THE HUMANALIENS STUDIOMeet the people. Discover their worlds.
Follow the spacecraft, scenes and ideas that connect them.
A film universe in development. Artwork and short motion studies are not final movie footage.
Humanity’s first home
A home is not abandoned because it is broken.
Earth is humanity’s first home and the center of the evacuation crisis in The Human - II. The ruined-world opening takes place after the impact; the Cyborgs seen there are a recovery team, not the cause of the destruction.
A visual journey through the existing world, scene and design references.
Existing scene and environment artwork. These are not additional portraits of this character or newly filmed scenes.
Story-world information from the reviewed development record. Working details are not release announcements or real-world specifications.
A home is not abandoned because it is broken.
Explore the story through its existing artwork. These visual references are development material, not a final shot sequence.
The story opens on a damaged Earth before revealing the purpose of the machines moving through it. That ordering invites a fear that the film then challenges. The Cyborgs are not celebrating the absence of people; they are looking for those who still need help. Earth carries the emotional weight of everything the audience has not yet seen: ordinary streets, conversations and homes that existed before the ash.
Explore MarsThe impact and evacuation are not the same event. Many people have already left, while the final ships face a narrowing window. The bible places the impact in Africa, with consequences spreading across the planet. Precise populations, countdowns and older draft travel estimates should not be confused with final production decisions. The essential story chain is clear: danger becomes real, people move, and rescue continues after the largest spectacle.
Explore Keeper-7Earth matters even when humanity has other inhabited worlds. Culture, memory and personal attachment cannot be replaced by declaring a new coordinate safe. The later recovery thread asks what it means to restore a place rather than merely win a battle. The twelve-years-later ending is part of the story timeline, not an announcement that a completed film or a release schedule exists.
Explore Amara OkonkwoIndependent world, spacecraft and foreground layers respond at different depths. Pause remains available; reduced motion and data saver are respected.
Nine compositions from three source environments. Layered concept artwork, not completed movie footage. Scene links work without JavaScript.
Explore the Scene Atlas ↗ · Follow the people, ships and worlds behind the layers.
The opening takes place after Earth’s catastrophe. Cyborg figures among the ruins initially look threatening, then their rescue work changes the meaning of the image. The approved direction makes AI an ally, not the cause of the disaster.
Slow pans, scale and transitions assembled from existing artwork. Native controls keep playback in your hands.
ARTWORK MOTION STUDY · 12 SECONDS · SILENT · NOT FINAL FILM FOOTAGE
Optional website score, played only by you. This is separate from the silent motion study and is not a final film sound mix.
Interactive concept model loads when this section enters view. The artwork and all story text remain available without 3D.Schematic schematic world used to explore scale and form. It is not a production-ready asset, a portrait, a physically accurate simulation or a unique final model of Earth. Drag gently; vertical touch scrolling remains available.
Three actual renders of the website inspection model. Shared form studies are not presented as unique finalized hulls or astronomical maps.
Form follows the story.
Ash, ruined architecture, small rescue figures and the contrast of a departing ship should carry the scale. Earth’s gallery combines evacuation concepts with recovery-related character images, identified by their actual subject.
A fictional future disaster, not a real asteroid alert. The story’s Earth/Mars settlements do not imply that people live on the Moon.
No. The opening's robots are a rescue and recovery team.
No. The setting includes Mars and a wider network of extrasolar homes.
The bible keeps recovery as a longer story thread rather than undoing the disaster immediately.
No. The photographs are development artwork and the short videos are silent motion studies assembled from that artwork. They are labelled on the page. Final character portraits, scene performances and production-ready effects are not implied.
Move from this dossier to its connected characters, worlds, vessels and ideas. The interactive constellation represents editorial reading paths, not physical distances or a confirmed voyage.
Locate Earth in the Story Map ↗Adapted from The Human Series Bible, sections 3,5,22,28.1. Later owner decisions, especially sections 26 and 28, take precedence over earlier proposals. Current status: Owner-approved story foundation.
Source repository: Aliens-Company/Cyborg · ACC/Reference/TheHuman.Series.Bible.md
Reviewed source revision: b7caab964a5943626d13b029366a7b57e668e5b0.
The source repository may require account access. This public dossier distinguishes approved foundations, working names, contextual art and unrendered scenes. Read the canon and media policy.
