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The Escaping Exodus books are space opera of a sort. The Earth is nothing more than a distant memory. Human beings live, not precisely in spaceships, but rather inside the bodies of the Zenzee, enormous (moon-sized) living animals that travel in herds through outer space. Inside each Zenzee is a complex array of parasitic or symbiotic microfauna, and an equally complex human society. These societies differ radically from one another, after thousands of years apart. The people in the novels have to negotiate their own social worlds, together with the biophysical challenges of their host environments.
The second forms of ecological other, biological aliens, are aptly represented in the now classic films "Alien", "Aliens", and "Alien 3". "The Andromeda Strain", where extraterrestrial bacteria are introduced into the human bloodstream, as they are into Mulder's in "X-Files" (see Terma, 12/196), and "Mimic", where humans are under attack from genetically altered insects, are good analogs. In the Alien series a profound fear of the biological other, not to mention venture capitalists, as anthropophagous is expressed. Appropriate to the anti-patriarchic postmodern sensibility, the film has a female protagonist, Ripley (Sigourney Weaver), who takes on the conflict with the aliens herself. The most interesting aspect of the aliens here is their use of the human body as a host, from which they spring horrifically, with intelligence and stealth that will inspire Spielberg's Velociraptors, to ravage and consume their human prey. The "mutagenic" theme is clearly present in all three films, as the torso of homo sapiens becomes, in a gross caricature, pregnant with a new species. The terror of being violently transmuted is played against the heroic female protagonist's quest to preserve her life and species. Surrealist sets by H.R. Geiger add to the dreamlike blurring of worlds that characterizes the alien landscape, and powerful special effects by Stan Winston bring the voracious creatures, appropriately named xenomorphs, to startling life. All this happens, in Alien, under the sure direction of Ridley Scott whose darkly gleaming vision of futurity - what Paul Sammon calls future noir - was best expressed in the cyberpunk classic "Blade Runner". The deadpan humor of that film and genre, typified by the post phrase for "good day," "Have a better one," is best expressed by Private Vasquez (Jenette Goldstein) of the (appropriately named) Colonial Marine Corps in "Aliens", directed by James Cameron. As she readies herself for combat, doing chin-ups, Pvt. Hudson (Bill Paxton) asks her: "Anybody ever mistake you for a man?" To which she answers, "Anybody ever mistake you for one?" This repartee may be interpreted, of course, not only as a humorous jab at gender stereotypes but also as a reference to the mutagenic drama of the human-alien encounter. A punk band with a similar sense of humor haunted the late '70's with a comparable view of evolutionary alterity: "Are we not men? We are DEVO!" In any case, this is, typical of Scott, an alien vision with film-noir tone: a dark look askance at the biotechnological future projected by what Jameson calls the "cultural logic of late capitalism." The aliens are, after all, on Company property and might themselves, like Raptors, be commoditized. And by the time that Alien 3 comes along, the film series itself has become little more than product. As Rachel says in "Blade Runner", on discovering that she is a Replicant with human memory implants, owned by the Tyrell Corporation: "I'm not in the business, I am the business." Jung, finally, would no doubt have been intrigued by the theological implications of the latest film title in the series: Alien Resurrection.
The combination of terrestrial and extraterrestrial aliens perhaps takes on its most "awesome" form in Tom Graeff's 1959 "thriller," "Teenagers from Outer Space", in which the "generation gap" heralding the 1960's was emblematized in low-budget terror. In this classic, a group of alien teenagers (who appear to be at least in their late 20's) land their saucer in California. "Thrill-crazed space kids blasting the flesh off humans!" reads the movie poster, referring to the ability of the aliens' death rays to turn our species instantly to skeletons. 1 There also seems to be Red Scare paranoia running through the film, as one of the spacemen, Derek (David Love) rebels against the collectivist onslaught of his pals and falls in love with the very terrestrial beauty of Betty Morgan (Dawn Anderson). Is this a rather tame prototype for the invasion of the Borg, and the expectable "human" revulsion for their hive mind, in "Star Trek: The Next Generation"? If so, Middle America is here treated to yet another dimension to the aforementioned deconstruction of humanism: post individualism. The horror of this invasion is perhaps best represented by a scene when the invaders skeletonize a suburban housewife (Sonia Torgeson) as she swims in the sanctum of her private suburban pool. She is rather literally "x-rayed" so that perhaps her most private domain, her pearly bones, are exposed in an attack recalling the intrusive panopticon of medicine. As General Jack Ripper in Dr. Strangelove might say, this is worse than Flouridation! The evil Thor (Brian Grant) leads the inevitable counterattack on Derek's attempt to practice family values. The hominid invaders have brought along a crustacean food supply (offering only temporary relief to Californians who, if they are not immediately on the alien menu, are soon to be repast for their livestock): ominous crawfish called Gorgons who can grow to 1,000 times their current size - picture creatures filling a goldfish bowl who are to become hungry crawdaddys the size of houses. Luckily, Derek manages to blow up his comrades, their superlunerary lobster and, unfortunately for the young couple, himself before this gets out of hand. So, we only get to see the shadow of one full-grown monster before Derek electrocutes it, the budget being what it was, but the sentiment is clear: the upswing of techno-culture in the late 50's, including no doubt the rise of Sputnik, was enough to inspire the vision of American teens, "the next generation," as alien invaders of the traditional culture.
When the fireman Kim Ja-hong dies during a rescue operation in a fire in a building, his guardians Kangrim, Haewonmaek, and Dukchoon guide him to the afterlife. They explain that they will defend him in seven trials with seven gods in seven hells along forty-nine days to disclose how he spent his life. Ja-hong, who is considered a model citizen, will reincarnate if his guardians are well-succeeded in their defense. However, there are disturbances in the afterlife caused by a Revengeful Spirit and Kangrim goes to the World of the Living to investigate what is happening. Meanwhile, the prosecutors find problems in the relationship between Ja-hong and his mother and brother, and Haewonmaek and Dukchoon are surprised by the discoveries. 2ff7e9595c
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