Cover by Adam Kubert. DANGER ON ALL SIDES! Epsilon Station is overrun with danger, not all of it from Xenomorphs! Cruz holds mission information back from his soldiers, but he's not the only one with secrets. We are not who we say we are.
Phillip Kennedy Johnson earned a Master of Music degree from the University of North Texas, where he served as Teaching Fellow for the Department of Jazz Studies, and a Bachelor of Music degree from Eastern Kentucky University. SFC Johnson has performed with the Lexington Philharmonic, Dallas Opera, Washington Symphonic Brass, and the Moscow Ballet, and was a member of the Glenn Miller Orchestra from 2004 to 2005. SFC Johnson remains active as a composer, arranger, teacher, and clinician, and also enjoys a second career as a writer of comics and graphic novels. His work has been published by DC Comics, Marvel Comics, BOOM! Studios, and more.
Story takes place in 2200. Multinational corporation Weyland-Yutani has power over most of space and they continue their work regarding the aliens. Protagonist is WY retired security officer Gabriel Cruz who has lots of experience with the aliens. We don't know yet how exactly, there's just mentions of it. But by the end of issue 3 it's clear that the connection is important, personal even - "She's looking for you. The one in the dark."
Things start to go terribly wrong when Anti-WY group breaks into Epsilon Station's research lab. One of them being Gabriel's son, Danny. WY pretty much commands Gabriel to go to Epsilon Station to save the specimens of its research. So it begins!
Story is your familiar fight against the aliens type BUT there seems to be a twist coming. Who exactly is "the one in the dark"? Also, Gabriel and Danny do not get along. Will there be a reunion? Or will Danny die?
The art is still goofy, and actually getting into confusing, not only between the flashbacks (which didn't bother me as much as some other reviewers) but also just with the harsh palette shifts that feel like they're an entirely different scene (one particular green backlit adult xenomorph bursting in is the worst offender). This isn't going very well. The deep lore stuff, here (obviously infected) strange livestock on a dead spaceship, has the eerie feel of The Thing, or the original Alien, but when that's just really one panel in a comic that has as many advertisements in it as it has plot beats, it's a bad sign. If the next issue has a really cool cover I'll continue, but beyond that, I'm just done.