Caution: A few spoilers in this post…
Non-humanoid aliens are a challenge for writers…hopefully, established in my previous post on writing dynamic non-humanoid aliens
- If the alien doesn’t look or act like a human, it will be difficult for the audience to comprehend its character and motivation
- If it doesn’t speak in plain human lingo, along with not looking like a human being…it will be near impossible to draw in the typical audience. The alien will remain “the other” and may never transcend its designation of foreigner/alien.
The honest sci-fi writer knows that if a first contact event were ever to take place in the real world, the likelihood of an alien looking like a human being and/or speaking or thinking like a human being is slim to none.
Therefore, the imagination must soar and novels like Embassytown (China Miéville) and short stories like Arrival (Ted Chiang) come into the canon. These are stories that give the audience an alien we might never have imagined. It’s worth looking at both examples. In this post, I will focus on ARRIVAL, the short story and the film. Both were excellent and if you haven’t already consumed these stories, do so and do so before you read on. Here is my non-spoiler review of the film, ARRIVAL Otherwise, I forge ahead with analysis and spoilers. You’ve been warned.
How did Ted Chiang and Eric Heisserer (screenplay writer) pull off portraying an alien that was both non-humanoid, with no human language and still give it/them so much character that went beyond “the monster” designation?
- They reveal the alien through the eyes of Louise Banks, the main character and the linguist who is trying to communicate with the creatures/entities. The story is told from Louise’s point of view. That makes a big difference in how the audience sees all that transpires in the narrative because Louise comes to the aliens as a learner, as curious and though the creatures are powerful and instill fear in most of the humans who encounter them, Louise is not overcome by fear. (Note: Louise is a fantastic hero, but she is no Ripley, of the Alien franchise. It’s likely she would have been an early snack for the buggers on that vessel. Louise is fierce in her dedication to her academic discipline, but unlike Ripley, my guess is she would not be as ready to use a gun to blow their brains out if they had revealed themselves to be monsters).
- The writers give the aliens agency, first by showing their power. These entities that have arrived on Earth are powerful, there’s no doubt about that and showing their power is not a difficult writing task. It is accomplished in a variety of well thought-out details. For starters, the vessels they have traveled in are massive. Also, these entities have traveled through space to find another sentient species, which reveals how their technology is superior to human tech. In addition, the mystery of where they have come from, their beautiful language, their form…all create an aura of their power, and I would add, their dignity. The fact that humanity is freaking out (especially the military) is another clue about these aliens and their power. We learn about them by watching how others react to them. This is a classic writing tool, especially when a mysterious character presents itself. The audience takes its cues from the group surrounding the mystery.
- The writers reveal alien character by showing us how those aliens use their power. They show us by showing us the alien actions As ARRIVAL progresses, the audience begins to form an opinion about the motives of these characters. They are characters with personality. First, the audience recognizes what the aliens have not done. They have not blasted the planet to shreds, started a war or abducted any humans. In terms of what they have done, the aliens are trying (trying hard) to communicate. They readily engage when Louise begins to learn their language. The most important scene in the narrative that reveals their goodness is the moment the entities warn Louise about danger, then save the lives of Louise and her counterpart when a bomb, planted by one of the freaked-out military men, explodes in the cave-like room where they have been making slow progress on communicating. The contrast becomes clear. We see humans who are fearful and violent. We see aliens who are steadily revealing themselves and using their power to save lives.
To close this second of four posts, I’ll nerd out a little on words.
The Etymology of Our Other-Worldly Friends/Enemies
In English, the word alien is derived from the Latin, alius, meaning other, and alienus, meaning belonging to another. The al in these words comes from the Proto-European root (it precedes Sanskrit), meaning beyond. Its root is different from the English word, foreigner, whose Proto-European root is the word dhwer, meaning door. The senses of the two words are different based on the roots. The foreigner lives outside one’s door, the alien is from somewhere beyond. I key into the fact that the word precedes Sanskrit. The labeling of the other is incredibly old. Human psychology is fundamentally tribal. Those outside our door or from beyond are automatically suspect. The film ARRIVAL is about this tribal fear and our inability…not just to communicate with strangers/aliens, but to communicate with one another. In the film, this becomes a large issue and almost leads to disaster.
One other term for the sci-fi consumer…E.T.
The term extra-terrestrial was coined in the modern era. It was first documented in 1953 or 1956 depending on who you believe. The initials, E.T., was made famous by Spielberg’s 1982 film.
I recently watched ARRIVAL for a second time through Amazon Prime. In my first viewing, I was in a theater and I loved it. This second go-around, I was not disappointed. I watched with a group of my cousins who are all film/scifi nuts. The viewing was free for Prime members.
ARRIVAL is rated PG 13…it’s somewhat creepy and suspenseful, but a middle school child or a sensitive viewer could probably handle the production. I’m not sure why it did not receive the PG rating. It unfolds without graphic violence and there is no explicit sexual content. One might call ARRIVAL a quiet film, but the subject matter takes it from the quiet realm into the epic and deeply thoughtful.
ARRIVAL was released in theaters to much acclaim in 2016. The film is based on a short story by Ted Chiang. Eric Heisserer wrote the screenplay. I hope to read and review Chiang’s short story in a future post.
The film unfolds with slow intensity primarily around one character, Louise Banks, played wonderfully by Amy Adams. Banks is a linguist recruited by the US government to learn the language spoken by aliens who have alighted in giant oblong space ships in twelve locations around the globe.
The story is a linguist’s dream and as a science fiction fan, I recall a number of novels that view first contact in light of language and communication. China Miéville’s Embassy Town is a good example. In a story such as this, violence is often threatened, but not center stage. Mysteries and the push to understand the other dominate the narrative.
Five quotes from the screenplay to pique your interest:
- “If this is some sort of peaceful first contact, why send twelve? Why not just send one?”
- “Language is the first weapon drawn in a conflict…”
- “Are they scientists or tourists? If they’re scientist, they don’t seem to ask a lot of questions…”
- “If you could see your life from start to finish, would you change things?”
- “Meeting you…was more important that seeing the stars…”
Five reasons to watch this film.
- It’s free if you’re an Amazon Prime member.
- If your family is into science fiction, ARRIVAL is a crowd pleaser which you can show to your kids with a clear conscience.
- Potential discussion about language and linguistics, the puzzle and the importance of communication.
- Female hero with lots of brains and only a few characters to keep track of.
- Potentially leads to fruitful discussion about love, suffering, beauty, grace, even religion.
To buy this DVD, click here.