a. description of the original text and its socio-cultural and historic contexts

“Alien” is a film that can still frighten people even we know all the suspense that built-in. The alien in the film is a mix of the traditional xenomorph and atypical monster that shares the intention of kill human beings and reproduce their breed. this traditional “hard” science fiction begins with the journey of crewmembers in spaceship Nostromo who intercept a distress signal from a distant planet while they are on the way back. Open with the Outerspace view with long takes on structured circuit board and precision instrument. Alien shares a common with “2001:the space odyssey” The cold signal sound and disturbing light suggest the whole tone of the film is a dark and claustrophobic one.
Director Ridley Scott didn’t let us see the whole picture of alien until the end of the film, for us, the image of the alien is fragmented. Even we can only see a part instead of the whole, the alien still frightens us with its existence. Also, the move of the alien is a source of the horror that threatens the audience. The infamous chest-bursting scene indicates its parasite like biological interaction, and its other biometric information we can only guess through the scenes are including, the infant morph that sticks on John Hurt’s face and the eggs and liquid-like morph alien moving inside when the squad first discover their den. Despite the film language and background built for the film, the alien itself deserves people’s attention, for the creation of monster or xenomorph cannot escape people’s fear and experience, what we consider as a horrifying characteristic has a historical source or psychological basis that we can study to find out the reason the expose people’s fear and expose people’s expectation for the future and society. The designer of image alien, Hans Rudi Giger is a Swiss surrealist painter with an extraordinary imagination. “Alien”’s visual identity inherit “Necronomicon,” H.G. Giger’s first published compilation paintings. The combination of metal, insects, and genitals as alien appears comes from the paintings “Necronomicon IV” and “Necronomicon V” those Ridley Scott was fascinated about, humanoids surrounded by bleak and sinister biomechanical landscapes in The paintings are lifted individually, those landscapes become a part of the formation. The sexual innuendo and elements of the nightmare, presenting in its color and symbols that form its organs, but lack of human typical and most important characteristics, eyes, make it scarier but familiar that threat people with inner fears. The organic metal style with that H.G.Giger adapts gives alien a metallic luster shell, which is reminiscent of the audience of beetles. The tube structure on its back and its exoskeleton have a mechanical characteristic. the mix of cyborg and beetle alienates the audience for combining two strange features of non-human but approaching by creating the feet humans. This mixture design casts a strong mystery sense, therefore, it arouses the fear.

b. justification for the alternate version that explains the new socio-cultural/historical contexts;

The rhetoric and the semiology behind the identity in “Alien” are what I want to focus on the prototype. Moreover, the “Alien vs Predator” series inspired me to expand the realm to more xenomorph or sci-fi monster whose design involved metaphors and deeper meanings. Basically, through categorizing the characteristics, I want to make an interactive index, that users can search monsters with the same characteristics. The prototype’s intention served as an encyclopedia for those who have an interest in the background story and theoretical base of creating sci-fi monsters, with a pedagogy function and space to communicate with people who also have the same interest.
Also, it can provide room for sci-fi artist. The image of sci-fi monsters is created mostly by those artists.

c. engagement with relevant theoretical perspectives as they apply to the original work and the new version

The monsters we created all have an analog in the reality, what we expect for the monsters comes from our won fears, both psychologically and physically. Through analyzing the symbols that create a monster we are facing our history and society, problems that bother us.

d. a work plan for the project.

Reading related theories analyzing the metaphors in image designing.
Break down the image of look into symbols, creating an interface link the symbols with the particular term with detailed explanation
Categorize the symbols, add more related xenomorph or monsters in the category.
Collecting different types of monsters and xenomorphs add them in the category of every symbol
Allow users to create new categories with citations. The anecdote column is added for users and website editors to add in background stories.
Invite sci-fi artists to create a visual expression for pages of symbols and xenomorphs.

Reference
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Sax, Boria, Imaginary Animals: The Monstrous, the Wondrous, and the Human (London: Reaktion, 2013).
Sammon, Paul(ed.), Alien: The Complete Illustrated Screenplay (London: Orion, 2002).
Rank, Otto, The Trauma of Birth (New York: Dover, 1993).
Kristeva, Julia, Powers of Horror: An Essay on Abjection, trans. L Roudiez (New York: Columbia University Press, 1982).
Küchler, U., Maehl, S., & Stout, G., (Ed.). (2015). Alien Imaginations: Science Fiction and Tales of Transnationalism. New York: Bloomsbury Academic. Retrieved April 14, 2020, from http://dx.doi.org/10.5040/9781501304682
Monaco, James, ‘“AAAIIEEEAARRGGH!”’, Sight & Sound vol. 49 no. 2 (Spring 1980), pp. 80–2.
Taubin, Amy, ‘“Invading Bodies: Alien3 and The Trilogy”’, Sight & Sound vol. 3 no. 2 (July 1992), pp. 8–10.
Vint, Sherryl, Animal Alterity: Science Fiction and the Question of the Animal (Liverpool: Liverpool University Press, 2010).
Zinoman, Jason, Shock Value: How a Few Eccentric Outsiders Gave Us Nightmares, Conquered Hollywood, and Invented Modern Horror (New York: Penguin, 2011).
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