Captain Britain Omnibus

Captain Britain (1985) #1-14

by Alan Moore, Alan Davis, Jamie Delano

One of the Marvel Universe's most staggering sagas from two of Britain's most remarkable writers, reprinted in total for the first time Captain Britain fights to save a universe...and fails But a single reality is small change in the game Merlyn's playing against Mad Jim Jaspers, who's rewriting reality so he's the center of the universe Worlds collide, heroes and villains die, and Captain Britain's beside himself - except when he's fighting himself...to the death Featuring the first appearances of the metamorphic Meggan, Opal Luna Saturnyne, the Captain Britain Corps, and more Plus: Psylocke joins the X-Men, and the X-Men join Captain Britain on a cosmic quest into the secrets of life and death The fiendish Fury, the horrific Horde, and the malevolent Mojo are only a few of the adversaries who await within Also guest-starring the New Mutants and Captain America Collects Marvel Super-Heroes (UK) #377-388, The Daredevils (UK) #1-11, Captain America #305-306, Mighty World of Marvel (UK) #7-16, Captain Britain (UK) #1-14, New Mutants Annual #2, and Uncanny X-Men Annual #11.

Genres: Comics, Graphic Novels, Marvel, Graphic Novels Comics, Anthologies, Fiction, Comic Book

656 pages, Hardcover

First published November 1, 1987

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

[guanaeps · Rating 4 out of 5]

This omnibus begins right after the “Siege of Camelot” epic; Merlin sends Brian Braddock back to his universe, and gives him some new threads and powers. This is where the legendary Alan Davis shows up and changes Captain Britain for the ever and for the better. This is September 1981.

For the first few issues, the comic lacks direction and the book suffers for it. Sure Alan Davis on the artwork makes every page a joy to experience, but that can only last for so long.

Then along came Alan Moore in July of 1982.

Picking up the pieces of a confusing and meandering story arc, Alan Moore came in and gave the series a new sense of purpose and a very real sense of danger. This is the nectar of this omnibus—the Alan Moore issues. Within these issues, Alan Moore introduces a multitude of concepts, such as giving the Marvel universe the designate Earth-616, multi-versal variants of characters—the idea of Captain Britains being protectors of the “Omni-verse”, reality-warping mutants, the fury, to name a few.

Alan Moore takes Captain Britain on a wild multi-versal ride, again combining the ideas of fate and destiny and further cementing Brain Braddock as a savior of the universe type. Truly the stuff of legend.

Post Moore, the comic falls on its face again. Jamie Delano tries to make keep things interesting, even using threads left by Moore's run, but ultimately comes up with 14 issues of just okay comics. There's some good moments, but on the whole the fire was gone.

Delano's biggest contribution would really end up being the bringing of Betsy Braddock into prominence—a character which would eventually become the immensely popular X-men character known as Psylocke under the guidance of Chris Claremont. Indeed, the omnibus ends with two X-men annuals focusing primarily on Betsy Braddock and her harrowing experiences that would shape her into the “Psylocke” character that most people are familiar with today.

Ok I'm lying—the omnibus actually ends with two Captain America issues guest starring Captain Britain and one of his old baddies, but these are on the whole pretty forgettable.

The extra features in the back are a treasure trove of history, and a wonderful look into the past, all of which lead to one conclusion: Alan Davis is the fucking man. As he himself relates in his foreword to the omnibus, “I just wanted to draw super heroes.” And thank the universe for that.

4.5/5, as the Jamie Delano stuff is just banal, but everything else in this book is some kind of gold.

[Tim Pendry · Rating 4 out of 5]

There is a minor bit of weirdness in the 2021 edition of this Captain Britain Omnibus, the apparent writing out of Alan Moore as significant player in the commentary despite Moore producing the most impressive run of issues in the eventual development of the 'Jaspers Warp' story line.

Both Alan Davis' Forward and Jim Krueger's Afterwards and Afterwords contain the same cryptic 'Edited for Content' which may or may not be relevant. Maybe it was a matter of squabbles over 'unpaid invoices' surviving forty years on. Who knows and who honestly cares any more?

Be all that as it may, although an incomplete representation of Britain's answer to Captain America, this Omnibus has enough to provide sufficient lore, to show a distinctive British tone to the hero and to mark out the character as Marvel UK rather than Marvel stateside.

He is a creature very much of the early 1980s where there were genuine fears of fascist takeover. Political themes are surprisingly dominant even after Thorpe was displaced for being too political (ironically) by the perhaps more subtle Moore.

Thorpe's story lines from the 1981 re-boot begin the Omnibus which could be seen a mash-up between Valiant, Marvel and 2000AD [founded in 1977] in style (very British). The troubled history of the creative activity behind the character can be read on Wikipedia for those interested enough.

The bottom line is that Marvel allowed and sponsored (no doubt under pressure from young British creatives) a unique and stand-alone super-hero who could be periodically integrated into the Marvel Universe and has been ever since.

Brian Braddock as Captain Britain (and his many multiverse iterations) has the virtue of always being the same essential representative of a national ideal while he or she transmutes constantly into new variants of national destiny and dies and resurrects as magic competes with science.

Moore introduces a cosmic element with a Moorcockian omniverse and set of multiverses. Merlin represents Clarke's oft-cited notion of magic being merely undiscovered science and the relationship between magic and science with rebellious politics suits Moore to the ground.

It also suits the British national character (certainly of that period) where gloomy dystopian fears, a dislike of bullies, a penchant for the supernatural, a respect for practical science, a relative lack of interest in space-faring and a sense of history can co-exist in uneasy balance.

When Moore leaves (over 'unpaid invoices'?) the series weakens substantially but that does not make it bad just a little less interesting and more episodic. Eventually it declines into an X-men 'riff' on intolerance as the logic of Moore's world is explored to its natural limits.

The final two entries have Chris Claremont (Captain Britain's creator) giving Captain Britain a role in exploring the X-juniors' 'teenage angst' in creditable stories whose main purpose seems to be transfer Braddock's sister to the New Mutants story line as Psylocke.

Captain Britain is a character who probably never got his full due but this might be because of his internal contradictions. He was a figure of intense national pride who appeared just when the generations who read 'Commando' were giving way to a more liberal generations of kids.

Some later iterations seem to avoid 'politics' by emphasising the magical elements of his origin story although he subsequently gets integrated into the Avengers' story lines and is certainly not allowed to die off as an integral character although never again one of the top-liners.

Captain Britain will eventually become like a pair of well worn and comfortable carpet slippers no one wants to chuck out for sentimental reasons but where no one is prepared to go out and invest in new slippers with any conviction.

Moore bridges the early contradictions by making Captain Britain a determined fighter against fascism and intolerance while retaining his link to Albion. Grant Morrison subverted this with a prose horror story about Captain Gran Bretan (1986) where the magic is malign.

At least Morrison thought he was worth subverting!

Today, Captain Britain is possible but problematic. To be true to his creation could place him unwittingly somewhere on the nice side of the national populist camp but to deny his 'national meaning' could be to make him a laughable 'woke' nonentity, an add-on to a plethora of US heroes.

So, this book is like a snapshot of a culture when it was still possible to be anti-facist, patriotic and good, a self-questioning fighter against intolerance, all at the same time, before cultures started to divide. He is still in the top 100 in terms of aesthetic appreciation but not popularity.

Moore followers should certainly include it in their reading. Many of the themes of 'V for Vendetta' (1988-1989) and perhaps, Americanised, 'Watchmen' (1986-1987) are to be found in his Captain Britain work from 1982-1984.

Claremont's fertile attempt to Anglicise Captain America and trigger a British allegiance to the Marvel Universe was only a very small part of his formidable output but we should note that, out of it, he created a 'plausible' narrative for Psylocke that enhanced his X-men Universe.

From a British perspective, I suppose we can see 'Captain Britain' as a noble failure and, if we were sour, as both the product and victim of American cultural colonialism. But the core story line stands and could even have future legs under a serious creative hand who could escape the 'woke'.

Yes, he still appears and is dealt with creatively when he does even if he is not the figure that he was in the early 1980s. Despite more recent attempts at revival, he has not broken the barrier that would let him back into superhero eminence. Perhaps the UK market is simply not large enough.

[Leonardo · Rating 3 out of 5]

This is an expensive and rather unsatisfying omnibus that neverthless would deserve at least one more star if it had focused on Alan Moore's contribution to the story. Although the legendary comic writer's contribution is downplayed to the maximum, his handling of a multiverse story is very clever and exciting, and it predates the current multiverse trend by almost four decades. Other sections of the comic are rather generic and even mediocre (particularly the X-Men and Captain America issues in which Captain Britain appears as a guest star). A short story by Grant Morrison ("Captain Granbretagne") offers an interesting and eerie variation on Captain Britain's origin story that also makes this volume worthwhile reading. In short, this is an anthology that leaves a bittersweet taste behind: an essential reading for anyone interested in the multiverse, but way to expensive for anyone who is not a diehard Alan Moore or Captain Britain's fan.

[Michael · Rating 4 out of 5]

600 pages of this are pure gold. Just lovely stuff, much of which was a mystery to me because of the way Marvel reprinted the stories in the early 90s. Unfortunately I won't pretend that I had much interest in the early stuff... or the Claremont stuff, really.

[Sage · Rating 3 out of 5]

This is a tough one to review. I think overall the story was very well executed as was the art direction. I enjoyed reading this but was very frustrated by the early format. See early Captain Britain stories were relegated to the back pages of Marvel's UK re-prints... .similar to Spider-Ham and Marvel Tales.

For example: Issue X may feature Daredevil and Spider-Man with a handful of pages at the end dedicated to Captain Marvel. This resulted in an almost newspaper-esque feel for the story.

That being said, I'm impressed with the job that Moore and Davis did and enjoyed the book. Worth reading if you're a fan of Excalibur or want some back ground on Psylocke.

[Patrick · Rating 3 out of 5]

Capitán Perú

[Matty Dub · Rating 3 out of 5]

Alan Moore’s lesser 80s work, featuring ideas that would be better used later on in Miracleman, V and Swamp Thing.

This review is for his issues only:
Marvel Super-Heroes 386-388
Daredevils 1-11
Mighty World of Marvel 7-13

Great art by Alan Davis.

[Shannon Appelcline · Rating 5 out of 5]

Marvel Super-Heroes #377-386. The pre-Moore issues are surprisingly good, with a first look at Captain Britain alternate realities and the introduction of some pivotal characters [7/10]; except the out-of-sequence Paul Neary issue which can pretty much be skipped [3/10].

Marvel Super-Heroes #387-388, The Daredevils #1-11, The Mighty World of Marvel #7-13. Alan Moore’s run is phenomenal, starting with the Fury and ending with Jaspers’ reality warp. It’s not just the plot, though, there are many character moments that are exquisite [9/10].

The Mighty World of Marvel #14-16. The three in-between tales by Davis and others are OK, bringing Captain Britain back down to Earth, but not exceptional [6/10].

Captain Britain #1-14. The Jamie Delano run is good, but fairly standard superhero fare. His last couple of issues are a bit better, thanks to the shocking return of Slaymaster, and he does quite a good job of wrapping up plots going all the way back to the start of the Captain Britain run [7+/10]. … The Cherubim backups by Mike Collins are barely worth reading because there’s nothing interesting in the characters or the plots [4/10].

New Mutants Annual #2. The Wild Ways / New Mutants Annual is a pretty good character piece for the New Mutants and a very nice integration of Captain Britain and Pyslocke into the X-Mythos. On the downside: brainwashing and bodywarping is very much a Claremont cliche. I would have much preferred to have this innocent Psylocke remain with the New Mutants, rather than turning into the super-cool Ninja X-Man Psylocke [7+/10].

X-Men Annual #11. The whole tempted by their greatest desire trope gets old, and I’m really not convinced by some of these “desires”. Nonetheless, this is a surprisingly good story with a great ending [6+/10].

Captain America #305-306. These last couple of issues are mainly a waste. They’re a couple of big fights whose only value is to introduce Mordred the Mystic to the Britain mythology [4/10].

Overall, it’s the Moore and Delano issues which make this volume great. It’s nice to have the rest to get the “whole” story.

[Patrick · Rating 3 out of 5]

Mojo has never been a favorite of mine, Stories with Mojo in it always seem a little forced to me, and this is not exception.

[Ruz El]

I picked this up since it is early Alan Moore. Well, not even Moore can save this cosmic mess.

[OmniBen · Rating 5 out of 5]

(Zero spoiler review for the expanded second printing omnibus) 4.5/5
Despite its rather considerable size, this omnibus is effectively only about 400 pages long. For everything that comes before about page 700, and everything after page 100 or so, doesn't actually exist. You think it does. It certainly appears to, given its rather significant physicality. But Captain Britain only exists between 1982 and 1985. Captain Britain was only written by Alan Moore, Jamie Delano and Alan David. And Captain Britain was only ever drawn by Alan Davis. And Captain Britain remains one of the greatest 'superhero' runs I've had the privilege to read yet.
For anyone who caught my wistful, fawning praise of The Question omnibus only a few weeks ago, this aforementioned run on Captain Britain stirs up many similar emotions as that brilliant omnibus. A character who has occasionally popped up here and there over the years, being butchered, retconned and generally destroyed, especially in more recent times. Yet both of these runs birthed something extraordinary into the comic lexicon, for a fleeting handful of years. I adored this run of Captain Britain, and now I never ever want to read anything else from this character again. Nothing, and I do mean nothing will ever touch the stories, the structure, the sentiment that Moore, Delano and David gave us. It takes the greatest aspects of sci-fi, fantasy and superhero comic storytelling, mashes them all up into a short but transcendent run, then in a flash, and I do mean literally, as it ended so abruptly, I felt a tightness in my throat when I turned the page and realised it was over. A sudden loss I'm still reeling from, at least a little.
Moore's contribution, although amazing, was rather short. When it ended, I prepared for the inevitable drop in quality... but it never came. Quite how Delano was able to continue writing as if Moore never left, I'll never know. Alan Moore in his heyday was some hefty fuckin shoes to fill, and Delano filled them with aplomb. Even Alan David, whose has instantly leaped onto my favourite artists of all time list after this, was able to intermittently take over writing duties and acquit himself more than admirably. Sure, it wasn't quite Delano or Moore, but if the man could draw like that as well as write to beat the GOAT, then I would be calling a priest, cause there's no way the man could be human.
Despite my proselytising, this omnibus does have another 800 or so pages of content, which run the gamut from acceptable to good, to even great on very rare occasions. The silver age stuff, especially that featuring Captain America is cheesy as hell, with only the biggest silver age fans likely able to stomach it, yet its decent for what it is. Despite the dearth of material here, it really is the 3-400 pages that make this book what it is. It would be worth the price of this chunky boy for those few hundred pages alone. Sheer brilliance.
4.5/5 for the Davis run. 2.5/5 for all of the rest.


OmniBen.

[Jaq · Rating 3 out of 5]

So much crammed on the page left me feeling overwhelmed.

[G. Salter · Rating 4 out of 5]

Interesting collection of different takes on the same character across various writers, including early work by the legendary Alan Moore.

[Claudio Calia · Rating 4 out of 5]

Ne ho scritto (un po') qui:
https://www.obloaps.it/quasi/2024/04/...

[Clayton Greiman · Rating 3 out of 5]

Alan Moore's "Jasper's Warp" is the definitive Captain Britain tale; it's the measure by which all other Brian Braddock stories should be measured. Alan Davis on art, Mr. Moore as writer=pure brilliance.

The 'sequel' by Jamie Delano is engaging until it falls prey to delving into the character of Meggan (for which I have never held an affinity).

Chris Claremont shines in The New Mutants annual, especially in the manner he scripts Cypher and makes the character so patently academic.

The X-men annual is memorable for Psylocke ripping off her outer skin to reveal a steel form underneath. The 80's Psylocke, deceptively weak in her lavender gossamer, had an immense amount of potential, and I yet mourn her transformation into a thong-wearing ninja.

What knocks the omnibus down considerably is the closing chapter Captain America/Captain Britain team-up. Of all the Brian Braddock stories Marvel could include in an omnibus, I don't understand why this one merited inclusion. It's lackluster and horrifically dated.

[Kris Shaw · Rating 4 out of 5]

Alan Davis is one of my favorite artists/ writers, and it is fascinating to watch him evolve here. His early CB is pretty rough, and it takes a while for this book to actually get good, but when it does (around 50 pages in), it takes off. Alan Moore handles the writing for quite a while and does a fantastic job of rebooting the character. Jamie Delano picks up the writing chores after Moore leaves and also does a bang-up job. Captain Britain becomes a lovable buffoon in these pages, and this book picks up where the Panini UK trades left off. I have the first three of those, and am awaiting the release of the fourth (which was supposed to be out months ago already), but they don't touch the quality of this material. Loads of quality DVD-style extras in the back of the book made this well worth the upgrade from the two inferior Captain Britain trades that covered a portion of this 600+ page monster.

[Mike Thomas · Rating 4 out of 5]

I remember reading the early adventures of Captain Britain in the mid 70's and enjoying them, even though I was only 7 years old. This was an adventure from the early 80's after they revived the character and gave him a new uniform, and dispensed with his 6 foot staff. I enjoyed this story,it was nice and mental and plenty of action, all in all a good graphic novel.

[Craig · Rating 3 out of 5]

Alan Davis is the unifying thread here, but it is still interesting to see each new author's contributions to the CB mythos and how everything relies on previous continuity. I appreciate the placement of Linda and Betsy as two strong female anti-stereotypes (one a nerd and the other a model, but both superheroes). And what ever happened to Alison Double...?

[Craig · Rating 4 out of 5]

An excellent collection with great extras, let down only by some dodgy issues inserted, to me, for no obvious reason.

[Emily Matview · Rating 3 out of 5]

This doesn’t quite hold up to the best of Alan Moore, but it’s a solid superhero read. Alan Davis’ pencils still hold up nicely.

[Ryan K Alford · Rating 5 out of 5]

A triumphant masterpiece. Maybe even the greatest superhero comic of all time.

[Chris · Rating 4 out of 5]

Worth reading.