A spaceship crew discovers a crashed orbital factory worth a fortune as salvage. But when the team are attacked by a ravenous swarm of xenomorphs, they take refuge in the rusting hulk. The wreck, however, is not abandoned. Aboard is an aging billionaire industrialist, a survivor from the first human encounter with both Aliens and Predators, a man who has spent a lifetime taking vengeance upon the extraterrestrial hunters. Now his mad plans for revenge have reached apocalyptic scale, and his human visitors realize that their host may be the greatest monster of all.
Edginton sees part of the key to his success coming from good relationships with artists, especially D'Israeli and Steve Yeowell as well as Steve Pugh and Mike Collins. He is best known for his steampunk/alternative history work (often with the artist D'Israeli) and is the co-creator of Scarlet Traces, a sequel to their adaptation of H.G. Wells' The War of the Worlds. With 2000 AD we has written Leviathan, Stickleback and, with art by Steve Yeowell, The Red Seas as well as one-off serials such as American Gothic (2005).
His stories often have a torturous gestation. Scarlet Traces was an idea he had when first reading The War of the Worlds, its first few instalments appeared on Cool Beans website, before being serialised in the Judge Dredd Megazine. Also The Red Seas was initially going to be drawn by Phil Winslade and be the final release by Epic but Winslade was still tied up with Goddess and when ideas for replacement artists were rejected Epic was finally wound up - the series only re-emerging when Edginton was pitching ideas to Matt Smith at the start of his 2000 AD career.
With D'Israeli he has created a number of new series including Stickleback, a tale of a strange villain in an alternative Victorian London, and Gothic, which he describes as "Mary Shelley's Doc Savage". With Simon Davis he recently worked on a survival horror series, Stone Island, and he has also produced a comic version of the computer game Hellgate: London with Steve Pugh.
He is currently working on a dinosaurs and cowboys story called Sixgun Logic. Also as part of Top Cow's Pilot Season he has written an Angelus one-shot.
Crazy gorgeous pencils meet the speed of an amphetamine addict’s perspective in Aliens. Vs. Predator: The Web. Clichés galore are riddled with a level of horror that would please Edgar Allen Poe. Toss in a dash of nihilism, and existential exhaustion and presto!
This story was originally serialized in two parts in Dark Horse Presents #146 and #147. It’s about this asshole billionaire who was a child on the colony from the original Aliens vs. Predator miniseries. He survived (obviously), but his parents didn’t. He got rich and put all his wealth towards eradicating both species.
His plan was basically to lure Xenomorphs and Yautja to a remote planet with a distress call and then detonate a neutron bomb to wipe both of them out. This is apparently something he’s done over and over. Just an unremitting cycle of setting up the trap, luring them in, blowing them up, and setting up the trap again. Whenever a human ship gets lured in, he apparently gloats about how smart he is, decapitates the crew, and places their severed heads in these floating robots to be his mindless slaves. Idk man, it’s pretty gnarly.
The comic isn’t trying to present him as a good guy or anything, but it ends with him concluding that he isn’t really doing this for revenge anymore, he’s doing it for sport because he’s a hunter just like the Yautja and Xenomorphs. And just… no? You’re nothing like them, man. And what’s sporting about doing a genocide with nukes over and over and never being in any real danger yourself? Just a whole lot of dumb here.
This was an incredible short story! This went back to a very small plot in issue 1 that blew my mind when it was revisited! Very interesting theme, watching a victim become an elite hunter himself. I would have wished it had more of a cat-and-mouse chase after the plans were made clear.
This entire review has been hidden because of spoilers.