Escaping through the wilderness in the hope of finding a sanctuary to hide from the Xenomorph invaders, the Spinners find much, much worse than anything they faced in their colony when one of their number insists upon tracking down a fellow survivor.

Jane, her condition worsening, is hiding another secret – one which is perhaps seeing the religious beliefs of the Spinners playing out to a prophesied conclusion, but which isn’t going to be pleasant even for the survivors…

Though characters act frustratingly stupid at times in a way that feels like the sort of plot contrivance we saw in films such as Prometheus and Alien: Covenant, there’s some interesting stuff here – albeit buried under the stiff and awkward art of Salvador Larroca once again, which even fluffs a creature reveal that should have been an awful lot clearer than it was. There’s some very interesting and long overdue additions to the Xenomorph menagerie that make their debut; Larroca’s terrible framing aside, we do get a reasonable glimpse at the new monsters – but the ‘original’ Xenomorph is once again featured a bit too heavily. With Larroca clearly relying heavily on photo reference, the fact that entirely new creatures aren’t well displayed could be due to his lack of any reference with these creatures. I sincerely hope we get a new artist once this second story arc concludes.

Again, I’d go so far as to say that it’s not essential, even for fans, but it does at least bring a few new ideas to the table – despite the promise of the religious, technology-free colony backdrop not really being put to as much use as I hoped it would be at the outset.