As a seasoned animator with over two decades of experience under my belt, I must say that the challenges faced during the creation of the Mimics for “Edge of Tomorrow” truly resonate with me. The balancing act between artistic vision and technical feasibility is one we all navigate on a daily basis.
Based on the Japanese light novel “All You Need Is Kill” by Hiroshi Sakurazaka, with illustrations by Yoshitoshi Abe and directed by Doug Liman, the lesser-known film “Edge of Tomorrow” narrates humanity’s struggle against a formidable alien race called “mimics.” Major William Cage, played by Tom Cruise, who previously worked as a war effort spokesman and lacked battlefield experience, is unexpectedly thrown into the heat of combat. However, he finds himself trapped in a time loop that constantly resets to the beginning of a critical fight each time he perishes in it, which could potentially hold the secret to defeating the mimics.
Although it was unusual — a Tom Cruise film that failed at the box office — “Edge of Tomorrow” garnered acclaim from critics for its imaginative and intelligent script, editing, and world construction, eventually amassing a dedicated fanbase who continue to hope for a sequel. The film’s unique portrayal of the mimics was particularly praised; their bizarre, terrifying tentacled design set them apart from aliens in other sci-fi movies, with the time loop element only enhancing their intrigue.
Through sketches from the movie’s design process and conversations with visual effects artists, it’s clear that the iconic design was refined extensively before reaching its final form. There might be other universes where Liman and his team chose alternative concepts for the design, resulting in a completely distinct “Edge of Tomorrow” film.
An early design was a lot more human-like
Through a collection of concept art pieces shared by the movie’s production designer, Oliver Scholl, in 2014 on his website, we have an idea of what the aliens from “Edge of Tomorrow” might have appeared like. The designs were strikingly diverse, suggesting as many as six to seven unique directions the film’s invaders could have taken. Remarkably, one early draft of the Mimics was quite ordinary when compared to alien standards.
This gallery showcased an initial concept of the mimics that resembled humanoid forms rather than the abstract shapes and machinery seen in later designs, including the one depicted in the movie. In simpler terms, this early version of mimics would have appeared similar to a human wearing metallic armor, equipped with hands and opposable thumbs, but just slightly taller. However, it’s important to note that the metallic appearance wasn’t actual armor; instead, it represented the creatures’ organic material.
Remarkably, even though these potential imitators share a general body structure with humans, they seemingly lacked eyes, a mouth, or any facial characteristics at all – a characteristic that makes the aliens in the final movie appear more human-like compared to them.
The aliens could have had glass bodies
A captivating design, credited to concept artist Christopher Brändström on his ArtStation platform, was recently shared. This design appears to follow a similar thought process as the previously mentioned early concept: It showcases extraterrestrial beings with humanoid structures, but these entities are composed of an unusual material that gives off an appearance of integrated armor enveloping their entire physique.
On Brändström’s page, you’ll find two significant distinctions in the design. Firstly, instead of traditional human-like busts with distinct shoulders, necks, and heads, the upper portion appears more like a large, crystalline structure that extended several feet upwards and outwards from what would be their heads. Secondly, and perhaps more notably, Brändström’s mimics were envisioned to be crafted from a dark, glass-like material, similar in shape but distinct in its light reflection and refraction properties.
As a gamer, I can tell you that in the design timeline, it seems the creators purposefully opted for glass-like bodies for these extraterrestrial beings. Back in 2014, visual effects supervisor Daniel Kraman shared with FX Guide that director Doug Liman aimed to make these aliens look distinctly alien and not too familiar to our Earth. He explained their choice was obsidian – essentially glass with a cutting edge – to achieve this effect.
Conventionally big and hulking wasn’t quite cutting it
In the sci-fi movie “Edge of Tomorrow,” the aliens were designed to be incredibly intimidating, being powerful enough to keep humanity almost defeated. To achieve this, they came up with a solution like a time loop scenario. The concept artists brainstormed ways to make these mimics more terrifying, and one idea they explored was giving them thick, muscular limbs, broad shoulders, and a sturdy, bulky physique.
The sketches for that concept really leave an impactful mark. One, penned by Tani Kunitake who is both a concept artist and storyboard designer, presents the mimics with towering arm-like structures resembling tree trunks, complete with jagged rocky outcrops at their shoulders and enhancing their intimidating V-shaped torsos. A second, from artist Ed Natividad, portrays the mimics as a hulking, golem-esque mass of metallic flesh, devoid of a distinct head but boasting powerful arms and legs for swift movement. Both designs lean towards the conventional “monster” aesthetic, meticulously crafted to give the aliens a menacing appearance as formidable combat machines.
Initially, the plan was to design these creatures as large and muscular while retaining a humanoid form. However, this idea was eventually discarded because fighting them would have relied heavily on brute strength. While Emily Blunt’s determination to get physically strong for her role as Rita Vrataski is commendable, it didn’t align with the concept of adversaries that were too powerful and required numerous attempts to defeat.
The mimics were once blobs
During the design phase, a choice was made to intensify the mimic characters’ bodily abstraction to a more extreme level. However, we can’t determine the exact timeframe for the concept sketches. Notably, a collection of works by sculptor and creature designer Ivan Manzella, who has recently captivated “Star Wars” fans with Babu Frik, one of the adorable creatures in “The Rise of Skywalker,” were inspired by invertebrate lifeforms to envision a nearly spiritual, yet undeniably terrifying, interpretation of the mimics.
In this unique depiction, the mimics were portrayed as luminous, enigmatic blobs of extraterrestrial substance, characterized by their elongated limbs – arms and legs. Additionally, it seemed like they had protrusions resembling spikes emerging from their backs. This representation of the mimics was available in two distinct color schemes: one featuring a semi-transparent gray exterior and warm orange accents reminiscent of grubs, while another showcased red and blue tones similar to those found on deep-sea shrimp with an incandescent glow.
Manzella’s artwork (shown above) portrays the mimics as strolling Rorschach tests, with symmetric bodies consisting of extended thoraxes and four elongated, articulated legs – resembling araneidan architecture in structure, yet so bizarre and alien that they fail to closely resemble spiders. The team behind this art eventually understood that for the mimics to be truly intimidating and difficult to conquer, their appearance should differ significantly from any known Earth life forms, while still incorporating a hint of animal-like features here and there.
There was a tall and thin design at one point
A unique piece of concept art by Ivan Manzella presents a distinctive take on the mimics, which differs significantly from both the movie version and other designs shared by Oliver Scholl. This design stands out so much that it’s worth noting for its originality. It’s uncertain when during the development process Manzella created this specific design, but examining it now offers a glimpse into an entirely different “Edge of Tomorrow.
This depiction of the extraterrestrials wouldn’t be even slightly human-like; it wouldn’t have a muscular, towering build like a golem, nor would it appear formless or blob-like. Instead, it seems to possess a distinct shape. A fitting description for this design might be “yonic,” which is the opposite of phallic and can be found in NSFW content if looked up. The aliens in question would have unique, singular forms with legs resembling amphibian limbs ending in peculiar structures that may not fit the definition of feet, and bodies elongated like tunics.
As a fervent admirer, I can’t help but express my awe for Manzella’s design that pushes the boundaries of imagination. This masterpiece is a powerful reminder of the infinite possibilities in shaping the mimics, while staying true to Doug Liman’s central vision of creating creatures that are as alien and unsettling as possible. It’s a testament to his ability to instill an “otherworldly eldritch horror” feel into our minds effectively.
Primitive abstraction was the way to go
Although Oliver Scholl’s concept art doesn’t perfectly match the appearance of the mimics in “Edge of Tomorrow,” some of it closely resembles the overall style and function of the aliens depicted in the film, particularly with regards to their design element of having tentacles.
One very interesting design that was still many tweaks removed from the final version visualizes the mimics with chilling simplicity. This version of the aliens, based on what we see in the art, would have been extremely minimalist: Just a bunch of thick tentacles with sharp spikes covering them in their entirety, and some kind of fluorescent glow emanating from them. The concept art in question could almost be said to offer more of a vibe than any kind of detailed anatomical diagram; it’s unclear if these mimics would indeed have lacked facial features and prehensile appendages, or if the artist simply didn’t think those features needed to be included to fulfill the purposes of this particular piece.
In essence, exploring this idea brought us nearer to understanding the inherently strange, primordial physical characteristics of mimics. It did so by recalling ancient Earth’s simple life-forms and taking cues from their mysterious, almost incomprehensible appearance compared to animals we are more familiar with today.
The tentacles were instrumental to the mimics’ bodies
In contrast, the mimics from “Edge of Tomorrow” were anything but simple. Their design was so advanced that it was almost bewildering; upon initial observation, you might not immediately grasp their intricate anatomy.
The speed and wild, uncontainable motion of these creatures make it challenging to discern which parts are moving specifically. This is due to their complex structure, composed of numerous independent moving elements that span a surprising range of movements. In essence, the filmmakers found success in designing the mimics when they opted for multiple intertwining tentacles.
From this perspective, among all the concept art pieces by Oliver Scholl displayed on his website, the one that bears the closest resemblance to the aliens in “Edge of Tomorrow” is the amorphous creature reminiscent of a fibrous anemone, with numerous tentacles emerging from a central cluster. Although it doesn’t perfectly match the final design in the movie, it comes very close – more so than any other artwork, it conveys a sense of complete liberty, as if the alien could assume any form or move in any direction at will.
The mimics had to be deeply strange to be plausible
Collectively, these concept artworks, spanning from humanoid likenesses to abstract representations of elements, demonstrate that the task of designing mimics was far from straightforward. The complexities involved in their artistic conception are discussed in a video essay on CGY’s YouTube channel, which specializes in visual effects.
In the video, we learn that the design of the mimics was influenced directly by their role in the story. To make it challenging for William Cage to comprehend their behavior, the mimics had to be fundamentally unpredictable. This meant creating creatures with bodies so unlike anything on Earth, and movements so swift and fierce that they seemed impossible without time loops, yet still possessing a form that could ultimately be defeated. In simpler terms, the mimics were designed to be incredibly tough, but not invincible, much like challenging bosses in video games.
In an unusual manner reminiscent of no known Earth creature, the filmmakers portrayed the aliens as colossal entities draped in tentacles coated with obsidian. Each tentacle moved independently yet maintained a synchronized rhythm, creating an eerie and mysterious appearance. This design choice effectively conveyed the difficulty that Cage’s character faced in understanding their physicality, making his struggle to comprehend them appear genuinely challenging.
They couldn’t be completely bizarre, though
The CGY video analysis further reveals that the motion patterns of the mimics were predominantly influenced by a clip from the animation and visual design company SR Partners. This video, titled “Resonance / Deus Ex Machina,” was recognized by “Edge of Tomorrow” VFX supervisor Jonathan Fawkner as having captured the chaotic and fear-inducing dynamics of the Mimics (as seen in Framestore’s work).
Despite the randomness and frightening nature of the mimics, they couldn’t be too strange that viewers couldn’t understand them. A balance was needed, something to make them relatable amidst the film’s realistic action. This concept – making the aliens as alien as possible yet still recognizable – guided the choice to create a unified and compact body from all the tentacles. More significantly, it influenced the decision to give these aliens distinct facial features such as eyes, a mouth, and even terrifying teeth.
Consequently, the design of the mimics was a balancing act between two key storytelling aspects: Firstly, they had to bewilder Cage and other human soldiers. Secondly, they needed to maintain a sense of physicality in the fight scenes, ensuring it wasn’t just a battle against colossal noodles.
There had to be a center of movement
One issue with the “independent tentacles” design was its conflict with a fundamental principle in CGI character animation: the reliance on “rigs,” or skeletal structures that control and coordinate all body parts’ movements. With multiple, noodle-like limbs moving independently, it would necessitate an enormous number of rigs being created to replace each other for every tentacle movement – a virtually insurmountable animation task.
To create a more unified and manageable structure for the tentacles, VFX supervisor Daniel Kramer asked a technical animator to develop a tool, or plug-in. The purpose of this tool was to organize the tentacles around a central curve and connect their movements to it, allowing the curve to control all the tentacle movements at once. As Kramer explained to Below the Line, he envisioned 20 intertwined tentacles that would twist, contract, and writhe against each other. This plug-in was designed to know the radius of every tentacle, so if one on the inside grew or shifted position, the tentacles above it would respond accordingly.
The decision to use that specific tool proved fortuitous: since the animators weren’t able to animate each individual tentacle personally, as per Kramer, the plugin provided them with precise control over the mimics’ movements. This enabled them to incorporate numerous subtle details in “Edge of Tomorrow,” effectively bringing the mimics we recognize into existence.
The manga’s aliens looked wholly unlike the movie’s
As a die-hard gamer, I’ve seen the multiple attempts at mimics in “Edge of Tomorrow,” but let me tell you about a unique take on those characters that I stumbled upon. These characters were initially envisioned in an entirely different manner by Yoshitoshi Abe and Takeshi Obata – the original illustrators for the light novel and manga adaptation, respectively, of “All You Need Is Kill.” This captivating story was serialized in Shueisha’s Weekly Young Jump seinen manga magazine between January and May 2014. Excitingly, an English translation of this manga version – the foundation for “Edge of Tomorrow” – was published by Viz Media the same year.
Similar to many manga, “All You Need Is Kill” is presented in black and white, a choice that accentuates the grim elegance and distinctive forms of Abe’s character illustrations, as portrayed in Obata’s intricate, rough, heavily-shaded art style. In this adaptation, the mimics possess tentacles, but they differ significantly from their cinematic counterparts, and even from earlier drafts of those characters.
Abe and Obata picture the mimics as large, black orbs with sharp tentacles at their base, wide mouths that occupy most of their front, and massive block-like teeth. There’s something captivating about these mimics and their oversized, ravenous heads, but they maintain a terrifying quality all their own, much like the aliens in the movie. If Doug Liman and his team had followed the manga more closely, the alien action in “Edge of Tomorrow” could have evolved in an entirely different way – demonstrating just how crucial character design is for filmmaking.
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2024-09-15 19:31