“Imaginary bestiary” (5/6). The creature designed by the Swiss artist Hans Ruedi Giger, for the film by Ridley Scott, has become a cult character in science fiction, able to tell herself …
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I would not have arrived there if Kane, the Executive Officer of the Spatial Cargo Nostromo had, one day of 2022 (one hundred years, already), touched the egg in which I had been vegetated for decades. Poor Kane, how could he have imagined that these luminescent organisms which had mysteriously developed between the walls of an ancient wreck, stranded on a dark moon of a no less obscure stellar system, concealed in them the germ of the absolute horror?
Barely touched, the egg turned into a “monstrous spring devil”, to use the terms of the Swiss artist Hans Ruedi Giger, who drew the successive stages of my reproductive cycle with precision. A larva with prehensile fingers covered the face of Kane, who immediately lost consciousness. Despite the objections of Lieutenant Ripley, who hardly appreciated that a foreign organization Montât aboard the Nostromo, the comrades of Kane made us embark. -hidden = “True”>
You have to understand Ripley: when the teammates of the unfortunate executive officer tried to detach me from his face, they injured me, noting that my blood was extraordinarily corrosi and attacked the metal walls of the vessel – ” Molecular acid, “said one of them. But, when the tentacles have fallen and Kane resumed his senses, the majority of the teammates of the Nostromo, “of the space truckers”, as Ridley Scott, who filmed all this called us, left us embarked.
An aperitif with the crew of the Nostromo seemed to be the perfect opportunity to get to know better, after these tumultuous beginnings. But for Ripley and his comrades to discover me, I had to see the day. Everyone knows today the way I took. Once at the table, Kane, who seemed restored, was taken from hiccups, then spasms. Under his t-shirt, an abnormal agitation was discerned, until I tear all the layers of fabric, organic and textiles, and that I appear on the table, in the form of an agile and couining larva that ‘is carapatée without asking for his rest.
These images of the last meal of the seven -trucks of space have remained engraved on the retinas. In 1979, when Alien, the filmed biography of an endoparasitoid xenomorphic (this is how cryptozoologists of dark rooms classified me), came out in theaters – at the beginning of summer in the United States, three months Later in Europe -, the fate of Kane (a role that was particularly in the prosecution physique of his interpreter, John Hurt) struck the imaginations. Four decades later, the gushing of the creature at the end of its gestation within a human body continues to haunt the nightmares. We recently saw a young contemporary astronaut, in the series for all mankind, replay the scene on the mode of comedy, to exorcise the fears of his companions.
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