What Makes the New Xenomorph in Alien: Romulus Unique?
Unique Features of the New Xenomorph in Alien: Romulus
- The design of the Xenomorph closely resembles the original H.R. Giger designs, emphasizing its terrifying nature and aligning with the film’s dedication to preserving the suspenseful atmosphere of earlier films.
- A new character named Rook, a synthetic being, plays a significant role in the story. He is designed to be distinctly different from Ian Holm’s portrayal of Ash, combining animatronics and a live actor for a unique presentation. Rook’s character and the circumstances surrounding the Xenomorphs highlight the film’s intriguing take on the franchise’s lore.
- The introduction of an experimental fluid codenamed ‘Z-01’ presents a unique twist to the traditional narrative. This fluid allows humans to gain characteristics enabling them to survive in extreme Xenomorph conditions, showcasing the evolving relationship between humanity and Xenomorphs within the film’s universe.
- The film’s climax introduces a rapidly growing human-Xenomorph hybrid, representing a notable shift in the narrative. This hybridization exhibits both Xenomorph traits and human characteristics, pushing the boundaries of established lore.
- The new hybrid Xenomorph has a different origin, being born from experimentation, and is more bipedal. This creature is fast, strong, endures damage, and displays signs of intelligence, making it a dangerous and formidable foe.
- Significantly, the Offspring stands at an impressive 7 feet 7 inches tall, making it larger than any other Xenomorphs or foes seen in the franchise.
- The unique anatomical features include the size and shape of the teeth and front of the dome, resembling a cross between the big chap and the Runner from Alien 3. The use of zero gravity, Xenomorph cocoons, and Facehuggers hunting in packs offer thrilling new twists to the classic Alien creature features.
- Moreover, advancements in technology, such as digital sculpting and 3D printing, have streamlined the pre-production development process for practical effects studios. Mahan points out how digital work allows for rapid prototyping and creation of physical effects.
- Additionally, with telemetry-driven animatronics and robust servos operating current technologies, the visual presentation of the Xenomorph is nothing short of spectacular.
How Does Alien: Romulus Connect to the Previous Films in the Franchise?
Alien: Romulus, the seventh film in the proper Alien series, is set between the events of Alien (1979) and Aliens (1986). Director Fede Álvarez made a specific point to honor many of the films in the franchise that came before him. This includes:
- Some of the movie’s tone.
- The underlining lore that informs the movie and its world.
- Elements of action and dialogue.
- The presence of the Xenomorphs and other creatures throughout the film.
It has been confirmed that Alien: Romulus is indeed placed between the first and second films. In a November 2023 interview with Variety, Caileee Spaeny stated, “It’s supposed to slot in between the first movie and the second movie.” Furthermore, the same team from Aliens, the James Cameron film, built those xenomorphs as well.
The film acknowledges the critical canon of all three movies directed by Ridley Scott. For instance, the Xenomorph life forms that eventually run amok on the Romulus space station originate from a single sample recovered from the Nostromo wreckage after Ellen Ripley blew it up in Alien (1979). This sample is brought to the two-sided station Romulus/Remus, where the main story unfolds years later, after the events of Alien, but decades before Ripley is found and the events of Aliens occur.
Moreover, Romulus serves as a key gap-filler in the franchise. It addresses why the Weyland-Yutani Corporation is so eager to obtain xenomorph samples and DNA. The “Prometheus strain” represents the elixir of life that Mr. Weyland spent a lifetime chasing. It’s understandable that the company is willing to sacrifice so many lives to achieve significant advancements made in Romulus prior to its downfall.
In addition, the film connects with much of the Ridley Scott-directed prequel films, Prometheus and Alien: Covenant. Much of the plot involves the discovery of the black goo by Weyland-Yutani scientists, which has been reverse-engineered into the “Prometheus Strain.” This plays a significant role in the film’s climax, leading to the birth of a horrific new creature.
During a climactic moment, Andy manages to echo one of the most iconic lines from the series: “Get away from her, you… bitch.” This line, originally uttered by Ripley in Aliens, maintains the stutter that accompanies his outdated android hardware.
In the climactic act of Alien: Romulus, young colonists Rain, Tyler, and Andy find Tyler’s sister Kay alive and cocooned after a xenomorph seemingly killed her. As Tyler dies during the rescue, Kay, injured, injects herself with the Prometheus strain, hoping for healing, replicated from test animals. While Kay does heal, the side effect reveals a human-xenomorph-Engineer hybrid, who kills and devours Kay before Rain and Andy manage to knock it out of the ship.
Ultimately, Alien: Romulus unites the entire Alien franchise for the first time. It bridges the gap between the original series and the prequels while enhancing the cohesion of the franchise storyline. The main connection to Prometheus is highlighted when Rain, Andy, and Tyler discover Weyland-Yutani experiments aboard the space station.
Despite being a small-scale horror film, Alien: Romulus features numerous connections to the Alien franchise, from Prometheus to Alien: Resurrection. The film contains plenty of sly references, clever easter eggs, and unexpected connections to the other films and games in the Alien franchise.
What Inspirations Shaped the Design of the Xenomorphs in Alien Series?
H.R. Giger has given you a nightmare. The Swiss-born painter was responsible for creating one of the most iconic monsters in the history of the human imagination: the xenomorph, the unrelenting alien species that oozes at the center of the ‘Alien’ film franchise. Giger’s work as a visual artist extends beyond the sci-fi franchise, combining horror and the grotesque, and tapping into our unending fascination of the things that frighten us the most.
Giger cited growing up in Switzerland during World War II, in close proximity to Nazi , as the source for some of the darkness in his work. As he said to Vice in 2011: ‘I could feel the atmosphere when my parents were afraid.’ His childhood fears and fascination with ‘skulls and mummies’ greatly influenced his artistic vision.
Director Ridley Scott encountered the ‘Necronomicon’ when he saw a copy laying on a desk at the offices of 20th Century Fox, just after g on to ‘Alien.’ Scott stated, ‘I took one look at it, and I’ve never been so sure of anything in my life. I was convinced I’d have to have him on the film.’ The basis for the xenomorph came from two lithographs in the ‘Necronomicon’ that featured a dark, metallic-looking being with the oblong head that would come to characterize the monster.
O’Bannon discovered Giger after they met through Alexandre Jodorowsky’s failed production of Dune. Giger was heavily inspired by Egyptian art, sexual imagery, and his self-made aesthetic of ‘biomechanical’—a mix of human anatomy and machines. Necronom IV, an art piece Giger made long before the production of Alien started, became the basis for the creature.
Mixing Crohn’s disease, bugs, campy horror films, and sexual imagery seems like an odd combination. However, it works perfectly for Alien. This blend created a timeless movie that holds up even today, offering itself as a memorable introduction to young viewers as well. O’Bannon’s childhood, growing up on a farm in Missouri, fostered a deep interest in insects, which is reflected in the metamorphosis the alien goes through. He also suffered from Crohn’s disease, leading to the inclusion of the infamous chestburster scene, often considered the most memorable part of the film.
Giger built the xenomorph’s lips from condoms and nestled a real human skull into the tip of the alien’s cylindrical head. The film’s visuals, from the Nostromo‘s gritty industrial design to the Xenomorph’s eel-like, parasitic form, have become a basis of inspiration for future extraterrestrial settings and monster designs. The distinctive, phallic-looking head of the Xenomorph is such an iconic look that it has been redesigned, simplified, and parodied by various artists, movies, and films.
In James Cameron’s ‘Aliens’ (1986), the Alien Queen was introduced, presenting a larger and more elaborate version of the Xenomorph with a crest-like head and additional limbs. This design stands as a testament to the impactful legacy of Giger’s original work.
