Alien Queens 2

This creature is named Xenomorph XX, and has been referred to most often onscreen, and in the credits of each film, simply as the Alien. It was called an alien, and an organism, in the first film. It has also been referred to as a creature, [3] a serpent, [12] a beast, [4] a dragon, [4] a monster, [3] a nasty, or simply, a thing. The term was erroneously assumed by some fans [14] to refer specifically to this creature, and the word was used by the producers of some merchandise. Predator is listed in the credits as "Grid", after a grid-like wound received during the film from a Predator's razor net.

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Covenant actually credits the Alien as Xenomorph, while also listing a different variety of the creature as the Neomorph. As the film series has progressed, the creature's design has been modified in many ways, including differing numbers of fingers and limb joints, and variations in the design of the Alien's head.

When standing upright, the Aliens are bipedal in form, though depending on their host species, they will either adopt a more hunched stance, or remain quadrupedal when walking or sprinting. Their overall stance and general behavior is a result of the mixture of the DNA of the embryo and the host. They have a skeletal, biomechanical appearance and are usually colored in muted shades of black, gray, blue or bronze. Their body heat matches the ambient temperature of the environment in which they are found, so they do not radiate heat, making them indistinguishable from their surroundings through thermal imaging.

Aliens have segmented, blade-tipped tails. The sharp tip was initially a small, scorpion-like barb, [13] but from Aliens onwards the blade design increased in size and changed in appearance to more closely resemble a slashing weapon. Resurrection onwards, the tails have a flat ridge of spines at the base of the blade.

This was introduced to help them swim convincingly, [17] and was left intact in the subsequent crossovers. The original shooting script for Aliens and the novelization both featured a scene in which Lieutenant Gorman is "stung" by the barb tail and rendered unconscious; in the final cut of the movie, Gorman is knocked out by falling crates.

As a weapon, the strength of the tail is very effective, having been shown to be strong enough to impale and lift a Predator with seemingly little effort. They have elongated, cylindrical skulls , but possess no visible eyes, though in the original Alien film, the top of the creature's head was translucent, with empty, human-looking eye sockets within.

In the novelization of Alien , the character Ash speculates that the Xenomorphs "see" by way of electrical impulse, similar to a shark's lateral line.

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This method is illustrated in the original Alien vs Predator PC game and reused for the "Predalien" 28 years later. The Aliens' inner set of jaws are powerful enough to smash through bone and metal. In the novelization of the movie Alien , the creature is held mesmerized by a spinning green light for several minutes.

In Aliens , the adult creatures have a more textured head rather than a smooth carapace. In the commentary for Aliens , it was speculated that this was part of the maturation of the creatures, as they had been alive far longer than the original Alien, although James Cameron stated that he simply left the carapace off because he liked them better that way. Resurrection , although made narrower with a longer muzzle and more prominent chin.

This design would be kept in Alien versus Predator , [18] and abandoned in Aliens vs. Requiem in favor of the ribbed design. Throughout their appearances, human-spawned Aliens have been shown to have different numbers of fingers. In Alien , the creature has webbed, six-fingered hands. In Aliens , the number of fingers is reduced to three two "paired" and a single, opposable thumb , and they are shown to be much longer and more skeletal.

Resurrection , the number of digits is increased to four, with two long middle fingers and a pair of thumbs. This design is kept in the Alien vs. Predator films, though the hands were made bulkier in order to make the Aliens seem more formidable against the Predators. Aliens have been alternatively portrayed as both plantigrade and digitigrade organisms, usually relative to their host. Human-spawned Aliens were usually portrayed as having humanoid hind limbs, while in Alien 3 , the featured Alien sported double-jointed legs due to its quadrupedal host.

This characteristic would be continued in Alien: Resurrection for the human-spawned Aliens. Tom Woodruff, who had previously played the "dog-alien" in Alien 3 , described the human-spawned Aliens in Resurrection as feeling more like a dog than the previous creature, despite having been born from human hosts. Alien blood is an extremely potent acid and is capable of corroding almost any substance on contact with alarming speed.

It is dull yellow in color, and appears to be pressurized inside the body so that it spurts out with great force when the creature is wounded. Ron Cobb suggested the idea of the Alien having acid blood as a plausible means to make the creature "unkillable"; if one were to use traditional firearms or explosives to attack it, its blood would eat through the hull of the ship.

The documentary also speculates that Aliens are immune to their own acidic and toxic liquids due to an endobiological build-up, similar to the human stomach's ability to protect itself from its own digestive fluids. The documentary takes this hypothesis one step further and speculates that the Alien organisms' protection system against its own toxic hydrosulphuric acid is basically a bio-organically produced Teflon insulation.

This ability is also exhibited by adult Aliens in Alien 3 and Alien: Resurrection ; much like a spitting cobra , they use it to blind and immobilize their victims.

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Aliens can produce a thick, strong resin that they use to build their hives and to cocoon their victims, and they can use the walls of their hives as camouflage. Resurrection on the USM Auriga , and in the crossover movie Alien vs Predator , the species displayed observational learning and problem-solving skills, [3] [24] and in the former two cases the Aliens learned how to operate machinery at a very basic level. On LV, they were able to cut power in a section of the complex to gain access to the humans, and the Alien queen learns to board an elevator by observing Ripley and Newt escaping in the one beside it.

The novelization of the film notes that the queen establishing her "nest" at the base's main power plant could have been chosen either for the feral, animal reason of the warmth that it would provide or for the rational reason of selecting a location where any attackers would be unable to destroy her without destroying the entire facility. In the director's commentary for Aliens , James Cameron noted that the creatures in Aliens had been alive for far longer than the Alien in the original, and had more time to learn about their environment.

Resurrection , the Aliens kill one of their own, using its blood to melt through their enclosure and escape; in Alien vs. Predator , they use a similar strategy to free the queen from her chains. An Alien also uses acid spurting from its severed tail as an improvised weapon, indicating they are fully aware of the effects of their acid blood.

Aliens are eusocial life-forms with a caste system ruled over by a queen.

In the Alien 3 novelization, Ripley commented that this parasitoid would probably be able to use a host as small as a cat or as large as an elephant. The facehugger then "impregnates" the host with an embryo , known as a " chestburster ", [NB 2] which, after a period of gestation , erupts violently from the host's chest, resulting in the death of the host.

The chestburster then matures to an adult phase, shedding its skin and replacing its cells with polarized silicon. Due to horizontal gene transfer during the gestation period, the Alien also takes on some of the basic physical attributes of the host from which it was born, allowing the individual alien to adapt to the host's environment.

The adult phase of the Alien is known by various different names. The adult Aliens have been referred to as "drones", "warriors", "workers", and sometimes "soldiers", similar to the way ants have been defined. The names of the adult phase have also been used to name different types of adult phases of the Alien in numerous sources, including video games, comic books, novels, and the films, but only in the commentaries by the team who created the films.

No official name has been given to the adult stage of the Alien in the films themselves.

Xenomorph Queen

Queen Aliens are significantly larger and stronger than the normal adults, being approximately 4. The queen's head is larger than those of other adult Aliens and is protected by a large, flat crest, like a crown, which varies from queen to queen. Unlike other aliens, the queen's external mouth is separately segmented from the rest of her head, allowing her to turn her mouth left and right almost to the point where it is facing perpendicular to the direction of the rest of her head.

In the second film, Aliens , unlike other adults and queens, the queen had high-heel protrusions from her feet. Egg-laying Alien queens possess an immense ovipositor attached to their lower torso, similar to a queen termite's.

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Unlike insect queens , there appears to be no need for an Alien queen's eggs to be fertilized. In the original cut of Alien , the Alien possessed a complete lifecycle, with the still-living bodies of its victims converted into eggs. However, the scene showing the crew converted into eggs was cut for reasons of pacing, leaving the ultimate origin of the eggs obscure. This allowed Aliens director James Cameron to introduce a concept he had initially conceived for a spec script called Mother , [26] a massive mother Alien queen which laid eggs and formed the basis for the Aliens' life cycle.

Cameron conceived the queen as a monstrous analogue to Ripley's own maternal role in the film.

Alien (creature in Alien franchise) - Wikipedia

The queen was designed by Cameron in collaboration with special effects artist Stan Winston , based upon an initial painting Cameron had done at the start of the project. The Winston Studio created a test foamcore queen before constructing the full hydraulic puppet which was used for most of the scenes involving the large Alien.

Two people were inside working the twin sets of arms, and puppeteers off-screen worked its jaws and head. Although at the end of the film, the queen was presented full-body fighting the power-loader, the audience never sees the legs of the queen, save those of the small-scale puppet that appears only briefly. In Aliens , Cameron used very selective camera-angles on the queen, using the ' less is more ' style of photography.

Subsequently, the movie won an Oscar for Visual Effects. An adult queen was to reappear in Alien Resurrection. The original mechanical head previously used in Aliens was provided by Bob Burns and was an altered design. It was repainted with a blend of green and brown, giving it a shimmering, insect-like quality. This color concept would be abandoned in Alien vs. Predator in favour of the original black color scheme. In the climax of Alien vs. Predator , the queen's basic design was altered to make her more "streamlined" in appearance and her overall size was increased to six meters 20 feet tall.

Other changes include the removal of the "high-heel" protrusions on her legs, including additional spines on her head and making her waist thinner because there was no need for puppeteers inside her chest. The animatronic queen had 47 points of hydraulic motion. Requiem introduced a younger form of the full-grown queen, albeit with traits inherited from its Predator host. Recalling the facehugger's method of embryo implantation, the Predalien uses its inner mouth to directly deposit multiple chestburster embryos into pregnant female hosts, also using its mandibles to latch on the faces of said hosts, completely bypassing the need for facehuggers.

The eggs laid by the queen are ellipsoidal, leathery objects between one-half and one meter two and three feet high with a four-lobed opening at the top. The eggs can remain in a stasis mode for years, possibly indefinitely, until nearby movement is detected. As a potential host approaches, the egg's lobes unfold like flower petals, and the parasitic facehugger extracts itself from the egg and attaches itself to the potential host.

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Giger initially designed the eggs with a much more obvious vaginal appearance, complete with an "inner and outer vulva". In the first film, the quick shot of the facehugger erupting from the egg was done with sheep's intestine. Resurrection , the entire egg was made to ripple as it opened.

In Alien, the Director's Cut, an additional scene shows still living crew members being cocooned into new eggs, either morphing into a new embryo or acting as a food source for the facehugger inside the egg. A facehugger is the second stage in the Alien's life cycle. It has eight long, finger-like legs, which allow it to crawl rapidly, and a long tail adapted for making great leaps. These particular appendages give it an appearance somewhat comparable to chelicerate arthropods such as arachnids and horseshoe crabs.

The facehugger is a parasitoid ; its only purpose is to make contact with the host's mouth for the implantation process by gripping its legs around the victim's head and wrapping its tail around the host's neck. Upon making contact, the facehugger administers a cynose-based paralytic in order to render it unconscious and immobile. Where did the Alien Queen come from? KevinMilner I wondered if anyone will finally notice the pun in the title. In Alien 3 , Ripley is impregnated with what is apparently a Queen by a facehugger before crashing on the prison planet. As such, I guess yup: But also from the same site: Jason K 1, 7 8.

I think the first quote needs more backing up, maybe someone who's seen the directors cut could edit in a quote? This question has been asked before "Where did the Alien Queen come from? One of the answers has a nice photo of the Alien 3 "royal facehugger" prop. It also mentions the AvP video game. I've flagged this question as a duplicate. I think there was some mention in the novel Alien: Earth Hive or one of its sequels about the possibility of a drone becoming a Queen.

Somewhat curiously the same characteristics have now been transferred to the technological body.

Traditionally seen as a male reserve, even the cold, rational mechanised body is now infected by an uncontrollable femininity. This is seen in the recent Transformers films and in particular characterized within the uncontrollable reproductive powers of the All Spark. Reproduction, monstrous, feminine, machine, gothic, gender, excess. The other features an equally alien and potentially dangerous species that threaten humanity, and that is the Transformers trilogy of films.

I will argue that both cycles are motivated around very similar fears of femininity and uncontrolled reproduction but will ultimately question whether they are inseparable and substantive terms or ultimately discrete signifiers of anxiety within the films and larger hetero- normative society. I would argue however that rather than promoting a different view of femininity on screen her role is actually to regulate the female body in general and the seemingly uncontainable, beyond male proscription, in particular.

For this is what the films comprising the Alien Quadriliogy ultimately represent, the continual quest to suppress uncontrollable femininity and reproduction as seen in the figure of the Alien Queen. Whilst seemingly posited as being dialectically opposed to this system Ripley in fact repeatedly operates as their largely de- sexualised tool.

The confused nature of her sexuality is observed by Christine Cornea: As such she comes to represent the controlled and controlling body. As Jane Ussher describes: The fecund female body thus stands at the centre of surveillance and policing of femininity—both externally, and from within. Michel Foucault described self- surveillance as the modern replacement for external, authoritarian, methods of surveillance and social control.

This is seen in extremis in the final instalment, Alien Resurrection, which inverts the maternal signifiers of the first Alien movie. Indeed Ripley herself is the eighth clone that they have produced in an attempt to re-create an Alien Queen from rescued DNA from the former Ripley, seen in Alien3. The inherent monstrosity of this is typified by the discovery of the seven previous attempts to create the monster.

As described by Ximena Gallardo and Jason Smith: One has an enlarged head and a tail. A second looks like a human female but has a set of bared Alien teeth coming out of her cheek. Two others have what looks like Alien bodies but human skin…these bodies are…a union between human and an extraterrestrial…that cannot exist but in the imagination.

As a result rather than signifying a way beyond the system that, quite literally created her, she becomes the moderator or regulator of all that is allowable. Whereas the seemingly ubiquitous lieutenant stopped appearing after the first four films the Queen has continued into subsequent productions. Like grass cracking through the pavement, she becomes to represent the uncontainable forces of organic life itself. Even under the tightest male restrictions, as seen on the male womb of the Auriga, she manages to mutate, mangle and generally mess-up the scientific and clinical sterility of masculine medicalised reproduction.

Harking back to gothic roots she embodies what Fred Botting describes as: The dark-side of the psyche that contains the life drives and instinctual urges that consciousness and the super-ego constantly struggle to repress and control. In this framework she symbolises not so much the Alien from outside but the one that lives within us, not just the heart of darkness that beats within the subterranean caverns of our being but the instincts for life and survival at all costs; for birth, death, and reproduction to excess.

For it is only through excess and jouissance beyond control that we find meaning, truth and existence in the mundanity of everyday life. What is often terrifying is that this revolution is against humanity itself, a humanity that has become increasingly secular and that has become too familiar with overarching concepts of the transcendent. This is not constructed around the normal processes and signifiers normally associated with human biological reproduction as her sexuality is not defined in any purely humanoid way.

Sometimes labelled as a xenomorph the alien species is an assemblage of insect, reptile, and even myth-like components that encapsulate the most un-human qualities possible. The Alien Queen then begins to intimate that it is not the Mother that is seen as monstrous within the context of the films but the act of reproduction itself. This is further exampled if we look at the fact that the only other instances of birthing we see in the series come in Resurrection.