Warrior #2

Apr 1982. Cover price 50p.
52 pages. B&W contents.
Quality Communications Ltd.

Edited by Dez Skinn.

Cover by Garry Leach.

Contents:

 2 Twilight World Illustration by Jim Baikie.

 3 Warrior title credits. / Contents / Indicia

 4 Marvelman Untitled part two, w: Alan Moore; a: Garry Leach.

10 Comic Showcase advertisement for The Old Comic Shop, London; a: Marshall Rogers.

11 The Life, Death & Earlier Days of Axel Pressbutton, Esquire text feature by Dez Skinn; illustrated by Steve Dillon & Curt Vile [Alan Moore].

15 Quality Mail Sales (two thirds page) in-house advertisement for mail-order service.

16 V for Vendetta Chapter Two: The Voice w: Alan Moore; a: David Lloyd, lettering by Zelda Estrella.

23 Father Shandor, Demon Stalker River of Corpses... Tower of Death w: Steve Moore, from a plot by Dez Skinn & John Bolton; a: John Bolton.

r: House of Hammer (Top Sellers, Ltd.) #16 (Jan 1978).

30 Madman Visions of Stasis w:/a: Paul Neary.

35 The Spiral Path Untitled w:/a: Steve Parkhouse.

40 Laser Eraser and Pressbutton Untitled w: Pedro Henry (Steve Moore); a: Steve Dillon.

49 Dispatches text feature.

50 Roar - the Movie (half page) advertisement; w: Dez Skinn; a: Steve Dillon.

51 HOH Collector's Item Back Issues in-house advertisement.

52 People Like Us Shop at... Forbidden Planet advertisement; a: Brian Bolland.

Under a cover which doesn't quite work as an iconic representation of Marvelman, there's another quality outing for Quality's groundbreaking title. As an entry to the issue, moving straight into the Marvelman saga is a strong statement - there's no need for an editorial, or introduction, or commentary, for so assured and confident is this work that any extraneous fluff would merely be wasted. Of course, it could merely be due to a lack of space...

News reports speculate on events at the Larksmere nuclear power station, with rumination about the nature of one man's second degree burns, and the identification of "a man-like object rising into the sky at a tremendous speed." Mike, still in his Marvelman form, arrives home to Liz, who doesn't recognise him. Talking over coffee, Mike explains his past to Liz about working as a copy boy for the Daily Bugle, and seeing a vision which conferred upon him miraculous powers. Liz laughs at the ridiculous nature of his story, claiming his account sounds stupid.

"I suppose you're right. Actually saying it out loud like that, it does sound... Well... Pretty unlikely. I never really thought about it before. But I had to believe it. Don't you see? I was Marvelman! I was a being of almost unlimited power!!

And I wasn't the only one. Within a year I was joined by another young man with 'atomic powers' like mine. His name was Dicky Dauntless...

You're laughing again.

This was the first time that the nature of a superhero's origin story was acknowledged in-universe as being patently idiotic, although the dialogue is handled so well that it doesn't really feel as if the text is being deliberately transgressive. With Liz's laughter stopping once the sincerity of Mike's words become apparent, he relates his final adventure with the Marvelman Family - his friends murdered in an a-bomb explosion aboard a sky fortress hanging over the North Sea.

Building up a serious background to the strip, with a similarly-powered individual, angered at Marvelman's return, hinting at future stories. There's a superb humour in the strip, which isn't something usually noted about Alan Moore's writing, but he has a fantastic sense of who these characters are, allowing levity to arise from interaction.

Axel Pressbutton's adventures had been running in Sounds for a good while when he began appearing in Warrior, so a history of the character, with the strip's inception covered, as well as a checklist of appearances, is a very welcome addition. While there aren't enough reprinted strips included to get a feel of the ongoing narrative, there are enough to satisfy curiosity - as well as, incidentally, encouraging people to hunt down elusive copies of Sounds.

V for Vendetta continues with investigations into V's activities, though nothing can be discovered about his identity or location despite immense manpower being invested. A cover story for the explosion is concocted, going so far as to come up with a plausible reason for the fireworks. V introduces Evie to his Shadow Gallery, his home, where he has collected literature, paintings, and music which the government has banned.

Was I the only one who thought of Droopy when seeing that final panel?

It is appropriate that high and low culture should mesh throughout the strip so well, being equally susceptible to challenges from self-appointed moral guardians - the very people Moore sets out to target here. With some very accomplished artwork, and beautiful lettering, the intimidating scenario in which V and Evie find themselves in is perfectly captured. As omnipresent eyes and ears paying attention to the populace is made literal, one can't help but feeling the rise of surveillance culture was acutely predicted.

A Father Shandor reprint is, perhaps, too close to original publication to be really appreciated. Following such a strip with Madman, which begins this issue, is extremely disorienting - one minute we're following a rather stylish story set in the past, and the next... Well.

Martin Schiller, an epileptic, finds himself in care, and is eventually rendered catatonic where he receives visions. A strange man gives him a substance which sends Martin back to stasis, stating:

"There are six hundred and thirty three different elements of existence... and each possesses an earth which differs slightly from all the others! The people of most of these earths have recourse to stasis through some means or another... Our Earth lies in the 18th element and we are involved in a vast struggle against all the other existences, Martin... and we need your help!"

Told only to trust those from the 18th existence or the Observers - who are neutral, and above reproach - on his journey.

It is an incredibly odd strip, with comic-book conventions, such as multiple realities, vying with the more realistic fate of Martin's physical body. To say that it is difficult to get a handle on the scenario and main character is an understatement. It doesn't quite work for me, with far too much incident and not enough set-up.

Across the plains of Tairngir they marched - the Legion of Lost Souls - doomed to eternal battle for their relic-king Artûk.

And all who stood in their path must perish... Or else fly for their very lives!

Artûk! Lord of death, prince of the air, stealer of dreamers' souls. A triumph of demented will over dead flesh!

The Spiral Path is proving to be the hidden delight in Warrior, with Nuada racing through enemy lines - despite being injured in his attempt, he faces the captain of the enemy forces, who may be more than any warrior could expect to defeat.

Small details add to the texture of the world, and there's enough questions hanging in the air to make the series truly compelling.

Picking up events on Ormuz, Laser Eraser and Pressbutton finds the pair preparing to reach Thaxdon Industries through security forces. Axel displays a dislike of plants, and - encountering an android - Mysta concludes that they have been set up by the Dendrellian Order of Assassins, and as they rush to escape from an explosion she realises that Arterius Donthax is likely behind events. Donthax, seeing how the duo have managed to survive his plots, tells Zirk that he has decided to inform Ormuzian security where Mysta is.

Having to fight their way through wave after wave of officers determined to apprehend them, Axel and Mysta manage to reach a space-cruiser Mysta had hidden, and when they are safely in space Axel asks her to explain why Donthax wants her dead, and how she got mixed up with Dendrellian assassins.

The mix of strips is wider than in any comparable title, and though the issue is light on text features, what is present is of great interest. The paper isn't the best, and the lack of colour interiors is a slight drawback for Marvelman, though on the whole this is a very impressive issue. There's a lack of laugh-out-loud comedy, but there's a solid mix of SF, fantasy, social commentary, and... whatever Madman is.

Hulk Comic #1

07 Mar 1979. Cover price 10p
24 pages. B&W contents.
Marvel Comics, Ltd.

At last... in his own comic!

Edited by Dez Skinn.

Cover by Brian Bolland.
Sal Buscema Hulk head placed on Bolland Hulk body.

Bagged with free Hulk sticker album and stickers.

Contents:

 2 Hulk Comic Introductory page. / Indicia

 3 The Incredible Hulk UNTITLED [Storm Over Arbory] w: Steve Moore; a: Dave Gibbons.

 6 The Black Knight UNTITLED [Rare Blood Delivery] w: Steve Parkhouse; p: Steve Parkhouse, i: John Stokes.

 9 From Trebor Double Agents H.Q. advertisement.

10 Watch out Hulk! Rampage Monthly now features The X-Men (one third page) in-house advertisement. / Journey into the world of the Weird -- the Occult -- the Magical (one third page) in-house advertisement for Rampage Monthly. / The Micronauts (one third page) in-house advertisement for Star Wars Weekly.

11 Nick Fury, Agent of S.H.I.E.L.D. UNTITLED [Seven Stars, Seven Missiles] w: Steve Moore; a: John Richardson.

15 2 More Triumphs from Marvel (half page) in-house advertisement for Savage Sword of Conan and Starburst. / 111 Stamps (All Different) Free (half page) advertisement for Bridgnorth Stamp Co. Ltd.

16 Ant-Man The Man in the Ant Hill w: Stan Lee; p: Jack Kirby, i: Dick Ayers.

r: edited from Tales to Astonish (Marvel Comics) #27 (Jan 1962).

19 Don't Miss the Latest Issue of Marvel Comic (half page) in-house advertisement. / On Sale Now - Spider-Man Comic (half page) in-house advertisement.

20 Night-Raven UNTITLED [] w: Steve Parkhouse; a: David Lloyd.

23 Star Flight News Zero Minus 15 (half page) advertisement for Starflight Rocket Fleet model toys. / Every Week Marvel Comic (half page) in-house advertisement.

24 The Incredible Hulk is just too big for only one comic! in-house advertisement for Rampage Magazine.

There's something slightly off about Bolland's cover, which isn't entirely successfully made to fit Marvel house style by the use of a Sal Buscema head, though the use of new material - any new material - in a Marvel title is to be celebrated. It is unfortunate that this bold start is immediately paused for a preview of the contents which offers nothing save for a promise of free gifts in the subsequent issue. A small text introduction is always preferable to these clip art-like illustrations. Thankfully, the selected images are mostly good, though I'm not sure what to make of Ant Man.

Victim of Gamma Radiation, Bruce Banner now finds himself transformed in times of stress into the most powerful creature ever to ealk the Earth.

Arbory is in the midst of one of the most vicious electrical storms in living memory, which has plunged the inhabitants into darkness. The Hulk, struck by lightning, is somehow able to hold the charge - glowing incandescent blue - which terrifies locals, believing aliens have landed. A mugging, suddenly illuminated by the Hulk's accidental intervention, turns to murder when the victim recognises his assailants. Fleeing the scene, they run into the Hulk...

A very slight story, with an amusing use of the Hulk's body chemistry to propel the plot. For a three-page strip, this has an awfully high body-count, highlighting the casually-handled mortality rate in superhero comics. There's also the problem of the Hulk's haircut, which is especially distracting. The ending has the hallmark of old morality plays, which seem very dated now, though oddly works to the story's advantage.

Somewhere in the skies over South-West England a military helicopter in engaged upon a mission of mercy... Carrying vital medical supplies to a hospital in Cornwall, cut off by freak storms and blizzards...

As the cloud cover breaks, the pilot observes the Black Knight flying through the air on his steed, a distracting enough sight to cause a crash. The Black Knight lands in order to determine the nature of the pilot's quest, and - upon learning that a rare blood type is being transported - decides to take matters into his own hands. Far below, old Sarah Mumford - out collecting firewood - considers the 'dark rider' a bad omen, while an armed Harrier takes off with the intent of taking down a UFO. Or an unidentified knight on his flying horse, if you prefer.

Mordred, learning of the Black Knight's return, sets his nightmarish birds of prey loose. Two rockets manage to dismount the knight, and...

The story cuts off, mid-scene. While the story serves as a perfectly reasonable introduction to the character, having such an abrupt ending really affects the way the story is received. There's a great atmosphere delivered through very attractive art, but there are too many events crammed into the first installment, without explanation, that I'm left feeling slightly short-changed by the strip. I've got a feeling this is a story which would greatly benefit from being read through without interruption.

Thousands of feet above the Eastern seaboard of the United States, a gigantic Heli-Carrier hangs motionless and quiet... the mobile command headquarters of the organisation known as SHIELD...

Utilising the training room to keep in top shape, Nick Fury is distracted by the sudden appearance of seven glowing stars in a circle - long enough to allow a blast to hit him, numbing his arm. Duggan races to shut the power down, though Fury deals with the problem himself, blasting the control unit. Sidney E. Levine, "Gaffer," SHIELD's weaponry expert and inventor, and Carlyle Pallis, head of SHIELD's internal security, are summoned to investigate whether the stars were the result of malfunction or sabotage.

Fury gets Duggan to accompany him on a separate line of investigation, but come up empty in the records. Gaffer and Pallis report that someone replaced components, as well as installing a hologram projector behind panelling. Before anything else can be revealed, the Heli-Carrier goes on Red Alert - a missile which splits into seven warheads is about to strike. They are stopped, and a trace of the final detonation pattern reveals a pattern identical to that which appeared in the training area.

This is a beautiful, and SF-heavy, introduction to Fury, with enough background to tie the story to American comics, and a decent mystery for him to solve. While Richardson is no Steranko, he gives the visuals everything he's got - occasionally nearing iconic imagery, as with the shot of Fury, gun held in front of him. It isn't an entirely successful opening, but has a quirky style I could grow to like.

It all began only a few weeks ago. Pym was working on a fantastic project. A secret serum. Anything could be reduced in size and shipped for a fraction of the cost! An entire army could be transported in one airplane... And finally... for Henry Pym, success!

Another outing for the origin of Ant-Man, albeit a curtailed one. It isn't bad, but overly familiar thanks to repeated appearances.

Night-time in the city, in a downtown hotel room a high-level business conference approaches stalemate...

As negotiations between criminal groups break down, Night-Raven makes his presence known. Escaping out a window as gunfire ricochets around him, Night-Raven grabs Granacco and pulls him up to the roof. Distracting two of the mobsters, he sneaks back to the conference room and brands the third criminal, leaving his calling card before departing unseen.

While the story is paper-thin, the atmosphere generated in the strip is far more resonant than the rest of the title combined, instantly setting a tone slightly darker than mainstream Marvel usually employs. There aren't many characters who brand their enemies, and this is the big selling point for the character.

And no, in case you were wondering - the sticker album wasn't located with this issue.

Captain Britain Vol.2 #1

Jan 1985. Cover price 50p.
36 pages. B&W contents.
Marvel Comics Ltd.

Edited by Ian Rimmer.

Cover by Alan Davis.

Contents:

.2 Classifieds

.3 UNTITLED (quarter page) editorial by Ian Rimmer. / Captain Britain illustration from strip, a: Alan Davis. / Freefall Warriors illustration from strip, p: Jerry Paris, i: Steve Parkhouse. / Indicia

.4 Captain Britain Myth, Memory and Legend w: Jamie Delano; a: Alan Davis, lettering by Steve Craddock. Edited by Chris Gill.

16 Abslom Daak, Dalek Killer UNTITLED [23 Charges of Murder, Pillage, Piracy, Massacre, and Other Crimes] w: Steve Moore; a: Steve Dillon.

r: Doctor Who Weekly (Marvel Comics Ltd.) #17 (06 Feb 1980).

20 The Mysterious Night-Raven UNTITLED [] w: Steve Parkhouse; David Lloyd.

r: Hulk Comic (Marvel Comics Ltd.) #01 (07 Mar 1979).

23 Paragon of Painthorpe Street, part one, text story by Steve Alan; illustrated by Jeff Anderson.

27 Freefall Warriors Freefall Warriors Introduction to characters.

28 Freefall Warriors Warworld w: Steve Parkhouse; p: Jerry Paris, i: Steve Parkhouse. Edited by Alan McKenzie.

36 Spidey Watches advertisement.

Proudly boasting an Eagle Award Winner stamp, despite it appearing to be clumsily added. Alan Davis' cover illustration is perfect for the relaunch of the series, perfectly capturing the character's nature in a fourth wall-breaking pose. The choice of red text is interesting and eye-catching, adding to the appeal of the issue - an extremely restrained cover, considering several text-heavy examples published by Marvel over the previous decade.

Ian Rimmer's introduction tempts fate in a manner which would prove prophetic:

There are two ways we'll get to know your views if you are unhappy with anything... you can write to us via the Captain Britain Communications page, or you can stop buying the title.

Not that we want to remind him of those words.

Chief Inspector Dai Thomas gives a slide-show to his superiors where he outlines his theory that Brian Braddock and Captain Britain are the same person. Lining up corresponding dates and locations, Dai attempts to make clear that the presence of superheroes is a threat to civilians. Dai requests authority to investigate Braddock, as innocent lives are in danger as long as he operated unchecked, but is told to refrain from taking action. Brian, meanwhile, is relaxing in Braddock Manor with his sister, but admits that he enjoys the thrill of being Captain Britain. As they talk, someone watches from outside.

A remarkably low-key way to begin the series, yet very effective. The use of jigsaw puzzle-shaped panels is the kind of visually attractive trick which elevates what is usually drab flashbacks into something which retains interest throughout - the slide-show presentation is also handled meticulously, as befits such an impressive creative team.

Abslom Daak isn't a perfect fit for the title, but his strip is well worth seeing again, as is Night-Raven. It is a shame that such a reliance on reprints is affecting the title from the start, but when reprints are this good it doesn't really matter. Paragon of Painthorpe Street is a welcome change of pace - a text story about forty-eight year old Redmond Jonah Pringle, a rather mundane man who dreams about superheroics - reminiscent the stories in John Varley's Superheroes anthology, it doesn't tie in to the main strip in any way, but is still entertaining.

Free-fall Warriors, created by Steve Parkhouse and Dave Gibbons, is an odd bunch.

Cool Breeze
The latest development in bio-engineering from the laboratories of Intra-Venus Inc. But unknown to the executives of that company, an extra factor had been built into this android's genetic code - the "soul" factor!

Big Cat
The Free-Fall Warriors' maximum leader. Originally a mercenary flier, leader of the Hellcats Flight - he's capricious, vicious and vindictive. One quality sets him apart from his human counterparts... He can see in the dark!

Machine Head
Originally human, massive implants transformed this operational high flier into one of the most devastating weapons in the Intra-Venus armoury - a Dive Fighter of Warworld!

Bruce
Product of the surgeon-sculptors of Rubicon, this shark-faced weirdo started life as a "sub-spacer," cruising the lower strata of sub-space and pouncing on victims as they passed. In short, a pirate. Once wrecked on the planet Mahmoud and raised to deity status by stunned aborigines, he had bestowed upon him the gift (or curse) of invulnerability in battle. Seems to have held good so far.

We don't actually see them in action - save for Big Cat's piloting skills - so it is far too early to say whether I like this or not. Far too short, though with some beautiful artwork, it's the type of story which 2000 A.D. could have easily accommodated. Does it add to the overall quality of the issue? I'm going to be optimistic - on the strength of all the ideas floating around, along with the quality of art, the strip shows a lot of promise.

Warrior #1

Mar 1982. Cover price 50p.
52 pages. B&W contents.
Quality Communications, Ltd.

Edited by Dez Skinn.

Cover by Steve Dillon, c: Garry Leach.

Contents:

.2 Laser Eraser & Pressbutton Untitled illustration by Garry Leach.
.3 Contents / Indicia
.4 Freedom's Road Editorial by Dez Skinn.
.5 Marvelman ...A Dream of Flying w: Alan Moore; a: Garry Leach.
13 Marvelman The Mightiest Man in the Universe text feature by Dez Skinn.
17 The Spiral Path First Prologue w:/a: Steve Parkhouse.
22 A True Story? w: Steve Moore; a: Dave Gibbons.
24 The Legend Of Prester John w: Steve Moore; a: John Bolton.

32 V for Vendetta Chapter One: The Villain w: Alan Moore; a: David Lloyd, lettering by Zelda Estrella.

38 Father Shandor, Demon Stalker Spawn from Hells Pit! w: Steve Moore & Dez Skinn; a: John Bolton.

r: House of Hammer (General Book Distribution) #08 (Mar-Apr 1977).

44 Laser Eraser & Pressbutton w: Pedro Henry (Steve Moore); a: Steve Dillon.
50 Warriors All text feature on creators

There's no sense of historic importance within the pages of the first issue of Warrior, but the watershed moment is there nevertheless. Steve Dillon's cover isn't the best the title would have, and Axel's leg looks strange - or, I should clarify, stranger than usual. That the cover doesn't feature either Marvelman or V for Vendetta (which, all these years later, could be considered the big-ticket stars) is somehow appropriate. Warrior has a sense of calm assurance in its' contents, best summed up by Dez Skinn's editorial:

Personally, I've always felt embarrassed when looking back on first issues I've been involved in. We've usually managed to get things right after a few issues, but not this time. We wanted to get it right first time round.

You can read that as arrogance if you like, but he's not wrong. It a mission statement which would soon show just how far from standard the title was to be. The title feels weighty, it looks good, and the contents...

Marvelman's return to the printed page stands out not because it is a British superhero, but because it is a superhero story without ridiculous strained faces, bulging muscles, and hysterical, hyperbolic dialogue so familiar to the genre. Right up until the appearance of Marvelman, in a blaze of lightning, the story could have been for a Doomwatch or The Professionals strip. It is set in the world around us, rather than one in which people take to the skies with abandon.

While the accompanying feature is a brief three-and-a-half pages, it fills in the history admirably. A regular series of articles, with greater focus on key moments of the character's past in each, could have been more helpful for readers without any knowledge of Marvelman and the (often very strange) friends, foes and adventures associated with the title. And some of us really, really like the war stories. Unfortunately, the reprinted panels show just how important good lettering is on the printed page - one aspect I would gladly see tinkered with for reprint purposes.

The Spiral Path has a fast-moving introduction which breathlessly informs us of the important details, though doesn't skimp on style in doing so. The land of Tairngir, invaded by hostile forces, is the setting, and King Galbrain - now deposed - approaches the furthermost border with a handful of his warriors, riding through torrential rain. A druid assists them as enemies approach, leading the men to a place in the mountains where they can shelter. It has the feel of a world where life is cheap, and fans of Game of Thrones should take to it effortlessly.

Comic strips about comic strips often walk a thin line - too cartoony and you are in fourth wall-breaking territory, while too serious a strip can be hard to take enjoyment from. A True Story? straddles the line with finesse, believably set in a solid world before dropping into the ninth dimension with exquisite ease. Dave Gibbons draws aliens as if they are real. They are beautiful in their own way, and the story they exist in is amusing enough to justify its inclusion.

Taken from a 12th century tale, The Legend of Prester John is set during the sixth crusade, and features the most unlikely of protagonists - Sir Randolph, too old to defend himself, and suffering from an ailment of the lungs. He is saved from certain death at the hands of heathens, and in his shocked state is convinced that he glimpsed the form of Prester John. Sir Randolph tells the story of Prester John to Ganelon, the son of his saviour. It is an understated story, beautifully written and drawn, and accomplishes more in seven pages than many can manage in twice that space.

Alan Moore and David Lloyd's V for Vendetta should need no introduction. Chiaroscuro visuals, ridiculously detailed in places, are complimented by masterful lettering which bleeds into the images. There are flourishes which elevate the story in subtle ways - chapter titles, reminiscent of silent movies, set the pace. V's mask, three-dimensional in design, recalls the free cardboard masks given free in Buster and the like, and signal the character as a mythic hero. We are deep in Scarlet Pimpernel territory, albeit one without the safety net of an assured happy ending.

Laser Eraser & Pressbutton takes what could have been an entirely predictable outing and turns expectations around in an amazingly short page count, proving that the range of material approached by the title would not be constrained by expectations. On the planet Ormuz, seemingly influenced by the cityscape in Blade Runner, Oris Pelagon is assassinated by a sniper (prompting the funniest line in the issue), and the pair of miscreants responsible... Well, those are our heroes.

Mysta "Laser Eraser" Mistralis and Pressbutton are soon made aware that their target, Venivi Divici, a dream-racketeer, wasn't the subject of the hit, but Oris instead. Worse, he was the Minister of Weather, not to mention a duly-elected Priest of Skatl. Threatened with arrest, Pressbutton does his thing, which isn't a thing we get the privilege of witnessing, but is assuredly a thing which leaves three people dead.

The feature at the back, in which Warrior creators are given brief biographies, is better than it sounds and not as out of place as it seems. Unfortunately, it doesn't go far enough in certain regards - we don't, for instance, get birthdates for all the contributors, chronological lists of works at the time, nor a cohesive layout. A minor quibble, perhaps, but the staggered layout really is distracting for me.

Capping off an exceptional debut, the Forbidden Planet advertisement at the back is classic Bolland.

Revolver #1

Jul 1990; Cover price £1.65.
52 pages. Colour.
Fleetway Publications.

Edited by Peter K Hogan.

Cover by Rian Hughes.

Contents:

.2 We've Got the Thrill Power! in-house advertisement.

.3 Hello, This is Revolver Contents page / indicia.

.4 Purple Days UNTITLED part one, w: Charles Shaar Murray; a: Floyd Hughes, lettering by Gordon Robson.

15 Dan Dare, Pilot of the Future Dare part one, w: Grant Morrison; a: Rian Hughes, lettering by Ellie De Ville.

24 Pinhead Nation UNTITLED part one, w:/a: Shaky Kane.

26 Happenstance and Kismet UNTITLED part one, w: Paul Neary; a: Steve Parkhouse, colouring by Bernie Jaye.

32 Rogan Gosh UNTITLED part one, w: Pete Milligan; a: Brendan McCarthy, lettering by Tom Frame.

40 Dire Streets UNTITLED part one, w:/a: Julie Hollings, lettering by Eliza.

47 Nine Inches to the Mile w: Igor Goldkind; a: Phil Winslade, lettering by Bambos.

50 Outro text feature.

51 Marlboro Classics advertisement.

52 Into the Past With the Future advertisement.

For a little while at the start of the nineties Revolver was regarded as the future of British comics. A shade more mainstream than Crisis, yet skewing more towards the audience cultivated by Deadline rather than those who had been reading Eagle or 2000 A.D.. The style of the title is dominated by Rian Hughes, whose iconic design style permeates the comic without overloading on unnecessary elements - the contents page is remarkably clean and simple though doesn't feel under-developed.

Purple Days is a rich, textured and intelligent script, ably illustrated by Floyd Hughes, without relying on the any of the iconography associated with Jimi Hendrix. There's a warmth and humanity which draws the reader into the life of the musician, and certain panels still manage to punch above their weight, such as when Hendrix states that he has completely given up all drugs forever. The connected narratives spread across his life pull every ounce of drama to the fore, and there are moments which come as a surprise.

The end is, frustratingly, abrupt. One of the problems when dealing with serialised material which is intended to be collected is that it can often feel like the installments aren't sympathetically tailored to the anthology format. A minor quibble, all things considered.

Unfortunately I have to address Dare again.

It's an smart, well-put-together script, and Dan isn't wildly out of character, but there's something about the handling which feels off. It isn't necessarily that melancholy doesn't feel appropriate (being set at the end of his life), though that is partly responsible for the sense that this isn't so much a sequel as an alternate version entirely. The links with the original stories are maintained through Rian Hughes' art, which combines retro-futurism with simplified extrapolations of the design type which Hampson would likely approve.

While Dare works as a narrative, it is one which isn't in the spirit of the original, and feels more exploitative than nostalgic. I wanted to enjoy the story for what it was, but the beautiful Eagle stories loom large in the imagination. Without recognising the strengths of the moral certainty which made the character so appealing leaves a hollow centre to the story.

Pinhead Nation isn't really a story, per se, as it is a moment in the lives of the characters. Delightfully silly, and a palate cleanser after the hand-wringing of that strip. Shaky Kane's work is always entertaining, and this is one of the better introductions to his style.

Happenstance and Kismet is the best strip in the comic, with inventive language, clever plotting, and thoroughly unlikeable characters. Paul Neary is as accomplished at writing comics as drawing them so it shouldn't be surprising that he steals the show, but the writing here is mad. Lucius Kismet translates juicy stories for a French tabloid, and has a drinking problem who claims drunken ramblings are merely a sign of his loquacious lyricality, while Monty Happenstace is an inveterate gambler. Every panel is a delight.

The relatively sedate opening to Rogan Gosh suggests that a character study of Rudyard Kipling is on offer, but rapidly escalates into a series of surreal visuals and non-sequiters which culmitates in Rogan Gosh, a karmanaut sought out by Kipling, appearing in a present-day curry house rather than accepting death. It is incredibly difficult to judge the story from the first installment, as things aren't spelled out in a manner which enables complete comprehension of events.

Milligan is a writer who often surprises with concepts which are difficult to summarise properly, and who seems to take delight in being odd. With Rogan Gosh he pushes further against the structure and form of comics than at any other point, and most of the joy is to be had seeing how he manages to present his ideas. Brendan McCarthy does a superb job in maintaining a solidity to the fluid and free-wheeling plot, and provides some startlingly good illustrations,

Revolver doesn't rest on the madness Happenstance and Kismet or Rogan Gosh throws at the reader, as Dire Streets is a kitchen-sink drama with all the socially-relevant content required of the genre. There's a nice twist to the tale, but it feels rather lightweight after the previous material. Had the story appeared elsewhere, it is likely that it would have been lauded as a modern classic, showered with awards, and adapted for television.

Nine Inches to the Mile is back to being weird for the sake of being weird, but does so with such aplomb that it would be churlish to criticise it. The tongue-in-cheek script rattles along at a quick lick, and the art contains enough humourous elements to rise above similar non-stories which attempt something approaching philosophy.

The reference in Outro to a resurgence of British comics is, in retrospect, hopelessly optimistic, and the comparison to the sixties hangs too much hope on the thinnest of premises. As with most anthologies there is a disconnect between the strips which no amount of editorialising can brush over - there was never going to be a happy compromise among the readership for trippy, psychedelic material and the more grounded strips.

Would it have been better to launch two titles for the different audiences? Maybe. But brought together, the contents strangely work in unison to present a notion of the possibilities a full-colour mainstream title could accomplish. While uneven, and in places self-indulgent, Revolver is a remarkably likable comic. It is also a beautifully-designed comic, with enough small touches to retain interest even on the driest of text pages.