#berserkerpredator

Story In this scene, the Berserker is not in the middle of a hunt. His armor, weapons, and mask are still with him, but his posture tells a different story. The object he is holding is something he carries in his pouch and rarely takes out. It is not a weapon, nor a display of technology. It is a personal item — something he values, something tied to memory rather than conquest. He came to this place not to hunt, but to be still. Away from hierarchy, noise, and the constant need to prove strength. Though this planet is alien, it offers him a rare sense of calm. There is no rage in his expression. But there is no softness either. What we see is balance — the state of a being who has survived long enough to no longer be ruled by instinct alone. The light comes from the environment itself: biological structures and crystalline forms. It is not harsh. It does not reflect loudly off metal or skin — it is absorbed, softened. That is why the scene feels dark, yet not oppressive. Technically, the composition supports the narrative. The dark, matte background is not used to dramatize power, but to isolate the figure. Light exists only to describe form, not to decorate it. From a distance, the background reads as a single mass; up close, it reveals a living ecosystem. In this moment, the Berserker does not appear powerful because he is hunting — he appears powerful because he is in his own space.

This piece is the first image in my five-part series “Berserker Predator.” In this scene, we see Berserker after defeating an Alien. However, this moment is not a reinterpretation of an existing scene or a reference to any previously depicted event. The composition is entirely my own creation and presents an imagined interpretation of the character. Rather than showing a violent struggle, I wanted to depict the brief silence that follows. For Berserker, this encounter is not a challenge. The Alien is not a true threat to him. During the attack, in a moment where he fails to fully control his power, Berserker removes the Alien’s spine and unintentionally rests it against his own leg. The heat of the spine burns his flesh, leaving a permanent scar. This mark is visible in the scene; it is not hidden or concealed. This moment does not make Berserker angry — but it disturbs him. He is not frustrated because of the enemy, but because of his own carelessness. Still, he does not break his stance. He does not react to the pain, nor does he attempt to correct the mistake. He silently accepts the consequence of a moment where his strength exceeded his attention. The scar is entirely his own, and for that reason it will appear again in the following images of the series, as a quiet reminder of his past actions. In this scene, Berserker appears powerful not because he has destroyed an enemy, but because he acknowledges his mistake — and carries it with him.

This image is the second chapter of my five-part series “Berserker Predator”, titled The Collapse of a Universe. In this scene, we see Berserker using his shoulder cannon without hesitation. Among Predators, this weapon is rarely favored; it creates distance, places a barrier between hunter and prey. Berserker, however, has no such reservations. He takes pleasure in using it, in watching his targets scatter in panic. This does not make him a coward. On the contrary, it is a deliberate expression of absolute dominance and control. The film’s director once stated that the jawbone attached to Berserker’s mask was taken from an Alien Queen. This moment, however, was never shown on screen. The scene you see here is my own interpretation, created to give form to that untold story. Berserker enters this battle carrying the weight of a previous moment from the first image of the series. While tearing out an Alien’s spine, a mistake led him to press it against his own leg, burning the flesh and leaving a permanent scar. This mark is more than physical damage; it is proof of a brief lapse in judgment. What angers Berserker most is not the pain itself, but the fact that the mistake was his own. The destruction depicted here is the outward release of that restrained fury. Berserker turns his anger toward an Alien colony, channeling his self-directed rage into total annihilation. We witness the Alien Queen, a cult figure of horror, in a rare state of helplessness. For the first time, she faces a being who does not retreat, does not hesitate, and does not fear her. In this moment, she loses not only her body, but her dominion. The fallen offspring scattered across the ground form the quietest yet heaviest detail of the scene. What is destroyed here is not merely a queen, but an entire structure of continuity and future. This is why this moment is not a triumph, but the collapse of a universe. Berserker stands at the center of this devastation—angry, yet controlled; brutal, yet purposeful. The true core of the destruction is not the enemy before him, but his refusal to forgive his own mistake.

This is the third work in my five-piece series, “BERSERKER PREDATOR.” The scene takes place on the planet seen in Alien 2. The location is recognizable, but it does not dominate the narrative; it serves as a familiar ground where tension, memory, and silence already exist. In this image, Berserker stands firm and composed. His posture is confident, grounded, and controlled. There is no visible rage in his stance, yet his figure carries the weight of his nature—power held in check rather than released. His armor, scars, and presence suggest experience rather than chaos. Standing opposite him is Falconer. Falconer is not an enemy. He is a companion. Positioned behind Berserker, on the viewer’s left side in the background, Falconer looks toward him calmly. There is no confrontation between them. They are simply facing one another, sharing a quiet moment of awareness. Their connection is unspoken and natural, shaped by familiarity rather than conflict. The interaction between the two figures is subtle. No gesture signals action, no movement suggests urgency. This stillness defines the scene. Berserker’s attention is focused on Falconer, not as a threat, but as a presence he trusts. The restrained color palette and controlled lighting reinforce this balance. Dark, muted tones dominate the environment, while selective highlights emphasize form and volume without turning the image into spectacle. The planet remains hostile by nature, yet this moment within it is unexpectedly calm. This work represents a pause in the series—a moment where strength is measured through restraint and awareness rather than violence. At a later stage, I will also create a complementary version of this scene from Berserker’s point of view, showing Falconer as seen through his eyes.

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