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.
