WILLIAM GIBSON’S ALIEN 3 #2
As Rosetti makes inquiries about Welles and Fox it is made clear to him they are in charge. Meanwhile Hicks tries to calm Newt as Spence and Tully inspect the material recovered from the Sulaco. Also those on the Rodina discover from Bishop’s data banks that Kurtz has become host to something that could be a valuable asset to their enemies if weaponised and make case to get him back at all costs. But it may already be too late, as Fox reveals to Tully and Spence that the station is in lockdown and even he doesn’t know that Kurtz has entered the final stage of incubation. Let the screaming begin.
With only a blur last issue and now the iconic explosive entry to the stage this issue it has so far been a very slow builder. And yes the fun has barely begun as the titular enemy has yet to make it’s presence felt, but I’m sure that will make it all the more worthwhile. As with the xenomorph we have also been missing the final element of the saga and much like Newt I was mostly wondering…
Though we are assured she is in fine fettle she is yet to put in an appearance since last issue and the sight of her in a coma doesn’t bode well. Though it does make sense to invest in the other characters and push her into the background somewhat, it is a bold move as she is as iconic to the story as the other main star, who is also somewhat MIA. As for Hicks and Newt, they are true to their origins. Ever the dutiful grunt marine Hicks just wants to get back to work and Newt is concerned about the danger of dreaming once more and fears she will never see Ripley again.
And the art is what gives the characters their personality here. As much as the political drama was all encompassing there was a little humor to be had and also a little heartwarming reminder of the innocence of our girl Newt. From the sight of Newt watching helplessly as Ripley sleeps we can see the anguish in her expression, only to be reminded of her innocence in her awkward lack of understanding when it comes to Tully’s observation of Welles.
Besides this interplay and the shockingly graphic yet amazingly iconic cover there isn’t too much else to be said about the art this issue. Without the main antagonist there isn’t a lot Johnnie can do to give it center stage as the rather extensive dialogue has overshadowed the art. And I have to admit the use of the political intrigue is one that usually bores me, but it is completely necessary here to build suspense and credibility to the dilemma and backdrop of human greed. The stakes are higher than ever for the Company, even Jackson can feel it.
And as far as setting up the Company as a character this is going great. They are that much closer to realising their agenda than ever seen before, the prize is within their grasp and the dollar signs are writ large in their eyes. Especially in the determination of Welles and Fox. Speaking of Fox I couldn’t help notice the little snide comment from Spence about him and had to secretly wonder if there was a hidden message in there from either Christmas or even Gibson himself.
Was there a hidden agenda in naming one of the corporate suits after the very studio that made the decision to not go ahead with his version of the script? If there is I’m all for it. The narrative so far is giving so more insight into Weyland Yutani than the xenomorph, who has yet to make it’s iconic appearance in full. First in the discussion by Suslov, Kassel and Nevsky on the Rodina we are given a window into the mentality that has made Weyland Yutani the pervasive background villain of the piece for so many years.
They have ever been an enigma shown as the human bogeyman that is lacking empathy and only thinking of humanity as a commodity, capable of utilising it’s own kind to further the corporate goal, or as Ripley once said “screw over their own for a percentage”. And then in the chat between Sterling and Walker we also get a look at the company as it is perceived by those who work for them.
So now we have the definitive reasoning for their Machiavellian scheming. This is something we always knew but it has never been really recognised or vocalised by those involved, other than Ripley herself and a few marines. Not to mention of course the final victims of Fiorina ‘Fury 161’ who for the purposes of this narrative no longer exist. The political divide here shows that they can and will do anything to further their goals and it’s more than just business, it’s global.
Now in the form of Welles and Fox we can see the horror of what humanity does to its own. And while the introduction of the human enemy is made clear, we haven’t even gotten to the main event yet.
William Gibson’s 'Alien 3' #2: What The Fox?
Writing - 7/107/10
Storyline - 7/107/10
Art - 7/107/10
Color - 8/108/10
Cover Art - 9/109/10
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