Predator (fictional species)

Predator
Predator and Alien vs. Predator race
A Predator, based on the one from the first film.
First appearance	Predator (1987)
Created by	Jim E. Thomas John Thomas John McTiernan Stan Winston
In-universe information
Other name(s)	Yautja, Hish
Home world	Yautja Prime
Type	Tribal extraterrestrial

The Predators are a fictional extraterrestrial species characterized by their ritualistic trophy hunting of other lifeforms. Initially conceived by screenwriters Jim and John Thomas and designed by special effects artist Stan Winston, the species made its first appearance as the villain in the 1987 science fiction action film Predator, directed by John McTiernan. Depicted as large, sapient and sentient humanoid beings equipped with advanced technology such as active camouflage, directed-energy weapons, and interstellar spacecraft, they became emblematic horror villains of the late 20th century, blending the tropes of slasher villains with elements of alien invasion and militaristic survival narratives.

The success of Predator led to the establishment of the broader Predator franchise. This includes several direct sequels and prequels —Predator 2 (1990), Predators (2010), The Predator (2018), Prey (2022), Predator: Killer of Killers (2025), and Predator: Badlands (2025)—as well as a range of expanded universe media, including comic books, novels, and video games. These works further developed the species' fictional mythology, assigning the creatures names such as Yautja, Hish-Qu-Ten, and Skin Thieves, and exploring aspects of their language, social hierarchy, and cultural practices.

Beginning with crossover comic books published in the 1990s under the Alien vs. Predator imprint, the Predators later intersected with the Alien film series, pitting the Predators against the titular alien character. This narrative convergence led to two theatrical crossover films—Alien vs. Predator (2004) and Aliens vs. Predator: Requiem (2007)—which further integrated the two fictional universes and expanded the lore of both characters.

Concept and creation

Design

Early Predator design concepts by Stan Winston

The Predator design is credited to special effects artist Stan Winston. While flying to Japan with Aliens director James Cameron, Winston, who had been hired to design the Predator, was doing concept art on the flight. Cameron saw what he was drawing and said, "I always wanted to see something with mandibles." Winston then included them in his designs. Stan Winston's studio created all of the physical effects for Predator and Predator 2, creating the body suit for actor Kevin Peter Hall and the mechanical facial effects. The studio was hired after attempts to create a convincing monster (including Jean-Claude Van Damme wearing a much different body suit) had failed. Arnold Schwarzenegger recommended Winston after his experience working on The Terminator.

The Predator was originally designed with a long neck, a dog-like head, and a single eye. This design was abandoned when it became apparent that the jungle locations would make shooting the complex design too difficult. Originally, the studio contracted the makeup effects for the creature from Richard Edlund's Boss Film Creature Shop. However, problems filming the alien in Mexico led the makeup effects responsibilities to be given to Stan Winston. According to former Boss Films make-up supervisor Steve Johnson, the makeup failed because of an impractical design by McTiernan that included 12-inch leg extensions that gave the Predator a backward bent satyr-leg. The design did not work in jungle locations. After six weeks of shooting in the jungles of Palenque, Mexico, the production had to shut down so that Winston could make a new Predator. This took eight months and then filming resumed for five weeks, ending in February 1987.

Film portrayals

Kevin Peter Hall as the Predator as seen in Predator (1987)

Jean-Claude Van Damme was originally cast as the Predator, with the intention that his martial arts skills would create an agile, ninja-like hunter. The first Predator suit, with its mantis-like design, required Van Damme to walk on stilts due to its backward-bent reptilian legs and extended arms. However, the muddy slopes of the Mexican jungle made this impractical.

When compared to actors like Arnold Schwarzenegger, Carl Weathers, and Jesse Ventura, who were known for their bodybuilding physiques, it became clear that a more physically imposing actor was needed. Van Damme was eventually replaced by actor and mime artist Kevin Peter Hall, standing at 7 ft 2 in (2.18 m), who had recently portrayed sasquatch in Harry and the Hendersons. Hall played the Predator in both Predator (1987) and Predator 2 (1990). Trained in mime, Hall incorporated tribal dance movements into his performance, notably during the final fight in the first film. The Predator’s voice was provided by Peter Cullen, who used a clicking growl to prevent vocal strain, as he had done for the uncredited vocal effects of King Kong in King Kong (1976).

In Predator 2, Danny Glover suggested using members of the Los Angeles Lakers as background Predators due to his fan status, and Hall persuaded some of them to appear on short notice. Hall passed away shortly after the release of Predator 2. The voices of the Predators in the film were provided by Hal Rayle.

In Alien vs. Predator (2004), Welsh actor Ian Whyte, standing at 7 ft 1 in (2.16 m), took over the Predator suit, portraying the "Scar" Predator. Whyte returned to play the "Wolf" Predator in Aliens vs. Predator: Requiem (2007).

In Predators (2010), Brian Steele and Carey Jones portrayed the "Black Super Predators," a new breed who had been dropping humans on their planet for years to play a survival game against them. In a nod to the original film, Derek Mears played the "Classic Predator," resembling the creature from Predator.

In The Predator (2018), stuntman Brian A. Prince, standing 6 ft 10 in (2.08 m), portrayed the "standard" Predator, who steals a weapon called the "Predator Killer" and is pursued by a larger genetically enhanced Predator. The enhanced Predator was mostly CGI, though both Prince and Canadian actor Kyle Strauts (standing 6 ft 9 in (2.06 m)) served as stand-ins on set.

In the prequel Prey, Dane DiLiegro plays a more primitive version of the Predator. This iteration relies more on brute strength and hand-to-hand combat than the stealth-based tactics of later Predators, using metal spear tips and arrows instead of plasma-based weaponry. Its mask is made of bone rather than the smooth steel of later Predators, though it functions the same way. While visually distinct, this version of the Predator adheres to the species' honor code and spares those it doesn't deem a threat.

For Predator: Badlands stuntman Dimitrius Schuster-Koloamatangi portrays a young runt Predator named Dek. For this iteration, Dek's body was portrayed by a traditional Predator suit, while the face was CGI motion capture.

Special and make-up effects

The depiction of the Predator species throughout the film franchise has relied on a combination of practical effects and visual effects techniques. To simulate the Predator's distinctive green luminescent blood, filmmakers used a mixture of glow stick fluid and K-Y Jelly. This blend produced a bright, glowing effect on camera but degraded quickly, requiring frequent reapplication between takes. Initially developed for the first film, this method has continued to be used in subsequent entries.

The Predator’s invisibility cloaking ability was achieved through a complex optical compositing process in the first two films. The effect was developed by R/Greenberg Associates under the direction of visual effects supervisor Joel Hynek. Its conceptual basis originated from a dream reportedly described by one of the screenwriters, in which a chrome figure enclosed in a reflective sphere became visible only through motion. To replicate this vision, filmmakers created a distortion effect that refracted the background through the silhouette of the Predator using photochemical techniques. A performer wore a bright red Predator suit, chosen for its high contrast against green jungle and blue sky backgrounds to facilitate chroma key compositing. Scenes were filmed twice from identical camera positions but with lenses of different focal lengths—once with the red-suited performer and once as a clean background plate. By compositing the two elements, the resulting visual distortion created the illusion of semi-invisibility. Later films in the franchise replaced this analog approach with digital methods, utilizing computer-generated imagery to recreate the effect.

Creature suit design and execution were initially handled by Stan Winston Studio for the first two films. For the Alien vs. Predator entries, these responsibilities shifted to Amalgamated Dynamics, which also returned for The Predator (2018), Prey (2022), and Predator: Badlands, the latter in collaboration with Wētā Workshop. The 2010 film Predators employed the services of KNB EFX Group. Various visual effects studios contributed to the depiction of the Predator's technologies, including its cloaking devices and energy-based weaponry.

Characteristics

As the film series has progressed, the creature's design has been modified in many ways, including differences in skin color and pattern and variations in the design of the masks and armor.

Appearance and capabilities

Broad concept's the same. The difference is, this is a different individual. A different individual of the same species. As is a snake is a snake, but different snakes are different. Their colorings are different, different parts of their characteristics, their facial structures, subtle differences.

 — Stan Winston describing the Predator in Predator 2 and explaining the reason for the varying designs and looks of the Predators.

Predators are physically distinguished from humans by their greater height, arthropod-like mandibles and long, hair-like appendages on their heads that are set into their skulls (popularly perceived as "dreadlocks"). Their bodies are resilient to damage, capable of recovering from multiple gunshot wounds and radiation doses that would prove fatal to humans. Their wounds do, however, require medical attention and they incorporate a portable surgical kit in their armor for this purpose. They are also capable of enduring excruciating pain. Predators are much stronger than humans, easily capable of outmatching a conditioned adult human and shattering solid concrete with their bare hands. They are also skilled climbers and will readily move through trees or across rooftops in pursuit of prey. Though capable of surviving exposure in Antarctic temperatures for an extended period of time, it is implied that Predators have a preference for hot equatorial climates. Their blood is luminescent phosphor green in color. Their vision operates mainly in the infrared portion of the electromagnetic spectrum; they can easily detect heat differentials in their surroundings but are unable to easily distinguish among objects of the same relative temperature. A Predator bio-mask increases its ability to see in a variety of spectra, ranging from the low infrared to the high ultraviolet, and also filters the ambient heat from the area, allowing them to see things with greater clarity and detail. While they are capable of breathing Earth's atmosphere, the creature in Predator 2 is seen using a breathing mask after losing his helmet. Their dietary habits are also mentioned in Predator 2, where it is revealed that the creature regularly visits a slaughterhouse every two days to feed on the stored meat there.

Throughout their film appearances, Predators have undergone numerous design variations. In Predator 2, the main Predator was designed to look more urban and hip than its predecessor. Design changes included tribal ornamentation on the forehead, which was made steeper and shallower, brighter skin coloration and a greater number of fangs. This Predator was made less reliant on its plasma caster, and more cunning with the use of nets, spears and bladed weaponry. In Alien vs. Predator, the appearance of the Predators was redesigned to make them seem more heroic. Redesigns included a reduction in head and waist size, broader shoulders, a more muscular physique, piranha-like teeth on the upper jaw, and dryer and less clammy skin to further differentiate them from the Aliens. In Aliens vs. Predator: Requiem, the Predator was returned to the sleeker design concept prior to Alien vs. Predator. For the so-called "Black Super Predators" in Predators, the designers used the differences between a cassette tape and an iPod as an analogy in differentiating the new Predators from the classic. The Super Predators were designed as leaner and taller than the "classic" Predator design, and they have longer faces, tighter armor, and more swept back dreadlocks. The so-called "Feral Predator" from Prey was described as hailing from a desertic location in another hemisphere of the Predator homeworld. The design aimed to make it scarier and less humanoid, such as more spaced eyes and a bone mask that did not fully cover his mandibles, which director Dan Trachtenberg considered that "allowed for a very visceral, emotional articulation even while it's masked."

Culture and history

The Predator society builds sophisticated spaceships, yet they should not look as sleek and hi-tech as a Star Wars stormtrooper. They are a tribal culture, yet their look should not be as primitive as the orcs from Lord of the Rings. They are also a warrior culture, so the ornate cannot conflict with the practical.

 — Alec Gillis on Predator designs.

Predator culture revolves around the hunting and stalking of dangerous lifeforms. After making a kill, Predators typically skin or decapitate the carcass, converting it into a trophy. If immobilized or at the brink of death, a hunter will activate the mass-explosive self-destruct-mechanism in his wristband, honorably erasing any trace of its presence to its prey. It is often alluded to that the reason Predators hunt is not for sustenance or elimination of threats, but as sportsmanship or rite of passage, as they will normally only attack life forms that have the ability to provide them with a challenge. In Predators, it is revealed that there is a subspecies of Predator belonging to a different tribe -the Super Predators- which are engaged in a long-lasting blood feud with the standard Predators. While standard Predators travel to other worlds to hunt their prey, Super Predators abduct their prey to take to a designated game preserve planet. The film also introduced a pack of spined, quadrupedal beasts used as flushing dogs by the Super Predators. Creature designer Greg Nicotero used hyenas as a basis for the creature's physique and the spines were added later by Chris Olivia.

Predators made contact with early human civilizations such as the Ancient Egyptians, the Khmer Empire, Aztecs, and the Comanche Nation, as well as a fictitious culture inhabiting what is now Bouvetøya. Upon arriving on Earth, the Predators were worshipped as gods by humans, and they taught many of the civilizations how to build pyramids (an explanation as to why many of these different ancient societies had distinctly similar cultures and architecture), but in return expected sacrifices of humans for use as hosts for huntable Xenomorphs (Aliens) — the ultimate prey for initiates. The Predators returned to Bouvetøya every century to consummate the bargain, until at one point in the ritual, the Xenomorphs spread out of control, resulting in the Predators detonating a bomb that obliterated the entire civilization. Relations between humans and Predators deteriorated from that time on; the Predators then viewed humans as little more than another quarry to hunt.

Predators feature prominently in the folklore of certain cultures; some Latin American people refer to the species as "El Diablo que hace trofeos de los hombres" (Spanish for "The Demon who makes trophies of men"), and Jamaican superstition identifies Predators as demons from the spirit world. When hunting humans, Predators normally avoid certain individuals such as children and some adults if they are unarmed, though they will spare armed ones if they happen to be pregnant or sickly unless they are attacked by them. A human who has managed to kill a Predator or a Xenomorph in single combat or has fought alongside a Predator is usually spared by the deceased hunter's comrades and given a gift (often a rare or exotic weapon) as a sign of respect.

A learner's first successful Alien hunt is completed with the marking of his helmet and forehead with the acidic blood of his kill. The hunter generally operates alone. Even when hunters appear in groups, they rarely perform anything that resembles teamwork. Predators use Aliens as prey, creating artificial gaming reserves by keeping Queens and even Facehuggers in captivity. It is shown in a brief scene in Aliens vs. Predator: Requiem that Predators have had prior contact with a race of creatures who resemble the "Space Jockey" in the film Alien. This was confirmed in the film's DVD commentary. Again, in the film Predators, when the group of the main protagonists enters the Predators' camp, there is a brief view of an Alien skull on the ground (as well as the lower jaw of an Alien on the helmet of the Berserker Predator).

Language

The script of the Predators is expressed in the films and other media through written patterns of dashes. These written symbols appear on the creatures' gauntlet displays, their helmets, architecture, and many other surfaces. The most common vocalizations of the Predators consists of a series of clicks, roars, snarls, and growls which consist of recorded vocalizations of animals such as lions, tigers, leopards, jaguars, cougars, snow leopards, black bears, grizzly bears, dolphins, alligators, camels, and elephants. Predators will mimic human language on occasion, and have been shown to use their helmets to understand and speak human languages; some have also learned to speak human languages, even without the use of their helmets as well. Author Steve Perry designed a constructed language set for the Aliens vs. Predator novel series. For Predator: Badlands, a consistent written and verbal language for the Predators was developed for the film by the linguist who created the Naʼvi language for the film Avatar (2009).

History

Film anthology

The Predator species is depicted in the franchise as a technologically advanced alien race that has hunted on Earth for millennia. The earliest evidence of their activity appears in Predator: Badlands, where a Tyrannosaurus rex skull among their trophies suggests visits dating back to the late Cretaceous period. Neanderthal remains, seen in Predators (2010), further imply that early hominins were also targeted by the Predators. The species’ engagement with human civilizations spans a wide range of historical periods, including feudal Japan, Viking-era Scandinavia, and World War II, as depicted in Predator: Killer of Killers.

The prequel film Prey (2022), set in 1719, introduces a more primitive variant of the Predator that uses less advanced technology, relying on metal projectiles and close-quarters combat instead of plasma weaponry. This Predator targets a tribe of Comanche and French voyageurs. While still adhering to a code of targeting armed threats, this iteration is quicker to deviate from its honor code when confronted with a serious challenge. A flintlock pistol, dated 1715, used by a human to defeat the Predator and later recovered by its clan, establishes continuity with Predator 2 (1990), where the same weapon is awarded to a human centuries later.

By the late 20th century, Predators are equipped with advanced technology, including personal cloaking devices, thermal vision, and plasma-based weaponry. In Predator (1987), a lone Predator targets military personnel in a Central American jungle, ultimately discarding its weapons to engage the last combatant in hand-to-hand combat. This film introduces several key Predator behaviors: vocal mimicry, trophy collection, and self-destruction to avoid capture. Predator 2 (1990) shifts the setting to Los Angeles in 1997, where a clan of Predators operates from a concealed spacecraft. The appearance of an elder Predator and the ceremonial gifting of the 1715 pistol suggest a formalized hierarchy and tradition. The presence of a trophy case on their ship—featuring a Xenomorph skull, among others—hints at a broader scope of hunting that extends beyond Earth.

Alien vs. Predator (2004) expands the lore by revealing that Predators seeded early human civilizations with technology and architecture. A buried pyramid beneath Antarctica serves as a ceremonial arena where young Predators hunt Xenomorphs bred from human hosts. This reinforces the idea of the hunt as a rite of passage. A temporary alliance between a Predator and a human survivor suggests the potential for cross-species respect.

In Aliens vs. Predator: Requiem (2007), a Predator is dispatched to Earth to contain a Xenomorph outbreak. His use of forensic equipment and containment measures suggests a structured response protocol and centralized oversight. The film also introduces Predator technology falling into human hands, setting the stage for future developments in the Alien timeline.

In Predators (2010), where two rival subspecies are revealed: traditional hunters and a more aggressive variant that employs alien tracking beasts and engineered terrain. The film takes place on an off-world preserve where elite human combatants are hunted, reinforcing Earth’s value as a source of challenging prey and highlighting internal conflicts over methods and ideology within the Predator species.

This rift is further explored in The Predator (2018) which introduces a faction of genetically enhanced Predators, incorporating human and alien DNA to increase their physical abilities. These Predators target Earth for colonization, exploiting ecological collapse. A rogue Predator, attempting to arm humanity with defensive technology, reveals internal ideological divisions within the species.

Expanded universe

In the Aliens vs. Predator novel series (based on the Dark Horse Comics) by David Bischoff, Steve and Stephani Perry, the Predators are depicted as living in a matriarchal clan-based society bearing similarities to a pack mentality whose strongest and most skilled of the group lead. The Predators are portrayed as sexually dimorphic mammals. It is also revealed that their blood has the capacity of partially neutralizing the acidity of Alien blood. Their religion is partially explored in the series, showing that they are polytheistic, and that their equivalent of the Grim Reaper is the so-called "Black Warrior," who is seen as an eternal adversary who eventually wins all battles.

Predator veterans at a celebratory feast in Aliens vs. Predator: Chained to Life and Death

In Randy Stradley's miniseries Aliens vs. Predator: War, it is revealed through the narration of the character Machiko Noguchi that Predators were responsible for the spread of Aliens throughout the galaxy, though the Predators deny this, stating that their large interplanetary distribution is due to simultaneous convergent evolution.

The comic series Predator and Aliens vs Predator: Three World War introduce a clan of Predators referred to as "Killers," who are enemies of mainstream Predators (here called "Hunters") because of their tradition of training Aliens as attack animals rather than hunting them, as well as their desire for killing as opposed to honorable hunting. The character Machiko Noguchi notes in issue #1 of Three World War that "You have to understand the mindset of the Hunters, and the honor they place on facing a worthy opponent on an equal footing ... a kill is the end result, but it's not the point of a hunt ... For the 'Killers', that wasn't the case. They were all about the killing." They are first seen in the 2009 Predator series, where a number interfere in an East African civil war, coming into conflict with both humans and their Hunter counterparts. By the time of Three World War the Killers are assumed to have been wiped out by the Hunters, but some survive and begin attacking human colonies, forcing Noguchi to forge an alliance between humans and the Hunters in order to deal with them.

In John Shirley's stand-alone novel Predator: Forever Midnight, Predators, now referred to as "Hish," are shown to possess a gland located between their neck and collarbone which secretes powerful hormones into their bloodstream and which drives them to hyper-aggression. When this gland is over-stimulated, it sends the creatures into a frenzied rage, causing them to attempt killing any living thing in sight, including members of their own species. This "kill rage" can be contagious and spread from one Predator to another, driving them all to attack each other. The Predators as a species barely survived the wars provoked by their kill glands, and they have learned to control the gland's secretions with artificial hormone regulators.

In Ian Edginton and Alex Maleev's graphic novel Aliens vs. Predator: Eternal and the videogame Predator: Concrete Jungle, Predator flesh and blood, if consumed, is shown to have the capacity of greatly lengthening a human's lifespan.

Video games

In the first-person shooting video game Call of Duty: Ghosts, Predator appears as a hidden killstreak on the multiplayer map "Ruins" from the Devastation map pack. The player can play as Predator for a brief period by completing a Field Order and obtaining a care package. Predator is also a playable guest character via downloadable content in the fighting game Mortal Kombat X, opposite an Alien.

In the tactical shooting video game Tom Clancy's Ghost Recon Wildlands, a live event titled "The Hunt" was released on December 14, 2017. During this event, players may take part in a bonus campaign mission in the Caimanes district to battle the Predator, with the event lasting until January 2018.

In the 2020 videogame Predator: Hunting Grounds, the predator race appears as one of two playable factions in an asymmetric competitive multiplayer game called 'Hunt' mode. The game mode pits a single, player-controlled predator against four player-controlled, Human spec-ops soldiers called the "fireteam" which is designed to resemble the scenario of the first Predator movie. The premise is that the predator player's only goal is to 'hunt' the fireteam from a 3rd person perspective preventing their escape from the game environment before the time limit expires. This is accomplished using an array of predator weapons and abilities taken straight from the film and comic books, While the human fireteam must work together to complete a series of objectives and escape without being slain by the Predator or hostile AI units playing from a generic, first-person tactical shooter perspective. When the mission begins, the characters themselves are unaware that a predator is conducting a hunt in the same area as their mission, and sets the narrative for why the two factions come to blows. The game itself is a spiritual successor to the original movies, and tells a narrative through a number of fully voice-acted cassette tapes. These fill in the gaps in the timeline and tie certain characters and events from the series together such as "Dutch" (Arnold Schwarzenegger, Predator 1987); Sean Keyes (Jake Busey; The Predator 2018), son of Peter Keyes (Gary Busey, Predator 2 1990); and Isabelle (Alice Braga, Predators 2010). These tapes are fully voiced by the original actors. What the Schwarzenegger's character had been up to between the events of the 1987 "Val-Verde incident", and the game's current narrative set in 2025 is explained in a free-DLC in the form of in-game tape recordings voiced by Schwarzenegger. In 2025 Dutch is in his late 70's, but his life has been extended unintentionally by administering him with captured predator medical-tech. His strength and physical stature are that of a man of 40 years old. After the events of the original film, Dutch devoted his life to hunting down and killing predators, and now acts in the capacity as a consultant and mercenary in the employ of the OWLF ("Other Worldly Life Forms").

A Predator and its ship made a guest appearance in Fortnite Battle Royale as the collaboration outfit for the Chapter 2 Season 5 Battle Pass. One of the many iconic hunters attempted to be hired as part of Agent Jones' initiative to maintain order inside the game, the Predator could not be convinced, instead opting to hunt Jones himself. After accidentally following Jones through a rift into the Fortnite world, the Predator set himself up inside a jungle compound, and is "eager to sample all the new prey the island has to offer".

In the side-scrolling shooter Broforce, the Predator appears as a playable character known as the Brodator. Like the Predator, he uses his signature wrist blades but also uses throwing spears as a ranged weapon. His special skill lets him turn invisible and upon putting in certain button inputs, he can explode before properly dying.

Animated series

Aliens vs. Predator: Annihilation

In May 2023, Alien Day founder Josh Izzo revealed that "10 episodes of a fully completed Alien vs. Predator anime series" had been completed at 20th Century Fox, intended for a Netflix release prior to its acquisition by Disney, had been produced by Eric Calderon and Dave Baker, and directed by Shinji Aramaki, but was yet to see official release from the Disney Vault, despite completion. Originally developed as an adaptation of Dark Horse Comics' The Machiko Noguchi Saga, with Izzio using the comic as the basis for storyboards in his pitch, the series was redeveloped by Aramaki as a "deep future"-set story set years after the events of Alien Resurrection, told from the perspective of a Predator clan (including a cyborg and a bone-weapon-wielding warrior named "Bone") as they hunt down xenomorphs. The unreleased anime series was revealed to be titled Aliens vs. Predator: Annihilation.

Rick and Morty

In October 2023, the Rick and Morty seventh season premiere "How Poopy Got His Poop Back" introduced a member of the Predator species to the franchise in a prominent recurring role, the species licensed from 20th Century Studios to appear in the animated series by Adult Swim. In the episode, written by Nick Rutherford and directed by Lucas Gray, a "Predator P.I." is first alluded to at the beginning of the episode, when Wayne "Mr. Poopybutthole" reveals at his intervention that he hired one to secretly stalk his ex-wife Amy, only on his drunk intervention posse's attempt to win Amy back for Wayne, the group learn the Predator and Amy are now dating. After attempting to steal his son back and being forced to reflect on his life choices, Wayne approves of the Predator dating his ex-wife and raising his son, with Amy introducing him as Gul'Karna, Clan Leader of the Skin Thieves.

See also

• Alien (creature in Alien franchise)

External links

• Predator Females at Alien vs. Predator Central