah, well. Too little, too late.

The post New Mutants: How Magik and Lockheed Fit Into the X-Men Franchise’s Evolution appeared first on Den of Geek.

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[arkhangelske]

Favorite & Least Favorite Venom Story Arcs

So I’ve finished reading all the main (Earth-616) Venom&co. story arcs! Man, that was a lot. Took a few months. But totally worth it. I’m still digging up some of the alternate timeline things (read Deadpool: Back In Black last night, also finished up some Spider-Girl story arcs I read back in the day and never finished). I have to say, I don’t really understand why people think it’s ‘backwards’ for the symbiote to go back to Brock in the current story arc. Don’t get me wrong, I loved the Flash stories (and was very surprised by how good Space Knight was!) but... the symbiote loves/has loved two people: Eddie Brock and Peter Parker. The whole marriage association with the symbiote literally goes back to the 80s stories (the title where it tries to re-bond with Peter is titled “Til Death Do Us Part”) and the subject has been brought up off and on by Brock over the years. I’m really enjoying the current storyline, and sometimes while reading the especially awful arcs I just had to remind myself that it turns out ok.  

BEST

80s/90s I’ve always been a much bigger fan of Venom as an anti-hero/lethal protector, but I also like him when he’s being scary as hell. The 80s and 90s were good for that.

ASM 332: Sunday in the Park with Venom ASM 346-347: Elliptical Pursuit & The Boneyard Hop Both of these classic “Venom vs. Spider-Man” stories have always been my favorites with Venom as a villain. I must have read these a million times when I was a kid.

ASM 361-363: Carnage I still really like the debut story arc of Carnage. Bagley’s original Carnage design remains my favorite, even if it’s not the most realistic.

Venom: The Hunger - I already knew this was my favorite of the stand-alone series’ from when I was a kid, probably because it’s the first time the symbiote was really explored on its own as a character. I actually kind of hate the art style in this (some people love it), because I feel like it’s too xenomorphic. But the story carries it. Also, I fucking love the chocolate thing.

Venom: Sinner Takes All - Another old favorite that still holds up. I like how it built more on Brock’s past, so it wasn’t just about him having big beat’em’ups with other Marvel heroes/villains. 00s I REALLY hated the 00s. This is when I originally quit reading any SM/Venom comics because I was so pissed off with the direction they took Venom. However, I must say that I liked a couple moments: Toxin 1-6 - I was so delighted by this storyline, especially since it came out of the shoddy “Venom vs. Carnage” story arc. I wish the Toxin symbiote would have stayed with Mulligan and they had explored this character more, instead of just dumping the symbiote randomly onto other people.

Spider-Man: Dark Reign - As much as I was not into the Mac Gargan era of Venom, this limited series was HILARIOUS and probably one of my favorite story arcs overall, to be honest. In general I enjoyed all the Dark Reign tie-ins, so much that I mostly read the entire arc through all the different books it crossed through.

10s/present

Venom: Space Knight - This series was amazing! I was so shocked, because when I saw the covers I remember thinking that it looked like it would be dumb. But it’s probably one of my overall favorite Venom storylines at this point. Kind of like Star Wars.... with Venom!

Agent Venom: Circle of Four - Honestly I didn’t care for the ending of this arc, but I did really like the beginning. I’m pretty sure this was the only time I gave a shit about Jack O’Lantern as a villain, and it was done really well. The writers did a spectacular job on working Flash into the role of Venom, so I actually didn’t not enjoy any of his story arcs. Carnage (Vol 2) - I was genuinely surprised to enjoy this, especially the cover art. Since I’m not a huge fan of crazy villains-only stuff, I didn’t expect to like this as much as I did.

Deadpool vs. Carnage -  Deadpool generally makes everything better, or at least more tolerable than without Deadpool. And I feel like this is an ideal matchup.

WORST

80s/90s

The Madness - God this one was awful. There wasn’t a whole lot that made sense, it was just a really bad setup to get Venom to fight Juggernaut. Venom: Tooth and Claw - another half-baked storyline to get Venom to fight Wolverine... just... a really terrible story. ( in general a lot of the mini-series’ from the 90s are just kind of ehhh, with a little bit here and there to keep the interest)

00s

Every story arc with Brock-Venom was pretty awful in the 00s. I was lukewarm with Anti-Venom as I didn’t completely hate it, but the weird turn of character in Brock was annoying. Given his more-or-less delusional personality I could ... accept it. These storylines were my least favorites:

SSM (Vol 2) “The Hunger” - funny how one of my favorites has the same title as the storyline that made me quit reading. Even now I wanted to stop reading for fear of how crazy out-of-character Brock and the symbiote were being written. Not to mention all the random new character traits and abilities the symbiote spontaneously manifested. It was just horrible.

Venom (vol 1) - Daniel Way’s weird ripoff off The Thing combined with a bunch of really far-fetched storytelling... which Venom wasn’t even in properly until halfway through... and then it ended in a really abrupt and unresolved way. The art was blech, the story was miserable... just the worst. Venom vs. Carnage - You’d think this would be hard to fuck up, but it was pretty bad. Art was rough, and for some reason it was like the symbiotes were just puppeting their hosts completely. The characterization of everything was plain wrong in this whole story arc. Toxin was about the only good thing to come of it. 10s/present

Thunderbolts (Vol 2) - every story arc in this series was a trial to get through. Mediocre writing, lackluster art... Deadpool was the only thing that got me through this. It did pick up a little at the end, but otherwise was miserable. Venomverse - I hate to do it, but I really didn’t love this extremely hyped event. I mean... it’s okay... but for all the promotion the weak writing really killed it. It’s possible some good storyline could be salvaged from it later, though.

[alienvirals]

Alien: Covenant why Ridley Scott’s facehuggers and chestbursters will never die

With their bad robots, evil capitalists, terrifying xenomorphs and exploding humans, the Alien films turned cinema into a primal freakout zone. As the latest lands, heres what made them so irresistible

At various points in 1979, Ridley Scotts Alien was released into cinemas, a nasty-minded B movie with hopes of shifting a certain number of action figures. As you may have noticed, it did better than expected. Out this week, its latest descendant is Alien: Covenant, the second of four intended prequels. In the 80s and 90s, three sequels were added to the original, and these four were then marketed as a quadrilogy, a phrase bursting horribly through the frail chest of the English language.

For the film business, Covenant is a big deal in the battle against a future where actual movies are subcontracted to Marvel and everything else ends up on Netflix. Its important to the rest of us, too, even if the brooding scene-setting of the film before it, Prometheus, was a little dry for some. Covenant, while a very good movie, can also feel like a carefully planned family holiday, designed to let Scott explore his favourite places robotics, evolution, Hows and Whys but with regular visits for the kids to the bloody fairground of facehuggers and xenomorphs.

Scott, of course, is a victim of his own success in creating a monster this moreish. The original Alien was planned as an intergalactic spin on Jaws, another terror looming from the dark to upset humanitys delusions of grandeur. But where the shark had us for breakfast, Alien did something still more psychically traumatic it made us the unknowing host of a baby that ripped us open from the inside.

Fuse that primal freakout with HR Gigers famous creature designs and you get images that can never be removed from the mind. But Alien was a strange kind of cultural juggernaut. A decade after the first Apollo moon landing, with the gleam of the space age dulled, the scene onboard the commercial spaceship Nostromo was rarely less than glumly claustrophobic. The film seemed to be saying that, if we as a species ever make it into space en masse, our lives will end up like this: an underpaid, cooped-up grind that left you looking like Harry Dean Stanton.

The bloody fairground of facehuggers Ian Holm and John Hurt in Alien. Photograph: Alamy

In the new films, there has been a sly pleasure to be had in seeing that grimy distant future joined up to a bright-eyed version of life not too far from now: the advance publicity for Prometheus featured a video of a purported TED Talk given by entrepreneur Peter Weyland (played by Guy Pearce) just around the corner in 2023.

Whereas most blockbusters rouse, Alien has always been a tune played in an ominous minor key. The characters you meet in each film are usually dead by the end of it. The alien keeps coming until it gets you. The continuation of the series created a need for what you might in the broadest sense call happy endings, but they were usually tired, ambivalent things. It came as no great surprise to learn Scott had wanted the first Alien to close with the death of Sigourney Weavers Ripley, her escape-pod bound for Earth with a lone, triumphant xenomorph on board.

Not doing that there was panic among studio executives was probably best for the series. Still, the popularity of the first two films can obscure the fact the next two nearly destroyed their directors careers. After James Cameron made the bullishly irresistible Aliens (the first sequel and still his best film), both David Finchers sombre Alien 3 and Jean-Pierre Jeunets deeply 90s Alien: Resurrection were regarded as fiascos.

The master builder Ridley Scott and Katherine Waterston on the set of Alien: Covenant. Photograph: Mark Rogers/Mark Rogers / Fox Film

Interviewing Fincher years later, I told him I thought Alien 3 was underrated. He looked at me as if Id brought up a family bereavement. Jeunet, meanwhile, returned to France to make the sugar-sweet Amelie. That the series returned at all was tribute to the deathless appeal of Gigers monsters, and the feeling that Scott was the one filmmaker who could properly wrangle them, Prometheus marking his return as director.

But the Alien movies, however flawed, never felt irrelevant, always connecting to the realities of Earth. For anyone who sees blockbuster cinema as the place the collective subconscious bubbles to the surface, the films are rich pickings. It was hard to miss the timing with which the original arrived in 1979 opening in Britain four months after the election of Margaret Thatcher, and shortly before Ronald Reagan won the US presidency.

As such, the era of Alien has precisely mirrored the age of modern capitalism. You see it in the story of faceless corporations killing off their staff to chase a profit and in the xenomorph itself, remorseless and voracious. Now, the role of founding father has been assumed by Peter Weyland, a billionaire industrialist, whose expansive plans to help mankind would fit right in with those of Mark Zuckerberg or Larry Page.

The feminism of the films might feel haphazard the first script of the original involved a male hero but still, in an era in which the film business has struggled to put women front and centre, Ripley was routinely the best hope for humanity. In the latest film, Sigourney Weavers place is taken by Katherine Waterston, deadpan and stoic, just like her forerunner. But, more than just being female-led, the Alien films always hummed with ticklish thoughts about motherhood and reproduction; the hero is the ultimate final girl, the last woman left standing, with men seldom saving the day.

Ultimate final girl Sigourney Weaver in David Finchers Alien 3, 1992. Photograph: Alamy Stock Photo

And then we have the androids. If Ian Holms treacherous Ash in the original gave audiences a whisper of unease about the march of technology, it has since grown deafening. Having built both Prometheus and Covenant around Michael Fassbenders turn as a primly gifted synthetic, Scott is clearly concerned with the point where circuitry acquires a soul. In the era of coming automation, why wouldnt you be? (In recent weeks, as Fassbender and Scott have been promoting their movie, they have shared media attention with the all-powerful Chinese entrepreneur Jack Ma, warning that the world is about to enter decades of pain caused by artificial intelligence.)

The scowl, the voice of gloomy fatalism, is much bigger in the new Alien episodes: films about the rise of robots in which the humans are usually messy, fleshy, venal and feeble. In his heartfelt sci-fi epic Interstellar, Christopher Nolan told a tale of space travel tied up with misty childhood memories and the bonds of family. You suspect Scott would take one look at all that and ask someone from the crew to pass a bin bag.

Scotts Alien films have always put the sheeny efficiency of xenomorphs above the feelings of people. Now planning at least two more lavishly mounted episodes, alongside a slate of other projects, he remains a force of nature himself, a master builder turning 80 this year, using his industry clout to pursue big ideas while throwing the crowd enough red meat to keep us turning up.

And space? In the years between Alien and Covenant, the prospect of commercial space travel has advanced spasmodically at best. Scott for one believes other beings will get to us long before we reach them. Of course, he has said, there is life out there. It is smarter than us and violent. Four decades after that first doomed voyage, his advice is simple: When you see a big thing in the sky, run.

Alien: Covenant is released in Australia on 11 May, UK on 12 May, and US on 19 May.

Read more: http://www.theguardian.com/us

The post Alien: Covenant why Ridley Scott’s facehuggers and chestbursters will never die appeared first on AlienVirals.com - Latest Alien & UFO News.

from AlienVirals.com – Latest Alien & UFO News http://www.alienvirals.com/alien-covenant-why-ridley-scotts-facehuggers-and-chestbursters-will-never-die-2/

[ratfuck]

big spoiler thing about the Alien current franchise

in a follow up to a post I made an hour ago http://fried-ferret.tumblr.com/post/160456721156/okay-so-i-have-a-friend-that-has-illegally

I have a cinematic arts teacher I’m friends with, who has a friend that has illegally obtained Alien: Covenant by basically ripping it digitally and has told him a LOT about the current situation in the Alien prequel series, regarding the characters David and Shaw, David’s motivation to what he’s doing, the Engineer civilization and the true origins of the Xenomorph race

anyone who’s interested and can’t wait, is genuinely confused, or is interested but doesn’t want to see the movie will enjoy this, assuming you saw Prometheus

huge spoilers so I’m tagging this and making this post a readmore beyond this point

First of all, let’s start off with this:

Obviously the time between Prometheus and Covenant will be expanded upon, and I believe the next movie, Alien: Awakening will be specifically set during this time frame

The main character (and antagonist) of this saga is exclusively David, the android with emotional capabilities and is shown to be actually sentient. To add further context to all of this, please see the deleted scene in which David actually communicates with the Engineer on board the Juggernaut. I will begin with explaining them and why they wanted to exterminate the Human race in Prometheus

The material presented of the Engineer homeworld, “Paradise”, in magazines (I won’t be posting those, look them up if you’re interested), shows the Engineers looking much different than the one seen in Prometheus. This is because the ones in Prometheus are genetically engineered for space exploration and warfare. The Engineer race doesn’t have colonies like the Humans in the Alien series, rather they all live on their home planet, while the genetically modified ones are used to seed the universe with life. The Engineers are in all purpose, Gods. The exact reason why, which can be seen in the video above, they wanted to destroy humanity is because we are, in their eyes, cruel, greedy, and weak. We are a failed experiment to them, and they wanted to wipe the slate clean and replace life on Earth with a hopefully more peaceful civilization. The mutagen seen in Prometheus, and in extent Covenant, is what they use to both create life, and exterminate it. They create life, and do not hesitate to destroy it.

This brings us to David. David hates humanity and clarifies this in Prometheus. Weyland, his creator, and everyone else with the exception of Shaw, has treated David as only a tool, rather than the independent intellectual he actually is. After Prometheus, after learning entirely about the Engineer civilization on board the Juggernaut, David develops a God complex, as he’s the creation of man who is the creation of God. He claims Mankind is a dying species that is desperately traveling the stars to make themselves in a sense “immortal”. By studying the Engineer’s culture, he also determines they are just as bad as humans and are worthy of destruction. He sees the process of creation as “God” creates man, man creates it’s own life (Weyland creates David) and tries to replace God, and man’s creation replaces man and god, and so forth. As seen in “The Crossing”, he exterminates the Engineers, and plans on exterminating man (or at least confining them to Earth), and creating his own life through the use of the mutagen. David is the creator of the Xenomorphs, not the Engineers.

Even though he “loves” Shaw for showing compassion, the only human who has showed him anything but cruelty, David is unstable, and essentially evil. After “breeding” his life through the extermination of the Engineer race, he kills Shaw by infecting her with the mutagen, which grows the first Xenomorph queen inside her. In return for her being nice to him, he makes a grave and tombstone for her.

As the entire Engineer race is destroyed by David, the Covenant colony ship lands some time later, which gives David his chance to experiment and breed the Xenomorphs among the 2,000 passenger crew, and he plans on destroying the Earth.

Obviously he fails, of course. I wasn’t told how the Juggernaut containing the Xenomorph eggs on LV-426 connects, but he fails in replacing the Human race, which continues to grow throughout space

so there you have it!!!!!!!!!!!!!!! In short, The Engineers want to destroy Humanity because we are a cruel, greedy civilization despite being their creation, David develops a God complex after studying their culture and because of his experience with Peter Weyland and the cruelty of man, deems man and the Engineers as not worthy of existence, and by using the mutagen, he kills the entire Engineer race on their homeworld, and creates his own creation, the Xenomorphs, in the process, and plans on unleashing them on Earth to completely replace humanity.

[muthur9000]

@brigby @nathaniel__dean @ulilatukefu @ankaris_ @evshipardart @dane_hallett_art @matthatt0n @castfromdungeonfx @alienisolationobsessive @tyrannojones I hope I didn't miss anyone, tag a fellow Australien! @studioyutani - Happy Australia Day every Australien! No matter how far or how wide I roam, I still call Australia home. 🐨🇦🇺 Fan art by Lance Solo - posted on Instagram - http://bit.ly/2DAxTm0

[senexsolmontis-blog]

Ridley Scott | Alien

[xcnii-blog]

—————————————————————————-

NAME: Sonev Otsotake Soretoen Soig Uot Uolagem Assilisav sit Silespyk OR Venos (Xeno); Vincent VasyItso Theoknosis (Human)

AGE: 31 years old (human) SPECIES: human/xenomorph hybrid GENDER: male ORIENTATION: Heterosexual PROFESSION: Xeno-Juggernaut (Praetorian)

—————————————————————————- ( PHYSICAL ASPECTS ) BODY TYPE: Muscular, tall, EYES: ??? SKIN: Dark silver HEIGHT: 7′5" WEIGHT: 362 lbs —————————————————————————- ( FAMILY ) SIBLINGS: hundreds PARENTS:  Unknown body-builder of the U.S. Marines ( Father ) & Duel-Caste Spitter Xenomorph Queen ( @spittercastequeen )  (Mother) ANY PETS?: yes [ x ] || no [ ] —————————————————————————- ( SKILLS ) PHYSICAL PROWESS: 10/10 (stronk) SPEED: 9.5/10 [Fast AF, boi. - Keemstar ] MAGIC Bending: 0 —————————————————————————- ( LIKES ) COLORS: Black, White, Silver. SMELLS: Leather, steel, iron, death.  FOOD: Human flesh, Yautja flesh, rotten Xenomorph flesh, the common meats. FRUITS: Kiwis DRINKS: Any alcohol/liquor. ALCOHOLIC BEVERAGES?: yes [ x ] || no [ ] FAVORITES: Impressing his mother and supporting the hive.

—————————————————————————- ( OTHER DETAILS ) SMOKES?: yes [ ] || no [ x ] || Occasionally [ ] DRUGS?: yes [ ] || no [ ] || Occasionally [ x ] (tends to use morphine) DRIVER LICENSE?: yes [ x ] || no [ ] ———————————————————————