Following the quite surprising media “storm” brought about by the appearance of Gordon Brown in issue #1 (something that yours truly, who was reading the comic anyway, hadn’t even spotted), Paul Cornell’s Captain Britain and MI:13 suddenly finds itself under something of a spotlight. It’s a good job, then, that it’s already proving to be such a good series. Cornell seems to be bringing one of the strongest attributes of a certain time-travel related TV show for which he writes to the comics table – that is, a reliance on strong central ideas.

Finding himself in the position of having to essentially show “the British front” of an editorially-dictated war with the Skrulls, Cornell’s priority is therefore to find a unique angle, rather than simply playing out the events of Secret Invasion in different costumes. This he does by having the Skrulls go after the strongest card that Marvel’s Britain holds – not superheroes, as in the States, but magic. What we get, therefore, is a twist on the usual trope of magic always being able to win out in a technological situation – bring technology into a magical world, and the unfamiliar technology will triumph. It’s a neat idea, and at the same time as this victory enhances the Skrull threat, we can already see from the world of Avalon that Cornell is building up (even the Green Knight gets in there at one point!) the sort of themes that are going to inform the series as a whole, the strengths of Marvel’s “British mythology” that it’s going to play to.

That aside, there’s little that’s hugely remarkable about Captain Britain (save for the fact that its titular character is afforded a significant impact without actually appearing in its pages, right from the excellent opening page that compares the difference between the British and American public’s “discovery” of the deaths of their champions – although, you know, if Braddock is actually dead

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, I’ll buy the trade paperback and EAT it). But as with the first issue, this is simply a finely-crafted, strongly-executed, terrifically entertaining slice of superhero comics. Cornell already brings no small measure of confidence to his storytelling, even this early in his comics career, and he litters the pages with sharp dialogue (choice examples including “Don’t call me ’sir’, it’s… weirdly horny” and “this voice… is half like Gandalf and half like Mr Kipling”) and great characters (it’s no small feat that Faiza is already so likeable and well-defined, given that she’s only had a few pages of each issue in which to be introduced).

The solid craftsmanship extends to the art, as well, with Leonard Kirk on career-best form – although there are certain action beats that could do with being a bit clearer, his character design is strong and there’s a great sense of energy. He’s clearly going for something of a Bryan Hitch style, and on the whole pulls it off rather well.

The overriding feeling about Captain Britain and MI13 – quite aside from the fact that getting Paul Cornell into the industry was an absolute masterstroke on Marvel’s part, and they need to take full advantage of his talent while they can – is that, from a UK-based reader’s perspective, it’s fantastic to have a proper, British superhero comic of which to be proud. The last one I can really think of was Miracleman, and before that… well, Moore’s Captain Britain, really. Cornell is carefully building up his own little corner of the Marvel Universe here, and packing it out with characters about whom I can’t wait to read and discover more. And that’s before Cap himself has even had a chance to come out fighting.