Captain Britain Weekly #1-39;
Super Spider-Man and Captain Britain #231-253;
Hulk Comic #1, 3-30, 42-55, 57-63;
Marvel Super-Heroes #377-388;
The Daredevils #1-11;
The Mighty World of Marvel #7-16;
Captain Britain #1-14.
New Mutants Annual #2
X-Men Annual #11
Captain America #305-306
The Knights of Pendragon #1-18
Captain Britain and MI13

Shortly after I discovered the work of Alan Moore I learned that he had written Captain Britain for Marvel UK and I immediately wanted to read those stories. In 1987, Chris Claremont and Alan Davis collaborated on Excalibur Special Edition and I again wanted to read those Moore/Davis Captain Britain stories. A year later, the popularity of the Excalibur ongoing series led to the release of a trade paperback collection of the last 17 installments of Captain Britain’s UK series. These stories were very good, and although they were drawn by Alan Davis, they had been written by Jamie Delano. I still wanted to read those Alan Moore stories! Finally, in 1995, Marvel released a Captain Britain mini-series (somewhat deceptively titled X-Men Archives: Captain Britain) which featured the stories immediately predating those contained in the tpb, drawn by Alan Davis and written by Dave Thorpe and… Alan Moore!

I was familiar with earlier appearances of Captain Britain in his original costume (from Marvel Team-Up #65-66 among others) as well as more recent appearances (such as New Mutants Annual #2, X-Men Annual #11 and Captain America #305-306), but I was interested in the significance of his sartorial shift. The first story in X-Men Archives: Captain Britain #1 cleared that up, but the stories began in medias res (or so I had perceived at the time), and I wanted to know what happened before that!

Flash forward nearly 15 years to 2009 and the recently concluded Marvelman/Miracleman discussion which got me interested in Captain Britain all over again! Marvel recently released a Captain Britain Omnibus, and judging by the costume the title character was wearing on the cover, I was about to have my curiosity slaked at last! So I culled some duplicated comic strip collections from my shelves and traded them in for the hefty volume, only to discover it contained only the Thorpe/Moore/Delano and Davis stories I already owned! But I also found out that all of the original stories I was interested have been collected in British editions.

So starting soon I will begin to cover Captain Britain’s entire UK run!

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(Quick correction: The chapters in the Delano/Davis run are 10-12 pages each, not 6-8, as I'd said. Still they fit a lot into a short space. Some of these single chapters could have been 2-3 full-issue stories.

Also, I'm sure it is way more difficult to produce an 11 page story every 2 weeks than a 22 page story every 4 weeks.)

I figured something was holding you back as you seemed to be champing at the bit to get on to the next bit of the Captain's saga.

Ah well. Gives me time to read the last few chapters.

It's difficult as I always get thirsty when Brian reaches for the cut crystal whiskey decanter!
Mmmm! Which reminds me - its Friday! (With me anyway Photobucket)

No prizes for guessing where I'd be if my wife left me to my own devices for a weekend.
I read my favorite comics multiple times over the course of many years, but until this morning, the four I’ll be dealing with today I had read only one time each.

New Mutants Annual #2:

The early 1980s marked the height of my love affair with Marvel’s merry mutants, but by 1986 the shine was decidedly off the rose (to mix a metaphor). To this day I have yet to read Ann Nocenti and Arthur Adams’ Longshot mini-series. Perhaps that why, when Chris Claremont began to introduce characters such as Mojo and Spiral to the X-titles, my attention waned. Now, with the madness of Moore and Davis and Delano still fresh in my mind, I find myself quite well equipped to deal with the confusion of Claremont.

Actually, the introductory sequences do a good job of both filling the gap between the Braddocks’ last appearance as well as setting the mood for the story to be told with various scenes set “last year,” “last month,” “last week,” “last night,” and now!” Apparently editor Ann Nocenti felt most readers would be familiar with Longshot’s supporting characters because Claremont doesn’t do as good of a job introducing them as he does Brian and Betsy. No matter; the story can easily be read from the confusion of their point of view, and a reader taking that tack could easily skip the pages featuring just the New Mutants until Captain Britain and Psylocke join the story proper.

Judging from a tongue-in-cheek remark made by Chris Claremont in the introduction to the Davis/Delano Captain Britain tpb (“…and that really was not a very nice thing to do to Betsy, Alan”), one of his goals must have been to restore Betsy’s eyesight (with bionic constructs supplied by Mojo), which he achieves in this story. Other that that, this story provides the means by which Psylocke joins the X-Men.

X-Men Annual #11:

Some time has passed between New Mutants Annual #2 (1986) and X-Men Annual #11 (1987), not only in reality but in “Marvel Time” as well. Betsy is now a fully fledged member of the team, and the story begins the night Brian returns to the United States with Megan for a visit. This is one of those stories in which it’s left up tot the reader to decide what really happened. “Already, the night’s events have begun to fade from her memory,” narrates Claremont about Storm at the end of the story. “Soon, she sense, it will be forgotten, like any dream.” I feel much the same way.

I don’t have much to say about the story, obviously, so I will comment on the art. I wasn’t much of a fan of Alan Davis’ work when I first encountered it, but that perception would soon change. “Too cartoony,” I, in my vast wisdom, dubbed it, and that was that. But also between New Mutants Annual #2 and X-Men Annual #11 I had encountered Davis’ work on Miracleman and I liked that. Working under the assumption that artists generally get better rather than worse with practice, I was led to re-examine and reassess his work, and I remember X-Men Annual #11 as the first time I really appreciated Alan Davis’ artwork. Today, flipping back to the beginning of the Captain Britain Omnibus , it’s more obvious to me than ever how much (and how quickly!) Davis grew as an artist.

Captain America #305-306::

Back in the early ‘80s one of my favorite titles was Captain America by J.M. DeMatteis and Mike Zeck. Then Jim Shooter pulled Zeck off the title for one of his pet projects (Secret Wars), Soon after DeMatteis left, and Captain America just wasn’t the same for me anymore. I really hated Paul Nearby’s “clunky” style (in comparison to Zeck’s), but not only did Neary‘s later work, like Davis’, improve, but I’ve come to appreciate his earlier work as well.

In contrast to the Trimpe days, this Captain Britain story was drawn by an artist actually familiar with its London setting! Unfortunately it was scripted by American Mike Carlin who has CB refer to CA alternately as “yank” and “mate,” as well as a horde of attacking zombies as “blighters.” Interestingly, when Captain America first sees Captain Britain’s new costume, he thinks, “That doesn’t look like the Captain Britain I’ve met before,” and a footnote adds, “Most recently in Rom #46,” conveniently side-stepping their lengthy team-up most American readers would not have read, but also not contradicting it. I have always maintained that the Black Knight’s Merlin and Captain Britain’s Merlin were two different beings, and this story supports that theory, as a Merlin other than the dead alien one appears at the end of the story.

We are now at the point in the discussion at which Captain Britain was co-opted by Chris Claremont to join Excalibur. I don’t plan cover the entire Excalibur series at this time (perhaps someday in an “Excalibur” discussion thread), but I will cover “The Sword is Drawn” from the Excalibur Special Edition which introduced it. In my estimation, ESE is one of Chris Claremont’s best and most successful collaborations ever. It would have been my first encounter with Saturnyne and Gatecrasher, and although the story [of Mojo’s Warwolves and Gatcrasher’s Technet both after Phoenix (Rachael Summers) with the survivors of “The Fall of the Mutants” caught in the middle] left me somewhat overwhelmed in 1987, I liked it very much at the time but I can’t tell you how much more I appreciate it after having read the Captain Britain Omnibus!

I read much of Excalibur in its original incarnation, and my favorite stories are those in which Alan Davis is involved: #1-24 (art), #42-56 (story and art), #57-61 (plot only), and #62-67 (story and art). Although I covered a few American comics books which were included in the omnibus, the thrust of this thread is the complete UK Captain Britain, so next I will be moving on to…

The Knights of Pendragon:

Yesterday I mentioned that I generally read comics I like multiple times over the years, but what do you think about someone who reads a comic only once in 20 years? Still pretty normal, am I right? What about someone who buys a new comic, then waits 20 years to read it for the first time? Me, I don’t see a difference. I never buy a new comic without at least intending to read it sometime, but I’ve often (less frequently in recent years) bought a comic and waited years to read it for the first time. That is essentially the case with Knights of Pendragon; although I bought the 18 issues of the first volume new off the stands between 1990 and 1993, I’m reading them for the first time now.

My two main precepts of comic book collecting (“Don’t buy what you don’t read” and “Don’t read what you don’t enjoy”) sprang from this period of my life. Although I would never say, “Don’t buy what you don’t intend to read sometime,” I dropped this title at the end of the first volume because, although I liked the character of Captain Britain, I didn’t know whether or not I enjoyed his title simply because I wasn’t reading it. Now I’ll find out one way or the other.

According to Wikipedia: “The comic was created during a period of attempted expansion by Marvel UK, trying to build on the critical success of Captain Britain. Knights of Pendragon was initially a highly political and environmental comic, its themes borrowing heavily from British folklore and the growing New Age and neopagan subcultures. Later issues dropped or downplayed these elements and the series became a more standard superhero title.” I’ll begin my overview of the series soon.
The Knights of Pendragon #1: “Brands & Ashes“

My reading and writing aren’t quite synched up I’m sorry to report, as I’m still getting used to my limited access to the board, so I now find myself commenting on an issue I read a week ago. Issue #1 introduces the characters and situations that will support the new series first arc, but id does quite a bit to introduce and progress the plot as well. Environmental concerns rank high with this series (even the paper stock is environmentally safe), and it reads as nothing so much as an ersatz “Vertigo” Marvel series!

Inspiration for this series range from the literary (W.B. Yeats poem “The Second Coming” and Gawain and the Green Knight) to the popular (Saturday Night Live), with settings as diverse as St. James Park, Central London; Gower, South Wales; Amersham, Buckinghamshire; and Sevenoaks, Kent. Chief Inspector Dai Thomas seems even more central of a character than Captain Britain in the first issue, and other new characters include fraternal twins Alistaire and Brigadier Alysande Stuart, the latter of whom heads W.H.O., the Weird Happenings Organization.

As the story opens, several environmentally unfriendly businessmen have been killed in gruesome but poetically fitting ways, and W.H.O. has tasked Dai Thomas (with the aid of Captain Brittan) to lead the investigation. The businesses in question are linked through The Omni Corporation. Meanwhile, Thomas keeps having hallucinations about a knight from the past who is somehow linked to a scarecrow figure which is apparently involved with the murders in the present.
The Knights of Pendragon #2: "Skin & Bones"

The focus of this issue shifts to elephant poaching as Dai Thomas's investigation takes him to Africa, when he encounters Kate McClellan, a television news reporter he met in the first issue. She's following him and the both of them are being followed by Dolph, an operative of The Omni Corporation in the employ of Grace, both of whom we met in the first issue as well. Meanwhile, Thomas continues to have vivid dreams and a poacher is killed in the same manner he kills elephants.

Gary Erskine is the penciller of this series (it's written by Dan Abnett and John Tomlinson), but the covers are drawn by Alan Davis (an artist not unfamiliar with Captain Britain himself). Issue #2 includes a poster of issue #1 along with the slogan, "The Knights of Pendragon: When the Past comes to the Present to save the Future." That sums up the thrust of this series better than anything I could say would.
The Knights of Pendragon #3-6: "Oil & Water" - "Blood & Feathers" - "Hope & Glory" - Once & Future"

I'm going to cheat a bit this post by cribbing the recap from issue #7: "While investigating a series of brutal killings, gruff police inspector Dai Thomas becaomes increasingly onsessed by visions of Arthurian Britain. He then undergoes a bizarre metamorphosis and becomes a Pendragon, a potent champion of the ancient forces of Earth and Life. In this form and accompanied by his reluctant allies Captain Britain and the redoubtable journalist Kate McClellan, he retraces the epic odyssey of Sit Gawain, and confronts the focus of the Life Force -- the Green Knight. It is the Knight who has been committing the savage crimes, acts of despair against a thoughtless mankind who is destroying the planet's life. Chief amonst his targets is the massive and ruthless Omni Corporation, rules by the malicious and poisonous Grace, whose bully-boy thugs, led by the psychotic Dolph, have been hounding Dai and Kate. Dai/Gawain sacrifices his Pendragon power to bolster the Knight's failing strength, and the trio return to England, resolved to redouble their opposition to such callous global spoilers as Grace's Omni." There. That's a better job than I could have done, anyway.

This isn't really a Captain Britain book, but I started this discussion and I'm keen to finish it. Issue #6 begins a letters page, Pengragon to Paper, and the editor addresses "the promotion machine that hyped Knights of Pendragon as an all-new captain Britain mini-series," and referred to such promotion as "misleading,and succeeded only in generating bad publicity." Speaking for myself, I thought Captain Britain would be more prominently featured (he doesn't appear at all in some issues), but I can't say I'm disappointed in the series itself. The editor goes on to describe it as "an eco-thriller, combining Arthurian legend with some horror overtones, with a bit of the Marvel Universe thrown in" (and I probably couldn't have put it any better than that, either).

The Knights of Pendragon #7: "Revelations"

Union Jack is thrown into the mix as the Omni Corporation forms an alliance with... Stark Industries.
Captain Britain issue 13

Delano/Davis revisited.

It took me a while but I eventually got to the end of this collection. At least its still on the same page of your thread as my earlier look at the final collection of UK Captain Britain stories.

I wonder how similar my edition is to yours, Jeff? Does yours have the intro by Chris Claremont? If not, the the line from the Financial Times on the publication of the very first Claremont/Trimpe issue of Captain Britain is worth mentioning:

“A farrago of illiterate SF nonsense.”

Wonderful to see how beyond the pale standard superhero comics were then. Some superhero narratives have improved in the meantime, and journalists are now much more sympathetic to a well told Spandex tale. So I guess they’ve met in the middle.

"It’s Hard to be a Hero" from Captain Britain #13 is an understated title for the mayhem we see in it. Scenes showing Betsy slowly coming around to becoming the new Captain Britain and Brian and Megan enjoying his lack of responsibilities are intercut with scenes of Betsy in the present being humiliatingly outmatched and beaten by an unseen opponent who turns out to be the Slaymaster in a very unfortunate leotard costume and a type of bulbous spherical helmet that Davis had a thing for at this time.

His isn’t the only 80s fashion disaster here either. The two female Captain Britains are given hideously naff costumes.

When the one true Captain Britain appears he quickly crushes Slaymaster’s skull with a rock, (Crikey!) and then pushes one of the two spook guys so hard that his neck is in a brace in the next issue. Great mid-80’s Grim’n’Gritty Brian!

This story was published in January 1986, and considering that Dark Knight Returns and Watchmen didn’t come out until later that same year, isn’t this brutality well ahead of the curve? Its certainly worth commenting on, I think. The final sanction for your arch-enemies must have been pretty extreme for this time? When super-heroes start killing and maiming folk, though, you are in a different ballgame. I don’t even know if it is superheroes still. Davis’ clean, almost cartoony style does conceal a nasty approach to the characters.

And then there is the misogyny of Betsy being thrashed and blinded for thinking that she could do a man’s job. Thank God comics have come so far since this was published!

If Slaymaster was indeed as French and as gay as he seemed to be, then we can add racism and homophobia to the list of fine qualities on display here!

Speaking of misogyny, the Vixen’s name got me thinking that the English language is very loaded. The male/neutral equivalent is a complement. ‘Cunning as a fox’ is more a term of admiration than disparagement. Then to call a female a fox is only to comment on her attractiveness, whereas to call a man a grey fox is to comment on more than his looks.

I laughed at the explanation of where Brian and Betsy got the money to buy their lighthouse retreat. They’d used some gold which they managed to save from the Inca city that disappeared in an earthquake. Doesn’t the gold belong to Peru, or wherever the city was located? Between Lara Croft and whatever that guy’s name was who took the Elgin marbles from Greece, there’s something about being British that makes you think the treasures of the world are rightfully yours. Same old, same old...
Captain Britain Issue 14 (final issue)

Should Auld Acquaintance

Great to see sometime vampire hunter and full-time Welshman Dai Thomas here for the final issue. He’s been around since issue 3 of the original series.

The big thing that struck me was how much incident they fitted into these 14 pages. Dai arrives looking for help on a case, the alternative Earth Captain UK is called away by Roma and is reunited with her dead lover. Betsy and the guy with the neck-brace are shown recuperating, there is a sub-plot about the computer in the house giving the housemaid a round-the-world trip because all his messing with her mind has ensured her early death(Again, the only word is Crikey!), our heroes travel to Scotland (thus licensing Davis to re-use the same story title that Byrne had used for a UK-set Captain America tale. At least Davis’ story is set in Scotland and set on New Year’s Eve.), Betsy and acceptable Spook Gabriel get closer and Captain Britain defeats a razor limbed warpie.

Captain UK returning to her own dimension also heals the last of the ruptures that the Jim Jaspers stories caused, so the little warpies will stop appearing.

That’s a lot of loose ends tied up.

These stories are also notable in that they come just at the end of a period for a notable Marvel hero when the writers could pretend that things were happening in ‘real-time’. We hear that it’s been 7 years since Captain Britain first reappeared, and in the Moore stories, Brian’s meeting with his sister felt like many years, even though they were both young, which played on the fact that the 5 years or whatever that had passed was in real time too. Similarly, the warpies that all appeared during the Jim Jaspers stories are about the age they’d be if they had been born 5-6 years ago.

Since these stories were published, Captain Britain hasn’t aged 25 years. He’s slipped into ‘comic-book time’. A kind of limbo where people die and come back to life and your mantle is passed on and returned to you all within the space of a few years.

It’s probably not worth mentioning, but did you notice that Captain UK’s boyfriend was Dicky Dauntless, aka Marvel Boy. Here he has adopted the more grown up and somehow fantastically 80’s name of Rick.

I’ve just realised that the format of the pages might allow Davis to fit in a little more story than the longer, more rectangular pages of US comics would have allowed him. Have another look at just about any of the pages in the last issue. UK comics have traditionally been larger and more square in format than rectangular. I’m sure the reading experience is just a tiny bit different because of this. Davis certainly fits in a little more 'story' per page because of this.

These 10-14 page stories are a kind of strange halfway house between 2000Ad’s measured punchy 6-8 page installments and the ‘full-length novel’ size of the 22-page US comics. It looks to me like Davis and Delano couldn’t quite get the handle on how to distil the stories they wanted to tell into this unusual page-count. Perhaps they both could have benefited from a few more years under the iron story-telling discipline of the mighty Tharg?

All in all, this is a special collection. It gives us the complete adventures between Moore’s seminal run and Brian’s transition to being just another Marvel comics superhero. It’s something special that Britain got its own Marvel hero, in his own UK-produced book for a while, which is why I made this little effort to mark the end of the collection on this - a school night!
Figserello said:
It took me a while but I eventually got to the end of this collection. At least its still on the same page of your thread as my earlier look at the final collection of UK Captain Britain stories.

No problem! Better late than never, eh? I enjoyed reading your thoughts.

More old business: The Captain Britain Vol. 4 tpb has been delayed yet again, so I still don't know for sure whether or not it includes the rest of the Black Knight run before the Moore stories begin. Originally supposed to have shipped November 4, it was first pushed back to December 4 then again until December 17. When I receive it, readers of this thread will be the first to know! And after I finish up with the Knights of Pendradon series, I'll have a suprprise announcement, so stay tuned!
The Knights of Pendragon #7-12: “The Wounded Land”

The first storyline introduced the main characters and concept, the second introduces further characters and refines the concept. The theme of environmental responsibility is still there, but the focus of this arc shifts to Britain’s ancient mythological heritage. If I’m understanding this correctly, Dai Thomas was not possessed by the spirit of Gawain so much as he was possessed by the same spirit which possessed Gawain. In any case, Thomas is no longer possessed by the Pendragon, but Kate McClellan now is. So, too, is new character, photographer Ben Gallagher as well as the superhero Union Jack and, quite inadvertently, McClellan’s son Cam.

Grace is possessed by the Pendragon’s opposite force, the Bane, and is gathering her forces to her. Unable to handle the force of the Pendragon flowing within him, Cam is recruited to the Omni Corporation which is much better organized than the forces of the Pendragon. Luckily, one of Cam’s teachers, Peter Hunter, was the former wielder of the force which now possesses Cam, and fought alongside the original Union Jack in WWI as Albion. He acts as mentor and advisor to the fledgling Knights of Pendragon.

On the superhero side, issue #8 presents the first meeting of Captain Britain and Union Jack. As with Captain Britain, Union Jack’s costume was similarly changed and, also as with Captain Britain’s, I preferred the original, however, editor Steve White explained the reasons behind the change on the letters page, each of which is loaded with in-depth discussion, by the way. Iron Man becomes involved when Grace dupes Stark Industries into selling some land to the Omni Corporation which Tony Stark believes is to be used for a wind turbine plant, but she really wants for a group of caves which lie beneath it, once the site for ancient sacred rituals. By story’s end, Stark has agreed to finance a headquarters for the Knights of Pendragon at Camelaird Farm, Wiltshire.

I’m leaving out a lot of detail in the hope someone reading these comments might seek out the back issues.

They’re worth it.
The Knights of Pendragon #13-18: “The Sleeping Lord”

Issue #13 begins a new storyline and introduces Arthurian Tarot into the mix. The logo changes with issue #14, emphasizing the word “Pendragon” with a large gothic “P” rather than “knights” with a “K”. Reed Richards, Sue Storm and T‘Challa guest star in #14 and the Black Panther joins the cast. Leaving Peter Hunter doing research in Germany, the rest of the Pendragons proceed to Africa to thwart a hippo poaching operation and the series becomes global. At this point their forces are split (in what turns out to be a plot by the Bane), as Kate and Ben follow the poaching ring to Australia and Union Jack and the Black Panther trace the shark fin thread (what the ivory is being barter for) back to Hong Kong. Meanwhile back in England, a young man named Adam Crown also is linked to the Pendragon.

All this leads to a massive conflict between the Green Knight (Pendragon) and the Red Lord (Bane) into which every man or woman, living or dead, is drawn. It’s only by virtue of this fact that I can legitimately include this story in this thread, because Captain Britain (who wielded the power of the Pendragon briefly) appears only in issue #18 (along with Iron Man, Black Panther and Dai Thomas as well). This is the final issue of volume one. The title would return as Pendragon (with the same writer but a different artist) and run for another 16 issues.

I bought the first issue of Pendragon (I think), but I have no idea in which box it’s filed. I didn’t read these comics back in 1991, remember, and because “buying new comics and not reading them is stupid,” I decided this was a good point to drop the series. I didn’t make a mistake buying The Knights of Pendragon (although I now wonder why I waited so long to read it), but I may have made a mistake when I decided not to follow Pendragon.

And that surprise I mentioned?

I’m going to continue this discussion with Captain Britain and MI13.

“It ain’t over ‘til I’m done.”
Captain Britain and MI13 #1-4:

I can’t really count this as a successful tradwaiting experiment, since I had absolutely zero interest in this title upon its initial release. This series garnered quite a bit of positive discussion on the old board, though, and since I’m in the midst of an examination of “The Complete UK Captain Britain” it seemed like the proper time to pick up the first of three tpbs collecting the entire series. Although CB&MI13 is an American comic book, it’s written by a Brit, Paul Cornell, so therefore fit’s the context of this thread (because I say so).

This series is a direct spin-off of the mega-crossover “Secret Invasion,” the series’ first strike against it. Consequently, despite Cornell’s best efforts, it reads as a series with a middle and end, but no beginning. No matter. It begins in medias res as far as I am concerned. Some the characters and situations spin out of Cornell’s previous MAX series, Wisdom, but that wasn’t really a problem, either; I may even seek it out. From my point of view, the transition from KoP to CB&MI13 wasn’t exactly seamless, but then I never expected it to be.

A Marvel Spotlight interview included in the trade convinced me that Paul Cornell is the man for the job of writing a new Captain Britain series. He is familiar with all the British material and, perhaps surprisingly, incorporates it into his backstory. In addition Cornell’s own Pete Wisdom (and a Skrull who looks like John Lennon), the Black Knight and Spitfire (as well as a new character) are all members of this fledgling team.

I’m not too wild about launching a title out of a crossover, but I consider this trade (which also includes
Brian Braddock’s often reprinted first American appearance from Marvel Team-Up #65-66) as the “zero issue” in which Captain Britain sets forth the team’s raison d’etre: “This is where we start. There should be a team. To hold off the dark magic, and the rest. We should be that team. But here’s what it has to be: a team not of intelligence officers, but of super heroes. Together because they want to be. Who are friends. Who support each other. Who do not kill.” To which Pete Wisdom responds: “But who’ll be supported by the intelligencve services, and fit into their command structure.”

That’s the best origin of a new Marvel team I’ve read for many a year (save for perhaps Agents of Atlas). Cornell’s writing also includes subtle jabs at both American as well as British politics as well as (what I see as) several satirical shots at the current MU.

This is a series for me.

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