Alien Bible: Kokopelli, Azathoth and The Drinking Bird

Throughout the Alien franchise, the image of the drinking bird has been a recurring motif. Is it a simple throwaway visual gag? or can we draw a deeper meaning to its inclusion in the films? I connect it with the flute, water, wheat, the sun, and insects, plus mythological creatures found in Native American cultures, the work of Lovecraft, as well as the use of the flute in the Engineer culture and by David in Alien: Covenant.


Fertility and Flutes

Our investigation begins with the fertility deity Kokopelli, he is usually depicted as a humpbacked figure playing the flute, and sometimes with feathers or antenna-like protrusions on their head. Cave paintings and cultural stories have been found in Native American mythology, and he presides over two things: Agriculture and Childbirth([1] ChamanAra, 2010, p. 99). Agriculture is a subtle theme within the prequels, wheat fields can be seen behind Vickers in the Prometheus film and the Covenant crew discover the wheat shortly after arriving on Planet 4.

Wheatfield behind Vickers in Prometheus and she is even drinking (I know its Vodka)

*The name “vodka” is a diminutive form of the Slavic word voda (water), interpreted as little water ( @traviandesigns

wheat - 1024
Wheatfield on Planet 4

Fields of wheat have also has been mentioned in numerous drafts of movies, namely Alien 3 and Alien: Resurrection.

Childbirth, of course, is tied to the nature of the Xenomorph cycle. In fact, young women of the Native American villages often feared Kokopelli because the belief was coming into contact with him would get them pregnant. Which indeed parallels David’s character in relation to Elizabeth Shaw, as he had inadvertently made her pregnant in the Prometheus film and later used her reproductive organs to create the Ovomorph in Alien: Covenant. Going with the theme of reproduction Kokopelli is often depicted with Ram or Deer as it is said he also presides over game animal reproduction. Snakes (sun-bathing animal), lizards and insects (water-loving creatures).([8] Slifer, 2007, p. 23)

Further linking the Kokopelli, he has also been associated with being a trickster and represents the spirit of music. It was believed that Kokopelli’s flute-playing chased away the winter, bringing about spring. Many tribes, such as the Zuni, also associate Kokopelli with the rains. Which really explains the rainy stormy atmosphere of Planet 4, even the rain stops after David plays the flute.


Kokopelli frequently appears with another flutist, Paiyatamu. Which in the case of Alien: Covenant,  Paiyatamu is represented by Walter. Both often present in depictions of maize-grinding ceremonies, some tribes ascribe fertility to the seeds or babies he carries his back. Early depictions of Kokopelli (Kookopolo) touted an erect fake phallus([7] Malotki, 2004, p. 35) with its association to fertility after the missionaries and Governments influenced tribal art the Kokopelli no longer was pictured with a phallus, instead lost any indication of gender in his imagery. Similarly, David and Walter, appendageless androids are given fertility roles of childbirth and nurture. Although David’s sexual predatory aspect does also parallel with the Kokopelli’s reputation of impregnating young maidens. ([2] Malotki, 2004, p. 89)

David’s character bears resemblance to the trickster god, he plays the flute with Walter, and presided over the birth of the Xenomorph with Oram, he inadvertently got Shaw pregnant and used Shaw’s reproductive system to create the Ovomorph, and during his time on Planet 4 he studied the flora and fauna, and even tricked Daniels, Lope and Tennessee into thinking he was Walter to get on the USCSS Covenant.But as seen in Prometheus the Engineers also played the flute and were the first to wield the power of the Black Ooze which could give life and the wheat on the planet hints to their influence on human agriculture.Their ties to this god before David are clear, going back even further to the original inception of Alien gives us the greater scope of what parallels can be drawn.


The Mountains of Madness is where the idea of the Engineer pyramid came from, this idea from one of many texts Dan O’Bannon had drawn inspiration from when writing the story for Alien (1979).

Artist’s depiction of Azathoth By Dominique Signoret (, CC BY-SA 3.0

“[O]utside the ordered universe [is] that amorphous blight of nethermost confusion which blasphemes and bubbles at the center of all infinity—the boundless daemon sultan Azathoth, whose name no lips dare speak aloud, and who gnaws hungrily in inconceivable, unlighted chambers beyond time and space amidst the muffled, maddening beating of vile drums and the thin monotonous whine of accursed flutes.” – H. P. Lovecraft, The Dream-Quest of Unknown Kadath([3] Lovecraft, 2016, p. 308)

Azathoth, “the blind idiot god” is a mindless entity which rules all time and space, H.P Lovecraft makes life as we know it a passing dream in its mind, once it awakens all will cease to exist. He can never be seen or met or known but the only thing that could tell you that you have been close to him is the infernal whistling of his flutes([4] Matthews, 2016, p. 317). To me, it seems very natural and organic to think the creator of the Engineers could be a Lovecraftian beast such as this, something so unknowable that no human could comprehend it.

Life-giving Water

In the opening of Prometheus, we see the Sacrificial Engineer fall into the water and the beginnings of what is thought to be new life on a planet. There we see the Black Ooze as life-giving, just like another deity worshipped in Mississippian culture. Similar in its depiction to the Kokopelli, water vessels found dated between 1200-1400AD represented a humpbacked woman, which may represent a founding ancestor of Kokopelli. The Mississippians also had the re-occurring motif of the severed human head in the artefacts pointing to the prehistoric custom of headhunting, which was widespread throughout the Southeast. Many instances in the prequels feature head motifs or decapitation, its themes contrasting with life and death. The ritual taking and preserving of heads (like the later practice of scalping) also relates to concepts that reflect life-giving blessings of water and fertility([5] Feest, 2000, p. 155).

Rosenthal’s head floating in water in Alien: Covenant (2017)

Kokopelli translated means “Kachina Hump”([6] Malotki, 2004, p. 27). The central theme of the Kachina beliefs is that there’s a presence of life in all objects that fill the universe. Everything has an essence or a life force, and humans must interact with these or fail to survive. In this case, the drinking bird is a very strong symbol of this, without it, there would not be life and without it, we cannot survive.Symbolically in all the movies water is present whenever the Xenomorph is near, in Alien, Kane is thirsty after the Facehugger leaves, when Brett is attacked he is drinking the dripping moisture from the chains above him, in Aliens Newt (also the name of a small lizard) is taken while in water, in Alien 3 Ripley crashes into the ocean and is impregnated by the Facehugger, in Alien Resurrection the remaining survivors surface on the other side of the water to be met by the Ovomorphs.

Appearances of the drinking bird in movies and games:

**Fun fact, apparently they bought that drinking bird from the Beatles merchandise store which was just across the road from where they were filming Alien. Though that may be Apocrypha. – @traviandesigns

From Left to Right: Alien (1979), Alien 3 (1992),  Alien: Covenant (2017) and Alien: Isolation (2014)

Kokopelli and Insects

Another theory is that the Kokopelli is an anthropomorphic insect, many early depictions are very insect-like in appearance. The name “Kokopelli” originates from the combination of  “Koko”, (another Hopi and Zuni deity), and “pelli”, (the Hopi and Zuni word for the desert robber fly), an insect with a prominent proboscis and a rounded back, which is also noted for its zealous sexual proclivities([9] Malotki, 2004, p. 86).

Mote in Amber from David’s Laborotory

The origin of the lifecylce of the Xenomorph also came from the lifecyle of an insect which Dan O’Bannon used to strike fear into the viewers:

“Works of fiction weren’t my only sources, I also patterned the Alien’s life cycle on real-life parasites … Parasitic wasps treat caterpillars in an altogether revolting manner, the study of which I commend to anyone who is tired of having good dreams.” – Something Perfectly Disgusting by Dan O’Bannon

Ridley also mentions this in the DVD commentary:

“The whole notion of this [creature] was taken off a certain kind of insect that will find a host, lay its eggs, and then in that host it will bury its eggs, and then of course the eggs will grow and consume the host. So that’s the logic of it all. Probably what makes a lot of nature go around.” – Ridley Scott 1999 DVD Commentary

Unintentional or not, we can see the recurring symbolism in the Alien Universe as well as ours, from human culture to science fiction, the drinking bird is symbolic of life-giving water. Its a simplified icon of the flute god which also holds symbolic meaning in the unending cycle of the xenomorph, which is closely tied with the entomological name Koko and Pelli. The different aspects of Kokopelli can be related to both David and Walter, the absence of sexual appendage, yet the inferred outcome of contact is pregnancy or fertility like David, and the maternal and childbirth of the Xenomorph with David, the association with agriculture like Walter and of course the erotic allusions with music and flutes.




[1] ChamanAra, S. (2010). p. 99. In Ancient Pueblo peoples: Anasazi. Place of publication not identified: Xlibris.

[2][6][7][9] Malotki, E. (2004). p. 89, p. 27, p. 35, p. 86. In Kokopelli: The making of an icon. Lincoln [Neb., NE: University of Nebraska Press.

[3] Lovecraft, H. P. (2016). p. 308. In The Dream-Quest of Unknown Kadath. Ballantyne Books.

[4] Matthews, D. M. (2016). p. 317. In Asylum of the Ancient Ones. A Black Bed Sheet / Diverse Media Book.

[5] Feest, C. F. (2000). p. 155. In The Cultures of Native North Americans.

[8] Slifer, D. (2007). p, 23. In Kokopelli: The magic, mirth, and mischief of an ancient symbol. Layton, UT: Gibbs Smith.

Alien Bible: The Cosmic Horror of Eternal Return

Did you know the repetitive beats of the Alien movies and books are all intentional?

These repeating motifs are part of the cosmic horror of ‘Eternal Return’ also known as ‘Eternal Recurrence,’ and this premise is part of the ‘Alien Bible’ which dictates the structure of the franchise.

Such beliefs were held in Indian Philosophy and Ancient Egypt. Which has been linked to design elements of the Winged Sun logo and the Green Stone in the headroom in the Prometheus movie.

Here are two passages from Alien Covenant: Origins and two from Alien: Resurrection,  which I will use for this example:

Alien Covenant: Origins
Alien Covenant: Origins
Alien: Resurrection
Alien: Resurrection


A similar quote was muttered to Sir Weyland by his daughter Meredith Vickers in the Prometheus Movie

“A King has his reign, and then he dies. Its inevitable” – Meredith Vickers

Friedrich Nietzsche’s philosophy on Eternal Recurrence appears in his books, The Gay Science and in Thus Spoke Zarathustra.

 “What, if some day or night a demon were to steal after you into your loneliest loneliness and say to you: ‘This life as you now live it and have lived it, you will have to live once more and innumerable times more’ … Would you not throw yourself down and gnash your teeth and curse the demon who spoke thus? Or have you once experienced a tremendous moment when you would have answered him: ‘You are a god and never have I heard anything more divine.'” – Friedrich Nietzsche – The Gay Science, §341

Friedrich Nietzsche believed the only one capable of overcoming this ‘Eternal Return’ was the Übermensch, which roughly translated means Overman or Superman.

Zarathustra first announces the Übermensch as a goal humanity can set for itself. All human life would be given meaning by how it advanced a new generation of human beings. The aspiration of a woman would be to give birth to an Übermensch, for example; her relationships with men would be judged by this standard – Thus Spoke Zarathustra, I.18; Lampert,Nietzsche’s; Rosen, Mask of Enlightenment, 118.

Which is fitting, because the Xenomorph could only be defeated finally by an Overman, or in this case, an Over woman, such as Ripley 8.

This theme is hinted to, in Weyland’s TED speech, he even can be heard uttering lines from Friedrich Nietzsche’s book Thus Spoke Zarathustra.

“I am a law only for my kindnot for all” – Thus Spoke Zarathustra by Friedrich Nietzsche

Here’s a summary of the book if you aren’t familiar.

Zarathustra starts with him descending from a cave in the mountains after ten years of solitude.

Much like David with being marooned on Planet 4 for 10 years.

He is brimming with wisdom and love and wants to teach humanity about the Overman who can overcome the cycle humanity is doomed to repeat. Arriving in the town of the Motley Cow, he announces that the Overman must be the meaning of the Earth and that mankind is just a bridge between animal and Overman, an in-between state before Godliness. And a leader with the right qualities (who is free from all the prejudices and moralities of human society, and who creates his own values and purpose) can overcome their humanity, becoming an Overman to lead mankind into a new and enlightened future.

What we learn from the Alien movies is that there are good Overwoman like Ripley and evil Overmen like Sir Weyland or David.

Ripley is constantly pulled into what seems like a never-ending battle, time and time again she has to suffer the loss of loved ones, family and friends. No one but her seems to survive this recurring nightmare.

God is dead. God remains dead. And we have killed him. How shall we comfort ourselves, the murderers of all murderers? What was holiest and mightiest of all that the world has yet owned has bled to death under our knives: who will wipe this blood off us? What water is there for us to clean ourselves? What festivals of atonement, what sacred games shall we have to invent? Is not the greatness of this deed too great for us? Must we ourselves not become gods simply to appear worthy of it?

— Nietzsche, The Gay Science, Section 125

Unlike Nietzsche, Lovecraft doesn’t make the fatal mistake of inferring the lack of presence of God or that God is dead. In his universe God simply does not exist, there is no need to meet him or avoid his presence, Lovecraft’s universe is an eternal cosmic fury full of emotionless creatures void of emotion. In his cosmic-centric vision, men do not matter any more than ants, he has no interest in the human aspect of the psychological analysis of his human characters. His cosmic terror is in the supernatural.

You can clearly see the influence of Nietzsche in Lovecraft’s work:

There was thunder in the air on the night I went to the deserted mansion atop Tempest Mountain to find the lurking fear. I was not alone, for foolhardiness was not then mixed with that love of the grotesque and the terrible which has made my career a series of quests for strange horrors in literature and in life. With me were two faithful and muscular men for whom I had sent when the time came; men long associated with me in my ghastly explorations because of their peculiar fitness.
     We had started quietly from the village because of the reporters who still lingered about after the eldritch panic of a month before—the nightmare creeping death. Later, I thought, they might aid me; but I did not want them then. Would to God I had let them share the search, that I might not have had to bear the secret alone so long; to bear it alone for fear the world would call me mad or go mad itself at the daemon implications of the thing. Now that I am telling it anyway, lest the brooding make me a maniac, I wish I had never concealed it. For I, and I only, know what manner of fear lurked on that spectral and desolate mountain. – The Lurking Fear
By H. P. Lovecraft, I. The Shadow on the Chimney

The first two paragraphs of the book read like Thus Spoke Zarathustra. Indubitably Alien: Covenant hints to the theme of recurrence as the crew end up encountering a signal, find a derelict ship and slowly but surely the monsters find them and take them away. Only three characters survive, exceptional humans, and one non-human. In the philosophical scope, they can be named Overmen.

And with David’s immortal God-like status, Ripley 8 is the perfect balance to this theory of Eternal Recurrence, because in Alien: Resurrection she transcends her human form and becomes a creature who is free from all the prejudices and moralities of human society, and who creates her own values and purpose through the film.

Her final transformation could be seen as ending the curse of Eternal Return, at least with the horrors of the Xenomorph.


Creatives: Dominic Hailstone

Super-Facehugger Concept Art by Dominic Hailstone for Alien: Covenant

Concept artist, creature effects, that’s only a fraction of the multitude of talents displayed by Dominic. I was impressed by his practical work on Alien: Covenant, so I decided to find out what started it all. And of course what his thoughts are on Alien, Sci-Fi and his work.

Logboy Video Screens (2001)

Clara Fei-Fei: What’s your favourite Alien movie? And who is your favourite character from any Alien movie/comic/game?

Dominic Hailstone: Alien. That’s a tough one. I tend to get drawn to the performances rather than characters. Parker and Brett as a double act are great and I love Veronica Cartwright in almost anything. I’d like to say Ripley but she’s only really a standout in the second film, and they completely fucked her up in number four, so I can’t.

CF: What variant of the Xenomorph would you say is your favourite?

DH: The first one as it was presented as a perfect life form. That idea alone was given a lot of weight in the dialogue and I think it made more horrific and mysterious. To see them reduced to bugs in the second film was disheartening although the Queen is pretty damn great as a practical effect so that kind of made up for it. I still think that Aliens is amazing despite it breaking away from the first film.

CF: So if you could enhance your body using robotics, what abilities would you choose?

DH: Eyesight is only because I started wearing glasses a few years ago.

ISIS – Holy Tears (2007)

CF: What sci-fi or movie classic you recommend people should watch?

DH: Phase 4, although it’s hardly a classic. It was directed by Saul Bass who did a lot of Alfred Hitchcock’s title sequences and there’s a lot of visual storytelling in it that I really love, a great deal of the film is just watching ants move around. If you want an outright classic then probably the original Twilight Zone TV series. There are enough good stories in that series to keep you nourished for a few years.

Phase IV (1974) Movie Poster

CF: What movie/director/etc. inspired you to pursue a profession in cinema?

DH: There are a few but the initial influence was definitely Steven Spielberg. I was completely obsessed by JAWS as a kid and ended up watching it over a hundred times. The other film would be The Evil Dead, which I also saw roughly the same amount. Apart from that, I read a lot of Tin Tin and I would say that was a big influence as well. Hammer films and Dr Who too.

CF: I can see you have a range of skills like visual effects and makeup, how did you learn those skills? Did you study/take a course?

DH: I got all that information from books I got from the library as there weren’t any courses when I was growing up. I don’t fit well into classrooms. I can’t actually learn anything if I don’t like the teacher.

CF: Could you explain to me what your movie The Eel was about? And what sort of feeling, or story were trying to evoke?

DH: It’s just a response to the music — which was written by Robert Clunne. The visuals appeared in my head as I was listening to it. Having said that I had thought of the main image before as I was thinking of doing an impromptu video for the song ‘The Golden Eel’ by WEEN, so I guess it comes from that. This might sound weird, but mainly I try and come up with images that give you emotions you can’t get from social interaction. For instance, I try and avoid filming faces. It’s an interesting challenge to see if you can affect people emotionally with less obvious tools.

As for a story, there’s actually something in The Eel that no-one’s noticed. If you find that then you can find the story, as slim as it is.

CF: What is your favourite piece you ever created?

DH: Recently is was the Proto-Facehugger that I made for Alien: Covenant. It was done in such as rush I ended up quite shocked it worked at all.

Proto-Facehugger by Dominic Hailstone (MPC) for Alien: Covenant

CF: Could you tell me what work you did for Alien: Covenant?

DH: On the practical fx side of things, I was the sculptor on the 8ft hero puppet, along with Adam Johansen and Adriana Narai. I also did the initial ZBrush sculpts for the Alien Egg, giant Facehugger and the sliced egg in David’s lab along with a bunch of other things there. Also, the new Chestburster, although that was mainly Ridley’s design. On the digital side of things, I did some concept art and worked extensively on the inner ear sequence, doing digital previs on that. I was initially hired by Ridley to supervise that sequence too but the job expanded.

Baby Xenomorph Concept Art by Dominic Hailstone for Alien: Covenant

CF: Was there any other work you have done that made it to the final film? Was there anything that didn’t?

DH: There’s always lots of stuff that gets cut. On big budget films there tends not to be one author, as we usually work as a team. The most you can realistically hope for is the influence, although some personal work does occasionally make it in. There’s a bunch of my stuff in the background of David’s lab if you squint, but the previs that I did for the inner ear sequence was replicated closely so I was most happy with that.

CF: Is there anyone’s work that you admired from Alien: Covenant?

DH: There was a lot of work that I admired. Everyone worked very hard. To single anyone out would just mean that I’ve forgotten a whole bunch of others.

CF: What did you think about the movie? What could they have improved on or changed to make it work?

DH: I thought it was pretty dull. I liked how downbeat it all was but there was such a great opportunity to get into the science of the Alien that I think was totally missed, and by that, I don’t mean explaining things. The original Alien has such a great atmosphere, it reminds me of being in a hospital, and I think that atmosphere is a big part of why it’s so terrifying. They should have capitalised on that.

I also didn’t understand why they didn’t play up the fact that the colonists were couples. The film was crying out for a scene like the one in The Abyss where Ed Harris is trying to resuscitate Mary Elizabeth Mastrantonio, but there wasn’t even really a scene where one half of a couple raced to save the other, which was pretty odd. It was such an underutilised dramatic device I came to the conclusion that it was put in less for plot purposes and more just to get an even mix of men and women, which is something Hollywood is obviously concerned about at the moment.

Also, you’ve got this moment where Katherine Waterstone’s character suddenly became a superhero. If you compare that scene to the scene in Aliens where Ripley dons the power loader, the earlier film actually has a powerful story attached to it: The machine that humiliated her is now being used to save her and her surrogate daughter’s life. It makes sense. Here you could barely remember that she was a rock climber in the first place!

Having said this I’m not sure I can blame Ridley like other people do. I understand what it’s like working for a big studio and the complexities involved with that. He did his job pretty damn well as far as I was concerned. The problem was the script.

Xenomorph Concept Art by Dominic Hailstone for Alien: Covenant

CF: What would you say has been your favourite project to work on?

DH: A video for Tool that should be coming out later this year. Adam Jones gave me complete artistic freedom so the only constraint was the budget, we had a lot of fun figuring that out. Other than that Alien Covenant as I was working with friends I hadn’t seen in over 15 years. That was special.

CF: What is it like working on a large scale production such as Alien compared to smaller scale ones?

DH: Large-scale productions are usually more chaotic and boring than smaller ones. This may seem paradoxical but the reality is that most of the time you just sit in endless meetings where nothing productive is actually said. I try and avoid big films as much as possible as they bore me.

CF: Is there anything you are working on currently?

DH: I’ve just finished some digital fx for a film called Perfect directed by Eddie Alcazar. From what I’ve seen of it so far it’s very cool and for a first-time filmmaker, I’m very impressed. I also belong to his production company (co-founded by Eddie and Flying Lotus) and if all goes well I’ll be developing a feature film with them later this year. On top of this, I’m writing a couple of comedy scripts with Douglas Pledger and making a computer game for the Commodore 64. Oh, and doing some fx for Jodu Schell’s short film Remote Viewing, I mustn’t forget that.

By Dominic Hailstone

CF: In future what sort of opportunities would you like to be involved in?

DH: I’d like to work in VR, although I already have an offer to do that so we’ll see how that pans out.

CF: Thank you so much, Dominic, for taking the time to answer my questions, I look forward to seeing more of your work soon. If you’d like to see more of his work you can head to or

Posted by ODD Studio on instagram
Here’s the Super-Facehugger!

Posted by @odd_studio – Alien: Covenant.

More from Davids Lab.

This critter was 3D printed from a Dom Hailstone @dominic_hailstone_ digital sculpt/design and painted and finished by Emily James @emily_r_james

Creature effects by Odd Creatures.

Death of Milburn, Fifield and Holloway


Dante and Virgil enter a burning desert in Canto 14, confronted with souls laying flat, some crouching and some writhing, their punishment is to have fire rain down on them for all eternity.

Some lay upon the ground, flat on their backs; (Milburn)
some huddled in a crouch, and there they sat; (Fifield)
and others moved about incessantly. (Holloway)

(Inf. 14.22-24)

These souls are being punished because of their opposition to God, Capaneus a soul who speaks to Dante about his punishment is very proud of sticking to his guns. He says Hell left him unchanged.


Virgil chastises him saying it’s not something he should be proud of, and because of his arrogance his punishment is made worse. Holloway displayed arrogance in the transmission Weyland Industries sent to LV223 prior their departure, saying he wanted to smash all man-made religions. But when he is essentially given physical proof of his creator he is still unsatisfied he cannot directly get answers, then it’s David’s creator and God Weyland that robs Holloway of meeting his maker… At least in the flesh.

Milburn a biologist is sceptical about Shaw’s mission, believing Darwin’s theory of evolution is the only way for life to evolve. Is then killed by a rapidly evolved alien lifeform, something he couldn’t and wouldn’t believe possible.

Fifield is driven only by money and has no interest in pursuing the origins of man, or meeting God. He’s confronted with God and still denies their power and existence.

All of these things in the eyes of God are blasphemy’s against him, the question is… Who’s God. We know Heaven and Hell are of our own making, then by which rules are these people punished?

O Capaneus, for your arrogance

that is not quenched, you’re punished all the more:

no torture other than your own madness

could offer pain enough to match your wrath. – Inf. 14.63-6

In Dante’s Inferno and in The Divine Comedy it is Dante who decides the punishment of those in Hell, they are judged on their Earthly sins by Dante’s moral standards.

LV-223 name of the planet has been linked to the passage in the Bible:

“Say to them: ‘For the generations to come, if any of your descendants is ceremonially unclean and yet comes near the sacred offerings that the Israelites consecrate to the LORD, that person must be cut off from my presence. I am the LORD.” – Leviticus 22:3

Ceremonially unclean is what they all were, and none of them got the chance to meet The Last Engineer.

Character Analysis: David by Cinephiles-delight

Here’s a post I came across on tumblr about David, they have brought up some points I have blogged about before and raised some new ones I hadn’t thought of.

Deucalion, Pyrrha, David and Shaw

When Zeus decided to end the Bronze Age with the great deluge, Prometheus had foreseen the flood and warned his son Deucalion(descendant of Prometheus) and his wife, Pyrrha(descendant of Epimetheus) to build and ark. During the flood they landed on Mount Parnassus, sacred to Apollo and the muses. When the flood subsided and they were on solid ground again Deucalion consulted an oracle of Themis about how to repopulate the Earth

Originally posted by unearthlydust

Ridley said he had Michael Fassbender throw rocks to show time had passed while waiting for Oram to birth the Xenomorph. However I find it interesting that it of lined up with this myth. Deucalion was told to throw the bones of his mother behind his shoulder.  Deucalion and Pyrrha interpreted “mother” to be Gaia, ancestral mother of all life, and the “bones” to be rocks. They threw the rocks behind their shoulders, which soon began to lose their hardness and change form. Their mass grew greater, and the beginnings of human form emerged.

Originally posted by moderncacophony

The parts that were soft and moist became skin, the veins of the rock became people’s veins, and the hardest parts of the rocks became bones. The stones thrown by Pyrrha became women; those thrown by Deucalion became men.

After David releases the pathogen their craft crash lands on a mountainside just like Deucalion’s Ark, and with the population destroyed it is David’s plan to repopulate this second Eden with his creations. Unfortunately without the consent of Elizabeth Shaw, his mother figure dissected and utilized with the accelerant.