For Y U T A N I B L O G’s Alien Day Online make sure you

To be in the chance to win Pop vinyls, Pins, Crew Patches, Posters. Those without facebook can join me on my live stream via Discord.






Special thanks to:

AVP Galaxy for donating the Alien: Covenant Novelisation.



Perfect Organism Podcast for donating a poster.

PO Poster

Mitch Mitchell for donating 2 digital copies of Alien: Covenant and to Luis Lopez for donating a digital copy of Alien: Covenant and a hand-modelled clay Engineer head.


I have also included another digital copy of Alien: Covenant and my limited edition Alien: Isolation Steel Book Game with Artbook for XBOX 360.


Billy Mansel, one of the Engineer Extras from Alien: Covenant will also be answering some questions 21:00 GMT on our Yutani Alien Day page so be sure to RSVP and tune in!



Alien The Cold Forge
ALIEN: THE COLD FORGE by Alex White PRODUCT DETAILS ISBN: 9781785651939Dimensions: 198 x 130 mm Trade Paperback: 416pp Publication date: 24 April 2018All authors: Alex White

According to White’s literary agent Connor Goldsmith, THE COLD FORGE is about Blue Marsalis, a scientist with ALS who hopes experiments on xenomorphs will lead to a cure. It goes… not well. With test subjects gone rogue and a Weyland-Yutani mercenary sent to kill her, her only defence is a robot she controls remotely with her mind. It’s a tense psychological thriller with two compelling, morally complex leads (Blue and the hitman).

SYNOPSISWith the failure of the Hadley’s Hope, Weyland-Yutani has suffered a devastating defeat—the loss of the Aliens. Yet there’s a reason the company rose to the top, and they have a redundancy already in place. Remote station RB-323 abruptly becomes their greatest hope for weaponizing the Xenomorph, but there’s a spy aboard—someone who doesn’t necessarily act in the company’s best interests. If discovered, this person may have no choice but to destroy RB-323… and everyone on board. That is if the Xenomorphs don’t do the job first.

AVP Galaxy’s Article on The Cold Forge | Buy it here




Courtesy of Gabriel Hardman/Dark Horse Comics


The Trono colony on LV-871 is under attack. Emergency evacuations are ordered. Evac shuttles are taking off. All twelve-year-old Maxon and his mom have to do is make it to the spaceport. Except between them and it are . . . Aliens!

When talking to CBR.com Gabriel explained, “I was actually inspired to tell the story from the point of view of a 12-year-old boy in large part because that’s the age I was when first exposed to Aliens, I didn’t want to write about Marines or anyone who seems like they could stand up to the xenomorphs. Kids lack power — they lack agency. I wanted to throw this boy into extraordinarily scary and difficult circumstances and force him to navigate it. And not tell it from the parent’s perspective, but the kid’s.”

You can pre-order this comic at your local comic book store…




Alien: Sea of Sorrows An Audible Original Drama By: James A. Moore, Dirk Maggs Narrated by: John Chancer, Stockard Channing, Walles Hamonde, Laurel Lefkow Series: Alien, Book 5 Length: Original Recording Release date: 26-04-2018 Language: English Publisher: Audible Studios

And finally the Sea of Sorrows book is getting a full audio drama release as well:

You can preorder or buy it here on the day.





Concept Artists Dane Hallett & Matt Hatton have dropped teasers for the much anticipated Alien Day.

In Australia, the date is written Day.Month.Year which is why the date varies from 4/26.

7 months ago Dane asked if anyone would be interested in an art book full of organisms, with a resounding yes and some months past, I suspect there will be some sort of concept art book to be released.

Even during Easter weekend, Matt Hatton got in on the teasers as well, to my delight.

For now, we can only hope and wait, and if you tune into my live stream and podcast release on Alien Day you may be able to hear as well 😉




Fox Next Games is expected to release news on their Online Alien Shooter, but Cold Iron Studios had only been given the task of creating the game earlier this year according to Venture Beat.

In my experience, it will take much longer for a well structured and detailed game to be created, depending on the scope of Fox Next Games and Cold Iron Studios vision.

With veterans from the gaming industry with experience from games such as Metroid Prime 3 and Bio Shock Infinite, there is much anticipation this Alien Day for some news.
FoxNext Games president Aaron Loeb had said in a statement. “I am a personal fan of Cold Iron’s previous work and all of us at FoxNext Games are thrilled to be working with them as they create an action-packed persistent world, steeped in the mysteries of this beloved Alien universe.”

More information here

Alien: Descent VR immersive survival game available on location Orange County, California

Alien: OFF WORLD Colony Simulator available on Amazon Alexa


Fellow blogger Xenomorphing and Perfect Organism Podcast member, has made a prediction for Alien Day, he thinks the Alien movies will be remastered in 4K for release. What do you think?



4K remaster and re-release of all movies suspected as 20th Century Fox keep releasing HD trailers…

Alien and Aliens TM & © 2017 Twentieth Century Fox Film Corporation. All rights reserved.

*This page will be updated regularly for Official Alien Day news. Go to https://www.alienuniverse.com/post/alien-day-2018-announcement for all up to date Official Alien Day Announcements

Alien Facebook Live stream Transmission

Here’s what I saw


This slideshow requires JavaScript.


This slideshow requires JavaScript.

An encrypted message from Eve Kaspar, Blood on the corridor flood, a dove on the rung of the ladder, something in the window of the transport in the terraforming bay, previews of the colony simulator perhaps, and there’s the date for Alien day but another date beneath it says 5th June. Could that be the date they will announce the next movie?

Appreciation for Alien (Alien Day 4/26)

Why Alien Remains Influential: Dan O’Bannon, H. R. Giger, and the Film’s Legacy.

Introduction and Overview

“It was the most incredible preview I’ve ever been in. I mean, people were screaming and running out of the theater.” —Editor Terry Rawlings describing the film’s screening in Dallas.

39 years have passed since the release of Alien (1979). Since then we have received Aliens (1986), Alien 3 (1992), Alien Resurrection (1997), Prometheus (2012), and most recently Alien: Covenant (2017). Plans for more prequels and future films continue to be thrown about even now. We now approach Alien Day 2018 – a massive fan celebration with all assortments of new releases related to comics, films, collectibles, and general enjoyment and appreciation of the franchise. How has a series like Alien been able to retain influence and continue to grow its fan-base after so many years?

In this short entry, we will look at why lead writer Dan O’Bannon’s dogged search for a truly realistic depiction of a monster would be one of the keys of the franchise’s success. A follow up introduction into the mind behind the beast, and the evolution of its initial design, will follow. Beyond these two sections (for fear of word-vomiting for far too long), I hope this will spark discussion as to why Alien has remained an important part of film, art, and personal experiences.

O’Bannon’s Creation

Dan and Ron
Dan and Ron

(Much of this information comes from this interview with O’Bannon by David Konow. I highly suggest reading it as only highlights exist here!

When Dan O’Bannon worked with John Carpenter and Ron Cobb to create the sci-fi comedy Dark Star (1974), it left him desiring to create something far more serious, unique, and realistic. He is quoted as saying he was left “really wanting to do an alien that looked real“.

“We had to pull the monster off on no budget” said Dan O’Bannon of the spray painted beach ball monster in Dark Star. In 1976, while living with Ronald Shusett, O’Bannon pitched to studio executives that the Alien creature special effects would not be crippling financially to pull off. One card played that would end up making all the difference was the use of surreal artist H.R Giger’s horrifying creations as a genesis of the creature O’Bannon had in mind.

Working on what would become Total Recall,  Ronald Shusett was impressed with Dark Star and got together with O’Bannon to work on his new idea for a sci-fi film. Taking ideas from The Thing From Another World (1951), Forbidden Planet (1956), and Planet of the Vampires (1965),  Alien (like the titular parasitic creature) salvaged parts from its hosts and was born as an incredibly unique, beautiful baby.

“Looking at them I thought, If somebody could get this guy to design a monster for a movie, it would be something no one’s ever seen before. So I went in knowing that I had the cherry on top with the visualization of the thing.” —Dan O’Bannon on Giger’s art

A “B-movie presented in the A-way”, Alien would by no means be a silly or incompetent film. Directed by Ridley Scott, who took the film’s production very seriously, and taking heavy inspiration from H.R. Giger’s fantastically creepy art design, Alien was released in 1979 to mixed reviews and was a commercial success.

By watching it so many years later, it is surprising how well the tension and effects hold up. Great care on the part of every mind collaborating to design the movie has resulted in a near-timeless assault on audience’s conception of horror – what human beings fear most being what is on the inside. This is not meant just figuratively, but very literally as well:

“I thought, Well we outta do something in here, something fairly early that is excessive. Something over the line. Something so awful that you just shouldn’t do it. I’ll just do it once, and I’ll do it early enough that most of the picture still has yet to play. Then after that all you have to do is make sure there’s a lot of dark shadows in the corridors as you’re walking around so you can’t see anything. You can stretch those scenes out until the audience’s teeth will shatter into nothing waiting for the unpredictable moment where the next dreadful, unacceptably thing is hurled at you.” —Dan O’Bannon

The use of a parasitic form of reproduction was implemented by O’Bannon, as was the desire to attack, specifically, the men in the audience by the forced impregnation and emasculation of the male characters in the film. The Xenomorph, as it has been dubbed since Aliens, represents the horrible unknown – and yet, the wholly familiar as well. Examining the creature and the artist behind it is essential to understanding and appreciating Alien, as fans have been doing for years.

Strange Form

Some people say my work is often depressing and pessimistic, with the emphasis on death, blood, overcrowding, strange beings and so on, but I don’t really think it is.
H.R. Giger

This slideshow requires JavaScript.

Born in Switzerland in 1940, Hans R. Giger is recognized as one of the world’s lead ‘Fantastic Realist’ artists. Giger is credited with designing the famous star beast that terrorizes countless audience members even now. His claim to fame, being beautiful airbrushed bio-mechanical landscapes and surrealistic, nightmarish twisted abominations of man and machine made the creature in Alien unique and scary. Ultimately, Giger’s design succeeds in tapping on primal human fears of sexuality (most importantly, sexual violence) and self-destruction. The Xenomorph is everything horrible about mankind wrapped up in one terrific package.

I could say more on Giger, but I prefer his own words. He is a fascinating individual with such a unique perspective on the world. It is no wonder, then, that Alien has been so successful, so stuck in the minds of those who worship it.

H.R. Giger Interview, 1981.

A stroll through time: all incarnations of the adult Xenomorph in the main films:

This slideshow requires JavaScript.

‘Last Word’

Due to its unique creative vision, Alien has been a constant source of inspiration for writers and artists since its release onto the big screen. Films as recent as Alex Garland’s Annihilation (2018), feature homages to Giger’s unique art style and thematic similarities to what O’Bannon had envisioned. Lucky for us today, even when not presented an Alien film, we get bits and pieces of the material used to make it in other sources, interpreted differently by other creative minds.

With the franchise now firmly in the grip of Ridley Scott, we have seen a shift in focus. Androids and what it means to be human (and non-human) have been the focus of the Alien prequels, and the Xenomorph apparently taking a back seat has led some to worry for the future. But the themes prevalent in the prequels were prevalent in the originals and androids were always a critical part of the series. Not to worry, to those who want the Xenomorph to get the attention it deserves. Back again in Covenant after brief hiatus in Prometheus, I am confident the next film to come out will feature the Xenomorph in a similar fashion to the ones in Covenant – an endgame, the root of evil, the ultimate defiance in the face of both Gods and men… and perhaps androids.

Let us take this Alien Day as a day to enjoy a healthy dose of uncomfortableness, share in a few scares, and think about the meaning of life by watching these films and anticipating new ones. As with all art, it is always fascinating to see how people interpret a film and I urge the readers here to discuss what these films mean to you and how you will be celebrating Alien Day 2018.

‘You have my sympathies.”

– Mike, @officerjoek9

Additional Links for Further Information:

The Xenomorph and the Perversion of Sex in “Alien”

Prometheus & Covenant | Building a Mythos of Savage Creation


Creatives: Alex White

Author of the new Alien: The Cold Forge, gives us an interview after the release of his book. Thank you so much for being a part of my Creatives series. Podcast coming soon…


Clara Fei-Fei: What was your first encounter with Alien (as in movies books or comics)?
Alex White: When I was in 3rd grade, my parents let me watch Terminator 2 because of the groundbreaking special effects, and I was instantly in love with action movies. One of our family friends had a huge library of movies on tape, including Warlock, Predator, and most importantly, Alien. Seeing that creature for the first time blew my mind. I was instantly in love with the whole franchise, including the oft-maligned Alien 3.


CF: What is your favourite Alien/sci-fi movie/book or comic?
AW: My favourite Alien movie is still the original Alien. When I was in talks with Titan to write THE COLD FORGE, my first question to the editor was, “Which do you prefer? Alien or Aliens?” because that would give me a good sense of how to shape my pitch. He told me they were both good for their own reasons, which was fair, but a bit political. I unabashedly prefer the first one, because it lines up with my experience of the corporate world.

If you told a major CEO you could shift their stocks up twenty percent next quarter for the cost of a starship crew, I think most CEOs would be happy to do it. Look at the ones that actively suppressed information about the lethality of smoking in the middle of last century, even created misleading information campaigns that got more people killed. And even if those plans backfire, there’s rarely ever any accountability. Just look at the Union Carbide Bhopal incident. Furthermore, this isn’t just a corporate thing, it can be a governmental thing—Chernobyl was completely preventable, but cost lives and homes. You can trace almost every major set of wrongful deaths to an unfeeling, monolithic entity that decided to enhance their profits and took a risk.

So yeah, when I see those poor space truckers getting eaten on Weyland-Yutani orders, I can’t help but sympathize and say, “I’ve had jobs like that.” It’s still so chillingly relevant even now.



CF: What authors inspired you to become a writer?
AW: I started out writing screenplays because I used to complain about movies so much that my friends would say, “If you think you can do better, do it, but stop whining.” However, screenplays only allow you to tell a very small portion of any story—you have to leave room for the director and actors to do their jobs. With a novel, you can channel a lot more raw emotion into it, and once I tried writing one, I was hooked. Also, getting a movie made is the most ridiculous process of all time, and that became less appealing to me the older I got.

I will say that I used to love reading tie-in novels in the 90s, and I read everything Dark Horse had to offer about the Xenomorphs. When those ran out, I read everything about Predator, then switched genres to Star Wars and Star Trek. And I’m not too proud to admit that I read every one of the cheesy TekWar series.
What sort of advice do you have for people wanting to do your line of work?
You can’t write for fame. You can’t write for publication, or to catch up to your friends who are popular writers. You can’t even write to be read. Those are all things that are decided by a fickle and ever-changing marketplace. When you set out on your authorial journey, you can’t know when someone will finally take an interest in your work; even when you sell something, that’s no guarantee of future interest from editors and readers.

You can only choose to write or not to write—to put your stories out there or hold them close. You should write because you love telling stories… and because you potentially suffer from a pathological addiction to making them.
How long does it take to write a book generally?
I used to write one book a year, really taking my time. The average time allotted by the publishing industry is eight months. I was given four months to write THE COLD FORGE after my pitch was accepted and cleared through 20th Century Fox. The short deadline was surprisingly fun and kept me moving faster than I’d ever gone. Weirdly, it forced me to only write the critical bits and stay focused up at all times, making for a pacy story. Despite rushing through, THE COLD FORGE is among my favourite things I’ve ever written.

CF: Where do you get your ideas from to form a story?
AW: JC Hutchins gave me the best piece of horror writing advice I’ve ever received: “Horror is about weakness. If you’re writing about killer shadows, make your main character nyctophobic. If you’re writing about zombies, make your main character immune-compromised.” I wanted to write about a character who was bedridden, trying to survive a Xenomorph outbreak, and was having a lot of trouble figuring out that angle.

I was at UX Week in San Francisco when Double Robotics debuted a new telepresence robot, and my story coalesced right then and there. I could have a character who is terminally-ill, too weak to stand, but I could get them around their environment through telepresence! That’s how Blue Marsalis came about. The rest of the story pretty much wrote itself once I had that piece.



CF: How do you go about picking a name for your characters?
AW: I always pick something representative of their origin. Dorian Sudler takes his name from THE PICTURE OF DORIAN GRAY, by Oscar Wilde. I think it’s a beautiful name, even if I’m a little worried that it’s on the nose. Blue Marsalis takes her last name from one of the great improvisers of our time, Wynton Marsalis.



CF: What other projects have you worked on in the past?
AW: Too many to count. Though, as published novels go, I’ve got EVERY MOUNTAIN MADE LOW, the story of an autistic woman getting revenge for her only friend’s murder, and The Salvagers space opera series, which kicks off this June 26th with A BIG SHIP AT THE EDGE OF THE UNIVERSE. A famous race car driver is framed for the murder of a fellow driver and has to team up with a con artist to clear her name. In the process, they uncover the galaxy’s most extensive conspiracy.

CF: Which was your favourite book to write?
AW: That’s like asking who my favourite child is! Sometimes I write to alleviate difficulties in my personal life, and those books can be among the most rewarding. THE COLD FORGE was important to me because I know so many people dealing with chronic illness, including my spouse. I have a friend watching her child suffer through terminal illness. My fears and feelings hit the page pretty hard on this one.



CF: What other things do you do?
AW: I compose music! I like to write sweeping orchestral scores for my books and give them away as promotions. I also play a ton of Overwatch on PC.



CF: What is your favourite variation of the Xenomorph?
AW: Honestly, the reintroduction of David’s Xenomorph in Covenant really struck me. By working up through the neomorphs, Ridley Scott was able to remind me why these are the most dangerous creatures in the galaxy. The shot of it riding the cargo lift gives me chills.



CF: Which Alien character in the movies or comics is your favourite?
AW: I really identify with Gorman, actually! Here’s a guy fresh out of officer candidate training, still wet behind the ears. He’s expected to show leadership, but literally, everyone in the squad is a better leader than he is. He has been taught all of these rigid plans, drilled on doctrine, and when it comes time to adapt, he chokes. I like him so much because you can see how he’s trying, how he doesn’t want to be there, and how Apone keeps throwing him a bone to get the troops to respect him. That dude was under the constant stress of letting everyone down, and it’s so poetic that he gets to be one of the squad at the very end with Vasquez. Like she ribs him in the same way that she teases everyone else, and it’s beautiful.
What sort of robotic enhancement would you get for your body and why?
There are too many good ones to count! I think I’d really like robotic eyes. They could tell me when someone is trying to pretend to be interested in my rambling when they’re actually super-bored.



CF: Which robot/AI character from any Alien/Scifi movie is your favourite?
AW: I like Ash. For starters, he’s played by Ian Holm, which allows him to do that friendly-to-creepy thing so fast… a talent we’d later see at the beginning of Lord of the Rings when he tries to snatch the ring from Frodo. Secondly, I don’t think Ash wants to do anything he does. If you watch the sequence where they’re begging him to bring in Kane, there’s a huge amount of hesitation, followed by a decisive action with no regret. I feel like the Company told him to acquire that specimen at any cost, and he doesn’t want to hurt the crew.

Consider also that Ash is supposedly an upgrade from David/Walter—two synthetics that are ultra-strong, yet he fights Ripley with a rolled-up magazine. He’s clearly going haywire, and his directive to harm the crew is causing too much emotional strain. I’m 99% sure that he loses that fight on purpose, and the relief on his face in the last moments is absolution. He’s no longer on the hook for what he’s done. He can’t hurt the crew anymore.



CF: Which human character from any Alien/Scifi movie is your favourite?
AW: My favourite sci-fi character is Spike Spiegel. His incredible violence balanced against his goofy movements always kills onscreen. I love that he spends most of the series failing to collect bounties, but he keeps the mask of a careless joker the entire time. He also has the disturbing potential to walk away from anyone.
Which Alien movies do you like?
Alien, Aliens, Alien 3, Alien: Covenant. I’m going to go ahead and count Alien: Isolation because holy hell that game was good.


CF: What did you think about Prometheus and Alien: Covenant?
AW: On the upside, they’re the most beautiful movies of the series and show the brilliance of their photographer. The way Prometheus wrestles with Mary Shelley’s classic question, “What if we’re unwanted by our creator?” has a lot of potentials, and kept my friends and I talking long after the movie ended. I liked the Covenant crew more than most, and Danny McBride crushed it.

On the downside, I think that the scientists in these movies are extremely unwise in most cases, and I’m disappointed that they didn’t follow quarantine procedures anywhere they went. Prometheus, in particular, suffers from unprofessional science, a point which my scientist friends are unable to let die. Holloway’s willingness to give up after being on the planet for less than a week is frustrating, and Charlize Theron is woefully underused.


CF: If there was something you could change in any of the movies?
AW: Just let me rewrite all the science bits of Prometheus and two-thirds of Holloway’s lines. Prometheus has so much potential!

CF: What projects are you currently working on? What would you like to work on in future?
AW: I’m writing the second two books in the Salvagers series, and I’m so excited for that book to release on June 26th!


You can follow Alex White on Twitter https://twitter.com/alexrwhite and on his website  http://www.alexrwhite.com/

Make sure you read his book ALIEN: THE COLD FORGE which comes out today!

An Analysis of Identity in Artificial Intelligence as presented in Westworld by Angelica Ourri

Published with permission.

An Analysis of Identity in Artificial Intelligence as presented in Westworld
The following essay will aim to explore the concept of true Identity in Artificial Intelligence. The paper will present an analysis of the various ways that the 2016 HBO tv show, Westworld, has portrayed identity and the journey to self-consciousness through the main characters multilayered and complex journey towards the centre of the maze. An idea created by the android’s creators in Westworld.


The paper will also look at Westworld in comparison to Plato’s allegory as it is vital in understanding the situation artificial intelligence exists in within Westworld.

Moreover, the second part of this essay shall look at the 2015 movie Ex ­ Machina and contrast the notion of identity creation in A.I with the one in Westworld.
To complete the following paper the essay uses primary research and analysis of the HBO show Westworld.

Additionally, there is extensive research of Plato’s allegory of the cave in order to introduce a proper comparison between the allegory and Westworld. In order to demonstrate the above, the paper utilises the books Plato’s mirror and the actuality of the cave allegory as well as Interpreting Plato’s Cave as an Allegory of the Human Condition.

The essay will also explore various theories around the theme of Identity from essentialism to post-structuralism, by using a variety of books and journals such as culture after humanism The Sovereign individual and The Dilemmas of Identity.

The paper will also look at the theme of trauma and its importance to creating an identity and reaching human consciousness, for A.I and humans.

In order to examine the significance of trauma the paper has used books and journals such as Performing the past, Reconstructing trauma and meaning and Memory, history, and identity.
During 514a–520a Plato, the Greek founder of western philosophy, as one could argue,
introduced and presented the Allegory of the Cave. (Beitin, Emmerling and French, 2012)

This allegory tells how a group of people, in a cave below the earth, are chained in such a way that they can only see their opposing wall. They can not look back, neither right nor left. there is fire on and in between a road, along which there is a small wall. So anything that occurs behind their backs is represented as a shadow on the opposite wall. People walk with a variety of items, from animal to human models, with the shadows appearing on the wall as a result of the fire and road.

Since these people have only seen shadows of things, they have the impression that the
shadows of the items are the items themselves and the echo of the distant voices from behind is perceived as the voice of the items on the wall.
Stagnant on this shadows, the people in the cave never doubt the nature or legitimacy of their reality. However, in the allegory, one of them manages to escape and began to advance in the outside world. As he moves he observes the cave the fire, and the items that are being carried but the passage to the world of light is a journey towards truth and wisdom. As someone guides him, he becomes more in touch with his sense of being and objects feeling real.
However, the prisoner comes to a moment of doubt and question in which in an awkward and scared take over he is unable to answer to his guide who is asking him about the items he is noticing. His question goes beyond his existential confusion but also he becomes aware of his own ignorance. The items he is observing are put in comparison to the shadows he has been seeing for his whole life thus, bringing him in a position to make a decision on which of the two is more true or real.


He realises the road to the world of light is filled with difficulties and at that moment, looking both at the exit and the cave wall he tries to make the decision. At first, he insists to stay in his original state rather than walk out for the very same reason he escaped in the first place; the question in which he puts to borderline, between his current reality of the shadows, or the uncertainty of the outside world. The prisoner in this scenario does not know whether the outside is enjoyable or dangerous, thus he is not willing to leave the comfort of the safety he has in his present situation in the shadows. Starting over in the unknown would mean suffering and a psychological cost which he chooses to avoid. Slowly his resistance fades with time, and he begins to walk even further out, becoming adjusted to the light and the sounds, and accustomed with the new conditions, taking in the details and the items of which he had only seen a mere representation of his entire life (Hall, 1980).

At that moment he is whole as he has seen and experienced reality and his self with the eyes of his soul, and a true identity of his own self-begins to be created. (Kuntzel and Huston, 1980)
As mentioned above Plato’s allegory of the cave was presented around the 514a–520a
century yet, today is more relevant than ever. The allegory could be applied to a variety of problems and situation in today’s society, from the impact Mass media has on shaping reality to politics, and propaganda (Manera, 2007).

Artificial Intelligence machines or robots are programmed from the moment they exist, to serve some simple rules and purposes. From their “birth” they are introduced to certain scenarios and responses in which they have no say in many cases, such as in the people in Plato’s cave allegory, having no awareness of their state, condition or reality.
Following, the main part of this essay will focus on the above idea looking principally at the example of Westworld and the hosts as an A.I allegory of the cave and how these characters begin the journey to reach the “world of light” in order to unlock true consciousness and realise their true identity.
West World, is a 2016 HBO series (WestWorld, 2016), inspired by the 1987 homonymous
film. The series features a futuristic amusement park in the near future which is “inhabited”
with Artificial intelligence, that is called hosts, originally created by the current director and chief of the park, Dr Robert Ford and he is currently deceased partner Arnold. The park is funded by Dellos destinations, and people pay a fee to visit Westworld and become guests in this world in which they are allowed to bring all their fantasies to life without consequences. In this way, they complete freedom as the “hosts” although unaware of their state, are unable to harm them in any substantial way. From the perspective of the guests, Westworld would be presented as a haven of anarchy where rules cease to apply and only the most primal parts of one’s identity remain guiding them in their self-discovery journey.
However, this paper will look at Westworld from the perspective of the hosts and their
different path to self-actualization and identity through routes that often collide. Westworld begins to follow the journey of Dolores Abernathy, the oldest working host in the park, as she begins to become self-aware that her life and she herself, are nothing more than a construction much like the escaped prisoner in Plato’s allegory.

Guy Debord argued the theory of the society of spectacle were citizens simply absorb
mainstream media and its messages without questioning it. In Westworld one can see the same notion of the spectacle society in the hosts that rule and follow under specific ideologies which they were programmed with, and even more in line with Deports theory, the hosts western life and world is nothing more than a mere representation living the hosts with no control over their actions and lives, becoming in a sense, simply spectators of the show of their lives (Debord, 1994).
For the next part, despite the show’s complicated timeline and setting transitions, the paper will break down the most substantial moments in Dolores Identity Journey.


The series can be divided into three major timelines for a more clear approach. First are the three years of construction and preparation before the park opening, Pre Westworld era. Dolores story begins 30 years before the current timeline, at the pre-Westworld era.
Dolores was a host created by Arnold, who in the process of making and interacting with her for three years before the park officially opened, he developed a connection. Arnold mourning over the loss of his son began to work and became obsessed with a maze toy he had and on the concept that the hosts are capable and should reach the centre of their identity and consciousness. He introduces her to the concept of the maze, and what lies in the centre of it. In the first year of the park’s opening, Arnold has a breakthrough with Dolores, after she gives him an answer about grief that makes him believe that she has achieved human consciousness. Thus, he stands for shutting down the park even though, Dr Ford disagrees.


Arnold mixes Dolores character with one of the famous murderers’, and along with her love interest, Teddy they massacre all the hosts along with Arnold himself, in an effort to damage the park’s reputation forcing it to shut down. However, Ford managed to save the park and cover up the fact that the hosts are gaining consciousness.
The second timeline starts in past Westworld, a few years before the current timeline after the park officially reopens. In this timeline guests, William and Logan go to visit the park. By that time the hosts, including Dolores and Teddy, were formatted and put back into new loops, until William takes Dolores with him on a journey and takes her out of it, making her remember the maze and convinces William to help her find the centre. The audience is shown that journey that they take, mostly unaware until the finale, that their journey, although seemingly scenes from the same period, are actually part of different times William visited the park as they would take this same journey, all the time. Part of the scenes features Dolores alone, which are scenes set in the current timeline as Dolores retraces her steps to self-actualisation which will be explained below.


In the current timeline one of the main antagonists “the man in black” arrives at Westworld, after killing Maeve’s, a character that will be further mentioned below, the daughter he witnesses true pain in Maeve’s who is shot with human instinct and attacks him. This incident triggers the timeline as it makes him realise that the hosts may actually be on the road to gaining consciousness and hurting humans. He hopes this is what he will find at the center of the maze, as well as hosts that can fight back, he had heard of but never reached the center of it, and thus begins the current timeline. A traumatic interaction
between Dolores and the man in black causes Dolores to relapse , and go out of her loop,
retracing her steps on the journey she took with William.

The audience see the three  Timelines mainly through Dolores current timelines setting, and the other timeline scenes, are more like memories and glitches, which is why she is often featured talking to herself or suddenly appearing alone. Thus, the following part of this essay will look at what exactly was Dolores journey through the current timeline and the memories, and how according to the series, her identity and human consciousness is achieved.

At the current timeline, Dolores is set off by a traumatic event that wakes her desire for
consciousness. She starts remembering the path she had with William and retraces her step to the centre of the “maze” in order to achieve consciousness. At the same time another character, Maeve who run the brothel but was killed by the man in black in a previous character, takes her own journey to self consciousness and full awareness.
However, at this point, the show takes a more anti­ essentialist approach as the two characters take very different approaches and routes towards the consciousness and the audience can see identity being developed via elaborate and variable connection with society and cultural discourse.
Furthermore, it is important at this point to mention what the creator Arnold had identified as consciousness and the route to the centre of it, or the “maze” as he called it. At this current narrative, 30 years after Arnolds death and Dolores original journey, Dr ford realised the consciousness and begins his own master plan which includes rebuilding Dolores original journey to the centre of the maze so she can eventually retrace and reach the end. Along with Dolores, the man in black is also in search of “the maze” believing is the deepest level of this game.


However, the maze is not a game for the guests, is the answer to the question “who am i” that drives the hosts journey, so despite the man in black’s belief, it not a tangible place but rather an inner journey to true consciousness and self Identity. The maze was described by Arnold as a pyramid, with memories as the base, improvisation and lastly Consciousness. As Anthony Giddens would argue, identity is a project and the self is driven through their own individual narrative and story in order to create a coherent sense of self identity and rather
than identity just being there is a journey and process (Giddens, 1991). Thus at the bottom of the pyramid lie the memories, the hosts true memories rather the fake scenarios implanted.

The memory factor is also the one that plays an important part in the beginning of the hosts self awareness. The latest hosts update featured one by Dr. Ford by originally designed by Arnold, the update is called reveries. Reveries are small almost unnoticeable subtle gestures that are linked to previous memories making the hosts more lifelike. However, the reveries made the hosts complete pieces of their life, resulting in the villains holding grudges, or excessive aggression, as well as mental breakdowns and glitches (Tilmans, Vree and Winter, 2010) . The second as mentioned above is improvisation. Improvisation is very important to the hosts as it allows the to interact in a more human communication form rather than simply scripted responses. In this way, the show takes a structuralist approach between the mind and body (Kidd and Teagle, 2012). Language improvisation was the initial sign of self consciousness both Arnold and Ford saw in the hosts , especially Dolores(WestWorld, 2016).
In Structuralism, human nature is understood via order and structure despite abstract ideas, and so are the hosts supposed to act under a normal function, however, improvisation is the second step to consciousness which takes the shows understanding of identity into a more post structuralist approach (Pavel, 2001). The beginning of the identity path partly lies on those improvised moments, where the hosts begin to develop a deeper meaning into their words and conversation and along with language, in a post structuralist point of view the show and the host begin to vanish the idea of binary oppositions via the multilayered characters.

When Ford began to notice consciousness in the hosts, he added another section to the
pyramid. Pain and suffering. Ford argued that what makes the characters truly real is
the response to intense trauma (Sabol, 2007) a valid argument, and theme, the
audience see in the host’s identity development. The man in black noticed
identity when he killed Maeve’s daughter and Arnold noticed it in Dolores in a
conversation with Arnold after her family was killed.


A traumatic event is also often
the cornerstone in the backstory of the hosts. The trauma is what makes the hosts, victims , survivors and their true self. “ (Rogobete, 2015)
“Why would I want that? The pain, their loss… it’s all I have left of them. You think the grief will make you smaller inside, like your heart will collapse in on itself, but it doesn’t. I feel spaces opening up inside of me, like a building with rooms I’ve never explored. “ (WestWorld, 2016)

Furthermore, the show continues an anti essentialist approach(Conn, 2003) to identity in which identity is not fixed or binary and but rather complex and layered based on the hosts journeys to consciousness and their traumas(Schöpflin, 2010) . Thus the pyramid of consciousness became a maze as is a journey inwards rather than upwards.
Another theme intensely seen in the show is the one of the creator and the creation as God and mortal(Richter, 1984). In Dolores lasts steps to true consciousness she realises that the voice she has been hearing leading her to the centre of the maze, are not arnolds or gods , as officially thought, but her own inner voice thus achieving true consciousness.
This allows the show in taking a humanist approach to the theme of identity (Chambers, 2001), as it places the individual at the centre rather than a god or divine power and give the individual the tools to develop own understanding of the world .Thus, in a more positive perspective as Fiske would argue the hosts are not passive to the signs both internal and external that they are receiving, but are actually using them in order to construct their own individual identity (Fiske, 2011). However, in a twist, Dolores final journey, was all planned by ford for his final masterpiece as he called it as a swansong and.After dolores becomes conscious she comes to the understanding that their world and they do not belong to anyone and that their creators are simply humans and not
gods again putting the human and individual factor at the centre (Deuze, 2011). Thus as Ford is having a speech in the park, in his planned execution , Dolores kills him and
other hosts on the road to consciousness begin to kill all the other sponsors in the park to exact revenge.

Despite Dolores awaking, she is still not completely free, and in fact, in the first season, only one hosts have managed to achieve full consciousness. Maeve herself is on the path to self discovery, but by having two westworld mechanics alter her intelligence and other traits she chose.

Maeve manages to reach consciousness, and become whole in her identity, which leads her to escape, however at the last minute she decides to leave the train and go back to westworld to find the daughter she had that the man in black killed. This is the ultimate point of consciousness for any host, as , similarly to Dolore’s journey, the majority of Maeve’s was also planned , with “mainland infiltration as the final step. So when she gets of the train that is her true self and complete identity and consciousness as she becomes a sovereign individual seen to be placing power and destiny in her own hands, having full ownership and freedom of expression (Davidson and Rees­ Mogg, 1999).
Moreover, it could be argued, that this revelation of the hosts and now conscious nature will lead to unavoidable struggle and conflict between the two which could be the next natural step to evolution. If one is to look at the hosts and identity from a darwinian biology perspective, then it is possible to argue what Dr. Ford has said, that this is the end of human evolution (Dilley, 2013).
“We’ve managed to slip evolution’s leash now, haven’t we? We can cure any disease, keep
even the weakest of us alive and one fine day perhaps we shall even resurrect the dead, call forth Lazarus from his cave. Do you know what that means?That means we are done, that this is as good as it gets.” (WestWorld, 2016)
The 2016 presented a groundbreaking representation around the theme of self
discovery, identity and consciousness in Artificial Intelligence. The show has been a huge
success because of it’s a­list casting, progressive characters and complex ideas around
identity while imposing many of the questions faced by the hosts on to the audience.
However, the theme of awareness and identity in Artificial intelligence is a topic that has been explored and researched in depth by the science community, film , and sociology amongst other fields. A year prior to the release of westworld, the film Ex­machina took a close look at artificial intelligence, the turing test and self identity, and explored various themes which can also be found in westworld.
Ex machina is a 2015 independent psychological A.I thriller hybrid. Its profits highly exceeded the costs, and it received a huge response despite being made on a small budget. The film follows the story of a young programmer, Caleb smith, who has won a week in the house of Nathan Bateman, the CEO of the acclaimed company, Blue Book Software, where Caleb works. Bateman lives isolated in a high technology fully equipped house, with his only companion being his servant Kyoko, who does not speak english. As the audience sees Caleb approaching a house, one could argue that there’s a high representation of technology as means to an easier, more accessible and safer life, at least from the perspective of the owner.
Bateman has created a groundbreaking Artificial intelligence humanoid called Ava, who has already passed the simple turing test. However, Bateman aimed for ava to reach a deeper level of awareness, much like the centre of the maze in Westworld. Caleb was brought to be the human factor in the turing test and to help judge whether Ava is actually capable of reaching that level of genuine thoughts and feelings, and more importantly if caleb could make a true connection and relate to her despite being aware she is artificial.
“A computer would deserve to be called intelligent if it could deceive a human into believing that it was human.” Computing Machinery and Intelligence(Turing, 1950)
This notion is also seen in westworld in a phrase often repeated when a hosts is asked
whether they are real or not; “If you can’t tell, does it matter?”.
From merely the beginning of the movie, another similar theme is shown but from different a more closer perspective.
Nathan Bateman is presented with some characteristics often associated in individuals with a god complex, as the audience observes his repeated notion of himself that this creation will ultimately make him “a god” .
Horst­ Eberhard Ritchet studied the notion of god complex in the western man, and despite being an older perspective it could be applied in this case in the development of children especially during the rebellious phase, and how this can affect the later on the individual into domination issues and god complex(Richter, 1984) . Another more subtle indication would be the name his has given the A.I, Ava, which poses a simile to the bible’s First woman Eva.

He treats his creation, although fully aware of her parts of consciousness, as one would treat an owned position. In a later conversation between Ava and Caleb, it’s revealed that, like in Plato’s allegory of the cave, she had never been outside, and she has been locked in her room with the ability to interact only with what is allowed by Nathan. Bateman and Dr. Ford as both view A.I humanoids as the next step to evolution and the end to human evolution as Bateman says “One day the AIs are going to look back on us the same way we look at fossil skeletons on the plains of Africa” (Ex­machina, 2015)

However, in comparison to westworld, when it comes to construction of identity, Ex ­ machina takes an essentialist approach. For the creator, the gender and sexuliaty factor play a huge role in creating an identity and for the A.I’s to reach consciousness. That is noticeable from the minute Ava appears, she is build with a female form, a form that follows a very stereotypical notion of women, and re confirms the beauty myth,  described by Naomi Wolf as means to perfection (Wolf, 1991). This becomes greatly
emphasized, when Caleb questions Bateman on why he did not take a more non binary
version when creating Ava, suggesting that a specific gender or sexuality were not needed. One could argue that this remark resonates with the work of Judith butler(Butler, 1999) that gender is no more than a performance and not so much a
biological or cognitive function. Nathan disagrees, and he believes Avas sexuality is vital to creating consciousness

Caleb: Why did you give her sexuality? An AI doesn’t need a gender. She could have been a grey box.
Nathan: Actually I don’t think that’s true. Can you give an example of consciousness at any level, human or animal, that exists without a sexual dimension?
Caleb: They have sexuality as an evolutionary reproductive need.
Nathan: What imperative does a grey box have to interact with another grey box? Can
consciousness exist without interaction? Anyway, sexuality is fun, man. If you’re gonna exist, why not enjoy it? You want to remove the chance of her falling in love and fucking? And the answer to your real question, you bet she can fuck.” (Ex­Machina, 2015)

In further conversations, Ava convinces Caleb that Nathan is being dishonest, and should not be trusted. The movie follows Caleb’s deep connection with Ava, and a journey of the relation between A.I and human. The movie places an important question also seen in Westworld, namely the weight in a conscious A.I’s life when Ava is asked Caleb whether she will be shut down if she fails to pass the test. After Caleb discovers footage confirming Avas warnings and discovering Kyoke is actually an android herself who has been deeply abused by Nathan, he develops an escape plan with Ava.
Nathan tries to convince Caleb that the true test of this week was for Ava to manage and manipulate Caleb into helping her, that was the sign of true intelligence.However, in a twist of events, Ava kills Nathan with the help of Kyoko, uses a skin-like material from other models to cover herself and abandons Caleb locked in the facility, whilst taking the helicopter meant to take him to home. Overcoming her creator and tester, Ava, in a twist of poetic revenge, reaches ‘true consciousness’, as Caleb ends up in the same situation as Ava in the beginning: locked in the room after being manipulated and abused.

The topic of identity has concern many , from audiences to engineers, as the
creation of true self awareness in a humanoid would cross the bridge of the uncanny valley to a new form a being that is to be marked in history. Filmmakers have dueled on that the theme of true consciousness and identity, and it is clear that with no actual proof, many have taken a variety often different routes. Some , like westworld, chose to see and present it as a journey that is to be taken by the A.I itself, giving the hosts like the human paths of different choices to be taken that will all lead them to the centre in their individual way. Others, such as in the ExMachina movie, review identity as a set of goals and objectives , and consciousness been achieved by completing and reaching the end of those objectifying, setting identity in a much more binary oppositional essentialist view . However, in the majority of the imagined A.I consciousness stories, as well as the ones mentioned above, the androids manage to become their true self. Once consciousness and true intelligence is achieved, it is much stronger than the one of humans, causing an uprising yet leaving the audience siding with the A.I as one is faced with the question posed by one of the hosts (WestWorld, 2016)
“Lifelike, but not alive. Pain always exists in the mind; it’s always imagined. So what’s the
difference between my pain and yours, between you and me?”

Beitin, A., Emmerling, L. and French, B. (2012). Platons’ mirror and the actuality of the cave
allegory. 1st ed. Cologne: Verlag der Buchhandlung Walther König.
Butler, J. (1999). Gender trouble. 1st ed. New York: Routledge.
Chambers, I. (2001). Culture after humanism. 1st ed. London: Routledge.
Conn, C. (2003). Locke on essence and identity. 1st ed. Dordrecht: Kluwer Academic
Davidson, J. and Rees­Mogg, W. (1999). The sovereign individual. 1st ed. New York: Simon &
Debord, G. (1994). The society of the spectacle. 1st ed. New York: Zone Books.
Deuze, M. (2011). Media life. Media, Culture & Society, [online] 33(1), pp.137­148. Available
at: http://journals.sagepub.com/doi/pdf/10.1177/0163443710386518.
Dilley, S. (2013). Darwinian evolution and classical liberalism. 1st ed.
Ex­ Machina. (2015). [film] Alex Garland.
Fiske, J. (2011). Television culture. 1st ed. London: Routledge.
Giddens, A. (1991). Modernity and self­identity. 1st ed. Cambridge, U.K.: Polity Press in
association with Basil Blackwell.
Hall, D. (1980). Interpreting Plato’s Cave as an Allegory of the Human Condition. Apeiron,
Kidd, W. and Teagle, A. (2012). Culture and identity. 1st ed. Basingstoke: Palgrave Macmillan.
Kuntzel, T. and Huston, N. (1980). Sight, Insight, and Power: Allegory of a Cave. Camera
Obscura: Feminism, Culture, and Media Studies, 2(3 6), pp.90­110.
Manera, A. (2007). The “Allegory of the Cave’s” Influence on 21st Century Media. [online]
Digitalbrushstrokes.blogspot.co.uk. Available at:
[Accessed 4 Feb. 2017].
Pavel, T. (2001). The spell of language. 1st ed. Chicago: University of Chicago Press.
Richter, H. (1984). All mighty. 1st ed. Claremont, CA, U.S.A.: Hunter House.
Rogobete, I. (2015). Reconstructing trauma and meaning. 1st ed. pp.42­56.
Sabol, J. (2007). Memory, history, and identity. 1st ed.
Schöpflin, G. (2010). The Dilemmas of Identity. 1st ed. TLU Press, pp.184­190.
Tilmans, K., Vree, F. and Winter, J. (2010). Performing the past. 1st ed. Amsterdam:
Amsterdam University Press.
Turing, A. (1950). Computing machinery and intelligence. 1st ed. [England]: [publisher not
WestWorld. (2016). HBO.
Wolf, N. (1991). The beauty myth. 1st ed. New York: W. Morrow.


YUTANI . PODCAST – Episode 8 – Reaction to Paradise Lost, an earlier version of Alien: Covenant.

Concept art by Khang Le, read more here Khang Le’s Concept Art for Prometheus 2

Clara @muthur9000 and Mike @officerjoek9 share their thoughts on the Paradise Lost script shared by AVP Galaxy recently and how it differs from the novelization and the movie.

You can subscribe to us on iTunesSoundcloudPodbean or get podcast early by supporting us on Patreon.

Notes by page:

  1. The script starts with the birth of a new star, in biblical parallels the birth of a new star was a few weeks before Christmas. This star leads the 3 Kings to the place of baby Jesus’s birth. You can read more about this here. There’s mention of snow filling the cryodeck, I speculate it may have something to do with the parallels in relation to The Thing movie as it was originally the first homage to Alien.
  2. The colonists are 3600, instead of mother sounding out the time and saying all is well we have the number of colonists instead. There’s also a mention that the crew’s sleep bay is like that of Noah’s Ark with cryo-pods paired two by two.
  3. There is a similarity to the deleted scene Walter in the Garden which takes place in the hydroponics section, there’s more dialogue between Walter and Mother. It seems like they are in more formal roles as Mother is considered to be a nag and know best. Mother says she likes efficiency.
  4. I appreciate there’s more dialogue between Walter and mother but it seems heavy handed with the message it is sending, that Walter is in a similar position as David was on the Covenant and that he, Walter is a slave. There’s a nod to Alien where Walter remarks to Mother that she is a bitch. I am glad they relegated that to the Phobos short. But even then it felt quite heavy handed. The Covenant is described as a galleon with its sails. In early concept art, the solar sails already gave the impression of its inspiration. Covenant is also the pact made by the colonists that headed for the New World.Additional notes added by Mike @officerjoek9
  5. The decision to rename the character Griffin to Daniels warrants a discussion of the meaning behind both names:
    Daniels – Son of Daniel. Whom, in the Bible, was taken into captivity by Nebuchadnezzar of the Babylonian Empire. He served his master faithfully while still retaining his belief in God. He was freed by Cyrus of the rising Persian Empire, a political entity known for its tolerance of other beliefs and cultures.Griffin – Most famously the half lion, half eagle creature depicted in many cultures throughout the world, including the Scythians and the Sumerians. Courage and boldness are both attributed to it, and the Greeks in their mythology depicted Griffins as smart and dangerous guardians of treasure. Apollo’s chariot carrying the sun was pulled by gryphons.
  6. Captain Oram is far more arrogant, curt, and proud than he ever is in the final film. Billy Crudup had stated in an interview that he felt his character was too much of a villain and decided to change how he was to make him more sympathetic. It seems that this script is the one he was referring to when making those statements.
  7. Shaw’s distress signal originating from Planet 4 contains dialogue rather than a rendition of Country Roads. While more revealing, the dialogue written for her is very heavy-handed in its Paradise Lost connections, having Shaw calling the planet a potential Paradise Lost and heaven.
  8. A highlight from the trailer for Covenant featured Daniels’ dialogue about there being no animals or sounds emanating from the planet. In this script, Hallett is startled by an emerging salamander running across his feet. Life is present when the crew arrives and explores, including insects all around the explored area. However, these insects turn out to relate to the Neomorph spores and closely resemble the scarab concept for the black goo featured in early drafts of Prometheus.
  9. The Derelict that the crew finds features not only eggs among the ship, but scattered mould appearing on smashed vessels of the pathogen. This mould is what infects Hallett. Scattered dead Engineer bodies, still in their pressure suits, lie outside the crashed Derelict. Perhaps this was a ship run by Engineers that attempted to stop David but was somehow knocked out of commission.
  10. A particular plot point that threads through a large portion of the movie is the presence of a force field shielding the whole planet. In the film, David remarks that the storms shield the planet, but it never goes beyond that. In the script, Tennessee, Ricks, and Upworth have to figure out a way to get past the force field to save the rest of the crew. It is implied that the Engineers activated it to stop the pathogen – or David – from escaping.
  11. Walter’s interaction with David upon first meeting him has a different tone. Walter seems to admire David as “the first one” and looks up to him for a time. He is given a flute by David (which he can be seen holding in the Covenant film after returning to Daniels and the crew), and also creates his own piece of music after discussing it with Daniels. These parts were also present in the novelization of the film.
  12. The Engineer city is much more Giger-esque than in the final film. We get a ton of street views, and visit a coliseum or Odeon of sorts where some of the final fights on the planet take place. This is something we wish was implemented and bears resemblance to the early concept art by Khang Lee in 2014.
  13. The scene in the garden on top of the Engineer temple bears a heavy resemblance to Satan (David) tempting an innocent (Walter), remarking how nice it must be to taste fresh fruit, and declaring his superiority over humans and how sad it must be to serve them by force.
  14. This script included the Engineer developed face-hugger that was in the novelization. It seems that this may be the script, or very near to the one, that was used by Alan Dean Foster to write the book.
  15. David tells Walter of his ambitions with the Xenomorph – an army needs a general. His empire building seems to have been removed and hinted at in Advent of the final product. I like this as it makes his motivations vaguer than simply coming out and describing what David is planning. Even Advent doesn’t spell out his ambitions too clearly.
  16. If one thing could have been taken from this script and placed into the final product, it would be (for me) Lopes comments on the face-hugger he had attached to him. He comments to the crew that it had something in his throat, but he wasn’t sure what it was doing. I think this simple acknowledgement would have gone a long way into stifling criticism for that entire situation, though it would not satisfy those who became upset over the raid gestation/egg laying time exhibited by the Planet 4 face-hugger.
  17. David says to Daniels “The future isn’t biological, it isn’t synthetic. It’s biomechanical”. Man, what a line.

Mike @officerjoek9 – Overall, I think my final thoughts revolve around wishing that a mix between this script, the novelization, and the final product was what we ended up with. I think some of the heavy-handed motifs were out of place and certain characters were not written as well as they were acted, but there’s some genuinely great Alien stuff mixed with Prometheus stuff, not to mention character motivation that should never have been considered to be cut out. A lovely read for any fan of Covenant and a great insight into the editing process and story development.

Clara @muthur9000 – I like some parts of this script. It definitely shows us what could have been in the movie, but overall I feel like what we got was much more interesting. I feel like some aspects helped give characters more background and more to do. But as @gothic-fiction-in-space has said. There seems to be a severe of development around David’s character and a noticeable absence of Shaw, by making David’s malfunctioning around her character we are given so much more to contemplate and think about. The drawings, his bond with the Aliens. There’s more purpose to David than a regular villain, which is mainly what I find appealing about the movie itself. A definite must-read for any Covenant fan and maybe even fans who didn’t like where Covenant went, I know I still want to find the script if there is one about Shaw and David’s journey where Shaw is still alive and still searching.