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Captain Britain Omnibus

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After Moore, the quality stays strong with Davis writing as well as drawing, before Delano comes in and takes us to the end of the Captain's run as a solo story.

Claremont equips Captain Britain with a solidly traditional supporting cast - relatives, a love interest, a superhero-hating cop - and an origin involving Merlin offering a choice between the Sword Of Might and the Amulet Of Right. But the core story line stands and could even have future legs under a serious creative hand who could escape the 'woke'. But second, Captain Britain becomes a superhero comic again, and to the extent that it creates anything new it creates the "grim and gritty" reboot that came to define the 80s.

The 103 third parties who use cookies on this service do so for their purposes of displaying and measuring personalized ads, generating audience insights, and developing and improving products. The truly gonzo material unfortunately runs out leaving us with stories that are simply very bad (mostly by Larry Lieber) but ropey plots aside this is an attempt to do a Captain Britain that owes something to the Avengers TV show and James Bond - a British take within the Marvel formula. Worthwhile, but if Marvel publishes a collection of just the Moore stuff, jump on that instead, unless you HAVE to have everything, like me. Both are very fine examples of Claremont's own particular tastes in fantasy and phantasmagoria, elevated - as so much of the Omnibus is - by Davis' art. For example: Issue X may feature Daredevil and Spider-Man with a handful of pages at the end dedicated to Captain Marvel.

It's also the first Captain Britain stretch that's honestly enjoyable on the level of being a good children's fantasy comic - with its 3-4 page episode lengths and tight, atmospheric storytelling it could easily have seen print in Valiant or another IPC or DC Thomson title.

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.

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. 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. 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. Story thread is great in later issues, but the whole thing suffers from all the monochrome reproduction in a large portion of the product.

It underlines that Moore had all the ingredients he required for his stint on the comic, which does two things, one very successful, one more ambiguously so. And Captain Britain remains one of the greatest 'superhero' runs I've had the privilege to read yet. Chris Claremont is best known for his work on Marvel Comics' The Uncanny X-Men, during which time it was the bestselling comic in the Western Hemisphere; he has sold more than 100 million comic books to date.

First, Moore is the guy who brings the fantasy elements present in Captain Britain together in a way that feels holistic and which sets a tone for his stories ever since.There are a few printing spots on some of the pages that reproduce the cover pages, posters, promo stuff etc. But ultimately, he doesn't know what to do with the character either, any more than anyone else did. 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. Thorpe left after a falling-out with Alan Davis and Marvel UK editors over an episode which would have stood as an allegory for The Troubles in Northern Ireland - one of a few examples of potential political turns for the strip which were never followed up on.

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