Captain Britain

Captain Britain US & UK collections

by Alan Moore

The entire saga of Britain's costumed protector is collected in one volume, with a new introduction by writer Alan Moore. Captain Britain was Moore's answer to the call for a U.K. super-hero, mutant and patriot!

Genres: Comics, Graphic Novels, Marvel, Superheroes, Comic Book, Graphic Novels Comics, Fantasy

208 pages, Paperback

First published February 1, 2002

About the author

Alan Moore is an English writer most famous for his influential work in comics, including the acclaimed graphic novels Watchmen, V for Vendetta and From Hell. He has also written a novel, Voice of the Fire, and performs "workings" (one-off performance art/spoken word pieces) with The Moon and Serpent Grand Egyptian Theatre of Marvels, some of which have been released on CD.

As a comics writer, Moore is notable for being one of the first writers to apply literary and formalist sensibilities to the mainstream of the medium. As well as including challenging subject matter and adult themes, he brings a wide range of influences to his work, from the literary–authors such as William S. Burroughs, Thomas Pynchon, Robert Anton Wilson and Iain Sinclair; New Wave science fiction writers such as Michael Moorcock; horror writers such as Clive Barker; to the cinematic–filmmakers such as Nicolas Roeg. Influences within comics include Will Eisner, Harvey Kurtzman, Jack Kirby and Bryan Talbot.

Reviews

[Gianfranco Mancini · Rating 5 out of 5]

I'm a great fan of the two Alan here, Moore and Davis, so reading at last their run on Marvel UK Cap Britain was just a wet dream made true for me.



They have a shy start, called to revitalize a pre-existing character with all his storylines, and being caged by the short stories magazine format, but author and artist, still not the two current comics books milestones of now, get more and more fun after every issue and quickly explode in all their greatness, experimenting with words and drawings (Davis' clean and fluid artworks get better and better with every issue and are a real eyecandy) and letterally killing and rising again the british hero, topos not so common when these stories were released, making Captain Britain not just an english version of Captain America made by americans, but one of the most weirdest, tragic and funny comic books ever, a real lost gem.



We are still far from the historical superhero revisionism of Moore's Watchmen, but you can find something of that here, and lots of the ideas from his more famous V for Vendetta, that he was working on at the time together with Miracle Man (a character present in this volume too).



Superheroes meet arturian mythos and multiversity distopians with a strong Doctor Who vibe, but knowing Moore worked on crazy british comic anthologies like Doctor Who and 2000 AD, home of Judge Dredd, Slaine and some other of the craziest and greatest characters ever made, it seems just appropriate.



Marvel's "Terra 1" gets here for the first time the denomination 616 and if you are a fan of Chris Claremont's long runs on Uncanny X-Men and Excalibur you are going to have a blast reading this one: you can find here first appearances of Brian Braddock's sister Betsy, well known in the comicdom now as Psylocke, Meggan, Merlin's daughter Roma (the attentions from her demonic daddy in this volume were sometimes disturbing!) and the Siege Perilous, the Crazy Gang, Saturnyne and much more.



And the Fury, unstoppable killer of heroes, is still one of the creepiest villains ever.



Not bad at all for an author famous for hating Marvel, DC and superheroes.



Excelsior!!!

[Ryan Rebel · Rating 5 out of 5]

Okay, so anyone who takes one look at the cover would understandably dismiss it as goofy and campy. But a discerning fellow who takes two looks at the cover will register the name in the bottom left corner--Alan Moore--which is really the only thing that matters.

Yes, Captain Britain is a healthy dose of early Alan Moore, just before he hit it big with V for Vendetta. It's sort of hilarious how little anybody seemed to care about it--there are noticeable typos scattered throughout. Despite that, the art is actually quite good, and the story is Moore in fine form. You can see all kinds of patterns and trends in his work, in their developmental form. Superhero genocide, pre-cogs suddenly unable to see key aspects of the future, the futility of heroism with larger forces at work, etc. etc.

Dipping into this book is sort of like an out-of-body experience. There are all these colorful characters who I've never heard of doing things that I don't understand. But after a few issues, the world feels natural. That's damned impressive, when you think about how alienating the zaniness of comic books can be. And this comic book is zany.

Anyway, I think Moore is one of the greatest modern authors still living, and Captain Britain doesn't have the self-sufficiency and sheer genius of Watchmen, but it has all the great storytelling you could want.

Highlight: the human/machine cyborg hybrid called the cybiote, relentless, indestructible, created for the sole purpose of killing all superheroes, and more specifically, Captain Britain himself. Somehow the thing comes off as way cooler than the Terminator. That's saying something.

[Shannon · Rating 1 out of 5]

This was so outdated that it so too painful to finish. I got 3 issues in before giving up, since there were roughly 17 more to go. The characters were dry and uninteresting, and the story sluggish and confusing. Surely Marvel has better to offer?

[Felix Zilich · Rating 4 out of 5]

Самый неожиданный и приятный подарок от ашетовской коллекции Marvel, быть может, за последние пару лет. Единственный онгоинг за всю карьеру Алана Мура, написанный могучим британцем для этого издательства. Написанный еще на заре его звездной карьеры - с 1982 по 1984 год. Очень сумбурное и бешеное чтиво, в лучшие моменты напоминающее самые кислотные и культовые комиксы 80-х из поколения Doom Patrol’я.

Надо понимать, что британский сектор вселенной Marvel - вещь изначально очень мутная и богатая на ересь: тут и волшебник Мерлин, и параллельные миры, и бесконечные цитаты из Льюиса Кэрролла, и полный игнор всей американской супергероики с её ничтожными проблемами. Добавим к этому, что весь ивент состоит из глав, выдернутых из трех разных онгоингов, где каждый фрагмент включает максимум восемь страниц. То есть материал меняет интонацию и нарратив каждые четыре разворота. Это порядком сбивает с толку, но постепенно затягивает и к финалу вызывает почти детский восторг.

Особенно - команда наёмников Special Executive, которые родом с… Галифрея. Нет, серьезно. Служебный Пёс и его товарищи функционировали в начале 80-х одновременно во вселенной Marvel, а также в комиксах про Доктора Кто.

[Rick · Rating 4 out of 5]

Perhaps, had I read this closer to when it was first released, I’d have given it five stars. But reading it now, it feels like much of what Moore did with his Marvelman/Miracleman series. Don’t get me wrong, this was good and solidly entertaining, but it felt more like the first stab at some themes and ideas by a writer who hadn’t quite figured out how to make it all work yet. Miracleman and Watchemen are definitely better.

[Anthony · Rating 4 out of 5]

When I first started this, I had feelings that I wouldn't be able to finish it. The opening is very dense and very... Alan Moore being Alan Moore. That's not to say the rest isn't dense, because some bits are. But once it gets into the more super hero territory, it's a really good read. I'm glad I took the time to work through the tough bits, because it was worth it in the end.

[Simone · Rating 5 out of 5]

Se volete leggere la mia recensione, cliccate qui!

http://ascwblog.blogspot.it/2015/11/c...

[Tasos Droulias · Rating 4 out of 5]

Ο Τρελός Τζίμ Τζάσπερς (αρχηγός ενός νεοφασιστικού κόμματος) με τη δύναμη να αλλάζει τη πραγματικότητα είναι ένας συναρπαστικός χαρακτήρας.
Όχι τόσο συναρπαστικος όσο η Γουάντα Μάξιμοφ που αλλάζει την πραγματικότητα ασυνείδητα.
Σε κάνουν να αναρωτιέσαι τι συγκροτεί πραγματικά τη πραγματικότητα. Τι αντιστέκεται στα γενικευμένα ξόρκια.

[Adam · Rating 4 out of 5]

A genuinely amazing and mind-bending adventure which, while it does have its moments of quiet, is never boring nor uninteresting. Solid.

[matina.reads · Rating 1 out of 5]

DNF 70%

[Γιώργος Κωστόπουλος · Rating 5 out of 5]

Ενας ηρωας (την υπαρξη του οποιου αγνοουσα) τοσο loser, που τρωει τοσο ξυλο και μπουλινγκ απο τους παντες... τον λατρεψα.

[Rainb0warri0r · Rating 4 out of 5]

All'inizio degli anni Ottanta Alan Moore si ritrovò a dover rivitalizzare un personaggio creato appositamente per il mercato supereroistico britannico. Un'impresa impossibile, dagli effetti inattesi: il genio di Moore, la sua ampia conoscenza della fantascienza (negli stessi anni sperimentata nelle più disparate forme, a cominciare da quella umoristica) e quel tono di tragedia imminente, che arricchiva la paranoia internazionale del decennio, trasformarono un'opera di nicchia come Captain Britain nella pietra miliare del fumetto britannico, che travolse in poco tempo il mercato statunitense.
Ricorrendo alle tecniche narrative più fini, Moore riesce non solo a rivitalizzare il personaggio, letteralmente mettendolo a morte e ricostituendolo da capo, ma va oltre, ridisegnando l'intero cosmo che lo vede protagonista. Gioca con gli universi alternativi e le distopie, mescola citazioni illustri e rimandi più occulti, facendo già intravedere lo spirito di opere molto più tarde (una su tutte: Promethea; la visione magica del cosmo è quasi la stessa). Per non parlare della dimensione sociale e politica: nelle varie distopie Moore rispecchia, come in tanti specchi deformanti, la società inglese del decennio, e senza difficoltà si arriva persino a riconoscere il volto della Thatcher in Vixen, la donna a capo dell'intera criminalità londinese.
L'opera risulta tanto più grande se si pensa agli ostacoli che Moore dovette superare: come se già non bastasse l'arduo compito di subentrare a un altro scrittore, con trame lasciate in sospeso, il formato editoriale richiede degli episodi brevissimi di 8 pagine. Eppure, Moore riesce a concentrarvi una gran mole di materiale narrativo, grazie anche all'imprescindibile supporto delle tavole di Alan Davis (un tratto bellissimo, morbido, una concezione di tavole innovativa), trovando pure lo spazio di aprire e chiudere i mini-episodi con prologhi ed epiloghi.
Tutt'altro che opera giovanile, dunque, tutt'altro che opera di nicchia; da consigliare quasi a chiunque, ai fan di Moore e agli affezionati lettori di fumetti di supereroi, ma anche a chi sa riconoscere negli albi a fumetti valore artistico e letterario che va oltre le logiche di mercato.

[Alberto · Rating 4 out of 5]

Cogí este cómic en la biblioteca sin esperanza alguna. ¿Capitán Britania? Sonaba lo suficientemente casposo como para llamar mi curiosidad.
Al comienzo uno se topa con una saga ya comenzada y la historia parece lo bastante rara como para que algo bueno vaya a cuajar. Por suerte, el que lleva el timón aquí es Alan Moore y tengo la sensación de que el propio guionista estaba tanteando el terreno en los primeros compases, intentando llevar a su terreno las historias del Capitán Britania. Ahí es donde está el éxito. Moore logra coger el toro por los cuernos y crea una locura de trama que implica universos paralelos y un monstruo diseñado para matar superhéroes. Lo mejor es que según avanza la historia nos va obsequiando con cosas que luego encontraremos en sus obras más famosas: es divertido comprobar que aquí está el boceto del Reino Unido tiránico de V de Vendetta y de la caza de superhéroes de Watchmen.
Así pues, una vez salvado el primer escollo, cuando ya estás metido en la historia, no puedes parar hasta llegar al final.
Sí, es otro cómic de superhéroes. Pero este está muy bien.

[Camilo Guerra · Rating 5 out of 5]

Yo soy fanático de Alan Moore, pero siempre había visto en su obra un deje de negativismo, oscuridad y alejamiento del superheroe y su concepto, pero estaba equivocado, era lo que había leído, ya que no había tenido esta obra en mis manos. Captain Britania debe luchar contra dos enemigos muy, pero muy poderosos, salvar el omniverso, arreglar líos de familia, de su origen , de su motivación y eso, no siendo el mejor de los superheroes. Moore nos regala una historia muy divertida, rápida ,llena de matices con unos personajes muy bien creados, unos enemigos que hacen que Thanos sea un 0 a la izquierda , estos enemigos asustan, hacen daño, cumplen las promesas que hacen y eso es de agradecer. El arte de Alan Davis es muy bueno, con esas lineas llenas de energía y dinamismo, resguardadas en una composición de pagina muy clara, sin dejar de innovar y darnos golpes que pueden destruir el universo o una quijada, expresiones muy definidas, diseños para quedarse viendo por mucho tiempo y a través de los números, se encuentra una evolución en su arte muy interesante.

[Your_Average_Magical_Girls_Fan · Rating 1 out of 5]

And here it goes the last thing I ever cared of overhyped treebeard in my entire life! If you dig 60's writing translated in the 80's by an out-of-place mummy filled to the brim with a nonsensical darkness and grittyness due to 80's schizophrenia (for a cool, hopeful flavour of superhero depression check out the works of the tokusatsu/shoujo Maestro Toshiki Inoue like Kamen Rider Kiva, Choujin Sentai Jetman and Changerion) this crap might appeal to you. If you're not into these things and if you, like me, can't stomach Alan Moore even from a mile of distance, avoid it in its entirety. I guess I don't really like ANYTHING of the guy at the end of the day, and even a re-read of his Spawn short story would prove my sour distate for him, his writing, his ridicolous pretentiousness (fully at display here even from the first pages on), everything concerning him. Good riddance.

[Tomás · Rating 4 out of 5]

Moore...
Miré miles de listas al estilo "top 10" de obras de Moore y esta no aparecía. En fin...
Tengo obra favorita de Moore nueva, desplazando horriblemente de su puesto a V de Venganza o Watchmen. Se nota a un Moore más suelto, mucho menos "cascarrabias" y el guión es una maravilla.
Recomendadísimo para cualquiera que quiera leer un cómic de calidad, bien escrito y bien dibujado (Alan Davis la rompe y este ni siquiera es su cómic más conocido o comentado..)

[Adam · Rating 2 out of 5]

Gah. Weird read this. It's messy and disjointed, concept-rich but fails to tell a coherent story or build a convincing character.

Weirdest thing about it, though, is how much it reminded me of Grant Morrison: the bits I didn't like felt like GM's time on JLA or New X-Men, while the bits I did like made me think of GM on Animal Man, or even Doom Patrol. Odd.

[Trece · Rating 1 out of 5]

Vale mas por curiosidad y completismo, por apreciar el germen de Moore comenzando a desplegarse con la historia de este personaje incompetente que apenas es super y menos heroe.

[Devero · Rating 2 out of 5]

Buone storie classiche, forse un poco troppo verbose.
Ad una rilettura ci si rende conto che non sono invecchiate molto bene.

[Matt Aukamp · Rating 5 out of 5]

I used to think of this as one of the lesser Alan Moore stories, but upon re-read, I think its one of his absolute best.

[Ed · Rating 5 out of 5]

Just how do you defeat a nightmarish, relentless, indestructible, inter-dimensional super-predator, unleashed by an insane, reality-warping mutant; especially when it’s already killed you once before?!

It’s the age-old question…😉

When I was a child in the mid 80s, I was fortunate enough to acquire a copy of The Daredevils #1, containing the 8 page instalment ‘A Rag, A Bone, A Hank of Hair’, which makes up chapter 3 of this Crooked World compendium. I never got to read the rest of the story arc until now. This brief vignette saw Captain Britain brought back from the dead, to enable him another opportunity to defeat the terrifying and seemingly unbeatable foe who sent him to his grave.

It made a big impression on me, and introduced me to the work of two of my favourite contributors to the field of comics, Alan Moore and Alan Davis, who themselves were in the relatively early stages of their careers at the time. I remember thinking that it’s study of mortality and philosophy felt quite grown up compared to other Marvel titles I had read previously….

“In the end, the darkness swallows everything. Space vanishes, time is no longer a memory. All is lost in the numb and silent depths of forever.

Captain Britain is dead.

And what then? When the flesh is discarded is anything left? Is there a light that pierces that terrible final shadow? Some say yes, some say no. Some pretend not to care but they do. We all do. All of us fragile and temporary things.

Are there cities in the wilderness beyond the fields of life? Are there soaring immortal spires that shine with a pure and heartbreaking beauty? Alone on our tiny ball of mud we stand shouting questions at a deaf sky. Where will we be when the lights go out? Where do we go when we die?

And there is no answer and so we busy ourselves with the task of ignoring our mortality. We make glorious war. We make angry gods. We make sad and bitter love. But between our frantic labours there are chinks of silence. Moments when we hear the small and frightened voice that whispers in the long night.

Where? Where do we go when we die? Will there be vast palaces alive with light and laughter? Will there be people there waiting beyond that last grey curtain. And if there are, what manner of creature will they be? And if there are, what, oh what, will they think of us?”

Wonderful thought provoking words!

Other aspects of this fabulous anthology that set it apart from the Marvel US comics of that era, and give it a quintessentially British feel are the employment of eccentricity along the lines of The Avengers (John Steed & Emma Peel, as opposed to Earth’s Mightiest Heroes), as well as Alan Moore’s allegorical portrayal of the rise of right wing politics at the time. A theme which he developed further in V for Vendetta. I also noticed that he touches upon the theme of the past, present and future existing in the same moment. Something that he so memorably explores later on in Watchmen.

My review may be slightly rose tinted, but I thoroughly recommend this early masterpiece by two future comic book legends, and am so glad that I finally got to experience the whole saga as an adult, having witnessed a small snapshot as a boy.

[Charles Parke · Rating 4 out of 5]

While rereading this I tried to explore Alan Moores love of the British comics that came before. Robot Archie (created 1952 called Android Andy here), The Spider (created 1965 called The Arachnid here), Dan Dare (created 1950 called Roy Risk here) Steel Claw (created 1962 called The Iron Tallon here), Tim Kelly (created 1962 called Tom Rosetta here) and Dolmann (created 1966 called Puppetman here) are referenced here and all except Dan Dare return in Albion (plotted by Moore and written by his daughter Leah Moore and her husband John Reppion), General Jumbo (created 1953 called Colonel Tusker here) appears and seems to inspire Colonel Lilliput and toybox in Moores Top 10, The Special Executive (from Moore's Dr Who strips) fights alongside Captain Britain for a time and reappear in Excalibur (some members such as Cobweb and Legion appear in Top 10). The plot of the public turning against heroes is explored more fully in Watchmen, Albion and thru the superhero migration in the origin of Top 10. Several of the same British comics characters also appear in Grant Morrisons 2000AD strip Zenith such as Robot Archie, Colonel Tusker and Steel Claw. Jackdaw (the Captains sidekick killed of by Moore) first appeared in Incredible Hulk Weekly and Moore references the Incredible Hulk as a major reason for the public turning against superbeings here. As well as Psylocke (later to join the X-men) and X villian Sebastian Shaw appear in Moores run of Captain Britain. The Mad Jim Jaspers Moore created also returns in Uncanny X-Men/Excalibur and other x books. Another possible reference applies to whether Merlin here is the Dr from Alan Moore's Dr Who Strips (the Seventh Doctor finds one of his future selves would take on the name Merlin in Battlefield, the Eighth Doctor used the alias Merlin while assisting King Arthur's birth in One Fateful Knight, The Tenth Doctor later claimed that he was once called Merlin by King Arthur in the COMIC Fugitive)

[Philmore Olazo · Rating 2 out of 5]

I guess I was expecting more from this book.

It has its moments but overall, it feels like a missed opportunity.

To really get what’s going on here, you kind of need to be familiar with the earlier Captain Britain stories, the ones with the terrible original costume. That backstory lays the foundation for what Moore’s trying to do.

The story kicks off with Brian being flung by Merlin into an alternate reality (Earth-238), a broken world where superheroes have been wiped out and reality itself is rotting, and it’s starting to affect other universes.

Eventually, we return to Earth-616, where the real threat shows up: Mad Jim Jaspers, a powerful reality warper whom has achieved great political power. He rises to political power, becomes Prime Minister, and starts a full-blown crackdown on superheroes.

There’s also a lot going on in the background. The introduction of Brian’s sister, Betsy Braddock (later known as Psylocke), the multiversal Captain Britain Corps, and many side characters like Saturnyne, Gatecrasher’s Technet, and the AI under Braddock Manor, Captain UK, a survivor from the destroyed Earth-238, arriving to warn Brian, but some of it just feels like fluff or undercooked worldbuilding that never quite pays off.

For all the big ideasI feel that there’s not enough space to develop them properly. The pacing is weird: slow and dense early on, then suddenly fast and chaotic when it really matters. Jaspers’ rise to power, the persecution of heroes, and the sheer existential horror of The Fury all deserve more weight, but the story rushes through them before they can really land.

[Ferio · Rating 4 out of 5]

Bien para no sentir empatía previa con el personaje. En un mundo globalmente americanizado (metonimia para decir imperialismo cultural estadounidense) ya no tiene excesiva cabida un sector puramente británico de los personajes de la Marvel, pero entiendo que en su época tuvieran su público.

Lo que más me ha gustado es que se repiten las obsesiones temáticas de Moore con respecto al advenimiento del Fascismo en el Reino Unido (como en V de Vendetta), aunque con una inspiración lejana/tufillo a sagas como Days of Future Past de los mutis o la primera Civil War; por desgracia, están menos desarrolladas que en el tebeo del anarquista y se ven sustituidas, como mandan los cánones, por un montón de personajes vestidos con pijama pegándose mamporros. Que ni tan mal, por otra parte, que a veces echa uno de menos este espíritu en los tebeos modernos.

Como en otras obras del autor, tampoco podía faltar el soliloquio interno y profundo de un personaje durante el momento de mayor intensidad dramática: es obvio que sin ese ingrediente no se puede cocer un buen Fin del Mundo, ¡habrá que usarlo más!

[Oliver Bateman · Rating 5 out of 5]

The exceptionally creepy art from the great Alan Davis elevates what stands as his best collaboration with Alan Moore. When Moore isn't overwriting (as he does in Miracleman and Swamp Thing, even though they're grand) and instead focuses on meta-superheroics in that dark early-to-mid 80s style, he's the finest writer of that sub-genre. When paired with a collaborator like Davis (who's so underrated he's overrated, or perhaps finally properly rated?), the work truly sings.

Highly recommended. The story flows effortlessly in its short UK magazine-format chapters while delivering considerable impact. Together, Moore and Davis created what are arguably comics' greatest contributions to two character types: the trippy mind-power mutant villain in Jim Jaspers and the perfect killing machine in the Fury android.

[Freddie Domaille · Rating 4 out of 5]

It's actually nuts how influential this comic was for, quite seriously, every single title published by Marvel since. Nobody would have predicted it at the time, and most fans probably don't even realise it now. I'm not just saying it's good because it's significant, it's also just good in terms of the quality and originality of the writing and the art.
It's also nuts for several other reasons, but very much in a good way.
The Alans are both absolutely brilliant in this, even if their run starts off a little wonky, but that's fair given how Moore had to pick up half-way through a story he wasn't involved in beforehand.
It can be hard to make a supervillain that's actually scary; they made two.

Also, and this is my favourite tidbit, the Special Executive team are from Gallifrey and the events of this story can be found on the Doctor Who Wiki. Do with that information what you will.

[Kayo Fernando · Rating 3 out of 5]

a história é boa, mas a maneira que Alan Moore e Alan Davis adaptaram ela deixou ela melhor, mas seus personagens são bem mais ou menos, uns até são ruins. hq nada divertida de se ler, mas é uma hq boa para acompanhar o personagem capitão Britânia, pois somente nela você sabe toda a trajetória do herói até aquele ponto. minha experiência foi negativa, foi cansativa, também por fatores como a leitura que é um pouco complicada, com algumas narrações muito formais e nem é pelo fato de ser uma hq antiga, mas foi pela maneira que quiseram estrutura-la. meu veredito é um nota 6, mas entendi totalmente a intenção que queriam fazer, acho que para melhorar poderia aumentar seu conteúdo para aprofundamento nos personagens e na tragédia de um mundo distorcido, pois botar uma baita espectativa de ser um puta de um vilão e ele morrer depois de somente 3 capítulos minúsculos é paia.

[Matthew · Rating 3 out of 5]

Tricky one, you can totally see why this has been included as Alan Moore’s only contribution to Marvel, it’s certainly befitting of a place as a Graphic Novel of note. Thing is it’s very of it’s time, tackling counterculture, strange ethereal characters, the threats of Fascism. The problem is the plot (or perhaps more accurately the lack of one) is also frequently completely impossible to grasp. At times the entire story feels impenetrable and incoherent. It also though has moments of incredible power and beauty. It’s like a ProgRock weed smokers delight of a book which I’m sure Moore would be delighted to hear to be honest.

[J A SPONG · Rating 4 out of 5]

Quite unlike any Marvel comic I have ever read. This story would be the only time that Alan Moore has contributed to the Marvel Universe but he certainly made an impression on Captain Britain's life. The artwork by Alan Davis is incredible, full of everything that the mind of Moore could conjure up and proving that he is one of the most versatile artists in the business.

I cannot even comment on the story as if you have any interest in the medium of comics, this is a story that you must read just to experience an Alan Moore / Marvel comic. But be prepared for a journey into madness.

[Tim B · Rating 5 out of 5]

The cover says it collects material from X-men Archives Feat Capt Britain 2-8, but really it collects Marvel Super-Heroes 387-388, The Daredevils 1-11, and Mighty World of Marvel 7-13.

Very interesting collection telling the Jaspers Warp storyline. Meggan appears for the first time. There is plenty of fantasy, magic, political satire, and heartfelt elements. The story can have strange pacing and be a bit choppy, but that does not distract from the enjoyment.